- Planetary romance
Planetary romance is a type of
science fantasystory in which the bulk of the action consists of adventures on one or more exotic alien planets, characterized by distinctive physical and cultural backgrounds. Some planetary romances take place against the background of a future culture where travel between worlds by spaceship is commonplace; others, particularly the earliest examples of the genre, do not, and invoke flying carpets, astral projection, or other methods of getting between planets. In either case, it is the planetside adventures which are the focus of the story, not the mode of travel. [See [http://www.jessesword.com/sf/view/1843 Science Fiction Citations: Planetary Romance] ; and John Clute, "Planetary Romance", in "Encyclopedia of Science Fiction", ed. John Clute and Peter Nicholls, 1995, ISBN 0-312-13486-X.]
Prototypes and Characteristics
As the name of the genre suggests, the planetary romance is an extension of late 19th and early 20th century adventure novels and pulp romances to a planetary setting. The pulp romance (of writers like
H. Rider Haggardand Talbot Mundy) featured bold characters in exotic settings and "lost worlds" such as South America, Africa, the Middle or Far East; a variant type took place in real or fictional countries of ancient and medieval times, and eventually contributed to the modern fantasygenre.
In the planetary romance,
space operatransformations are applied to the pulp romance genre: the bold adventurer becomes a space traveller, often from Earth, which itself stands in for modern Europe and North America (understood as centers of technology and colonialism). Other planets (often, in the earlier history of the genre, Mars and Venus) replace Asia and Africa as exotic locales; while hostile tribes of aliens and their decadent monarchies substitute for Western stereotypes of "savage races" and "oriental despotisms". While the planetary romance has been used as a mode for expressing a very wide variety of political and philosophical thought, an enduring subject is the encounter of civilizations alien to each other, their difficulties in communicating, and the frequently disastrous results that follow.
Edgar Rice Burroughs and "Sword and Planet" stories
The first author to achieve a large market for this type of story was
Edgar Rice Burroughs, whose Barsoomseries' first installments appeared in the pulp All-Storyin 1911. Even if Burroughs' writing was not wholly original, it at least popularized the concept of pulp-style adventures on other planets. Burroughs' "Barsoom" (Mars) manifested a chaotic melange of cultural and technological styles, combining futuristic devices such as "radium pistols" and flying machines suspended by a mysterious levitating ray, with anachronistic Martian cavalry charges, a feudal system with emperors and princesses, much sword-fighting, and a credibility-stretching martial code that justifies it. Frank Herbert's Dune and George Lucas' Star Warsare direct inheritors of this tradition of welding the futuristic to the medieval. The content of the Barsoom stories is pure swashbuckle, being a series of imprisonments, gladiation, daring escapes, monster-killings, and duels with villains. Fantasy elements are minimal; other than telepathy, most instances of "magic" are dismissed or exposed as humbuggery.
Burroughs' stories spawned a large number of imitators. Some, like
Otis Adelbert Klinewere exploiting the new market that Burroughs had created; even Burroughs imitated himself in his Venus series, starting in 1934. After the genre had been out of fashion for a few decades, the 1960s saw a renewed interest in Burroughs and the production of nostalgic Burroughsian pasticheby authors like Lin Carterand Michael Moorcock. This consciously imitative genre, influenced also by such sword and sorceryauthors as Robert E. Howard, goes by the name of "Sword and Planet" fiction; it is an essentially static, " retro" genre, aiming at reproducing more of the same type of story, with slender variations on a set formula. Perhaps for this reason, many "Sword and Planet" authors have written staggeringly long series sequences, the extreme example being Kenneth Bulmer's "Dray Prescot" saga, composed of fifty-three novels.
Planetary Romance and Science Fiction
The publication of pulp
science fictionmagazines starting in 1926 (and becoming especially prolific in the 1930s) created a new market for planetary romances, and had a strong effect on later incarnations of the genre. Some pulps, such as Planet Storiesand Startling Stories, were primarily dedicated to publishing planetary romances, while existing fantasy pulps like Weird Talesbegan to publish science fiction romances next to their usual horror and sword and sorcery fare. One of the most outstanding writers in this vein was C. L. Moore, the author of the " Northwest Smith" stories (1933-1947), featuring a rugged spaceman who finds himself continually entangled with quasi-sorcerous alien powers. There is very little swashbuckling adventure in Moore's stories, which focus instead on psychological stresses, especially the fear and fascination of the unknown, which appears in Moore as both dangerous and erotic.
In the 1940s and 1950s, one of the most significant contributors to the planetary romance genre was
Leigh Brackett, whose stories combined complex, roguish (sometimes criminal) heroes, high adventure, the occasional love story, richly detailed physical settings with a depth and weight unusual for the pulps, and a style that bridged space opera and fantasy. Brackett was a regular contributor to "Planet" and " Thrilling Wonder Stories", for which she produced an interlocking series of tales set in the same universe, but -- with the exception of the Eric John Starkstories -- with wholly different protagonists. Brackett's stories are primarily adventure fiction, but also contain reflections on the themes of cultural and corporate imperialism and colonialism.
There is an instructive comparison between "The Enchantress of Venus," one of Brackett's Stark stories, and
A. E. van Vogt's "Empire of the Atom". Both take as their starting point the plot and situation of " I, Claudius" by Robert Graves. Van Vogt follows the plot somewhat more closely, concentrating his invention on the background of his empire while emphasizing the hero's vulnerability. Brackett introduces an Earthman who is struck by the romantic allure of the women involved in these intrigues. While both stories are space operas, only Brackett's is a planetary romance.
From the mid-1960s on, the traditional type of planetary romance set in the
Solar Systemfell out of favor; as technological advances revealed most local worlds to be hostile to life, new planetary stories have usually been set on Extrasolar planets, generally through the assumption of some form of faster-than-lighttravel.
The planetary romance has become a significant component of current science fiction, though -- possibly due to the term being perceived as a pejorative -- few writers use the term self-descriptively. Given the cross-pollination between planetary romance and space opera, many stories are difficult to classify as being wholly one or the other.
Frank Herbert's "Dune" series, particularly the earlier books which are largely set on the desert planet of Arrakis, has all the characteristics of planetary romance (and some of "sword and planet" fiction), though they are used in support of Herbert's meditations on philosophy, ecology, and the politics of power.
Marion Zimmer Bradley's Darkovernovels can also be classified as planetary romance, since the focus remains firmly on the planet Darkover, though the galactic setting is never entirely limited to background. Similarly, L. Sprague de Camp's "Krishna" series of rationalized planetary romances are a subseries of his space opera " Viagens Interplanetarias" series. Ursula K. Le Guin's earliest works, such as " Rocannon's World" and " Planet of Exile" are recognizably planetary romances; arguably most of her Hainish Cyclecan be classified as such, though in later works fantasy elements are submerged, and social and anthropological themes come to the fore.
Examples of planetary romance worlds and works
In written fiction
Arrakis(in the Dune series) by Frank Herbert
Barsoom(Mars) and Amtor (Venus) by Edgar Rice Burroughs
* Kregen by
* Pern by
Darkoverby Marion Zimmer Bradley
Gorby John Norman
Majipoorby Robert Silverberg
Riverworldand " The Green Odyssey" by Philip José Farmer
* Tormance in
A Voyage to Arcturusby David Lindsay
* Much of the SF work of
Jack Vance: the " Big Planet" duo, the " Alastor" trio, the " Durdane" tetralogy, the " Cadwal Chronicles" trilogy, the "Tschai" or " Planet of Adventure" tetralogy, most of the "Magnus Ridolph" stories, the Demon Princespentalogy, and various stand-alone novels such as "Maske: Thaery" and short stories such as "The Moon Moth".
*The "Space Trilogy", by C.S.Lewis.
World of Two Moons/Abode - Elfquest
In film and television
* G889 of Earth 2
Planets in science fiction
Soft science fiction
Sword and planet
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