The development of these new virtual worlds helps to provide better arrangement and ontological characteristics of our world, and the diversification of ontologies and related concepts – the conditions and limits of the ontology itself.

Gnosseology of science fiction will include another series of questions, seizing the ultimate learning experience, modeling of exotic cognitive situations, analysis and presentation of objective consciousness realised with the help of artificial means, as well as unique means of detection and dispersal of visible illusions.

For example, an alien – is a radical instance of removal that allows to adopt a maximally external attitude and distinguish some features which would not be obvious otherwise: the conventionality of the usual, customary, traditional and non-obviousness of the evidence itself.

Unexpected turns of events, large-scale coverage of the grand space-time intervals, sophisticated scenery give the opportunity to see the limits, denoted by the acknowledged meanings and boundaries of natural intuitions and interpretations; realize the inert stereotypes of mundane consciousness.

Fiction as knowledge finally undermines the solid oppositions of the discovered/invented, the found/made, the real/imaginary.

Fiction modeling demonstrates the capabilities of the most flexible thinking and creative ways of comprehending the world: the creation of exotic worlds can tell something about our world also – regardless of whether the scientific or mythological fiction base is being used.

The Heuristic Functions of fantasy in general were among the first to be observed.

This is also backed by the discussion of problems with communication and understanding, which can be seen in colorful contrast to the highlighted situations of meeting of different civilizations, cultures and societies that belong to different worlds, planets, strata or layers of reality – in this sense, the well-known TV series «Star Track» becomes the embodiment of the universal hermeneutic project as it purposefully indicates a potentially infinite attainability of understanding.

The axiology of fiction includes another series of questions that draw the attention to the subtle aspects of working with values.

Properly speaking, there is no such notion as values of fiction, of course – not because it is impossible to estimate the products of fantasy (that is quite possible), and not even because it is impossible to come up with things or ideals, worthy of aspiring no less than ordinary and mundane (this is also feasible, although with an even greater difficulty), but simply because it is impossible to evaluate something that is make-believe: in a sense of combining the perception of some value as a value, worthy of becoming a finite basis of goal-setting, and – at the same time – as an arbitrary convention, that can easily be replaced at any time, or freely given up.

Another thing is that fiction provides a unique opportunity for revaluation of all values (almost according to Nietzsche’s project), or at least for evaluating different versions of the hierarchy of values and preferences.

But in any case, there should be a certain binding to ones or the other values accepted as default, because otherwise it would be impossible to perceive new, unusual and unfamiliar ideas as essential.

The utmost escapism is inevitably related to the main flow of life – the question is always about the desire to escape from something and the destination of running.

However, there are things which one can never get away from – himself for example, – and this turns out to be the most important, the most valuable thing, and that is what one has to deal with in the long run, but in order to find this balance, everything has to be checked for strength and sustainability – as well by the means of fiction.