Actually, I have one project in the works (since about 2012) as a labour of love that, if I ever finish it in retirement, will be released into the wild on forums such as this without any financial or other strings attached.
According the the data under your username, you've currently made about 2580 posts on this forum. Presumably you weren't paid to make those posts. So simply describing what *you* would consider an intellectually non-lazy alternative Fithp that would meet the narrative requirements of said species could be accomplished in about 0.039% of your total output to date. A few paragraphs would do... probably about the level of effort required that you would happily - and for free - expend on explaining why you couldn't be bothered.

In my own crappy space opera stories, there are dozens-to low-hundreds of intelligent species that the bulk of Mankind is aware of. All but two of them, though, were created by humans... not just AI, but uplifted dolphins and gorillas and recreated Neanders and such. Why did people do this? Because we could. Because it's cool. Because it's ᚠᚪᛣᚳᛁᚾ' rad.

Of the two generally known truly alien sentients, one (the Thessi) looks not unlike an Ewok or a Teddy Bear; the other (Narth) is a horrifying monster, but recognizably "animal." The first species gets along well with Mankind; the latter avoids humans like the plague because as scary as they are to us, we are creatures of ingrained terror to them. Why? Because *we* look like something from their world.
Could the Thessi have been replaced with something wholly alien? Sure. But why? It wasn't important. Creatures that are vaguely bear-like have evolved several times on Earth; no reason to assume that shape wouldn't arise in alien forests. It's a configuration that clearly makes sense. You don't introduce complexities to stories that don;t need to be there.
 
You don't introduce complexities to stories that don;t need to be there.
Which if I ask tomorrow at our local creative writers group weekly meeting would probably be unanimously confirmed.
If nothing else, the non-introduction of not-necessary complexities reduces the writer's workload from what it would be if those were to be introduced.
 
... reduces the writer's workload ...
Also reduces the *readers* workload.

Alien 1) basically human with bumps on his forehead and weird fake-Brit accent: "OK, gotcha, on with the story."
Alien 2) Requires three pages to describe appearance, then unceasing info-dumps about their incomprehensible culture and backstory: Screenshot 2024-07-19 at 14-13-17 pepe_silvia_meme_banner.jpg (JPEG Image 1200 × 675 pixels).png
 
According the the data under your username, you've currently made about 2580 posts on this forum. Presumably you weren't paid to make those posts. So simply describing what *you* would consider an intellectually non-lazy alternative Fithp that would meet the narrative requirements of said species could be accomplished in about 0.039% of your total output to date. A few paragraphs would do... probably about the level of effort required that you would happily - and for free - expend on explaining why you couldn't be bothered.

In my own crappy space opera stories, there are dozens-to low-hundreds of intelligent species that the bulk of Mankind is aware of. All but two of them, though, were created by humans... not just AI, but uplifted dolphins and gorillas and recreated Neanders and such. Why did people do this? Because we could. Because it's cool. Because it's ᚠᚪᛣᚳᛁᚾ' rad.

Of the two generally known truly alien sentients, one (the Thessi) looks not unlike an Ewok or a Teddy Bear; the other (Narth) is a horrifying monster, but recognizably "animal." The first species gets along well with Mankind; the latter avoids humans like the plague because as scary as they are to us, we are creatures of ingrained terror to them. Why? Because *we* look like something from their world.
Could the Thessi have been replaced with something wholly alien? Sure. But why? It wasn't important. Creatures that are vaguely bear-like have evolved several times on Earth; no reason to assume that shape wouldn't arise in alien forests. It's a configuration that clearly makes sense. You don't introduce complexities to stories that don;t need to be there.
There are very good ideas here, but if I were a marine mammal without hands and I was made intelligent I would be aware of my physical limitations and I doubt very much that I would be happy among humans with fingers. The gorilla thing would be even worse, everyone pretends I'm like a normal human and I'm smart enough to understand that they despise me. On the other hand, Neanderthals would have no problem integrating, in fact they have always been here.
 

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There are very good ideas here, but if I were a marine mammal without hands and I was made intelligent I would be aware of my physical limitations and I doubt very much that I would be happy among humans with fingers.

In my fictional universe, tech has advanced so far that any jackass can uplift any animal. So there are *lots* of poorly uplifted critters, and a fairly substantial ASPCA-like system to help them - which sometimes means putting them down. But cetaceans have been successfully uplifted several times; part of the process is genetic mods that allow them to easily interact with prosthetics that they can easily don and doff as they wish.

In one of my stories, a plot-unrelated bit happens when some humans on an ocean world see a pod of orca swim by, followed by a somewhat larger whale. One of the local humans explains to a confused off-world human that the larger whale is actually a robot; it follows the uplifted orca and contains all their stuff, including manipulators, drones, fusion reactors and fabricators (i.e. "replicators"). The orca are not dependent upon humans, but interact with them regularly. Many join starship crews.

Starships that have cetaceans onboard either have larger water-filled corridors or the cetaceans can go about in "wetsuits" and "fly" through the corridors via gravity manipulation. Bad science, but... meh. Space opera.

The gorilla thing would be even worse, everyone pretends I'm like a normal human and I'm smart enough to understand that they despise me.
Except the humans *don't* despise them. Uplifted gorillas in larger society are every bit as civilized as humans or anyone else. Nobody pretends they're human, any more than they pretend Thessi crewmates are human.

On the other hand, Neanderthals would have no problem integrating, in fact they have always been here.
Oddly, the Neanders integrate less well than the gorillas. In order to uplift gorillas (and cats, dogs, ravens, etc.), a *lot* of tinkering to their brains had to be done, and as a result their thinking is often almost human-standard. The Neanders, however, were left as baseline as they could be. (I presume that before Earth goes down, quite a number of DNA samples of Neanderthals are discovered and utilized). Neanders turn out to be rather baffling. Like us, but different in a lot of ways (including a "spiritual" existence that would put most shroomed-out shamans to shame). Enough so that they don't fit well. They're left to do their own thing.

Humans create these offshoots for shits and giggles as much as anything else. Because *of* *course* we would given the ability.
 
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From my collection, Alan Craddock's cover to the 1980s UK editon of C. J. Cherryh's 'Chanur's Venture', the second novel in the Chanur Quintet. It's a case of a rightish idea, but the wrong cat, he should have gone with Pantera Leo rather than the household tabby...
 

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Peter Elson's cover for the 1980 reprinting by Panther of Ian Watson's 1973 novel 'The Embedding' featuring what may be the same ship, or certainly one of the same class as that which appeared on the cover of 'The Long Result' by John Brunner featured in Post #76 of this thread.
I’d say same hullform, totally different class: The Long Result ship uses rocket engines of some variety, the Embedding ship uses some form of antigravity.
 
A third Peter Elson sphereship, I've not been able to confirm just what novel it appeared on the cover of.
 

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Peter Elson's cover to the 1979 Sphere edition of 'Tomorrow and Tomorrow' a novel first published in 1956 as 'Tomorrow's World' by Hunt Collins. For this edition it bore the psudonym the author, born Salvatore Lombino was most well known by at the time, Ed McBain and may have been the only science fiction novel published under that psedonym,.
 

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Theres something about that pic that just screams late 70s SF,as a 9yo I would`ve loved it.
Its got a real Logans Run mazecar scene vibe about it.

Could be Logan's Run came out a few years before hand and the artist could have used it as a visual reference.
 
Peter Elson artwork for the cover of the star trek quiz book
The apparent proportion discrepancy between left and right sides of the "saucer" bring to mind a well known phenomenon when photographing low-wing monoplanes which have wing dihedral where the far wing seems bigger than the near wing.

Such as ...


and

 
From my collection, Michael Whelan's cover for 'The Pride of Chanur' (1981) by C. J. Cherryh the first novel in the Chanur Quintet. The series structure is unusual, the first novel was probably written as a stand-alone, the next three novels 'Chanur's Venture' (The cover for the UK edition has been published earlier in the series), 'The Kif Strike Back' and 'Chanur's Homecoming' form a clear trilogy set some time after the events of the first novel. The last novel in the series 'Chanur's Legacy' is a separate story set some distance in time after the events of the three novels that proceed it.

The cover artist did a much better job with the felinoids than the artist used for the UK edition, these ones have a decidedly tigerish cast about them. The guy at the back is probably a self portrait of the artist similar to the one that appears on the cover of the Alan Dean Foster short story collection 'With Friends Like These...'
 

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From my collection, the cover by David A. Cherry for 1985's 'The Kif Strike Back' by C. J. Cherryh. This is the third novel in the Chanur Quintet and the second in the trilogy 'Chanur's Venture' / 'The Kif Strike Back' / 'Chanur's Homecoming'. The artists depiction of the Kif is accurate to the authors description, as is what can be seen of the Hani (the felinoids) in the forground.

I have copies of the last two books in the series but they are in storage at the moment.
 

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Peter Elson artwork for the cover of the star trek quiz book
TheStarTrekQuizBook.jpg
Now I want AI art to make the TOS have that level of detail.

More
 
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The cover for the 2004 anthology 'Space Stations' edited by Martin H. Greenberg and John Helfers (An author who can be found in both the fictional aircraft and fictional warships threads.) is a bit of a mystery, the images used originated from the Corbis and Getty repositories, but the identity of the person who combined them is a mystery.
 

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From a novel recently added to my collection. The cover by John Harris to the third of Jack McDevitt's 'Alex Benedict' novels, 2005's 'Seeker'.
 

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Courtesy of the Internet Archive. Hugh Zachary was a minor American science fiction author active between 1968 and 1994, one set of novels known as the 'Thunderworld Series' published under the pen name Zach Hughes had a shared background and some recurring characters, though it was not a formal series.

Signet released 'Gold Star' in 1983 with a David Mattingly cover. In 1987 several of the novels in the 'Thunderworld Series' were republished with artwork supplied by John Harris (The character portraits below the title were created by artist Di Morrisey), to create a more common appearance for the series. Should I find a better scan of the John Harris cover I will revisit this post.
 

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The cover by John Harris (with character portraits by Di Morrisey) for the 1987 novel 'The Dark Side' by Hugh Zachary (Pen Name: Zach Hughes)
 

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From Jim Burns' Facebook page:

Managed to herd together some of the artists at Worldcon for a group shot. Here are from left to right…Danny Flynn, Maurizio Manzieri, Moi, John Harris, Keith Scaife, Fred Gambino and Didier Cottier.

455248719_10159867254202343_875354398709833262_n.jpg

And with Robert Silverberg.



455128442_10159867151462343_5640986976894094431_n.jpg
 
The cover, by Jim Holloway, for the first edition of 'Decision at Thunder Rift', by William H. Keith, Jr.,the first novel in the 'Saga of the Gray Death Legion' series, and also the first 'BattleTech' novel ever published.
First publication date was June 1986.


369px-m8ct9b318g1xekhc1ym1cu5kfpzlrhu.jpg

cheers,
Robin.
 

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Space ships
 

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Post-2
 

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Post-3
 

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