This is an unplanned for addition to my post, 5 Essentials for Space Opera, written on request. So here I go, exploring the last frontier in space opera (for me anyways).
Let me back up a bit to give some definitions of space opera and some for hard SF. Hard SF isn't very dramatic or melodramatic in some cases. It's serious, and focuses more on the science than the characters or story. The laws of physics are absolute and can not be broken. Hard SF is quite popular in books and often is what give SF the adjective "atheistic." Many are. I haven't read any that aren't, but there are probably some out there.
Space opera, on the other hand, is the opposite. Space opera focuses on the grand scales of conflict, adventure, and personal conflict or drama. Rules of physics are there to be broken, often literally. Space opera has very little regard for current science.
I italicized the personal conflict or drama (And shall continue to do so) because it's what truly what drives space opera and puts a head and shoulders above the other genres. (Military SF, Golden Age, and steam/diesel-punk come close). It's the characters.
Stories about aliens, galactic empires, epic starships, aren't exactly relatable. Stories about inter-familial conflicts are. Aliens, rebellions, starships, and scruffy rogues just make them more interesting than your average soap opera or random neighbor down the street. We know how how personal problems feel; the nervousness, the indecision, the fear. That sickening, roiling feeling in the stomach. You know what I'm talking about.
I'm not sure how much more I can say; so I'll provide examples.
Star Wars: The Original Trilogy: Han, Leia, Chewbacca, Luke, R2-D2, and C-3PO are the driving charters in these three movies. Luke is the main character whose change and growth along the lines of the Heroes Journey is the main subject for the story. Han and Leia create the romantic sub-plot. Their fights; reconciliations, and acceptance draws viewers along for the movies. R2 and C-3PO add comic relief and aid in repairing damaged X-Wings. They add humor to what could otherwise be a grim affair.
Star Wars: The Prequel Trilogy: The driving characters are Obi-Wan Kenobi, Chancellor Palpatine, Padme Amidala, and Anakin Skywalker. Anakin and Padme are the two main driving characters; their forbidden romance brings about Anakin's fall to the Dark Side. Palpatine facilitates it and drives the entire Clone Wars with his schemes. Obi-Wan tries to keep Anakin on the good side, as well as healthy and fine. Their interactions make what could be a standard pre-war conspiracy story in a galaxy far, far, away into a tense and emotionally rich story.
Star Trek: The Original Series: (Are you seeing a pattern?) The driving characters are, of course, Captain James Tiberius Kirk, Spock, Scotty, and Doc McCoy. Spock and McCoy are the most relatable; since they're great friends yet constantly argue with each other. Kirk adds some philosophy, and Scotty adds somewhat of common sense.
Without unique characters who don't have conflicting personalities, space opera can quickly fall into unbearable melodrama.
Saturday, August 27, 2011
Monday, June 13, 2011
9 Things Learned from "Civilzations: Revolutuion"
My apologies to my long-term Facebook friends who have already read this.
1. Being in possession of nuclear weapons is a good way to end open hostilities with another country. This I learned very quickly the first time I built the Manhattan Project wonder, all other empires gave me an offer of peace, even the Arabs. who I was in the middle of a century long war with.
Addendum: The UN rather negates this with nuclear disarmament treaties and what-not, but having them at least counts.
2. To ensure the survival of a nation, a strong military is needed. I don't mean armed militia either. I mean state-of-the art military technology with the capability of have large amounts of its units out in the field on a campaign, and still have large forces at home on defense and ready to cycle in to replace casualties.
3. Don't go to war until you are ready and able to support the strong military in number two. If you go to war to early, you won't be able to support them. Take to long, and they'll invade and you'll be stuck on defense. (tip, if this happens pull an Inchon, invade them somewhere else
4. Always stay one technological step ahead of your enemies, and allies. A technological advantage would be fighting spear men with riflemen, (Which is common). This advantage also gives you a plus to other advantages, such as mining, medicine, whatever it may be. Always keep researching, and there are other advantages as well, just look at what came of the space race.
5. Be willing to accept peace terms, but never offer them, unless you truly are ahead. Weakened enemies will, eventually, realize their mistake and sue for peace. Accept their offer. It will make your country look better and spare you from inner turmoil from too many casualties. It also gives you time to recover your strength.
6. Never crumble to hostile threats, unless it is a better idea than to fight. I generally spurn threats received from AI enemies, because I am always far more powerful than they are. No, that wasn't hubris. I am generally always ahead of them in technology by a slim thread. That gives me an advantage. I also know I probably spend more on military units than I should. Sometimes, however, you are unable to fight due to another war, or some certain problem you're having.
7. Always maintain friendly relations with your citizens. Keep the people happy with good education, jobs, and cultural things. It'll keep them educated, happy, and prosperous, thus increasing your chances of scientific breakthroughs and reducing the risks of them becoming disgruntled and rebelling.
Addendum: Just make sure you support the stuff, rather than give it to them.
8. Be sure to back up your threats, bluffs, etc. If you threaten to attack a country, and they want proof, you better give them proof, or else. "Or Else" means the realization that you can't back up your threats and will lose most of your power.
Corollary: Never make a threat unless you can and are willing to back it up. Mean business.
9. Know your targets and priories, whether it be by spies, satellites, or high atmospheric planes. You must always know the priority targets that you would strike if necessary. Cities, industrial facilities, etc. Know your targets, and in what priority they lay. In "Revolution" I always head straight for the capital. More simply, have good intelligence.
Perhaps some embarrassing moments in history could have been avoided if leaders played this game, or read Sun Tzu's The Art of War (More on this book to come soon, think of this as a humorous introduction)
From a hidden bunker,
Varon
1. Being in possession of nuclear weapons is a good way to end open hostilities with another country. This I learned very quickly the first time I built the Manhattan Project wonder, all other empires gave me an offer of peace, even the Arabs. who I was in the middle of a century long war with.
Addendum: The UN rather negates this with nuclear disarmament treaties and what-not, but having them at least counts.
2. To ensure the survival of a nation, a strong military is needed. I don't mean armed militia either. I mean state-of-the art military technology with the capability of have large amounts of its units out in the field on a campaign, and still have large forces at home on defense and ready to cycle in to replace casualties.
3. Don't go to war until you are ready and able to support the strong military in number two. If you go to war to early, you won't be able to support them. Take to long, and they'll invade and you'll be stuck on defense. (tip, if this happens pull an Inchon, invade them somewhere else
4. Always stay one technological step ahead of your enemies, and allies. A technological advantage would be fighting spear men with riflemen, (Which is common). This advantage also gives you a plus to other advantages, such as mining, medicine, whatever it may be. Always keep researching, and there are other advantages as well, just look at what came of the space race.
5. Be willing to accept peace terms, but never offer them, unless you truly are ahead. Weakened enemies will, eventually, realize their mistake and sue for peace. Accept their offer. It will make your country look better and spare you from inner turmoil from too many casualties. It also gives you time to recover your strength.
6. Never crumble to hostile threats, unless it is a better idea than to fight. I generally spurn threats received from AI enemies, because I am always far more powerful than they are. No, that wasn't hubris. I am generally always ahead of them in technology by a slim thread. That gives me an advantage. I also know I probably spend more on military units than I should. Sometimes, however, you are unable to fight due to another war, or some certain problem you're having.
7. Always maintain friendly relations with your citizens. Keep the people happy with good education, jobs, and cultural things. It'll keep them educated, happy, and prosperous, thus increasing your chances of scientific breakthroughs and reducing the risks of them becoming disgruntled and rebelling.
Addendum: Just make sure you support the stuff, rather than give it to them.
8. Be sure to back up your threats, bluffs, etc. If you threaten to attack a country, and they want proof, you better give them proof, or else. "Or Else" means the realization that you can't back up your threats and will lose most of your power.
Corollary: Never make a threat unless you can and are willing to back it up. Mean business.
9. Know your targets and priories, whether it be by spies, satellites, or high atmospheric planes. You must always know the priority targets that you would strike if necessary. Cities, industrial facilities, etc. Know your targets, and in what priority they lay. In "Revolution" I always head straight for the capital. More simply, have good intelligence.
Perhaps some embarrassing moments in history could have been avoided if leaders played this game, or read Sun Tzu's The Art of War (More on this book to come soon, think of this as a humorous introduction)
From a hidden bunker,
Varon
Monday, June 6, 2011
Hymn to the Fallen: D-Day Memorial
You will bring about the destruction of the German war machine, the elimination of Nazi tyranny over the oppressed peoples of Europe, and security for ourselves in a free world. Your task will not be an easy one. Your enemy is well trained, well equipped, and battle-hardened. He will fight savagely....The free men of the world are marching together to victory. I have full confidence in your courage, devotion to duty, and skill in battle. We will accept nothing less than full victory. Good luck, and let us all beseech the blessings of Almighty God upon this great and noble undertaking. General Dwight D. Eisenhower
On June 6, 1944, 160,000 soldiers from the Allied countries of the United States of America, England, and Canada underwent the largest amphibious operation in the history of warfare. Today is 67 years after the invasion. The invasion was hurt by mistakes, bad weather, and plans that could never work. The American paratroopers were scattered over the French countryside, unable to reach each other or their targets. Despite that, they fought valiantly and confused the Germans.
Omaha beach was assaulted by the United State's 1st Infantry Division, and they were against Hitler's finest. Only be many acts of heroic sacrifice were the bluffs taken and the Germans beaten back.
By the end of the day, there were 10,000 Allied casualties. What was the reward for the cost? The Allies had gained a strong foot-hold in Europe and were advancing towards Berlin.
Remember the fallen. God Bless America!
On June 6, 1944, 160,000 soldiers from the Allied countries of the United States of America, England, and Canada underwent the largest amphibious operation in the history of warfare. Today is 67 years after the invasion. The invasion was hurt by mistakes, bad weather, and plans that could never work. The American paratroopers were scattered over the French countryside, unable to reach each other or their targets. Despite that, they fought valiantly and confused the Germans.
Omaha beach was assaulted by the United State's 1st Infantry Division, and they were against Hitler's finest. Only be many acts of heroic sacrifice were the bluffs taken and the Germans beaten back.
By the end of the day, there were 10,000 Allied casualties. What was the reward for the cost? The Allies had gained a strong foot-hold in Europe and were advancing towards Berlin.
Remember the fallen. God Bless America!
Monday, May 30, 2011
5 Essentials for Space Opera (tongue in cheek of course, but I mean every word)
This was written for an online writer's group I'm in for science-fiction month. So, without any further ado...
Space opera is the iconic sub-genre of science fiction for most people. Just mentioning the magic words “science-fiction” brings to mind images of lasers, starships, and colorful (though sometimes flat) characters. I’ve assembled my own personal list of 5 essentials to make a good space opera. Explanations may or may not appear. Starships are definitely an important part, but I couldn’t find room for them in the list.
Space opera is the iconic sub-genre of science fiction for most people. Just mentioning the magic words “science-fiction” brings to mind images of lasers, starships, and colorful (though sometimes flat) characters. I’ve assembled my own personal list of 5 essentials to make a good space opera. Explanations may or may not appear. Starships are definitely an important part, but I couldn’t find room for them in the list.
#5: FTL FTW!
Translation please? FTL FTW is an acronym made of two separate acronyms that stands for the phrase “faster than light travel for the win.” That’s quite a mouthful there. More importantly, what does that mean? Well, one of the key elements of space opera is a big setting. That takes really, really fast travel methods to prevent you’re story from becoming the space version of a road trip without thequaint interesting little towns along the way. A pretty boring trip unless you like watching the constellations change shape.
#4: Giant Super-weapons
These monstrous symbols for man-kind’s ruthlessness and technological weapons improvement bring about high stakes and pulse-pounding adventure while oftentimes thumbing their nose at modern science (or treaties). Perfect for space opera, aye? Seriously though, space opera is all about being big and exciting. Plus, there are brownie points involved from the special effects, sometimes billions of dollars of profit. (Avatar anyone?)
#3: Battered Freighters
Maybe it has to do with the plucky underdog valiantly fighting better, more modern ships, but battered are almost a staple, nay, a cliché of the genre. Albeit, a lovable one, much like those scruffy rogues who pilot them. Or, perhaps, it’s the rogue that makes the ship. Nah, definitely the ship. Star Trek, in my opinion, is not that great of a space opera for several reasons, from boring costumes to not being all that fun for the whole family (a whole different post), plus the heroes were always flying a warship. Where’s the fun in that? Other than the vast firepower available of course.
#2: Cocky Warrior Princess (and their hair-dos)
The politically correct term would be strong, independent female leads. Isn’t that a bit boring? This archetype is almost as old as space opera itself, possible originating in Edgar Rice Burroughs’s novel A Princess of Mars. Not to mention, Princess Leia’s iconic cinnamon bun hair-do has been forever ingrained as a cultural celebrity moment.
#1: Aliens
Aliens take the number one spot because of the color, variety, and imagination added to a story. Make them good, bad, ugly, slimy, or shimmering energy beings. Just make them unique and exotic. Nothing make’s a boring bar, excuse me, cantina scene more interesting than some two-headed aliens, a scary furry thing, and some other wildly creative aliens hanging about. Robert Heinlein’s space operas were good, but they were a bit bland with the best aliens being primitive frog things on Venus. Not much to go on there.
Conclusion: The rule of cool either works really well for space opera, or was invented for space opera. Remember this list (but be creative) and you’re space opera will have a chance at becoming as memorable as Star Wars. Maybe.
Translation please? FTL FTW is an acronym made of two separate acronyms that stands for the phrase “faster than light travel for the win.” That’s quite a mouthful there. More importantly, what does that mean? Well, one of the key elements of space opera is a big setting. That takes really, really fast travel methods to prevent you’re story from becoming the space version of a road trip without the
#4: Giant Super-weapons
These monstrous symbols for man-kind’s ruthlessness and technological weapons improvement bring about high stakes and pulse-pounding adventure while oftentimes thumbing their nose at modern science (or treaties). Perfect for space opera, aye? Seriously though, space opera is all about being big and exciting. Plus, there are brownie points involved from the special effects, sometimes billions of dollars of profit. (Avatar anyone?)
#3: Battered Freighters
Maybe it has to do with the plucky underdog valiantly fighting better, more modern ships, but battered are almost a staple, nay, a cliché of the genre. Albeit, a lovable one, much like those scruffy rogues who pilot them. Or, perhaps, it’s the rogue that makes the ship. Nah, definitely the ship. Star Trek, in my opinion, is not that great of a space opera for several reasons, from boring costumes to not being all that fun for the whole family (a whole different post), plus the heroes were always flying a warship. Where’s the fun in that? Other than the vast firepower available of course.
#2: Cocky Warrior Princess (and their hair-dos)
The politically correct term would be strong, independent female leads. Isn’t that a bit boring? This archetype is almost as old as space opera itself, possible originating in Edgar Rice Burroughs’s novel A Princess of Mars. Not to mention, Princess Leia’s iconic cinnamon bun hair-do has been forever ingrained as a cultural celebrity moment.
#1: Aliens
Aliens take the number one spot because of the color, variety, and imagination added to a story. Make them good, bad, ugly, slimy, or shimmering energy beings. Just make them unique and exotic. Nothing make’s a boring bar, excuse me, cantina scene more interesting than some two-headed aliens, a scary furry thing, and some other wildly creative aliens hanging about. Robert Heinlein’s space operas were good, but they were a bit bland with the best aliens being primitive frog things on Venus. Not much to go on there.
Conclusion: The rule of cool either works really well for space opera, or was invented for space opera. Remember this list (but be creative) and you’re space opera will have a chance at becoming as memorable as Star Wars. Maybe.
Sunday, March 13, 2011
Millenium Falcon? Nah. Enterprise? Nah. Spectral Vigilante? Maybe
 |
| His Ship |
These are my current ideas.
- Vigilante
- Vigilante Shadow
- Spectral Vigilante
- Vigilante Myth
- The Investigator
Monday, March 7, 2011
Excerpt from THE DYING WORDS OF DICK ELDEN, GALACTIC GUMSHOE
This is my latest novel and the reason I haven't posted in a bit. It's brand new, a parody, and copyrighted to me.
The Dying Words of Dick Elden, Galactic Gumshoe
The Dying Words of Dick Elden, Galactic Gumshoe
An Unexpected Visit
I was always getting into trouble. Well, that isn’t true, not really. I’m the kind of boy who just can’t resist adventure, which has gotten me in trouble.
Oh, call me Dick. My full name’s Elden, Dick Elden. I’m a high-schooler and whenever life got me down, I’d go for a walk. When my spirits needed restoring, I could always count on the headlands of Massachusetts to restore them. Or, at least, make them seem smaller. But it was the stars that truly drew me up.
It was well after dawn on a spring morning in 2010 and the young teenagers of Blansfield were just dragging themselves out of bed. I was already up.
In fact, I was a on a walk above the sea, absorbing the crashing of the waves and shrieks of sea gulls. Then it happened! A bang! A flash! I reared back like a horse with its reins caught round a tree.
As I picked my self up off the ground, I spotted an oddly dressed figure staggering towards me. I scrambled back, but my curiosity was sparked. The figure looked like a man dressed in a trench-coat with a fedora on his head.
“Wait!” He croaked, and I paused, before stepping forward like a man in a trance.
“Wait!” He croaked, and I paused, before stepping forward like a man in a trance.
“What?” I asked, still taking in the man’s bloodstained coat-front and pale face. He was dying that was obvious.
“T-take t-this.” The man spluttered, coughing out spittle and globs of red liquid. He stuck his hand forward to me and shoved something at me.
“A-alright.” I stammered. “What is it?” He muttered something. “What was that?” In a burst of strength, the man answered with a defiant yell.
“The successor of the position is chosen!” With that, he collapsed like a limp rag. I checked his pulse. Nothing. I looked down at the thing. It was a small thingamajig that looked like a computerized passport. There was a button that was helpfully labeled ‘Press Me to Turn KIAC On.’ I pushed it.
“Welcome unidentified person. I am the Know-It-All-Computer or KIAC.”
“What?” I nearly dropped the machine. Fumbling, I managed to catch it, but not before I’d pressed several buttons.
“Please state your name, date of birth, and place of residence.” That, my friend, was strange. I complied though. Something told me this was important and the machine’s orders be followed. I learned later it was the KIAC sending telepathic messages. Not cool.
“I am Dick Elden, born on October 3, 1994 AD.” I studied the machine. It was doing something, and the words were in some weird alphabet like Klingon.
“Congratulations on your promotion Dick Elden, Galactic Gumshoe and Official Representative of Terra to the Galactic Private Detective Agency.”
“What are you talking about?” I asked, secretly wanting to know and do whatever it meant. It wasn’t KIAC this time either. I’d always wanted to be a private detective.
“Perhaps Ah shout’ exsplain.” A new voice cut in. I turned and blinked. Again, I blinked. There was a small furry creature in greasy overalls with a rag sticking out of his pocket and a wrench beside it. It had a thin and long head with eyes on the side.
“Shain’t pulite sto stare.” The creature said.
“Shain’t pulite sto stare.” The creature said.
“Er, um, well, sorry.” I stammered.
“Stop stammering like a Kreech after a crash.” There was that KIAC again.
“That might be a good idea.” I replied to the creature, alien, person. “You’re name isn’t Scotty is it?” He/it spat.
“Shcotty! Swhat a shtrange name! Mah name ish Bax Grashden.” He added. “Shnow zwe really must be leaving!”
“Bax! Grab the kid and move! We’ve got Hegemony fighters coming in!” That was a new voice coming out of nowhere. I whirled. A battered old ship shimmered into view, seemed to cough, and fully materialized. Then I saw three more ships.
-------------------------------------
Tune in sometime for more!
Can anyone guess where I copied and tweaked parodied the first three paragraphs? They're the opening paragraph to three well known classics. Here's some hints: safe for a steamboat, whale of a tale, and fighting brothers.
Thursday, February 17, 2011
Welcome to Ainaan and a Little Challenge
Ainaan is one part of a universe shaped rather like a ball made of tissue paper, each universe a thin layer sandwiched between many other layers, or universe in this case. The center of this universe is Evenfar, home of Lyrianur and the heaven of my universe basically.
Ainaan is a flat world and I have provided you with a map which, unfortunately, you will have to crane your neck around to see. Sorry about that.
As you can see, there are four continents and numerous islands in a central sea named the Sea of Leioness after the Lyonesse of Celtic mythology and Arthurian legend. It also ties into the Great Flood. You see after the greatest and final battle of Dur Greden between Lyrianur (the good guy) and Malxor (the bad guy with big plans to make the world better) which ended with Malxor being banished, the world was changed to wipe away and cleanse the world of Malxor's stain. Originally, everything inside the outer edged was land. Then the flood came and flooded the valleys.
There are four, wait, five main races in Ainaan. There are the humans of course, spread out and varied in culture. There are the dragons, mighty and intelligent creatures meant to protect and care for Ainaan. All but one were killed in Dur Greden, and he is in suspended animation until the End. There are the Dwarendell, small and reclusive beings who have enormous natural talent for creating objects out of stone. They all disappeared 100 years after Dur Greden. Then there are the Ithani, shorter than men and somewhat wider at the shoulders. They are natural woods-folk and specialize in anything with wood. Finally, there are the Krecks. The are mindless, moral-less, and physically perfect creatures made by Malxor. Malxor wanted every creature to be like them.
Ainaan is a flat world and I have provided you with a map which, unfortunately, you will have to crane your neck around to see. Sorry about that.
There are four, wait, five main races in Ainaan. There are the humans of course, spread out and varied in culture. There are the dragons, mighty and intelligent creatures meant to protect and care for Ainaan. All but one were killed in Dur Greden, and he is in suspended animation until the End. There are the Dwarendell, small and reclusive beings who have enormous natural talent for creating objects out of stone. They all disappeared 100 years after Dur Greden. Then there are the Ithani, shorter than men and somewhat wider at the shoulders. They are natural woods-folk and specialize in anything with wood. Finally, there are the Krecks. The are mindless, moral-less, and physically perfect creatures made by Malxor. Malxor wanted every creature to be like them.
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