Space Opera Fans discussion

What is Space Opera?

Space opera is a subgenre of science fiction that often emphasizes romantic, often melodramatic adventure, set mainly or entirely in outer space, usually involving conflict between opponents possessing advanced abilities, weapons and other technology.

The term "space opera" was coined in 1941 by fan writer (and later author) Wilson Tucker, in a fanzine article, as a pejorative term. At the time, serial radio dramas in the US had become popularly known as soap operas because many were sponsored by soap manufacturers. Tucker defined space opera as the SF equivalent: a "hacky, grinding, stinking, outworn, spaceship yarn". Even earlier, the term horse opera had come into use as a term for western films. In fact, some fans and critics have noted that the plots of space operas have sometimes been taken from horse operas and simply translated into an outer space environment, as famously parodied on the back cover of the first issue of Galaxy Science Fiction. Still, during the late 20s and early 30s when the stories were printed in science fiction magazines, the stories were often referred to as "super-science epics".

Beginning in the 1960s, and widely accepted by the 1970s, the space opera was redefined, following Brian Aldiss' definition in Space Opera (1974) as (in the paraphrase Hartwell and Cramer) "the good old stuff". Yet soon after his redefinition, it began to be challenged, for example, by the editorial practice and marketing of Judy-Lynn del Rey and in the reviews of her husband and colleague Lester del Rey. In particular, they disputed the claims that space operas were obsolete, and Del Rey Books labeled reissues of earlier work of Leigh Brackett as space opera. By the early 1980s, space operas—adventure stories set in space—were again redefined, and the label was attached to major popular culture works such as Star Wars. It was only in the early 1990s that the term space opera began to be recognized as a legitimate genre of science fiction.

Hartwell and Cramer define space opera as "colorful, dramatic, large-scale science fiction adventure, competently and sometimes beautifully written, usually focused on a sympathetic, heroic central character and plot action, and usually set in the relatively distant future, and in space or on other worlds, characteristically optimistic in tone. It often deals with war, piracy, military virtues, and very large-scale action, large stakes."

Citation: Wikipedia http://en.wikipedia.org/wiki/Space_opera

Of books that I have read, I consider these "space opera." I rate them all very high in enjoyment.

EE Smith: Skylark series and Lensman Series
Isaac Asimov: Robot Series and Foundation Series
Frank Herbert: Dune series
Orson Scott Card: Ender and Ender Shadow series
Mark Cooper: Merkiari Wars
Kim Stanley Robinson: Mars series (Red, Green, Blue Mars)
Terry Pratchett and Stephen Baxter: Long Earth series

Some might take exception to the last two as space opera at all, let alone classic space opera, since they never leave the solar system and lack epic space battles. A similar thread among all of these titles, for me, is their creation of a "believable reality" that encompasses most, if not all, of what it means to be human. What do you think?

There's also 'New Space Opera', which has all the fun and adventure of space opera of old, plus a bit of hard-ish sci-fi thrown in for good measure. The books of Alastair Reynolds, Iain M Banks and Peter F. Hamilton are in this vein.

Terry Pratchett started off writing space opera. Strata is one of my favourites in the genre and really goes wild with the 'tech as magic' theme.

Two excellent anthologies are:
1. The New Space Opera
2. The New Space Opera 2
Both edited by Gardner Dozois and Jonathan Strahan.

There are 37 short stories and novelettes between the two volumes - containing fiction by established writers such as Neal Asher, John Scalzi, Bruce Sterling, Stephen Baxter, Gregory Benford, Peter F. Hamilton, Robert Silverberg, Alastair Reynolds, etc.

I just like the 'larger than life' aspect of it, and the fact the genre is like real-life opera in that it melds a whole bunch of different disciplines which are each awesome in their own right (singing, dancing, theater, set design, even swordplay) with these huge casts of characters and choruses and stage it all in this grand Force Majeure.

Back when they started calling it 'Space Opera,' it was a positive term, not the perjurative one we associate with it today. Back in the time of E.E. Doc Smith, pulp fiction was king and people wanted to read these massive doorstoppers or never-ending serials because they didn't have the technology to put it all on the big screen as a television series or movie.

Steph wrote: "There's also 'New Space Opera', which has all the fun and adventure of space opera of old, plus a bit of hard-ish sci-fi thrown in for good measure. The books of Alastair Reynolds, Iain M Banks and..."

This is a new category for me. Thanks for posting. I will look into some "new space opera."

Steph wrote: "There's also 'New Space Opera', which has all the fun and adventure of space opera of old, plus a bit of hard-ish sci-fi thrown in for good measure. The books of Alastair Reynolds, Iain M Banks and..."

Alastair Reynolds "Revelation Space" is the a shining example of space opera done right. That series is amazing and the main reason I got into sci-fi.

I usually think of Kim Stanley Robinson: Mars series as hard Science Fiction because of the exogeological research that went into the books. But I do think they have a little Space Opera in them. They involve multiple planets, love stories and some war among other genre characteristics. There are no giant space battles that I remember. The scale is much smaller than traditional space opera. They're on the boarder of the genre for me. I'd generally say that the small galactic scale and research that went into the books makes it hard sci/fi or perhaps even political science fiction, for all the international relations theory that controls much of the plot.

I'm of the 'if I like it, it belongs in my collective' theory Space Opera, Rion.

[*waves magic mouse-sceptor*]

The Borg Queen hereby decrees Kim Stanley Robinson's Mars Series is ASSIMILATED 3:-)

Brin Quote

He's probably talking more about hard sci-fi, but I don't think the distinctions are all that clear or strict. SO can be every bit as imaginative and thought provoking as hard sci-fi.

I love David Brin's stuff :-) The Postman is one of my all-time favorite books. Wonderful book. Terrible movie. Don't watch the movie, peeps! Go read the book! The book is wonderful ... especially if you're an under-appreciated public servant.

As for Brin's comment ... eh... I feel like we're going backwards with Fox News and Birthers and Climate Skeptics. I'm not talking politics, either, but the anti-intellectualism which seems to have become popularized lately in so much of the media. :-( Legitimate inquiry has been replaced with belligerence.

He agrees with you. He talks about it often on his blog.

I'm super concerned about the numbers of people who distrust normal evidence based medicine. It probably links into what Anna's said about the anti-intellectualism.

I'm ready to get on that Reality Television one-way trip to Mars ... really!!! At least THERE if you want to survive, it's science or death :-P No mother earth to kiss your booboos when you're stupid and disrespect her.

Anna wrote: "I'm ready to get on that Reality Television one-way trip to Mars ... really!!! At least THERE if you want to survive, it's science or death :-P No mother earth to kiss your booboos when you're st..."

That's so funny, Anna!

I've always liked stories where the stakes are high. When whole nations, worlds, or galaxies are in peril of being obliterated or enslaved. I think a lot of people feels the same way, and that helps explain why sci fi, fantasy, and thrillers are so popular.

I've always liked stories where the stakes are high. When whole nations, worlds, or galaxies are in peril of being obliterated or enslaved. I think a lot of people feels the same way, and that helps explain why sci fi, fantasy, and thrillers are so popular.

@Jonathan

I completely agree with you about Revelation Space by Alastair Reynolds. I am embarrassed it took me so long to find him, but I'm glad I did.

If you haven't read Peter Hamilton's Commonwealth or Confederation books you should do so right away!

People usually mention Iain Banks and Neal Asher in the same breath as Reynolds and Hamilton but to me their stuff is hit or miss. (I like Banks' later stuff like "Matter" and " "Surface Detail" but there's only one Asher book I liked and I don't feel the need to read any more.)

The Forever War is a space opera, correct? It has all the hallmarks of a space opera.

Yeah "Forever War" is space opera but in my mind its a bit dated. Definitely an instant classic, with some very interesting ideas.

I gotta read it, especially after the themes of it were pointed out. I couldn't figure out what was going on when I first tried reading it.

I found Forever War's "war" parts completely unmemorable but it had some of the best social commentary I can recall in a science fiction story.

*Star Smashers of the Galaxy Rangers*. That's all you need to read to know how to write good space opera. It's got everything - intelligent mansized scorpions, college football players who also happen to be physics prodigies, inexplicable methods of travelling faster than light, fleets of massive space dreadnoughts hurled against other, blacker, uglier fleets of space dreadnoughts, and cheese. Quite literally, cheese. It's vital to the plot.

Hello, folks--

So, I've been lurking here for quite a while, and I'm batting around the idea of creating a blog as a repository for theories, news and just general fun stuff centered around the Space Opera genre.

Here's my question: What isn't Space Opera? The genre is so expansive it seems it can incorporate almost anything (which is what I love about it!) But I'd like to have a blog that really focuses in on this broad topic and really treats it as a genre (as opposed to 'Anything with a Sci-Fi label on it".

Thoughts?

Just setting a story on an alien planet is not space opera, although it can be science fiction. I'd say that space opera has to have interplanetary or interstellar travel in its universe, if not its main story.

I like the 'larger than life' aspect of Space Opera. I'm a 'hybrid' reader in that I enjoy both science fiction and fantasy equally, but I like my sci-fi to have a bit of a romantic, overcoming-the-odds feel about it, while I like my fantasy to have a bit of scientific plausibility (even if the rules are made up). Space Opera is the only genre that hits that sweet-spot just right on a consistent basis.

Jadetyger wrote: "Hello, folks--

So, I've been lurking here for quite a while, and I'm batting around the idea of creating a blog as a repository for theories, news and just general fun stuff centered around the Sp..."

Generally I feel like any time it's a one shot and not part of a larger serial it tends to get mislabeled as a Space Opera. Basically the Opera part to me is kind of the part that's like a Soap Opera, where it's something enjoyable you can keep coming back to for years.

I have my own definition of space opera that works for me (it might differ from others opinion, of course).

1. It must be inter galactic. Just one solar system does not make it a space opera.
2. It must have some military elements. It might be a full scale military conflict or just small skirmishes.
3. It must be a series. Just one novel does not make it an opera.

based on your definition expanse isnt a space opera for the first 2 novels at least since its confined to our solar system for the first 2 books.

Oni wrote: "1. It must be inter galactic. Just one solar system does not make it a space opera. 2. It must have some military elements. It might be a full scale military conflict or just small skirmishes. 3. It must be a series. Just one novel does not make it an opera..."

I think you've nailed some great factors in what is a Space Opera TENDENCY, but I wouldn't say a book MUST have those things in order to be a Space Opera. Star Wars is space opera, but when the first movie came out of nowhere, with no word at the time of a sequel, saying it WASN'T a space opera would be unimaginable. Same with a lot of great series that start in one planet or solar system and tend to stick there.

Bio of a Space Tyrant takes place entirely in the Sol system, but who wouldn't call that dekathology NOT space opera? [*yes ... I admit it ... I loved that series as a kid*]

Oni wrote: "I have my own definition of space opera that works for me (it might differ from others opinion, of course).

1. It must be inter galactic. Just one solar system does not make it a space opera.
2. I..."

Disagree on the military part. After all Skylark of Space is not primarily military in nature. As well none of the main character in the series are military people. They are all civilians with no military connections. As well John W. Campbell's final novel under that name is considered to be Space Opera and it is a stand alone novel and I am pretty sure it was not a miliary-oriented one.

This is a very interesting discussion. I'm working on my own little blog focusing on Space Opera, and I admit it's daunting knowing just what to include. Reading these comments helps!

I agree with John in that Space Opera does not have to be military in nature. I do think space exploration is key, though.

So Goodreads has this list of great space opera books here. It tells me I've read 15 of the top 100 books. So I went on to find some general principles prevalent throughout all those books I've read. Here is what I found:

1. There is a voyage.

This means the main characters travel from point A to point B and sometimes C and D etc. They travel there through space. So it’s not only a voyage on the surface of a planet like in LotR, although it can be both. This voyage transforms the main characters. As they endure trials and tribulations they learn more about themselves and the world they live in. So it’s also a voyage of the character.

2. There is a conflict.

This may be a beginning or pending war. It can also be a conflict within the protagonist himself. Sometimes it is both. Sometimes it’s only the main character that’s troubled (Chasm City), without big outside conflict.

3. The stakes are high.

Often one party is at risk to suffer terrible consequences if the protagonists don't succeed. That party can be all of humankind.

4. Something without precedent is happening. This one is optional.

In Dune Paul becomes the Kwisatz Haderak in the end. In Excession this is called an Outside Context Problem, and is the theme of the book. There are other examples but I don't want to spoil too much, since it’s often the twist of the story.

That's a great list, Packi!

I look at "space opera" a little differently, I don't think you can pull a check list of elements and have space opera pop out. For me it is about the emotions it produces when you read it. The first is a sense of "bigness" the impression of giant variety of worlds, more places than you cold probably visit in a life (unless you lived an exceptionally long time.

Another is that the central, or at least _a_ central, axis of the story is the emotional life of the characters. Not necessarily moody self-involved emotionalism (that's more a thing of gothic literature in my book) but active, living emotional resonance with the charecter.

To illustrate, one of my favorite series which I'm not entirely prepare to claim IS space opera but which at least reads LIKE space opera to me is Patrick O'Brian's Aubery/Maturin series. Now this is officially historical fiction, and I could understand people having a problem calling books about 19thC sailing ships "space opera" but it hits the same yum buttons as the space opera I love. You have people exploring a massive far flung universe, fighting, politicking, adventuring and and .

I would be tempted to say space opera is anything Judith Merrill and the new wavers didn't like but that is more a result of my personal experience with Ms. Merrill than anything else.

For me, space opera's about the story. To be space opera it should include 'space' themes - other planets, travel between worlds, other races are some examples, but it needn't focus completely upon them or be restrictive in its themes.

Space opera sets the story against a futuristic background, but first and foremost tells a great story, with great characters.

Spaceships!!!

Gotta have spaceships. And a really evil villain. And a hero and heroine, maybe a bit of romance, but not too much.

I agree with the sense of 'bigness' about Space Opera.

i don't know if you can really pigeon-hole Space Opera and say it is this or that. After all "Doc" Smith wrote two series that are considered Space Opera, the Skylark and Lensmen series and they are completely different from each other.

Interesting discussion here, guys. I have one big question here.

Is Foundation series a space opera or not? I myself tend to classify it as a soft sci-fi. Please include your opinion, whether you agree that it is a space opera or not.

Well I am pretty sure Isaac Asimov never considered it space opera. Personally I have never really thought of it as such either. The first installments came out at a time when there was a lot of SF that seemed to have a historical-orientation to them (Heinlein's Future History and VanVogt's Emporer Clane books). They weren't considered Space Opera at that time.

Parts of the foundation series is space opera. If you remember it was originally a serious of short stories published separately. So parts like " The Traders", "The Merchant Princes" & "The General" are distinctly space opera. Giant star spanning polities, space fleets, emotional, even romantic charecters.

Parts of the foundation series is space opera. If you remember it was originally a serious of short stories published separately. So parts like " The Traders", "The Merchant Princes" & "The General" are distinctly space opera. Giant star spanning polities, space fleets, emotional, even romantic charecters.

I agree with Anna. If it takes place on one planet I don't get the sense of space opera, it's just sci-fi. Unless, the author manages to convey a sense of what is happening on the planet is a microcosm of a much larger picture.

It's a hard fit, space opera.

Jonathan wrote: "I agree with Anna. If it takes place on one planet I don't get the sense of space opera, it's just sci-fi. Unless, the author manages to convey a sense of what is happening on the planet is a micro..."
If it happens in one planet, some called it planetary romance, to differentiate it from space opera.

Rion wrote: "I usually think of Kim Stanley Robinson: Mars series as hard Science Fiction because of the exogeological research that went into the books. But I do think they have a little Space Opera in them. T..."

I tend to think of them as Hard SF and Social SF because the foundation of the books are built upon scientific verisimilitude, but their plots are mostly about the attempt to build a new model of human society (and the conflict which ensues between the old paradigm and the new). They're far more interested in social sciences, politics, and economics than in melodrama, grad sweeping conflict, and the old good vs evil themes we typically see in Space Opera.

I don't mind if others see that series as Space Opera (genres are all open to subjective interpretation), but to me these aren't really there.

Jonathan wrote: "The Forever War is a space opera, correct? It has all the hallmarks of a space opera."

It's typically classified as Military SF because it follows the normal story arc of a new recruit in basic training, progressing throughout the story to a seasoned vet.

I view it as a Vietnam War vet's response to Heinlein's WWII inspired Starship Trooper. Where Heinlein took a very gung-ho, pro-military stance in Trooper, Haldeman looked at essentially the same subject from the cynical, untrusting, moral ambiguity point of view more prevalent in the '60s and '70s.

There are elements of Space Opera in Forever War, but that's more because Space Opera often times has a military conflict aspect.

I like to think of Space Opera as the SF equivalent to High Fantasy. The story arcs in Space Opera are, as people have said, world changing. Entire planets/solar systems/galaxies are at stake, not just the individual characters. And while both High Fantasy and Space Opera focus a lot of attention on the character development of the heroes, the actions of those heroes affect influence far outside the normal realm of individual human experience.

Forever War fails (to be Space Opera) on that count because its main concern is with the direct effects of war on the protagonist, rather than the effects of the protagonist's actions on the war. There is no real good vs evil here; there is only one soldier slogging through his term of service, which, due to relativistic effects, lasts only a few years from his perspective, but for hundreds or thousands of years to the outside observer.

Oni wrote: "3. It must be a series. Just one novel does not make it an opera."

Yeah, I don't agree with that one at all. First of all, it's not really logical because it means that at first a book like Dune is not Space Opera. But then four years later it is Space Opera because Dune Messiah was published.

You cannot define a genre of a single book based on other books. If Frank Herbert published Dune alone and no other books in that series, and then his son Brian started releasing the Dune books he did, same characters, same universe...then would Dune be Space Opera? I mean, defining a book's genre by the works of some other author?

Makes no sense. Well, not to me anyway. You can define as you like.

My favorite Space Operas, though, are ones like much of the Revelation Space books, and ALL of the Culture novels by Banks, which are not a "series" but a collection of standalone books set in the same universe/history. Universally (I think) considered to be New Space Opera.

It doesn’t have to be a series. House of Suns is a nice stand alone space opera, as is The Algebraist, I believe.

Wow. So many definitions. I had never considered the Dune series to be space opera because it was too plausible, too layered. I think the depth of the setting made it really epic in nature and to me space opera always had a certain gung ho, melodrama, which rarely let you stop to think about the logic behind the story, as well as the space theme.

I think I put hard scifi on one side, where the ideas behind the story had the potential to make my brain hurt, and space opera on the other, which I read for pure fun. Too simple, of course. Scifi has a lot more to it than just those categories and I also don't have any category to put Dune into.