Mohs Scale of Science Fiction Hardness/Science in Genre Only

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Science in Genre Only: The work is unambiguously set in the literary genre of Science Fiction, but scientific it is not. Applied Phlebotinum is the rule of the day, often of the Nonsensoleum kind, Green Rocks gain New Powers as the Plot Demands, and both Bellisario's Maxim and the MST3K Mantra apply.

Examples of Mohs Scale of Science Fiction Hardness/Science in Genre Only include:
  • Tengen Toppa Gurren Lagann: The universe is not run not by the laws of physics, but by the Rule of Cool. While the show remains relatively non-screwing with physics in the first arcs, the latter one more than makes up for it.
  • Asura's Wrath, which in spite of the fact that the power source, Mantra, is similar to using Minovsky Physics to power robots and machines, still has many of the characters breath in space, are several hundreds of thousands of years old, and fight against beings that come from the planet itself, as well as being more of a Fantasy Kitchen Sink in this way.
  • The Hitchhiker's Guide to the Galaxy: Packed full of all kinds of bizarre nonsense -- for example, the fastest mode of travel through the universe is by bistro, as in "place you eat in" or "second most overworked word in food marketing after new"[1], and the second fastest mode is a drive runs on the power of improbability -- but the stories are fully aware of how absurd it is, and the reader is encouraged to think about it. It Runs on Nonsensoleum was clearly a favorite, if not the favorite, trope of creator Douglas Adams.
  • Warhammer 40,000: Chainsaw swords, psychic spacemen, elves in space, orcs in space, undead robots, planet-eating bugs, three-hundred-metre-tall millennia-old walking battle cathedrals, soul-eating space stations and vehicles that travel faster because they're painted red (justified, Sort Of...), and that's just scratching the surface. The primary means of FTL is flying through Hell. In 40k, Rule of Cool is physics. As is Rule of Scary.
  • Power Rangers in its more scientifically themed seasons (more magical seasons usually make a token gesture towards this with giant robots, but aren't close enough to trying to qualify). Even when they get their powers from a government research lab, the morphing is still a mix of phlebotinum and handwaves, the sources of energy are either phlebotinum or not mentioned at all, faster than light travel and humanoid aliens are the rule, sparks shoot out of weapons and struck objects entirely at random irregardless of object composition and the kind of weapon in question, there's never an equal and opposite reaction for most actions, and the square-cube law is in the corner rocking back and forth in the fetal position muttering about giant robots, giant monsters, and the impossibilities of the human shape on the kaiju scale.
  • The Giver: We never get any scientific justification whatsoever for...well, anything, really. Not the psychic transmission of memories, not the total control kept over every aspect of the Community, right down to its climate and color—or, rather, lack thereof. The focus is more on human nature.
  • Asterix and the Falling Sky: In what is usually a mundane/fantasy-ish classical antiquity setting, we have a science fiction-esque plot. There are two alien races shown, one of them have tin-can rats as soldiers while the other have Superman clones. Both have spaceships (one had a rocket while the other had a flying saucer) and came from places light-years away from Earth, only coming to the Gaulish village to fight over the iconic magical super potion that said village has. It turns out that the magical potion is not compatible with the aliens' physiology.
  • Warehouse 13: stuff was owned by famous people or was present at famous events. Stuff somehow gains -- and exaggerates -- a property associated with said person or event. Don't think about it too hard.

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  1. Or more appropriately, the creative mathematics used to calculate bills in such establishments