Redux = brought back, revived. We’re talking about the apocalypse again. Apocalypse is the event. While a dystopian society can cause it or be its aftermath, post-apocalyptic is reserved for the aftermath. There is a resurgence in these themes now. Everyone knows the reason: what’s happening in the U.S. right now as well as across the world has frightening parallels with 1930’s Germany, Italy, and Spain as well as with the darkest days of the Cold War. There’s nothing religious about this apocalypse.
Most dystopian, apocalyptic, and post-apocalyptic tales in the past were associated with the two world wars or the Communist threat. Brave New World was dystopian; Ape and Essence was post-apocalyptic. Even The Time Machine was post-apocalyptic. 1984 and Animal Farm were dystopian. Later sci-fi novels like Not This August were post-apocalyptic. Many classics can be found in these subgenres. Many soon-to-be classics like Wool are too. They all are warnings about what could happen. It’s common that interest in books and movies in these subgenres reflect troubled times in the world.
The bombs dropped on Hiroshima and Nagasaki changed the world. As that hand on the Doomsday Clock inches toward midnight, these sci-fi subgenres become more popular. Some readers ignore them, burying their heads in the sand by reading schmaltzy romances and fluffy adventures that avoid most serious themes of any type. Which group is right? Beats me. I just tell stories. If one of them comes out apocalyptic or post-apocalyptic, so be it. Almost all my stories have serious themes, though, but not all of them are in the aforementioned subgenres.