Planetary romance, or sword & planet as it was also called in the 60s, is—arguably—the original subgenre of science fiction. The trail was blazed in terms of what planetary romance was by the John Carter of Mars series by Edgar Rice Burroughs. In the original "pulp era" there were a number of successful series here; ERB also wrote a Carson Napier of Venus series, for instance, and later one that took place on the Moon. Otis Adelbert Kline wrote a number of series taking place on the Moon, one on Venus and one on Mars. Other writers dabbled here too, but those are the ones that seem most remembered from the original run. Curiously, probably the best known of these types of stories comes from another medium; when King Features Syndicates wanted to do a John Carter comic strip, they weren't able to get the rights, so they just "pastiched" it; wrote one of their own that is in the exact same genre and features similar scenes a faire. This is Flash Gordon.
You'll also notice that the genre fades imperceptibly into traditional space opera. John Carter is transferred to Mars by some kind of mystic process that is never explained. In the Kline Mars and Venus stories, there's some handwavy pseudo-science about telepathic transference of consciousness, or some such. But Carson Napier and Flash Gordon (and later other characters in ERB's Mars books) travel by normal space ship to an exotic planet. They usually then get stuck there, and adventure on the planet, rather than zipping around in space ships between planets—which seems to be the only significant difference between this genre and early space opera, such as the Leigh Brackett or C. L. Moore stories featuring Eric John Stark and Northwest Smith, respectively. There are a lot of other forgotten authors who wrote in this genre; in fact, Brackett and Moore (and early Ray Bradbury) famously were among the frequent contributors to Planet Stories; a pulp magazine that ran from 1939 to 1955 and which specialized in this kind of early space opera that was only a tiny bit removed from planetary romance.
After old fashioned space opera had itself started fading, curiously planetary romance came back into style for a while, and people like Lin Carter and others wrote planetary romance stories in the 60s, immediately preceding George Lucas' own Star Wars early drafts. By this time, the genre was often called sword & planet, but it was deliberately—even almost slavishly—imitative of the earlier wave.
Anyway, while I was running around doing one of the grind chores for tauntaun mounts in SWTOR last night, while my character was traveling across the landscape of Hoth on a speeder to get to the various tauntaun nests and feed fruits to the taunlings in hopes of luring a tauntaun parent to the nest—which isn't a disagreeable task, but which is a bit time-consuming and repetitive—I was considering one of the funniest aspects of Star Wars; the single environment planet. Tatooine is the desert planet, Endor is the forest planet, Hoth is the snow planet, Dagobah is the swamp planet, Alderaan is the mountain planet, Coruscant is the city planet... and so on and so forth. Of course, Star Wars wouldn't really be all that different if instead of being based on early space opera it was based on planetary romance. What if instead of planets, those environments were just regions on a single planet? What if instead of space ships, they had speeders. Han Solo could still have been a smuggler hotshot pilot if the Millennium Falcon was an airship instead of a spaceship. The Death Star could have been a gigantic floating fortress, like a supersized helicarrier from the Winter Soldier movie instead of a space station. There could still have been dogfights and a trench run to destroy it, without them having to go into space.
Now, going into space allows for more varied, exotic and strange landscapes. Or, at least, you can have weird things like the gigantic red disk of Yavin in the sky, and the asteroid dogfight between Jango Fett and Obiwan is unlikely to play out well on a single planet. But other than a few scenes, which could be easily reworked if needs be, Star Wars is really not much different as a planetary romance than as a space opera.
Although, I will own to the fact that it would seem odd for there to be all kinds of weird aliens all over the place on a single planet. But planetary romance is certainly famous for having exotic races of humans with blue skin or red skin or green skin or whatever. Barsoom has the thoroughly alien "green men" of Mars, the mostly human red men of Mars, the white-guys yet bald Holy Therns, the jet-black alien First Born, the lemon-yellow polar men, and of course, there are lost valleys, cities and whatnot with all kinds of weird aliens scattered here and there. It starts to get silly after a while. But Star Wars only throws a handful of aliens in important roles; most of the aliens are just background color. As I'm fond of pointing out, Star Wars as a menagerie of weird aliens is an artifact of later Star Wars; the original Star Wars (the entire original trilogy) is largely the story of people in space. Not just any people, but people who are recognizably normal Americans and British people, in fact. In SWTOR, most of the aliens are just funny colored people, with some contact lenses and a few minor make-up attachments, that an amateur could come up with using supplies from your local Halloween store. Like my most recent alien SWTOR characters, for example.
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| Kinda emo-looking space biker red-skinned dude |
I don't know if it really makes any difference if Star Wars is space opera or planetary romance other than the bigger potential scope of space opera kind of captures the imagination. However, in terms of actual execution, that bigger potential scope is hardly ever actually used. Like I said, the entire Star Wars original trilogy could easily take place on a single planet, or even in a single large country the size of the US. The same is (mostly) true of the prequel trilogy with the exception of the asteroid, as mentioned above. The same is pretty much true of the sequel trilogy too, I think—not that anyone cares one way or another about that. And the same is true of the Mandalorian. The Book of Boba Fett not only could take place on a single planet, but it actually does. (So far. With the caveat that I haven't seen yesterday's episode yet.) This opens up some interesting possibilities when it comes to treating these stories slightly differently, and giving them a more grounded, down-to-earth (literally, in this case) feel that space opera doesn't always have.
Anyway, just some musing while I've been going about a relatively relaxed set of crafting and selling and gathering and stuff; all less stressful and low-key stuff that I've been spending a fair bit of my SWTOR time engaged in lately. (I've also been attempting to level up my reputation on a few factions. And next week, I'll need to be at least a little bit engaged in gathering rakghoul cannisters so I can spend them on new crystals.) Other than that, I'll be slowly creating my new characters over the next couple of weeks or so, for my recordings, but I'll also be slowly moving them forward. Including a replacement Jedi Sentinel that will replace the terrible quality videos that I have for Taul Kajak. Ugh. I'm frustrated that that didn't work out very well, and it sucks to have to do it again. But there's worse things.
As an aside, I'm considering switching two of my characters' races. I think maybe a Darth Maul style zabrak as a Jedi Knight and an Imperial Agent as a Mirialan might sound more compelling than the other way around. In fact, I'm thinking of not only making him look like Darth Maul, but dressing like a Sith Lord and using red lightsabers. I think it'd be a little amusing to have a visual Sith playing as a Jedi.
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