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Space operas are fun—they vary greatly in theme and content, but all share a focus on the
adventure and sense of wonder that brought so many of us to science fiction in the first
place. Most science fiction readers, when asked to pick favorites, could name dozens of
space opera universes, and ranking them subjectively is often like choosing between
apples and oranges. So, I’m going to need help from the readers to ensure they all get
their due. I’ll start off mentioning ten of my favorites, and then open the floor to you.
During the Golden Age of Science Fiction, there was a lot of concern about the amount of
apparent dross being mixed in with the gold. The term “space opera” was originally
coined to describe some of the more formulaic stories, a term used in the same derisive
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manner as “soap opera” or “horse opera.” But, like many other negative terms over the
years, the term space opera has gradually taken on more positive qualities. Now, it is
used to describe stories that deal with huge cosmic mysteries, grand adventure, the long
sweep of history, and giant battles. If stories have a large scope and a boundless sense of
wonder, along with setting adventure front and center, they now proudly wear the space
opera name. One of the aspects that puts a story or stories in the space opera category is
the universe where they are set. These tales often sprawl across the centuries, throughout
the galaxy, between star-spanning civilizations, and involve a diversity of alien species. At
the same time, they often sprawl across a whole series of books or stories.
In no particular order, here are some of my personal favorite space opera universes, and
some of the reasons why I enjoyed them…
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While Heinlein is best known for his Future History, he also wrote
several “juveniles,” books that today would be classified for and
marketed toward young adults. The stories are loosely connected,
and follow humanity as it spreads through the solar system and
into the stars. The stories often echo Heinlein’s theme of self-
reliance in the face of the tendency of governments to decay into
tyranny. Some feel dated, but all are still worth reading, and some
stand out from the crowd. In Have Spacesuit—Will Travel, a young
man repairs a spacesuit he won in a contest, not knowing this will
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be his ticket to achieve his dream of traveling into space. Tunnel in the Sky follows the
adventures of a group of young people in a survival exercise who find themselves
stranded, and the exercise becoming a real life and death struggle. Between Planets
follows a young space-born man, without a country of his own, caught in a battle for
independence between Earth and its colonies, in which the tyrants find it is not good to
anger scientists.
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Pournelle could have made this list on his own: Niven for the tales
set in his Known Space universe, and Pournelle for military SF
adventures in his CoDominium/Empire of Man series. In the Mote
stories, Pournelle’s militaristic Empire encounters an alien species
in a system cut off from the rest of the universe, a species that
ranks among the strangest Niven has ever created. The first book,
The Mote in God’s Eye, is notable for its worldbuilding and tense
narrative, while the second book, The Gripping Hand, has some of the best space battles
ever written, and brings the tale to a satisfying conclusion. We see heroism, greed,
redemption, politics, and all the other traits of humanity come into conflict with a race
that has motivations, strengths and weaknesses that are unlike anything those humans
have ever before encountered. The science is solid, the characters and societies feel real,
and everything moves at a rollicking pace.
Space opera is often notable for its ability to bring romance and
interpersonal relationships to the fore in compelling ways. In the
far future setting of Agent of Change, a mercenary, Miri
Robertson, encounters an intelligence agent and scout, Val Con
yos’Phelium, who is fighting the effects of brainwashing, and in the
course of dealing with their troubles, the two fall in love. There are
three distinct human civilizations in this future: the formal and
custom-bound Liaden, the less disciplined Terrans, and the
warlike Yxtrang. There is also an intelligent race of giant turtles
and at least one intelligent tree, and the many cats portrayed in the
series are so clever they may as well be considered an intelligent race. Interstellar
commerce is conducted by independent traders, with pilots highly prized members of an
exclusive guild. Val Con is a member of the Liaden Clan Korval, and the series largely
deals with the members of his extended family, with intrigue, action, and large dollops of
romance. Counting short story collections, there are now more than twenty volumes in
the series, with more in the pipeline.
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If you ignore media like TV and movies, you will miss some of the best space opera
universes. The visual media is perfect for big, sprawling stories, and here, Straczynski has
created an innovative and immersive setting for grand adventure. Babylon 5 is a space
station established by humans, rather primitive newcomers, in order to open relations
and trade with the many races that inhabit the galaxy. Alien races the humans interact
with include the warlike Narn, the sybaritic Centauri, and the spiritual Minbari. The
mysterious Vorlons support human efforts, but are opposed by the spider-like Shadows.
The show was innovative in abandoning the traditional episodic structure after its first
season, instead relying on a strong story arc that allowed the tale to build to an epic
conclusion. The series also used computer graphics instead of models to portray its
spaceships and other worlds; combined with careful set design and production
scheduling, this allowed the show to function with a very modest budget. Babylon 5 also
put a strong focus on its characters, and their development and growth over time. The
result is one of the greatest science fiction epics to appear on television.
Some of the best space opera plays with the laws of nature to create
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Sometimes, even hard science fiction writers feel the siren call of
high adventure, and set their sights on the far future, and heady
times of myth and legend. Once such author is Michael Flynn, who
has written four books set in a time where ancient Terra is only a
legend. The January Dancer is a tale told to a wandering harper
involving an ancient alien MacGuffin and the tramp freighter crew
that finds it. In Up Jim River, that harper, Mearana, takes center
stage. She is seeking her missing mother; an intelligence agent or
“Hound” named Bridget, and enlists Donovan, a former rival
whose mind has been shattered due to torture. With In the Lion’s
Mouth, it is now Donovan who is missing, and a Shadow, Ravn Olafsdottr, a rival to the
Hounds, approaches Bridget and Mearana with news of his fate. On the Razor’s Edge
brings the series to its conclusion, as we find that Donovan’s fragmented memory holds
the key to the fate of warring civilizations. The intelligence agents evoke ancient orders of
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chivalry, and the relationships between the well-drawn characters are poignant. The
series is a joy to read, and well worth a look.
Final Thoughts
So there you have it—ten space opera universes I’ve enjoyed. Space operas offer some of
the purest fun of any tales within the genre. They are full of big ideas, big marvels, and big
adventures. And, like I said right from the start, the list is by no means complete, as my
favorites could have included dozens more. I’ll now open the floor to you, and get your
help rounding out the list. What are some of your favorite space operas? What elements
drew you to those particular stories? What scientific shortcuts and clichés are you willing
to overlook in pursuit of a good story? And what authors are best at writing big,
impressive stories across a big canvas?
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Alan Brown has been a science fiction fan for five decades, and likes nothing better than a good space opera
that keeps him reading past his bedtime. He writes a monthly series for Tor.com reviewing classic science
fiction books, many of which fall right into the space opera wheelhouse.
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