A title like Ruins of the Earth does not hedge. It announces catastrophe as the starting condition rather than the twist, and that choice shapes everything downstream. The story begins in the aftermath, and the question is not whether the world breaks but what people do afterwards.
Christopher Hopper writes on the border between fantasy and science fiction, and this book sits squarely on it. Our catalogue tags it both ways, which for once looks like accuracy rather than confusion. The furniture is science fiction. The scale, and the sense of something ancient stirring, belongs to fantasy.
It is also the opening of a sequence that shares its name, so this is writing built for the long haul, establishing a world with the expectation that listeners will stay in it.