There are 25 days until National Novel Writing Month, and hopefully, I will be participating. The goal of NaNoWriMo is to write a novel in 30 days. For the main program, it's 50,000 words. For the Young Writer's Program, you set your own goal. My goal is 25,000 words because it's a novella which I originally intended to be a comic book script. I don't know how to write a script, so I'll start with a novella first.
My story for this year is an urban fantasy martial artist superhero story. Epic, isn't it? It's going to be a noir feeling story in the modern day, with all the troubles it entails. There's also two warring ninja clans, supernatural evils, and hopefully some deeper meaning.
Are you doing NaNoWriMo this year?
Thursday, October 6, 2011
Saturday, September 3, 2011
History of Action/Adventure
Technically, action/adventure is the oldest genre outside of
historical records. The story of Gilgamesh would be the oldest recorded
action/adventure story. However, I'll stick to modern action/adventure
which sprouted in the previous century and a half.
...
The originators are the penny dreadfuls (England) and dime novels (American) as well as newspaper serials (Like Wells' War of the Worlds). Dime novels often told embellished accounts of real people; such as Kit Carson, Wild Bill Hickhock, Jesse James, etc. Penny dreadfuls were British and heroes often feature Robin Hood type characters, highway robbers, etc. Newspaper serials were short parts of a longer work; in action/adventure, the best well known is King Solomon's Mines. It has become a classic. These lasted until the early 20th century.
These were published very cheaply, and very quickly.
Then came the pulps. (My personal favorite era)
The pulps were magazines printed on cheap paper made of wood pulp and told the tales of Western heroes, detectives, and eventually, the precursor to superheroes. These lasted from 1896 to the 1950s. Haggard (Author of King Solomon's Mines) was a pioneer in this genre as well.
The genre was filled with Westerns and mysteries. Tarzan was created in 1912 as a serial which went for 22 novels. Then, The Shadow appeared on the radio show Detective Story Hour as the narrator. The publishers soon began receiving requests for The Shadow's stories of his own. Quickly, he earned his own magazine. (Some of his radio episodes can be found here at a link I'll post at the end). The Shadow magazine was published for 325 issues, the longest running pulp magazine ever. Then came the space opera hero Buck Rogers. Doc Savage soon followed. Doc Savage, the Superman precursor, and one of the biggest heroes. The Shadow was dark, mysterious, and dangerous, much like Batman. The Shadow is the archetype of dark, night-walking vigilantes. Doc Savage, on the other hand, was strong, heroic looking, extremely strong, extremely smart, and dedicated to crime-fighting. He acted with the approval of the government, and rarely killed. He's the archtype for Superman.
There were other big ones of course; the Phantom Detective, Operator # 5, G-8 and his Flying Aces, John Carter (Of Mars, yes), Zorro, and the Black Bat. Eventually, they were fazed out by superheroes.
Superheroes really kicked off in the 30s and have lasted in some way, since. Batman and Superman kicked the genre off and it's grown ever since. It deserves its own article.
James Bond novels were written about now. The super-spy. Excellent at disposing of insane enemies. Excellent at driving. Ladies man, of course. He's also a transition between the optimistic pulps and darker side of the Vietnam and Post-Vietnam era. He is a gentleman, (Martinis shaken, not stirred) yet ruthless.
Then came the 60s; flower-power, anti-war, and nuclear fear. Action/adventure took a darker edge with Aggressor novels. They were dark, and violent.
Then the 70s was another transition, to the 80s. Star Wars came out in 1977, a beacon of hope in what I've heard, for SF, was pretty bleak. The 80s were different. Comics, and Batman in particular, were dark and violent. Indiana Jones and the Raiders of the Lost Ark came out in this decade. TV shows included The A-Team, Michael Knight, and other somewhat cheesy action shows. It's also brought about the variety in modern action/adventure.
Since then, we've diversified. The original pulp heroes have gone out of print and new writers have picked them up. Writers inspired by those and Indy began creating their own heroes and stories. Things can be pulpy and optimistic, dark and gritty, or somewhere in between.
More details?
The Shadow radio episodes
(http://www.oldtimeradiofans.c
...
The originators are the penny dreadfuls (England) and dime novels (American) as well as newspaper serials (Like Wells' War of the Worlds). Dime novels often told embellished accounts of real people; such as Kit Carson, Wild Bill Hickhock, Jesse James, etc. Penny dreadfuls were British and heroes often feature Robin Hood type characters, highway robbers, etc. Newspaper serials were short parts of a longer work; in action/adventure, the best well known is King Solomon's Mines. It has become a classic. These lasted until the early 20th century.
These were published very cheaply, and very quickly.
Then came the pulps. (My personal favorite era)
The pulps were magazines printed on cheap paper made of wood pulp and told the tales of Western heroes, detectives, and eventually, the precursor to superheroes. These lasted from 1896 to the 1950s. Haggard (Author of King Solomon's Mines) was a pioneer in this genre as well.
The genre was filled with Westerns and mysteries. Tarzan was created in 1912 as a serial which went for 22 novels. Then, The Shadow appeared on the radio show Detective Story Hour as the narrator. The publishers soon began receiving requests for The Shadow's stories of his own. Quickly, he earned his own magazine. (Some of his radio episodes can be found here at a link I'll post at the end). The Shadow magazine was published for 325 issues, the longest running pulp magazine ever. Then came the space opera hero Buck Rogers. Doc Savage soon followed. Doc Savage, the Superman precursor, and one of the biggest heroes. The Shadow was dark, mysterious, and dangerous, much like Batman. The Shadow is the archetype of dark, night-walking vigilantes. Doc Savage, on the other hand, was strong, heroic looking, extremely strong, extremely smart, and dedicated to crime-fighting. He acted with the approval of the government, and rarely killed. He's the archtype for Superman.
There were other big ones of course; the Phantom Detective, Operator # 5, G-8 and his Flying Aces, John Carter (Of Mars, yes), Zorro, and the Black Bat. Eventually, they were fazed out by superheroes.
Superheroes really kicked off in the 30s and have lasted in some way, since. Batman and Superman kicked the genre off and it's grown ever since. It deserves its own article.
James Bond novels were written about now. The super-spy. Excellent at disposing of insane enemies. Excellent at driving. Ladies man, of course. He's also a transition between the optimistic pulps and darker side of the Vietnam and Post-Vietnam era. He is a gentleman, (Martinis shaken, not stirred) yet ruthless.
Then came the 60s; flower-power, anti-war, and nuclear fear. Action/adventure took a darker edge with Aggressor novels. They were dark, and violent.
Then the 70s was another transition, to the 80s. Star Wars came out in 1977, a beacon of hope in what I've heard, for SF, was pretty bleak. The 80s were different. Comics, and Batman in particular, were dark and violent. Indiana Jones and the Raiders of the Lost Ark came out in this decade. TV shows included The A-Team, Michael Knight, and other somewhat cheesy action shows. It's also brought about the variety in modern action/adventure.
Since then, we've diversified. The original pulp heroes have gone out of print and new writers have picked them up. Writers inspired by those and Indy began creating their own heroes and stories. Things can be pulpy and optimistic, dark and gritty, or somewhere in between.
More details?
The Shadow radio episodes
(http://www.oldtimeradiofans.c
Friday, September 2, 2011
Action & Adventure: What it Is and What it is Not
Changing gears here, to another of my favorite genres.
Action/Adventure is a hard genre to pin down. Many of what could be considered its sub-genres are full-fledged genres. Unlike fantasy or SF (Which some works of those fall in this genre. See Buck Roge...rs and Conan) which have iconic settings that are easily recognizable, action/adventure doesn't. The closest thing would look more like a documentary. It's settings range from Victorian Africa, the Wild West, to yesterday's headlines.
First, what action/adventure is not. It is not action or adventure in another genre. All genres have elements of action and elements of adventure.
Action/adventure as a genre makes the action/adventure one of the main points of the novel. Deep characters are generally not necessary. Plots are not needed to be realistic. Make it over the top and exciting.
It also often has secret societies, martial artists, lots of chases, commandos, and vigilantes.
Good is good. Bad is bad. Nazis are evil. Automatic weapons rules. Explosions are key. Settings should be exotic. Heroines tough, most of the time. Rest of the time they're damsels of distress. Heroes are either highly skilled operatives (James Bond, Jason Bourne, Rambo) or normal peopl thrown into unordinary circumstances (Indiana Jones). There are more, but they're older.
Action/Adventure is a hard genre to pin down. Many of what could be considered its sub-genres are full-fledged genres. Unlike fantasy or SF (Which some works of those fall in this genre. See Buck Roge...rs and Conan) which have iconic settings that are easily recognizable, action/adventure doesn't. The closest thing would look more like a documentary. It's settings range from Victorian Africa, the Wild West, to yesterday's headlines.
First, what action/adventure is not. It is not action or adventure in another genre. All genres have elements of action and elements of adventure.
Action/adventure as a genre makes the action/adventure one of the main points of the novel. Deep characters are generally not necessary. Plots are not needed to be realistic. Make it over the top and exciting.
It also often has secret societies, martial artists, lots of chases, commandos, and vigilantes.
Good is good. Bad is bad. Nazis are evil. Automatic weapons rules. Explosions are key. Settings should be exotic. Heroines tough, most of the time. Rest of the time they're damsels of distress. Heroes are either highly skilled operatives (James Bond, Jason Bourne, Rambo) or normal peopl thrown into unordinary circumstances (Indiana Jones). There are more, but they're older.
Saturday, August 27, 2011
Importance of Characters in Space Opera
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.
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.
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.
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