Thus, science fiction acts as discursively embodied means of literature and/or visual arts (painting, drawing, sculpture, movie…) as something given, represented, described, but nonexistent, but real and materialized at the same time – unlike, abstract art for instance.

The peculiarity of the fictional in this sense is mostly defined by separation from the rest and self-restraint, by the act of mental balancing in testing the different types of discourse.

The most widely open and extremely pointed (though, again, not to a radical break) fiction discourse becomes the generative source for filling the gaps in lacunae, detected in the accepted discourse or the worldview.

Fiction is attractive due to its invincible variety; it opens new conceptual space and carries away to an amazing, wonderful, mysterious, unknown, unusual, supernatural and going beyond the limits.

Like a mental experiment in physics (Maxwell's demon, Schr;dinger's cat, Einstein’s elevator) fantasy provokes construction of unexpected concepts in other sciences, including a collection of imaginary constructs that have numerous applications – the imaginary logic of Vasilyev, the unspeakable communities and imaginary social institutions.

But this goes far beyond science, of course, – Tolkien's epic "The Lord of the Rings" for example, could easily be interpreted as a full-fledged version of a modern esoteric doctrine.

At the attempts to locate science fiction into a tight conceptual grid it often happens that all the definitions fade and moreover blur the stereotypical schemes of perception and thought.

Science fiction fans are well aware of the harm which "science-fiction mass consumption products" do to this genre.

Heroes there are substituted with schemes (even super-schemes), supermen with crystal-clear and empty soul.

With stagy ease these "heroes" use their abilities in time and space, unlimited even by common sense.

Cinematography did not go far beyond from the publishers in this sense, making new "supermen" and new "star massacres" rich with dynamics which are made at a really fantastic technical level.

Therefore, the appearance of such work as a novel by Andrey Demidov "The Natotevaal Recruits" should become a significant, and even iconic event not only in the paradigm of fiction, but of the literary process in general.

Why are we talking about literature in general in this case?

Because literature is always a non-fictional (and sometimes distorted) reflection of the present.

But can we say that works of fiction genre reflect the future?

No, we cannot.

The present is refracted and repeated in a special form in them.

The future – is just a prism through which science fiction writer considers his time, his contemporaries. However, this prism still allows the readers to see features of future in the present.

That is why we can confidently say that fiction helps a person in a world, that is changing with tremendous speed, especially nowadays, when the rate of change has dramatically increased, and all these changes can be both beneficial as well as threatening to the mankind.

Fiction, that describes possible changes, prepares a person for a real change and helps either to adjust to it or to change oneself.

But are these changes of human nature really needed and are they possible?

We live in a world, predicted by science fiction writers decades ago.

Andrey Demidov’s protagonists live in a world, the suppositions of which we are making today, the premises of which we can see even now.

It is a world in which the most formidable predictions of science fiction writers and futurists have come true.