55-502: Space Adventure or Space Adventures , or variation , may refer to: space opera , a genre of scifi The Space Adventure (video game) (コブラII: 伝説の男, Kobura II: Densetsu no Otoko, Cobra II: The Legendary Bandit ), a video game based on the Japanese manga comic book series Space Adventures Cobra Space Adventures (comics) , a U.S. anthology comic book series GURPS Space Adventures ,
110-469: A "shutdown" order in which the systems turn off one by one. It is also used to send false messages to hostiles, to place the tide of battle in the favor of America. The technology is later reverse-engineered by the Russian Federation to shut down American antiballistic missile satellites from a tracking station at Socotra Island, Yemen. Cyberwarfare has moved from a theoretical idea to something that
165-525: A 1963 film All pages with titles beginning with space adventure All pages with titles beginning with Space Adventure All pages with titles containing Space Adventures All pages with titles containing Space Adventure Adventure (disambiguation) Keymon & Nani in Space Adventure , a 2012 Indian animated film Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
220-827: A balance between both or simultaneously hard and soft science fiction such as the Dune prequel series by Kevin J. Anderson and Brian Herbert or the Star Wars series created by George Lucas . Early works which preceded the subgenre contained many elements of what would become space opera. They are today referred to as proto-space opera. Early proto-space opera was written by several 19th century French authors, for example, Les Posthumes (1802) by Nicolas-Edme Rétif , Star ou Psi de Cassiopée: Histoire Merveilleuse de l'un des Mondes de l'Espace (1854) by C. I. Defontenay and Lumen (1872) by Camille Flammarion . Not widely popular, proto-space operas were nevertheless occasionally written during
275-505: A chain reaction-type nuclear bomb in his 1944 science-fiction story " Deadline ", which led to the FBI investigating him, due to concern over a potential breach of security on the Manhattan Project . The use of radiological , biological , and chemical weapons is another common theme in science fiction. In the aftermath of World War I, the use of chemical weapons, particularly poison gas,
330-401: A fierce humanoid race headquartered on Sirius . However, the idea for the novel arises out of a nationalistic genre of fiction popular from 1880 to 1914 called future-war fiction. Despite this seemingly early beginning, it was not until the late 1920s that the space opera proper began to appear regularly in pulp magazines such as Amazing Stories . In film, the genre probably began with
385-605: A frontier settlement in a classic Western. Six-shooters and horses may be replaced by ray guns and rockets. Harry Harrison 's novels Bill, the Galactic Hero and Star Smashers of the Galaxy Rangers , as well as the film adaptation of the former, the films Galaxy Quest and Mel Brooks ' Spaceballs , and Family Guy ' s Laugh It Up, Fuzzball trilogy parody the conventions of classic space opera. Weapons in science fiction Strange and exotic weapons are
440-467: A long history, beginning with the abortive 1960s Hardiman powered exoskeleton project at General Electric , and continuing into the 21st century. The borrowing between fiction and reality has worked both ways, with the power loader from the film Aliens resembling the prototypes of the Hardiman system. American military research on high-power laser weapons started in the 1960s, and has continued to
495-437: A moral exploration of contemporary social issues. McAuley and Michael Levy identify Iain M. Banks , Stephen Baxter , M. John Harrison , Alastair Reynolds , McAuley himself, Ken MacLeod , Peter F. Hamilton , Ann Leckie , and Justina Robson as the most-notable practitioners of the new space opera. One of the most notable publishers Baen Books specialises in space opera and military science fiction, publishing many of
550-534: A more subtle influence in space opera. Gene Roddenberry described Star Trek: The Original Series as a space Western (or more poetically, as “ Wagon Train to the stars”). Firefly and its cinematic follow-up Serenity literalized the Western aspects of the genre popularized by Star Trek : it used frontier towns, horses, and the styling of classic John Ford Westerns. Worlds that have been terraformed may be depicted as presenting similar challenges as that of
605-487: A number of fictional universes. Nuclear weapons are a staple element in science-fiction novels. The phrase "atomic bomb" predates their existence, and dates back to H. G. Wells ' The World Set Free (1914), when scientists had discovered that radioactive decay implied potentially limitless energy locked inside of atomic particles (Wells' atomic bombs were only as powerful as conventional explosives, but would continue exploding for days on end). Cleve Cartmill predicted
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#1732890883621660-424: A recurring feature in science fiction . In some cases, weapons first introduced in science fiction have been made a reality; other science-fiction weapons remain purely fictional, and are often beyond the realms of known physical possibility. At its most prosaic, science fiction features an endless variety of sidearms —mostly variations on real weapons such as guns and swords . Among the best-known of these are
715-520: A soldier trained in many styles of combat and weaponry, or unable to feel pain), or a mixture of both. In a future timeline of the series, the technology has been devised into a mass weapon, able to "remote wipe" anyone and replace them with any personality. A war erupts between those controlling actives, and "actuals" (a term to describe those still retaining their original personas). An offshoot technology allows actual people to upload upgrades to their personas (such as fighting or language skills), similar to
770-409: A space-drive with planetary romance in the style of Edgar Rice Burroughs . Smith's later Lensman series and the works of Edmond Hamilton , John W. Campbell , and Jack Williamson in the 1930s and 1940s were popular with readers and much imitated by other writers. By the early 1940s, the repetitiousness and extravagance of some of these stories led to objections from some fans and the return of
825-709: A special unit called the Swooping Hawks equipped with a "lasblaster". In the Command & Conquer video game series, various factions make extensive use of laser and particle-beam technology. The most notable are Allied units Prism Tank from Red Alert 2 and Athena Cannon from Red Alert 3 , the Nod's Avatar and Obelisk of Light from Tiberium Wars , as well as various units from Generals constructed by USA faction, including their "superweapon" particle cannon. Weapons using plasma (high-energy ionized gas) have been featured in
880-626: A target. Examples of such weapons include Jules Verne 's "fulgurator" and the "glass arrow" of the Comte de Villiers de l'Isle-Adam . A classic science-fiction weapon, particularly in British and American science-fiction novels and films, is the raygun . A very early example of a raygun is the Heat-Ray featured in H. G. Wells ' The War of the Worlds (1898). The discovery of X-rays and radioactivity in
935-465: A virtual battleground in which battles are fought using software weapons and counterweapons. The Star Trek episode " A Taste of Armageddon " is another notable example. Certain Dale Brown novels place cyberweapons in different roles. The first is the "netrusion" technology used by the U.S. Air Force. It sends corrupt data to oncoming missiles to shut them down, as well as hostile aircraft by giving them
990-551: Is a subgenre of science fiction that emphasizes space warfare , with use of melodramatic , risk-taking space adventures, relationships, and chivalric romance . Set mainly or entirely in outer space , it features technological and social advancements (or lack thereof) in faster-than-light travel , futuristic weapons , and sophisticated technology, on a backdrop of galactic empires and interstellar wars with fictional aliens , often in fictional galaxies. The term does not refer to opera music , but instead originally referred to
1045-468: Is epic in scale and personal with characters. It is about people taking on something bigger than themselves and their struggles to prevail. Though a setting beyond Earth is central, being on a spaceship or visiting another planet isn't the only qualifier. There must also be drama and sufficiently large scope to elevate a tale from being simply space-based to being real space opera. Space opera can be contrasted in outline with " hard science fiction ", in which
1100-482: Is now seriously considered as a threat by modern states. In a similar but unrelated series of incidents involved various groups of hackers from India and Pakistan who hacked and defaced several websites of companies and government organizations based in each other's country. The actions were committed by various groups based in both countries, but not known to be affiliated with the governments of India or Pakistan. The cyber wars are believed to have begun in 2008 following
1155-455: Is the most successful space opera book series ever written. The Star Trek TV series (1966–) by Gene Roddenberry and the Star Wars films (1977–) by George Lucas brought a great deal of attention to the sub-genre. After the convention-breaking "new wave", followed by the enormous success of the franchises, space opera became once again a critically acceptable sub-genre. From 1982 to 2002,
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#17328908836211210-846: The Battlestar Galactica franchise and Robert A. Heinlein 's 1959 novel Starship Troopers . The key distinction of military science fiction from space opera as part of the space warfare in science fiction is that the principal characters in a space opera are not military personnel, but civilians or paramilitary . That which brings them together under a common denominator is that military science fiction like space opera often concerns an interstellar war . Military science fiction however does not necessarily always include an outer space or multi-planetary setting like space opera and space Western. Space Western also may emphasize space exploration as “the final frontier”. These Western themes may be explicit, such as cowboys in outer space, or they can be
1265-470: The Hugo Award for Best Novel was often given to a space opera nominee. Space opera has been defined as "a television or radio drama or motion picture that is a science-fiction adventure story". Some critics distinguish between space opera and planetary romance . Both feature adventures in exotic settings, but space opera emphasizes space travel, while planetary romances focus on alien worlds. In this view,
1320-648: The phaser —used in the Star Trek television series, films, and novels—and the lightsaber and blaster —featured in Star Wars movies, comics, novels, and TV shows. Besides adding action and entertainment value, weaponry in science fiction sometimes touches on deeper concerns and becomes a theme , often motivated by contemporary issues. One example is science fiction that deals with weapons of mass destruction . Weapons of early science-fiction novels were usually bigger and better versions of conventional weapons, effectively more advanced methods of delivering explosives to
1375-469: The "triumph of mankind" template of older space opera, involves newer technologies, and has stronger characterization than the space opera of old. While it does retain the interstellar scale and scope of traditional space opera, it can also be scientifically rigorous. The new space opera was a reaction against the old. 'New space opera' proponents claim that the genre centers on character development, fine writing, high literary standards, verisimilitude, and
1430-406: The 1918 Danish film, Himmelskibet . Unlike earlier stories of space adventure, which either related the invasion of Earth by extraterrestrials, or concentrated on the invention of a space vehicle by a genius inventor, pure space opera simply took space travel for granted (usually by setting the story in the far future), skipped the preliminaries, and launched straight into tales of derring-do among
1485-505: The 22nd century, Daleks are claimed to have invaded Earth after it was bombarded with meteorites and a plague wiped out entire continents. A subgenre of science fiction, postapocalyptic fiction , uses the aftermath of nuclear or biological warfare as its setting. The Death Star is the Star Wars equivalent to a weapon of mass destruction, and as such, might be the most well-known weapon of mass destruction in science fiction. The idea of cyberwarfare , in which wars are fought within
1540-646: The Air . Arthur C. Clarke envisaged particle beam weapons in his 1955 novel Earthlight , in which energy would be delivered by high-velocity beams of matter. After the invention of the laser in 1960, it briefly became the death ray of choice for science-fiction writers. For instance, characters in the Star Trek pilot episode The Cage (1964) and in the Lost in Space TV series (1965–1968) carried handheld laser weapons. By
1595-518: The Martian, Venusian, and lunar-setting stories of Edgar Rice Burroughs would be planetary romances (and among the earliest), as would be Leigh Brackett 's Burroughs-influenced Eric John Stark stories. The term "space opera" was coined in 1941 by fan writer and author Wilson Tucker as a pejorative term in an article in Le Zombie (a science fiction fanzine ). At the time, serial radio dramas in
1650-573: The Mumbai attacks believed to be by a group of Indian cyber groups hacking into Pakistani websites. Hours after the cyber attacks, a number of Indian websites (both government and private) were attacked by groups of Pakistani hackers, claiming to be retaliation for Indian attacks on Pakistani websites. The back and forth attacks have persisted on occasions since then. Themes of brainwashing , conditioning, memory-erasing , and other mind-control methods as weapons of war feature in much science fiction of
1705-678: The Space Adventures module for the GURPS RPG system Space Adventures – Music from 'Doctor Who' 1963–1968 (album), a 1987 album of BBC background music Space Adventures , a space tourism company "Space Adventure" ( The Brak Show ) , a 2007 webisode "Space Adventure", a 2011 episode from season 3 of Mickey Mouse Clubhouse Space Adventures , one of Sol Cohen's reprint science fiction magazines See also [ edit ] [REDACTED] Search for "space adventure" on Misplaced Pages. The Great Space Adventure (film),
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1760-558: The United States had become popularly known as soap operas because many were sponsored by soap manufacturers. The term " horse opera " had also come into use to describe formulaic Western films . Tucker defined space opera as the science fiction equivalent: A "hacky, grinding, stinking, outworn, spaceship yarn". 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
1815-459: The aforementioned authors, who have won Hugo Awards. Several subsets of space opera overlap with military science fiction, concentrating on large-scale space battles with futuristic weapons in an interstellar war . Many series can be considered to belong and fall in two genres or even overlap all like Ender's Game series by Orson Scott Card or the Honorverse by David Weber . At one extreme,
1870-567: The back cover of the first issue of Galaxy Science Fiction . During the late 1920s and early 1930s, when the stories were printed in science-fiction magazines, they 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 – paraphrased by Hartwell and Cramer – "the good old stuff". Yet soon after his redefinition, it began to be challenged, for example, by
1925-625: The early 1990s did the term space opera begin 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. Author A.K. DuBoff defines space opera as: True space opera
1980-437: 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 were again redefined, and the label was attached to major popular culture works such as Star Wars . Only in
2035-520: The emphasis is on the effects of technological progress and inventions, and where the settings are carefully worked out to obey the laws of physics, cosmology, mathematics, and biology. Examples are seen in the works of Alastair Reynolds or the movie The Last Starfighter . At other times, space opera can concur with hard science fiction and differ from soft science fiction by instead focusing on scientific accuracy such as The Risen Empire by Scott Westerfeld . Other space opera works may be defined as
2090-605: The future as people came to understand what lasers could and could not do; this resulted in the move to phasers on-screen, while letting lasers be known as a more primitive weapon style. In the Warhammer 40,000 franchise, a human faction known as the Imperial Guard has a "lasgun", which is described as being a handheld laser weapon, as their main weapon, and larger cannon versions being mounted onto tanks and being carried around by Space Marines. The elf-like Aeldari , meanwhile, have
2145-542: The genre is used to speculate about future wars involving space travel, or the effects of such a war on humans; at the other, it consists of the use of military fiction plots with some superficial science-fiction trappings in fictional planets with fictional civilizations and fictional extraterrestrials . The term "military space opera" is occasionally used to denote this subgenre, as used for example by critic Sylvia Kelso when describing Lois McMaster Bujold 's Vorkosigan Saga . Other examples of military space opera include
2200-755: The intended victims. Langford revisited the idea in a fictional FAQ on the images, published by the science journal Nature in 1999. The neuralyzer from the Men in Black films are compact objects that can erase and modify the short-term memories of witnesses by the means of a brief flash of light, ensuring that no one remembers encountering either aliens or the agents themselves. The TV series Dollhouse (2009) features technology that can "mindwipe" people (transforming them into "actives", or "dolls") and replace their inherent personalities with another one, either "real" (from another actual person's mind), fabricated (for example,
2255-566: The last years of the 19th century led to an increase in the popularity of this family of weapons, with numerous examples in the early 20th century, such as the disintegrator rays of George Griffith 's future-war novel The Lord of Labour (1911). Early science-fiction film often showed raygun beams giving off bright light and loud noise like lightning or large electric arcs . Wells also prefigured modern armored warfare with his description of tanks in his 1903 short story " The Land Ironclads ", and aerial warfare in his 1907 novel The War in
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2310-512: The late Victorian and Edwardian science-fiction era. Examples may be found in the works of Percy Greg , Garrett P. Serviss , George Griffith , and Robert Cromie . Science fiction scholar E. F. Bleiler cites Robert William Cole 's The Struggle for Empire: A Story of the Year 2236 as the first space opera in his 1990 reference work Science-Fiction: The Early Years . The novel depicts an interstellar conflict between solar men of Earth and
2365-470: The late 1950s and 1960s, paralleling the contemporary panic about communist brainwashing, existence of sleeper agents , and the real-world attempts of governments in programs such as MK-ULTRA to make such things real. David Langford 's short story " BLIT " (1988) posits the existence of images (called "basilisks") that are destructive to the human brain, which are used as weapons of terror by posting copies of them in areas where they are likely to be seen by
2420-473: The late 1960s and 1970s, as the laser's limits as a weapon became evident, the raygun began to be replaced by similar weapons with names that better reflected the destructive capabilities of the device. These names ranged from the generic " pulse rifle " to series-specific weapons, such as the phasers from Star Trek . According to The Making of Star Trek , Gene Roddenberry claimed that production staff realized that using laser technology would cause problems in
2475-472: The melodrama, scope, and formulaic stories of operas, much as used in " horse opera ", a 1930s phrase for a clichéd and formulaic Western film , and " soap opera ", a melodramatic domestic drama. Space operas emerged in the 1930s and continue to be produced in literature, film, comics, television, video games and board games. An early film which was based on space-opera comic strips was Flash Gordon (1936) , created by Alex Raymond . Perry Rhodan (1961–)
2530-443: The popular name "Star Wars" after the popular franchise created by George Lucas . In some cases, the influence of science fiction on weapons programs has been specifically acknowledged. In 2007, science-fiction author Thomas Easton was invited to address engineers working on a DARPA program to create weaponized cyborg insects, as envisaged in his novel Sparrowhawk . Active research on powered exoskeletons for military use has
2585-490: The process seen in The Matrix , albeit for only one skill at a time. Some new forms of real-world weaponry resemble weapons previously envisaged in science fiction. The early 1980s-era Strategic Defense Initiative , a proposed missile defense system intended to protect the United States from attack by ballistic strategic nuclear weapons ( Intercontinental ballistic missiles and submarine-launched ballistic missiles ), gained
2640-520: The publication of M. John Harrison 's The Centauri Device in 1975 and a "call to arms" editorial by David Pringle and Colin Greenland in the Summer 1984 issue of Interzone ; and the financial success of Star Wars , which follows some traditional space opera conventions. This "new space opera", which evolved around the same time cyberpunk emerged and was influenced by it, is darker, moves away from
2695-420: The space opera was well established as a major subgenre of science fiction. However, the author cited most often as the true father of the genre is E. E. "Doc" Smith . His first published work, The Skylark of Space ( Amazing Stories , August–October 1928), written in collaboration with Lee Hawkins Garby , is often called the first great space opera. It merges the traditional tale of a scientist inventing
2750-515: The stars. Early stories of this type include J. Schlossel 's "Invaders from Outside" ( Weird Tales , January 1925), The Second Swarm ( Amazing Stories Quarterly , spring 1928) and The Star Stealers ( Weird Tales , February 1929), Ray Cummings ' Tarrano the Conqueror (1925), and Edmond Hamilton's Across Space (1926) and Crashing Suns ( Weird Tales , August–September 1928). Similar stories by other writers followed through 1929 and 1930. By 1931,
2805-414: The structures of communication systems and computers using software and information as weapons, was first explored by science fiction. John Brunner 's 1975 novel The Shockwave Rider is notable for coining the word " worm " to describe a computer program that propagates itself through a computer network , used as a weapon in the novel. William Gibson 's Neuromancer coined the phrase cyberspace ,
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#17328908836212860-432: The term in its original and pejorative sense. Eventually, though, a fondness for the best examples of the genre led to a re-evaluation of the term and a resurrection of the subgenre's traditions. Writers such as Poul Anderson and Gordon R. Dickson had kept the large-scale space adventure form alive through the 1950s, followed by writers like M. John Harrison and C. J. Cherryh in the 1970s. By this time, "space opera"
2915-473: The title Space Adventure . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Space_Adventure&oldid=1225098133 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Space opera Space opera
2970-450: Was a major worry, and was often employed in the science fiction of this period, for example Neil Bell's The Gas War of 1940 (1931). Robert A. Heinlein 's 1940 story " Solution Unsatisfactory " posits radioactive dust as a weapon that the US develops in a crash program to end World War II; the dust's existence forces drastic changes in the postwar world. In The Dalek Invasion of Earth , set in
3025-409: Was for many readers no longer a term of insult but a simple description of a particular kind of science fiction adventure story. According to author Paul J. McAuley , a number of mostly British writers began to reinvent space opera in the 1970s (although most non-British critics tend to dispute the British claim to dominance in the new space opera arena). Significant events in this process include
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