Sci-fi as a genre becomes about the technical aspects of magic, and it gets bogged down when it’s, “Well, I’m a vampire, but my landlord doesn’t know!” That’s good for drama, but it’s not good for comedy storytelling, pacing and stuff. One of the earliest examples I encountered was “Hitchhiker’s Guide to the Galaxy.” One character in the story is quickly whisked off and his entire planet is destroyed, and the rest of the universe, every weird thing taken in stride, and the things that matter in storytelling is whether or not people are jealous, betraying each other, lying to each other. The fact that someone has two heads, or that this planet is where they make other planets — that stuff is just taken in stride by necessity. You’ll also see that in narratives we really like, like Willy Wonka’s chocolate factory. You go into it, and there’s a very brief period of adjustment, but you’re really reacting to whether or not Willy Wonka likes you. “You’re not going, ‘Wait, how does the chocolate river work? Why doesn’t the chocolate get hard? Let’s spend three minutes on that!’”