Of course, the diversity of aspects of fiction capabilities listed above is in no way exhaustive.

At least two relatively autonomous aspects are worth mentioning separately, as they are distinguished on other grounds.

The social aspect of science fiction – and probably the most significant behind its limits – is  primarily associated with the expression and comprehension of the ideals of social order (directly and primarily in the form of various utopias and anti-utopias – respectively, the positive and the negative), and also provides the development of the future, with a reinterpretation of the past (alternative history), with recovery of the socio-cultural condition of the world and forming human relationships, not to mention overcoming xenophobia and tolerance development.

For example, Rorty highly appreciates the role of fantastic experiments carried out in the novels of George Orwell, which help to understand the nature of a man, the formation of the modern concept of a fair society and avoidance of violence.

By the way, the heated debates on the program of so-called gender studies elegantly complement the fictional models of societies, cultures and civilizations, built on a completely different (from what we are used to) principles: it is not just about the possibility of existing of other life forms (in one case – the androgynous, and in the other – proclaiming and accepting dominance of homosexual contacts over heterosexual), but also more exotic ways of existence – the robots, for instance, which also happen to be discriminated like women, blacks, gays, children and other peculiar characters.

Anyway – fiction is indispensable in demonstration of the fundamental conditionality of all forms of human interaction, even if it reproduces the steady absoluteness of the required functions.

Finally, we could also mention the ability of fiction to act as an emphasized workaround, as a form of Aesop's language, which allows to disguise ideological and political journalistic statements for works of art avoiding censure, if such products in fact, do not belong to the fiction itself in a quite indirect way.

The discursive aspect of fiction is primarily associated with the means of its realization and perception.

The main question is what conditions and assumptions are necessary for the existence of fiction as purely fantastical, not accepted as a brazen lie, that is, or an attempt to mislead or a story about reality.

After all, fiction is also expressed with initially limited means (ordinary language – minimally modified, or built up); the fact that these means are certainly excessive (realities, concepts, constructs, concepts…); on the one hand, fiction works are unlike purely formal search experiments of avant-garde and modernism, and on the other hand, from the popular science literature, support the delicate balance of subtle contrasts of the usual and unusual, explicable and wonderful, traditional and new, natural and artificial…

For example, the metaphorical transfer is often used inversely, if the standard step is to compare technical progress with natural or magical, the device of reverse provides a unique effect.

Thus fiction forms, constantly reproduces and maintains a special horizon of expectation in the space of the absence of the true/false opposition, in other words, creates new evidence with the help of the self-extracting code and its reader, who has a taste for such a recoding and other similar intellectual procedures.

The subject-indicating focus of language means is transformed by the means of fiction discourse in the functioning process into subject-projecting, the goal of which is to reveal the unprecedented.