Buck Rogers

Post-apocalyptic hero

First appearance: Syndicated newspaper strip, 1929.

Buck Rogers is present-day pilot who gets Rip Van Winkle'd into the 25th Century, where he finds a post-apocalyptic Earth where the last few civilised hidden cities wage war against barbaric enemies. Later stories have Buck venturing into exotic locations, including outer space.

I found scans of the original Buck Rogers comics online and I tried to read them, but I reached the limit of what even I'm prepared to do for space hero research. The art hasn't aged as well as Flash Gordon's, and they're also pretty racist. (Flash Gordon's villain was a Chinese-coded alien, but Buck Rogers was literally fighting evil Chinese people.)

The 1939 movie serial is somewhat better, and replaces the evil Chinese people with “super-racketeers” of indeterminate race, led by a dictator called Killer Kane. Most of the plot involves Buck Rogers and Killer Kane's agents travelling to Saturn to secure the support of its inhabitants in their struggle.

But of course the best-known version of Buck Rogers is the 1979-81 TV series, whose pilot episode replaces the “super-racketeers” with an encroaching space empire represented by Princess Ardala (Killer Kane is demoted to her sidekick). It's cheap-looking and the world-building barely makes sense, but it's a lot of fun, thanks mostly to the performances of Gil Gerard as Buck Rogers and Erin Gray as Wilma Deering.

Frustratingly, Princess Ardala comes close to being an interesting villain—a spoiled space princess trying to conquer a planet because Daddy has give it to her to play with, whose interactions with the hero give her the beginnings of a moral awakening—but the series doesn't give her enough screen time, and focuses so much on her being in love with Buck Rogers that she doesn't feel like a fully realised character in her own right. There's one nice scene in which she stares silently into a mirror and you can see her torn between her future as Evil Space Empress and her potentially redeeming love for Buck...but it's not enough.

Flash Gordon

The last great planetary romance

First appearance: Syndicated newspaper strip, 1934.

The Buck Rogers newspaper strip inspired various imitators, the most successful of which was Alex Raymond's Flash Gordon. The premise is similar: a person from the real world gets transported into a fantastic science fiction setting, in Flash's case via rocket ship rather than a time skip.

Flash Gordon is perhaps the last great example of the “planetary romance” genre, in which someone is transported to an exotic alien planet and has swashbuckling science fantasy adventures. Most of his adventures are confined to the medieval-with-rocket-ships planet Mongo, and Flash is as likely to fight monsters with a sword as with a ray gun.

The three movie serials (1936, 1938, 1940) adapt the comics fairly closely, and the 1980 movie is a lovely modernised pastiche of the 1930s serials' aesthetic. The current ongoing daily/Sunday strip by Dan Schkade is a great modern follow-up to the original comics.

The Lensmen

Space heroes as an institution

First appearance: Astounding Stories, 1937

Heroic adventure stories, in space or not, generally feature a superhumanly competent and morally upstanding individual hero. But what if the superiority of this individual wasn't just a literary conceit, but was recognised in-universe? Turns out it gets kind of fascist.

Beginning with Galactic Patrol (serialised 1937-8, published as a novel in 1950), E. E. 'Doc' Smith's Lensman series is based on the idea that some individuals are simply so brilliant and morally upstanding that they should be entrusted with psychic powers, fantastic weaponry, and nearly unlimited authority in deploying these things against organised space crime. And deploy them they do, not hesitating to use ridiculously over-the-top lethal force against space pirates, drug smugglers, and other villains.

But it turns out that all the space criminals are (sometimes unknowing) underlings of the utterly evil alien Eddorians, who may in fact be responsible for basically all bad stuff in the universe. (Could social problems ever be a cause of crime? No, it must be the influence of evil outsiders.) Opposing the Eddorians are the Arisians, benevolent aliens of incredible psychic power, who have been subtly influencing life throughout the galaxy to selectively breed the upstanding individuals who make up the Lensmen.

Anyway, our main hero, Kimball Kinnison, teams up with Lensmen from various weird alien species to defeat a series of evil organisations, each of which turns out to be a front for an even bigger, eviller organisation, until eventually they're in a galaxies-spanning war against the Eddorians themselves!

Setting aside the problematic moral assumptions, the books are a lot of fun. The ridiculously over-the-top pulp prose style, in particular, is something I'm trying to emulate in Foolish Earth Creatures. I mean look at this nonsense:

If you're thinking the Lensmen sound a lot like the Jedi, or that the breeding program to produce a psychic superman sounds like what's happening in Dune, or that the cosmic war between good and evil aliens sounds like what Babylon 5 was deconstructing, you'd be correct. The Lensman series casts a long shadow over the entire space opera genre.

Dan Dare

Post-war British space hero

First appearance: Eagle, 1950.

The post-war British answer to Flash Gordon and Buck Rogers, Dan Dare had adventures on exotic planets not because he was transported there accidentally, but because he's a space pilot so it's kind of his job. The planetary romance genre that was still visible in Flash Gordon has almost entirely vanished, and Dare's adventures are closer to straightforward science fiction, with technology that at least makes an effort at seeming plausible. Dan Dare almost never uses a sword.

Dan Dare is the most self-consciously moral of these stories, and its sense of morality is very different from that of the Lensman books, with an emphasis on not using violence unless absolutely necessary, and doing the right thing even though it's difficult. Kim Kinnison occasionally takes an enemy prisoner rather than killing them because it's a good strategic move, but Dan Dare will do it because it's the right thing to do.

Jeff Hawke

Space hero as diplomat

First appearance: Daily Express, 1954.

The success of Dan Dare triggered a wave of space hero characters in British comics, perhaps the most interesting of which is Jeff Hawke. He started out as a by-the-numbers Flash Gordon/Dan Dare knock-off, but gradually developed into more of a diplomat than an action hero, and starred in complicated, humourous, and sometimes satirical adventures involving some delightfully weird aliens. In fact a lot of the time Hawke's main role is to be the “straight man” to the weird bickering aliens who are the real stars.

The world of Jeff Hawke has Earth as newcomers in a galactic society of weird alien races. Several stories focus on the space police, but unlike the Lensmen they're bumbling, bureaucratic, and often incompetent.

One Jeff Hawke story does that joke (later done by The Hitchhikers' Guide to the Galaxy) where we see alien invaders approaching Earth but when they arrive they turn out to be tiny. But whereas Hitchhikers uses that as the punchline, the Jeff Hawke story keeps going for several more weeks as the tiny aliens continue their increasingly absurd plan to conquer the planet with their tiny ray guns.

Luke Skywalker

The Space Hero's Journey

First appearance: Star Wars, 1977.

The above examples are all from onging comic or book series that don't allow their heroes much room for character development. Flash Gordon and Buck Rogers get transported to their fantastic worlds, and Kim Kinnison starts by graduating from Lensman School, but pretty quickly they're doing space hero things and they don't change much as people after that.

George Lucas was inspired by these stories when he created Star Wars, but he took that kind of character and gave them a coming-of-age story that fairly closely follows the mythic structure of Joseph Campbell's Hero's Journey.

(The universality of the Hero's Journey is sometimes exaggerated, and there's debate about how useful a tool it is both for writing and story analysis—but if it's applicable to anything, it's Star Wars.)

The mythic properties of the story structure are accompanied by mystical elements of world-building. The Jedi have psychic powers not that different from those of the Lensmen, but whereas the Lensmen treat them scientifically, for the Jedi they're a mystical or religious art. The story's morality, similarly, is not just a struggle against worldly evil as represented by the Empire, but a supernatural battle between good and evil as represented by the two sides of the Force.

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There are more characters I could mention but I think I've spent enough time on this. Hopefully I'll be able to work on the game some more in July and will have something more to write in the next diary.

How will you, the player measure up to these heroes of 20th century science fiction? Don't miss July's developer diary!

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