Space Opera refers to works set in a spacefaring civilization, usually set in the far future or A Long Time Ago, in a Galaxy Far Far Away.... Technology is ubiquitous and secondary to the story. Space opera has an epic character to it: the universe is big, there are usually many sprawling civilizations and empires, there are political conflicts and intrigue. The action will range part of a solar system, at least, and possibly a whole galaxy or more than one. It frequently takes place in a Standard Sci Fi Setting. It has a romantic element which distinguishes it from most Hard Science Fiction: big love stories, epic space battles, oversized heroes and villains, awe-inspiring scenery, and insanely gorgeous men and women.
Historically, it is a development of the Planetary Romance that looks beyond the exotic locations that were imagined for the local solar system in early science fiction (which the hard light of science revealed to be barren and lifeless) out into an infinite universe of imagined exotic locations. Planetary Romance was more or less Heroic Fantasy In Space. While works such as John Carter of Mars by Edgar Rice Burroughs were pure Planetary Romance, Buck Rogers and its imitators had essentially codified the Space Opera concept in the popular imagination by the late 1930s, though the earliest strips took place on an After the End future Earth. (Flash Gordon, at least in the classic Alex Raymond era remained resolutely Planetary Romance, tied to the planet Mongo.)
Expect to see a dashing hero cavorting around in a Cool Starship, Green Skinned Space Babes, Crystal Spires and Togas civilizations full of Space Elves, Wave Motion Guns capable of dealing an Earth-Shattering Kaboom on a daily basis, and an evil Galactic Empire with a Standard Sci-Fi Fleet, including an entire universe full of beat-up mechanical objects capable of being resurrected with Percussive Maintenance.
Note that this is quite different from the original definition of space opera, which was originally a derogatory term, following "horse opera" (cheap westerns) and "Soap Opera" (so named because soap operas began as hour-long ads for soap), which requires no explanation. The phrase was coined in 1941 by Wilson Tucker to describe what he called "the hacky, grinding, stinking, outworn space-ship yarn". (It's said that before 1975 or so, the only author who ever intentionally set out to write a space opera was Jack Vance, who wrote a novel, Space Opera, literally about an opera company in space.)
Via semantic drift, well-regarded works such as the Lensman series are today held up as prime examples of Space Opera. As more authors and writers came to embrace the style, the term came to lose many of its negative connotations. Assisting that process were writers who regarded all tales of action and adventure in space as bad, and so tried to pejoratively label it all "space opera"; they succeeded with the label, but not with keeping it pejorative.
The ideal space opera, as described by Brian Aldiss, contains most if not all of the following criteria:
- The world must be in peril.
- There must be a quest,
- And a man or woman to meet the mighty hour.
- That man or woman must confront aliens and exotic creatures.
- Space must flow past the ports like wine from a pitcher.
- Blood must rain down the palace steps,
- And ships launch out into the louring dark.
- There must be a woman or man fairer than the skies,
- And a villain darker than a Black Hole.
- And all must come right in the end.
Star Wars is inarguably the most famous modern example of space opera. (Indeed, The Empire Strikes Back may have shifted "space opera" from insult to a more neutral genre descriptor, due to the involvement of veteran sf writer Leigh Brackett.) In Star Wars, technology is either magic (the Force) or jazzier versions of today's gadgets (blaster rifles, hovercars, space ships). Any Star Wars character (evil emperor, farmboy, princess) would feel at home in a thick fantasy novel, in part because editor-publisher Lester del Rey derived the "epic fantasy" template partly from Star Wars and partly from The Lord of the Rings, though also because these works borrow from the same source of Jungian imagery.
The genre is useful for long story and character arcs but also expensive to film, unless rendered in animated form, like countless anime series.
Space Opera is defined above all by one thing: hard science will never be allowed to get in the way of storytelling. How exactly the hyperdrive works to jump from planet to planet isn't important. The focus is on the characters, politics, and themes of the overarching story. For the same reason, certain common tropes like Planet of Hats and Single-Biome Planet tend to appear frequently in Space Opera (though harder science fiction is by no means immune to them). For storytelling purposes, interstellar civilizations are analogous to countries, and planets analogous to cities. Space Opera is an Earth-sized story lifted onto the galactic scale. The logistical challenges that would actually result from this are safely ignored.
While Hard Science Fiction defines itself in part in opposition to space opera (and vice versa), in recent years, however, there has been a trend towards incorporating hard science fiction elements into space opera, as in Starship Operators, the 2000s Battlestar Galactica, Firefly and especially Alistair Reynolds' Revelation Space. In fact, "New Space Opera" has gained some currency as a term referring to works that combine fast-paced adventure plots with some degree of hard SF rigor.
See also Space Western, Two-Fisted Tales, Pulp Magazine, and Wagon Train to the Stars. In many ways, this is the science fiction equivalent of High Fantasy.
Note that while many more famous space operas go to the "ideal" side of the Sliding Scale of Idealism vs. Cynicism, more recent ones are harder and more cynical: Babylon 5, Battlestar Galactica and Firefly being most prominent in Live-Action TV.
Sadly, there aren't too many actual Operas set IN SPACE! One famous example in the music world, however, is Swedish composer Karl-Birger Blomdahl's Aniara (1959), based on Martinson's poem (1956).
Examples
- AKB0048 is what happens when you cross this with the Idol Singer genre, and get Shoji Kawamori to direct.
- Crusher Joe. The first written by Haruka Takachio immediately after seeing Star Wars.
- Dragon Ball: The original series was entirely Earth-based, but starting with the Saiyan Saga it began to exhibit a more galactic scope. In the Namek / Frieza Saga, the heroes travel to a faraway planet on a quest to revive their friends, only to end up in a fight for their lives - and the fate of an entire species - against an irredeemably evil Galactic Conqueror and his minions. It does mostly stay back on Earth after Frieza's defeat, though, although a good chunk of the menaces, including from the Non-Serial Movie villains, come from space.
- Gankutsuou: The Count of Monte Cristo IN SPACE! (Quite different from the Alfred Bester novel The Stars My Destination, which does the same way, though not in a Space Opera way.)
- The Gundam franchise, notable for its (usual) lack of aliens and plausible space colonies, although much of it falls more under Military Science Fiction than this.
- Irresponsible Captain Tylor, albeit Played for Laughs.
- Legend of Galactic Heroes, a large scale space opera set in the century old clash between an Empire and a (nominal) Republic.
- Space Battleship Yamato, the first space opera anime and among the first space operas to use large scale battles between fleets of spacecraft. Among the first space operas to involve the legend Leiji Matsumoto.
- Space Battleship Yamato 2199, 2012-2013 remake and 2014 spin-off movie, followed by the 2017-2019 sequel series Space Battleship Yamato 2202: Warriors of Love
- Starship Operators, notable for its extreme realism, one of the hardest space operas out there.
- Star★Twinkle Pretty Cure is this plus the Magical Girl genre.
- Tenchi Muyo! Ryo-Ohki has many Space Opera elements despite taking place mostly on Earth, while spinoff Tenchi Muyo! GXP and the second half of Tenchi Universe are clear-cut examples.
- Tengen Toppa Gurren Lagann, which begins as Desert Punk, turns into one of these after the Time Skip.
- Tytania, the closest thing to an anime Dune and written by the same author as Legend of Galactic Heroes though it is an independent story.
- Vandread: Humanity has split into two factions: Men and Women, who are continually at war with each other. Our story starts with a shipful of women and three guys, all thrown together and having to cooperate to stay alive. As a metaphor, the technology of the two factions combines together to become far greater than the sum of the parts, barely keeping them alive and fueling the story line.
- A few examples in the anthology comic series 2000 AD:
- The Ballad of Halo Jones, a borderline example in that it overlaps with Mundane Science Fiction.
- Judge Dredd: Though mainly set in a Dystopian Wretched Hive on Earth, several stories (especially The Judge Child Quest) have seen Dredd traverse space and visit many different alien civilizations, both friendly and hostile.
- Shakara is an incredibly Troperrific take on this genre, covering the Roaring Rampage of Revenge of a Killer Robot who was made to avenge the deaths of its species at the hands of the evil alien alliance. Planets blowing up, spaceship battles, and time travel ensue.
- Nemesis the Warlock.
- Albedo: Erma Felna EDF mixes this with Furry Fandom, albeit it's also a desconstruction of both genres, being more realistic than the regular space opera.
- Buck Rogers and its imitator Flash Gordon are the Trope Codifiers, though the former began as an After the End story and only moved into space and the latter originally stayed on the planet Mongo, where Flash, Dale Arden and Dr. Zarkoff were stranded. (The story takes place in the present day.) However, the popular image and later iterations of the strip have Flash Gordon adventuring in space. Star Wars began after Lucas failed to obtain the rights to Flash. King Features, realizing their mistake, made the Flash Gordon film after the wild success of Star Wars.
- Bucky O'Hare and the Toad Wars is a Space Opera in a World of Funny Animals.
- Cosmo (2018) is an all-ages variant of the genre, which a Rag Tag Bunch Of Misfits explored exotic locales on both the solar system and beyond. In a twist of irony, Max acted as a side character and a pastiche of muscular square-jawed space hero to the alien main characters.
- Green Lantern has a foot firmly placed in Space Opera, especially in Crisis Crossover comics like Sinestro Corps War where Sinestro himself set the war up so he wins either way.
- Marvel Comics turned the cosmic part of their Shared Universe into one giant Space Opera, since 2006. Starting with X-Men: Rise and Fall of the Shi'Ar Empire and Annihilation, we got one epic story after another — Annihilation: Conquest, War of Kings, The Thanos Imperative and adventures of many cosmic-themed heroes, like Nova and Guardians of the Galaxy between them.
- Alejandro Jodorowsky's Metabarons Universe, particularly The Metabarons.
- Paperinik New Adventures goes into Space Opera territory sometimes, such as for the Xadhoom Trilogy.
- Valérian essentially Trope Codifier, as it went on to inspire many seminal Space Operas, including Star Wars and The Fifth Element.
- X-Men ventures here occasionally, in the The Dark Phoenix Saga, for instance.
- Sold To The Highest Bidder is a rather dark one of these, covering the political, emotional, and interpersonal complications of an intergalactic slave trade.
- Undocumented Features
- Earth's Alien History is a collaborative project Mega Crossover between numerous Sci-Fi franchises (including many of the ones listed elsewhere on this page), which quickly expands into a truly massive universe. The Reaper War Arc alone could constitute a full story all on its own, and a spinoff featuring Colony Ships sent to the Andromeda galaxy has begun as well.
- Humanity Within is a series of 3 Hi E MLP fanfiction.
- Event Horizon: Storm of Magic is a crossoverbetweenThe Lord of the Rings, A Song of Ice and Fire, Warhammer and Avatar: The Last Airbender about the arrival of visitors of earth.
- Titan A.E.is a space adventure produced by Don Bluth.
- Treasure Planet has all the trappings of a Space Opera, despite being a comparatively more personal affair.
- Starchaser: The Legend of Orin is a film that mimics Star Wars in so many ways.
- Battle Beyond the Stars, a fun B-Movie Star Wars clone.
- Captain EO, a Disney Theme Parks 3-D movie, is less than 20 minutes long but clearly takes place in this genre: A dashing hero with a crew of misfit alien creatures is sent on a mission to transform a grim, H.R. Giger-esque planet. There's a skirmish with the evil Supreme Commander's fleet of starships, and later the heroes are taken captive by her forces — but they use The Power of Rock to turn into it a land of Crystal Spires and Togas and its people (including the ruler) into happy, Day-Glo dancers.
- Both film adaptations of Dune feature a galactic jihad in a Feudal Future containing Spacing Guilds and spice mines.
- The Fifth Element, a Space Opera with an opera in space!
- Flash Gordon, though it does not technically count. It set out to emulate the success of Star Wars.
- Star Wars was originally going to be a Genre Throwback of the original Flash Gordon serials.
- Marvel Cinematic Universe:
- Guardians of the Galaxy and Guardians of the Galaxy Vol. 2, and the upcoming Guardians of the Galaxy Vol. 3.
- While the its two predecessors don't qualify, Thor: Ragnarok certainly builds off of this genre, drawing a lot of inspiration from the Guardians films.
- Captain Marvel
- Avengers: Infinity War and Avengers: Endgame half this and half not, with the former consisting of scenes focusing on the Guardians, Thor, and Thanos.
- Pandorum has a love story (Bower's wife), battles, a dashing hero (Mahn) and a insanely gorgeous female lead (Nadia).
- Queen of Outer Space, intended by script writer Charles Beaumont as a Stealth Parody.
- Spaceballs (although technically, it's a parody of Space Opera.)
- The Star Trek films, except for The Voyage Home, which was a comedy set on then-modern Earth.
- Star Wars is perhaps the most famous modern example (as noted in the main description), with its grand and fantastical tale of heroic rebels fighting against the evil Empire set "a long time ago in a galaxy far, far away..."
- Transformers: The Movie. Some edits even have the Opening Crawl.
- Fighting Fantasy:
- Starship Traveller, The first installment in the sci-fi genre, which is heavily inspired by Star Trek. You play the captain of the titular starship, who ends up getting sucked into a black hole leading to the Selstan Void, and has to travel across planets, meet various alien races, and try to find your way back to Earth before running out of fuel.
- Rebel Planet: In the future, planet Earth has been conquered by a reptilian race of aliens known as Arcadians, and you need to sabotage the Arcadian's super-computer and help reclaim Earth back for the humans.
- Star Strider has you playing a bounty hunter from outer space, who have to race against time to save the Earth's president from the hostile Gromulans.
- The Star Challenge gamebooks series set in 2525, when mankind are capable of travelling across galaxies and forming an alliance known as the "Network of Worlds" with other alien races.
- "The Warriors of the Elector Series by Imogene Nix with big love stories and a heavy focus on fairly realistic Sci-Fi setting and big battles
- Aeon 14 is an epic about a colony ship, Intrepid, trying to leave the insanity of slower-than-light life in Sol, only to run into even bigger problems and ultimately Slept Through the Apocalypse and land in a more typical Faster-Than-Light Travel setting.
- The Alien Hunters trilogy, by Daniel Arenson.
- The enormous Alliance/Union universe by C. J. Cherryh. Probably the "hardest" of all Space Opera, with Faster-Than-Light Travel being the only deviation from known physics.
- Ancillary Justice by Ann Leckie.
- Scientology founder L. Ron Hubbard's opus Battlefield Earth.
- Parodied by Harry Harrison in his Bill the Galactic Hero and Star Smashers of the Galaxy Rangers.
- Adam Christopher's The Burning Dark uses a Space Opera setting for what is basically a haunted
housespace station story, Throwing in Eldritch Abominations in towards the end for flavor - The Cassandra Kresnov books are part this, part Military Science Fiction and part Cyberpunk.
- The Commander Toad picture books by Jane Yolen are a parody of space opera.
- The Conquerors Trilogy by Timothy Zahn.
- John C. Wright's Count to the Eschaton
- The Culture books by Iain M. Banks, although again it does have a society changed by technology - in particular near-perfect medicine and a lack of the need for money due to massive technological advances.
- Simon R. Green's Deathstalker books.
- The Deathstalker series is both a parody and an homage to more traditional Space Opera's and exaggerating or taking various tropes to their most extreme conclusion.
- Walter Jon Williams has a couple:
- His Dread Empire's Fall is space opera on the fairly hard science side, edging into MilSF territory.
- His Drake Maijstral trilogy, by contrast, is a tongue-in-cheek comedy of manners space opera, starring an interstellar Gentleman Thief.
- Dune.
- Edmond Hamilton: Has big love stories, epic space battles, oversized heroes and villains, awe-inspiring places, gorgeous women, and they usually rule the universe - or at least a star kingdom to boot.
- The Flight Engineer trilogy by S.M. Sterling and James Doohan.
- Isaac Asimov's Foundation Series: A galactic-scale Epic Narrative taking place over hundreds of years, and influencing many of the successive works, such as Star Wars. Foundation is a science fiction future history of Edward Gibbon's The Decline And Fall Of The Roman Empire, depicting the collapse from the perspective of its replacement empire.
- Future History, a novella set in this genre.
- Stephen R. Donaldson's The Gap Cycle is this, as it's Richard Wagner's Ring of the Nibelung cycle IN SPACE!. Newer editions of the first volume have a cool author's note explaining how the dramatic elements (and thus, tropes) of Opera work in a sci-fi setting.
- The Hitchhiker's Guide to the Galaxy derives a lot of its humor through parodying space opera conventions. The unrealistic elements typical of the genre are either lampshaded or replaced with even sillier ideas.
- David Weber has an extensive one in Honor Harrington. As well as everything else he's written.
- Humanity Within has elements of Space Opera.
- Alan Dean Foster's Humanx Commonwealth series. It adopts many Speculative Fiction tropes but plays them for Space Opera themes.
- The Hyperion Cantos, by Dan Simmons
- In Between The Stars by A. A. Ripley. Combines this with Xenofiction.
- The Indranan War
- John Carter of Mars and other Planetary Romance novels contain elements of Space Opera, making it an Unbuilt Trope.
- Larry Niven's Known Space universe.
- Lacuna is firmly in the "New Space Opera" (space opera with hard science) genre.
- Philip Reeve's Larklight series, which combines Space Opera with Steampunk.
- The Lensman series by E. E. Doc Smith is generally given as the defining example, along with its predecessor and spiritual twin the Skylark Series.
- Hugh Howey's Molly Fyde series is a Young Adult version.
- John Barnes' Thousand Cultures series.
- Perry Rhodan series (over more than 2500 books that span from 1971 to 5050).
- Most of Peter F. Hamilton's books, though technological advances have significant societal and cultural impacts.
- The Red Rising seriees by Pierce Brown, consisting of one main trilogy, with a prequel comic and a Sequel Series on the way.
- Alastair Reynolds' Revelation Space Series actually does consider seriously how changes in technology would affect culture and even language.
- The Saga of Seven Suns
- Greg Egan's Schild's Ladder. Probably even harder than Alliance/Union, with no Faster-Than-Light Travel whatsoever.
- The Sirantha Jax Series by Ann Aguirre.
- John Maddox Roberts' Space Angel has larger-than-life characters, epic space battles, exotic worlds, and an alien species that inhabits the cores of galaxies. Not a planet in the core of a galaxy, mind you - the whole core.
- The Space Captain Smith series by Toby Frost is a very tongue-in-cheek version.
- Parodied and lampshaded in Jack Vance's Space Opera, which is a space opera about - yes - a touring Opera company.
- Many of Vance's works - such as The Demon Princes- are more straightforward examples.
- Space Vulture, a Genre Throwback to the original pulp Space Opera, by Gary K. Wolf and Archbishop John J. Meyers.
- Julie E. Czerneda's Species Imperative.
- Michael Flynn's Spiral Arm series
- The Stars My Destination.
- Margaret Weis' tetralogy The Star of the Guardians.
- The Stardoc series has elements of both this and Medical Drama.
- A Symphony of Eternity by R.M.Solea, the first book's tagline is: When the universe is at war, which side are you on?; nuff said.
- Theirs Not to Reason Why is firmly in Space Opera territory, with Psychic Powers, Energy Beings, multiple types of Faster Than Light, etc.
- The Rowan series by Anne McCaffrey.
- David Brin's Uplift.
- Lois McMaster Bujold's Vorkosigan Saga, complete with an in-story Space Ballet.
- Karin Lowachee's Warchild Series.
- Kaia Sønderby's Xandri Corelel.
- Stephen Baxter's Xeelee Sequence may well be the ultimate example in terms of scale, as well as being much harder sci-fi than the average space opera.
- Vernor Vinge's Zones of Thought series.
- Lucifer's Star by C.T. Phipps is a dark space opera story about how the Red Baron-esque pilot of a Feudal Future nation discovers his side was gasp the bad guys in a war and has to deal with the consequences. It also includes bioroid slavery, Elder Races, and a massive interplanetary war.
- The Secret King by Dawn Chapman is a series similar to Battlestar Galactica (1978) with a race of aliens fleeing their doomed homeplanet to travel to Earth in the present day.
- The Lost Fleet is a setting of average hardness (more hard than soft, actually), with a special emphasis on tactical fleet operations in a 'verse with lightspeed sensors and communications, so all maneuvers have to account for the enemy's current position and state being unknown. There's a century-long war between two galactic polities: one that is more or less good, and one that is more or less evil. There's a hero who leads the good guys to victory, being an unintentional Keeper of Forbidden Knowledge (namely, the knowledge of fleet tactics, forgotten over the course of the Forever War). There are hidden forces working behind the scenes. The Genesis Fleet prequel also reveals that the protagonist of the main series has a Secret Legacy he never knew about, i.e. that an ancestor of his was a hero too.
- The Instrumentality of Man stories of Cordwainer Smith include light-based and biologically-based computers, robot copies of dead people, robot police, the elimination of unhappiness, by measures escalating to putting the terminally unhappy to death, an underclass of animal-people who are without rights, the immortality drug stroon, ornithopters, telepathic computer interfaces, and other proto-Space Opera and proto-cyberpunk tropes.
- Andromeda: Originally created by Gene Roddenberry, pitched by Majel Roddenberry, and steered by Robert Hewitt Wolfe (of Deep Space Nine). It was a Vancouver production and it shows. You'll see the ensemble recycled in other Canadian productions from that era: SG-1, Lexx, etc. These days, it is best remembered for Lexa Doig in tight outfits.
- In Season Three the network pushed for a more episodic show with more focus on Kevin Sorbo's character. The last year (Hercules: The Legendary Space Journeys) was panned by fans.
- Babylon 5: A sort of "five-year miniseries" which rewards multiple viewings. If their direct competitor borrowed from old westerns and war movies, B5 was a space-based Middle Earth meets space Casablanca —but with enough verisimilitude to take those tropes and make it into something you can believe in. It helps that Andreas Katsulas (G'Kar) and Peter Jurasik (Londo) have such a commanding air that pretty much everybody raises their game in their presence.
- The aftershow, Crusade, suffered from network meddling and budget restrictions, among other things. The second spinoff, Legend of the Rangers (LOTR, get it?) probably isn't worth your time unless you're a fan: 15 minutes of G'kar (one of Andreas Katsulas' final performances before he died!) and 1 hour and 45 minutes of not much happening.
- Battlestar Galactica (1978) and Battlestar Galactica (2003) are at opposite ends of the Idealist-Cynic scale. Both had their share of movies and spin-offs.
- Galactica 1980 was more Family Friendly.
- Ron D. Moore's ambitious spin-off series, Caprica. During the first season, Moore stuck to his guns about keeping it a family drama, but the last few episodes were so packed with story because the showrunners knew they weren't going to get a second season, and didn't want to leave their open storylines dangling in the wind.
- Although Doctor Who is not Space Opera in itself, some individual stories make use of the subgenere.
- "Mission to the Unknown" and the epic twelve-part "The Daleks' Master Plan". Oddly, "Mission to the Unknown", the prelude episode, feels like an Unbuilt Trope version of the sort of stories Star Trek popularised. "Mission to the Unknown" has the Space agent Marc Cory discovering the Dalek plot to invade Earth's solar system, but dies before he can even send a message of warning. Earth's central government, which encompasses the whole system, also has a subtly dystopian feel to it.
- "The Space Pirates"
- "Frontier in Space" and "Planet of the Daleks", which taken together form a twelve part story like the earlier "The Daleks' Master Plan", though of a very different kind. The Doctor wants to prevent a war between two space empires, while the Master is trying to start one so the Daleks can wipe out both sides once they've exhausted themselves.
- "Earthshock"
- Russell T. Davies' era has several notable examples:
- "Bad Wolf"/"The Parting of the Ways": Set on a satellite in a bleak Used Future, it starts with our heroes trapped in deadly game shows and ends with them facing down an entire Dalek army led by The Emperor.
- "The Impossible Planet"/"The Satan Pit", with an added dose of Lovecraft Lite. A drilling operation on an asteroid orbiting a black hole unearths the Devil himself.
- "The Stolen Earth"/"Journey's End": The heroes of the main show and both its spinoffs join forces against Davros and the Daleks, who have stolen multiple planets to build a Doomsday Device the size of a solar system.
- "World Enough and Time"/"The Doctor Falls": The Doctor, Bill and Nardole are trapped on a spaceship with an army of Cybermen and two versions of the Master. One of them is developing a conscience, the other one really isn't. Time dilation, personal tragedy, dramatic last stands and plenty of explosions are involved.
- Earth: Final Conflict: Another posthumous series from Gene Roddenberry. The pilot takes place only 3 years after First Contact. What the series captured perfectly, but ignored in later seasons, was that humans had only recently come to terms with an alien race as part of their world.
- The lead actor was run off the show because the studio felt that it needed to be more episodic. And then they did it again in season five; not a good sign when you have to continually cycle cast members to save money. The tone of the show changed from a sci-fi detective story ("Who are the Taelons and what do they want in exchange for improving Earth") to a Monster of the Week show with very few sci-fi concepts beyond those already established. Sandoval, played by the capable Von Flores, turned out to be the saving grace of the series at that moment, something even the execs could not topple.
- Farscape: The first few episodes are purposefully cheesy sci-fi, inspired by Buck Rogers and Flash Gordon with some weird muppets and makeup. Then "A Human Reaction" arrives and covertly sets up the story arc that will carry on throughout the entire rest of the series. The addition of Scorpius a few episodes later heightens the drama even further as the war between the Peacekeepers and the Scarrans grew in scale. All with a hefty dose of Mind Screw to keep things from getting too serious.
- Firefly, which has the unusual distinction of being both a Space Opera and a Horse Opera. However, Firefly is only a borderline Space Opera, as it has no aliens and according to Word of God is set in a universe with no faster-than-light travel (although this is difficult to reconcile with some of the on-screen events).
- Lexx: One of the crewmembers is an escaped sex slave. The ship is a literal dildo. Don't say we didn't warn you.
- Pandora or so its creators claim. Judging by the first episode, it's more of a teen drama.
- Power Rangers
- Power Rangers in Space had begun to drift this way before the season ended. The Rangers spent more and more time in space fighting evil or trying to rescue Zordon, and the villains were slightly more fleshed out than usual, with the apparent main villain being the franchise's first case of Luke, I Am Your Father. Doesn't apply to its Japanese counterpart Denji Sentai Megaranger, which is set on Earth, with the Megaship just orbiting the planet.
- Power Rangers Lost Galaxy followed suit (unlike its Japanese counterpart, Seijuu Sentai Gingaman), depicting a human colony ship's season-long journey to a new world. Along the way the Rangers deal with Space Pirates, a ruthless Anti-Hero with a tragic past who ends up sacrificing himself, and the (temporary) death of one of their own.
- The Stargate-verse is a borderline example. Technically the center-of-operations is on a single planet (Earth in Stargate SG-1, the Atlantis base in Stargate Atlantis), but with the instant wormholes provided by the Stargate, the bases function like a spaceship or space station in a standard Space Opera, as far as most story purposes go. Both series also have the Big Universe, Big Empires, Big Heroes, and Big Villains elements in spades, and it gets bigger yet once Earth has a space fleet. However, many individual episodes, especially in early seasons, feel more like Planetary Romance. Stargate Universe, the second spin-off, is probably closer to a traditional Space Opera.
- Star Trek, perhaps the most famous example in television, with its grand tales of interstellar exploration, romance, intrigue, and war. Though there is (some) serious consideration of how technology and science would change society (not surprising, given that creator Gene Roddenberry originally envisioned using the setting to address social issues that could not have been dealt with in a normal drama back in the 60s). Coincidentally, there was in fact a Star Trek Opera performed on stage in New York.
- Uchu Sentai Kyuranger. Super Sentai often has heroes or villains from outer space but in general, it doesn't fit this trope thanks to being set mostly on Earth. Kyuranger, however, fits neatly into Space Opera. It's set in a future where the villain pretty much rules the entire galaxy. The heroes and heroines comprised of Human Aliens, a wolf-man alien, and robots. It's actually set in space as the protagonists travels the galaxy using their Cool Starship, which also functions as their headquarters, to defeat their enemies.
- The Amory Wars a metafictional Space Opera comprised of five Concept Albums by Coheed and Cambria.
- Ayreon is one of the most prolific examples of this and Genre-Busting Progressive Rock in one package. The most prominent examples include... pretty much everything. The notable exception is The Human Equation album, up until the very end.
- Iron Savior is this too. Their first five albums (and a EP) are almost entirely the story of the titular starship.
- Warp Riders, the third album by The Sword is a sci-fi fantasy epic about another eponymous starship.
- The long-running The Stars My Degradation, (a parody of the Alfred Bester classic SF novel The Stars My Destination), a cartoon strip that ran in the Sounds music paper in the 1970's-80's:
Dempster Dingbuster is my name, Sputwang is my nation;
The depths of space gob in my face,
The stars, my degradation.- It was drawn and written by a then-nearly-unknown Alan Moore. Examples may be seen here
- It was drawn and written by a then-nearly-unknown Alan Moore. Examples may be seen here
- BattleTech: the backstory and novels put the Soap back in Space Opera.
- The Cathedral setting in Big Eyes, Small Mouth is intended for this kind of adventure.
- Fading Suns
- The forgotten board game Imperium was used as a source for some of the Traveller universe. In it, a young and expansionist republic on earth, conquers a Vestigial Empire in space. There are a number of other Space Opera board wargames, but this one is notable for historical reasons.
- Rifts has the Three Galaxies setting, a Space Opera with the same blend of magic, technology, and plain weirdness as the main setting. As may be expected, it's way way down on the hardness scale, but it has pretty much all the elements of the Standard Sci Fi Setting.
- Rocket Age only covers our solar system but the epic themes and intrigues of space opera are definitely there. Just replace The Empire with actual Nazis.
- There was a RPG named Space Opera.
- Pacesetter's 1980s Star Ace RPG, in the spirit of ''Star Wars', but set in an original universe with fewer mystical undertones.
- The Star*Drive setting originally made for the Alternity system and later reused for d20 Modern.
- Paizo's second game, Starfinder is set in the same universe as Pathfinder but advanced thousands of years into the future, with technology and magic being equally ubiquitous among the solar system.
- Star Frontiers was TSR's attempt to do D&D in a space opera setting.
- Traveller was the first RPG set in the Space Opera genre, and set the standard for those that followed. It's in the harder end of Space Opera and a lot of work went into the Backstory including fairly realistic science and social science. Traveller is flexible enough that a wide variety of flavors of Space Opera can be played, since the setting is one designed for the telling of stories.
- Twilight Imperium may as well be the Trope Codifier for space opera board-games. Spice-dealing, trader lions, peaceful turtle-people who smoke weed, living flames put into mechanical bodies, snake-women who have psychic powers; the Twilight Imperium's got it all.
- Warhammer 40,000 is overloaded Up to Eleven with adventure, battles, intrigue, and fantasy (including Space Elves, Orks, and even Gods), all in a setting where mankind possesses a galaxy-spanning empire with planet-spanning cities and a population in the trillions. However it's also overloaded with about as much cynicism, grimness, and darkness as you can get (hence the common description "grimdark", for which its tagline is the Trope Namer).
- Coriolis The Third Horizon mashes up Space Opera with "Arabian Nights" Days and Middle Eastern mythology in general. This ranges from simple terminology (artificial intelligence are 'Jinn', for example), to culture (the titular station Coriolis is akin to the cities of the tales), to the concept of the Icons and Dark Between Stars taking its basics from Zoroastrianism (ie, Cosmology of good and evil) with touches from Islam, particularly an emphasis prayer. (Praying to the Icons is even a game mechanic.)
- Advent Rising: You play as the Sole Survivor of a human world that has been destroyed by aliens. Another alien race takes pity on him and helps him develop his latent psychic potential to basically become a demigod and take the fight back to those other aliens who destroyed his homerworld, getting involved in epic space battles all throughout.
- Asura's Wrath has some of this. It's mixed with South Asian Mythology.
- Colony Wars
- Crisis of the Confederation, a Game Mod based on Crusader Kings II, retains the original game's focus on dramatic character actions and interactions and transplants it to an outer-space setting.
- Bungie's Destiny is a fairly direct example, set in a distant, fantastical future where intrepid Guardians wielding the power of "The Traveler" seek to reclaim humanity's lost empire from "The Darkness". The creators themselves described the setting as
"mythic science fiction" and a "mix of science fiction and fantasy", with the game being something of a throwback to the idealistic High Fantasy roots of the genre.
- FTL: Faster Than Light is a Rogue Like spaceship simulation game set in a Space Opera-like setting.
- Galaxy Angel gameverse
- GTA Anderius
a.k.a Alien City. A very wacky total conversion of San Andreas, although only available in Russian.
- The Halo series is a blend of this and more conventional Military Science Fiction, with the games mostly set on the exotic and ancient artificial worlds created by the Forerunners, whose own technological feats border on the outright fantastical. Additionally, the franchise as a whole has shown plenty of the intrigue, mystery, and adventure to be had in a multi-species setting spanning the Orion Arm and beyond, filled with Lost Technology and complete with a galaxy-threatening Eldritch Abomination.
- Infinite Space is the story of a young man who leaves his backwater planet to sail the Sea of Stars. Along the way, he fights Space Pirates, overthrows dictators, and gets pulled into galactic-scale politics and several wars. He winds up saving the universe from higher-dimensional beings who planned to break the whole thing down for spare parts to build a new universe.
- League of Legends has a noncanon, but official Alternate Universe-based skin line called "Odyssey", which transplants several popular champions into a colorful yet epic Guardians of the Galaxy-type opera, surrounding the galactic pursuit of the mysterious substance named "ora". More specifically, it follows the ragtag crew of the Morning Star and their journey to save the universe from the mad Ordinal Kayn and Rhaast.
- The Mass Effect series could be seen as putting the Opera back into Space Operas, with lavish and often dreamy environments, exotic cultures, and tales of great personal tragedy. At the same time, it ranks suprisingly high on the Scale Of Science Fiction Hardness, is quite serious in tone, and takes place in the relatively near future (2180s to be precise). Like many other newer Space Operas, it also has Lovecraft Lite elements thanks to the series' main antagonists, the Reapers.
- The Metroid series, although this slides more towards After the End Planetary Romance in the context of individual games. Played straight with Metroid Prime: Hunters and Metroid Prime 3: Corruption, as they are the only games in the franchise that internally take place on multiple planets, and the latter shows a bigger interaction with the Galactic Federation.
- Phantasy Star combines space opera with a healthy dose of fantasy elements. The original Master System/Genesis tetrology fit the category to a T, in particular, but Phantasy Star Universe and Phantasy Star Online 2 also qualify.
- Ratchet & Clank, a space opera with a hefty dose of Looney Tunes thrown in.
- Sentinel Worlds I: Future Magic can be seen as a spiritual predecessor to Mass Effect: you play as a Badass Crew of a Cool Starship sent to a remote star system to deal with enigmatic space raiders who keep attacking civilian freighters. Along the way, you may get into space dogfights, explore strange planets in an all-terrain vehicle, and blast away enemies on-foot with lasers and other futuristic guns.
- Starcom: Nexus involves a tiny (but modular) ship encountering a Negative Space Wedgie which transports it to the extremely distant past, where it must help prevent a rogue AI from wiping out all non-human species in the galaxy.
- The Star Control series started off with a rather bare-bones Space Opera premise - a great war between two groups of alien species - that served only as a backstory for what was essentially a simple arcade game. The sequel took this premise much further, exploring both the history and the aftermath of the war in great detail, and charging the player with liberating the entire human race and its allies from slavery, while also saving the rest of the galaxy from mass genocide. The backstory as presented in-game spans several dozen millennia, and the game itself takes place across an entire quadrant of the Milky Way galaxy.
- The Star Ocean series, when you aren't exploring underdeveloped planets.
- Stellaris aesthetically, and tends towards this generally, though the procedurally generated galaxy and/or player intervention for better or worse can make it more utopian or more grimdark.
- Sunless Skies is an unorthodox example that mixes Space Opera with Gaslamp Fantasy. An immortal Queen Victoria reigns from the city of London, transplanted into space after murdering a sun-god. Steam-powered spacecraft of the Royal Navy wage war against plucky colonists determined to win their independence from the New British Empire. The most popular local form of Applied Phlebotinum is time itself in material form, mined from asteroids and refined in massive Workworlds.
- Sunrider ticks most of the boxes. The plot involves the crew of a single ship trying to liberate their home planet from a galaxy-conquering tyrant, and getting embroiled in a war between two interstellar superpowers in the process. The main hero is the dashing captain of the aforementioned starship. Theres action, romance, robots, Lost Technology from a bygone era, Space Pirates, and plenty of space battles. The only thing missing is the presence of intelligent aliens.
- The Wing Commander franchise, which was conceived by its creator Chris Roberts as being "World War II in space". It also has elements of Top Gun as well (with main character Christopher Blair's [canon] callsign "Maverick" being a direct shout out).
- Chris Roberts' current project, the MMO game Star Citizen is also an example. Furthermore, it has been conceived as a persistent online universe that's constantly evolving. In addition, there's also its single player campaign "Squadron 42", described as a Spiritual Successor to the above mentioned Wing Commander franchise.
- This
story arc in The Inexplicable Adventures of Bob! is explicitly identified as a Space Opera, complete with spaceship battles, love dodecahedra, space politics, Starfish Aliens, giant monsters, space dragons, a Card-Carrying Villain, and the requisite beautiful princess.
- Legostar Galactica, which is essentially a satire of Space Opera.
- Leaving the Cradle tries to bring typical space opera closer to realistic hard science fiction.
- Darths & Droids consists entirely of screenshots from Star Wars with new dialogue (and to a large extent story). You better believe it's space opera.
- Artemis Neo
- Caelum Lex
- The Endless Night
- The Last Angel
- Mahu's "Second Chance" narrative let's play.
- Nat One Productions has the Denazra story-line, where the protagonists are members of an interstellar Marshall service tasked with catching intergalactic political refugees and criminals. Then the titular machines show up...
- Orion's Arm, a transhumanist Space Opera.
- Brighthammer 40000 An Inverse of Warhammer 40,000, but with carefully-made lore.
- Space Pirate Captain MacTaggart, a humorous Funny Animal take on the genre, with the title character, the Epic Hero, a female sword-wielding raccoon.
- SPARK Of Tyranny is a Space Opera with an Anti-Hero Captain and his Ragtag Bunch of Misfits, struggling against the behind the scenes machinations of the Kilon Federation, which has created a Vichy Earth.
- Tails From The Federation: A collection of titles set in the overall Color World Universe, featuring a World of Funny Animals:
- Adventures of the Galaxy Rangers
- Atomic Betty is heavily inspired by this genre.
- Ben 10 falls into this sometimes.
- Buzz Lightyear of Star Command
- Captain Simian and the Space Monkeys
- Duck Dodgers
- Exo Squad
- Final Space
- Futurama is an Affectionate Parody of this genre as well as plenty of other science fiction tropes and settings.
- Green Lantern: The Animated Series
- Jayce and the Wheeled Warriors
- The french cartoon Once Upon a Time... Space (Il était une fois... l'Espace)
- The page image comes from a skit in Robot Chicken which makes Star Trek II: The Wrath of Khan into an actual opera sung in Italian.
- Roughnecks: Starship Troopers Chronicles
- Silverhawks
- Although Space Ghost is more of a superhero show set in space, it's as close to this trope as it gets for Hanna-Barbera.
- Space Stars (where Space Ghost later appears) is even closer.
- Starchaser: The Legend of Orin
- Voltron: Legendary Defender
- Wander over Yonder is a very tongue in cheek take on the genre.
- Wing Commander Academy
- Yogi Bear once ventured into this territory (sort of) in Yogi's Space Race; especially applies to Galaxy Goof-Ups note