Space opera

Space opera is a subgenre of science fiction that emphasizes space warfare, melodramatic adventure, interplanetary battles, chivalric romance, and risk-taking. Set mainly or entirely in outer space, it usually involves conflict between opponents possessing advanced abilities, futuristic weapons, and other sophisticated technology. The term has no relation to music, but is instead a play on the terms "soap opera" and "horse opera",[1] the latter of which was coined during the 1930s to indicate clichéd and formulaic Western movies. Space operas emerged in the 1930s and continue to be produced in literature, film, comics, television and video games.

An early film which was based on space opera comic strips[2] was Flash Gordon (1936) created by Alex Raymond. In the late 1970s, the Star Wars franchise (1977–present) created by George Lucas brought a great deal of attention to the subgenre.[3] After the convention-breaking "New Wave", followed by the enormous success of the Star Wars films, space opera became once again a critically acceptable subgenre. Throughout 1982–2002, the Hugo Award for best science fiction novel was often given to a space opera nominee.[4]

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Cover of sci-fi magazine Imagination, June 1956

Definitions

GalaxyOct50rearcover
Back cover of Galaxy #1, October 1950

Space opera is defined as an adventure science-fiction story.[5]

The term "space opera" was coined in 1941 by fan writer and author Wilson Tucker as a pejorative term in an article in issue 36 of Le Zombie, a science fiction fanzine.[6] At the time, serial radio dramas in the United States had become popularly known as soap operas because many were sponsored by soap manufacturers.[7] The term "horse opera" had also come into use to describe formulaic Western films. Tucker defined space opera as the science fiction equivalent: a "hacky, grinding, stinking, outworn, spaceship yarn".[8] Fans and critics have noted that the plots of space operas have sometimes been taken from horse operas and simply translated into an outer space environment, as famously parodied on the back cover of the first issue of Galaxy Science Fiction. During the late 1920s and early 1930s, when the stories were printed in science-fiction magazines, the stories were often referred to as "super-science epics".[9]

Beginning in the 1960s, and widely accepted by the 1970s, the space opera was redefined, following Brian Aldiss' definition in Space Opera (1974) as – as paraphrased by Hartwell and Cramer – "the good old stuff".[4]:10–18 Yet soon after his redefinition, it began to be challenged, for example, by the editorial practice and marketing of Judy-Lynn del Rey and in the reviews of her husband and colleague Lester del Rey.[4]:10–18 In particular, they disputed the claims that space operas were obsolete, and Del Rey Books labeled reissues of earlier work of Leigh Brackett as space opera.[4]:10–18 By the early 1980s, space operas were again redefined, and the label was attached to major popular culture works such as Star Wars.[4]:10–18 Only in the early 1990s did the term space opera began to be recognized as a legitimate genre of science fiction.[4]:10–18 Hartwell and Cramer define space opera as:

[...] colorful, dramatic, large-scale science fiction adventure, competently and sometimes beautifully written, usually focused on a sympathetic, heroic central character and plot action, and usually set in the relatively distant future, and in space or on other worlds, characteristically optimistic in tone. It often deals with war, piracy, military virtues, and very large-scale action, large stakes.[4]:10–18

History

Early works which preceded the subgenre contained many elements of what would become space opera. They are today referred to as proto-space opera.[10] Early proto-space opera was written by several 19th century French authors, for example, Les Posthumes (1802) by Nicolas-Edme Rétif,[11] Star ou Psi de Cassiopée: Histoire Merveilleuse de l’un des Mondes de l’Espace (1854) by C. I. Defontenay and Lumen (1872) by Camille Flammarion. Not widely popular, proto-space operas were nevertheless occasionally written during the late Victorian and Edwardian science-fiction era. Examples may be found in the works of Percy Greg, Garrett P. Serviss, George Griffith, and Robert Cromie.[12]:147–148 One critic cites Robert William Cole's The Struggle for Empire: A Story of the Year 2236 as the first space opera.[12]:147 The novel depicts an interstellar conflict between solar men of Earth and a fierce humanoid race headquartered on Sirius. However, the idea for the novel arises out of a nationalistic genre of fiction popular from 1880 to 1914 called future-war fiction.[13]

Despite this seemingly early beginning, it was not until the late 1920s that the space opera proper began to appear regularly in pulp magazines such as Amazing Stories.[4]:10–18[10] In film, the genre probably began with the 1918 Danish film, Himmelskibet.[14] Unlike earlier stories of space adventure, which either related the invasion of Earth by extraterrestrials, or concentrated on the invention of a space vehicle by a genius inventor, pure space opera simply took space travel for granted (usually by setting the story in the far future), skipped the preliminaries, and launched straight into tales of derring-do among the stars. Early stories of this type include J. Schlossel's "Invaders from Outside" (Weird Tales, January 1925),[12] The Second Swarm (Amazing Stories Quarterly, spring 1928) and The Star Stealers (Weird Tales, February 1929), Ray Cummings' Tarrano the Conqueror (1925), and Edmond Hamilton's Across Space (1926) and Crashing Suns (Weird Tales, August–September 1928).[10] Similar stories by other writers followed through 1929 and 1930. By 1931, the space opera was well established as a major subgenre of science fiction.

However, the author cited most often as the true father of the genre is E. E. "Doc" Smith. His first published work, The Skylark of Space (Amazing Stories, August–October 1928), written in collaboration with Lee Hawkins Garby, is often called the first great space opera.[10] It merges the traditional tale of a scientist inventing a space-drive with planetary romance in the style of Edgar Rice Burroughs.[4]:10–18 Smith's later Lensman series and the works of Edmond Hamilton, John W. Campbell, and Jack Williamson in the 1930s and 1940s were popular with readers and much imitated by other writers. By the early 1940s, the repetitiousness and extravagance of some of these stories led to objections from some fans and the return of the term in its original and pejorative sense.

Eventually, though, a fondness for the best examples of the genre led to a re-evaluation of the term and a resurrection of the subgenre's traditions. Writers such as Poul Anderson and Gordon R. Dickson had kept the large-scale space adventure form alive through the 1950s, followed by writers like M. John Harrison and C. J. Cherryh in the 1970s. By this time, "space opera" was for many readers no longer a term of insult but a simple description of a particular kind of science fiction adventure story.[4]:10–18

According to author Paul J. McAuley, a number of mostly British writers began to reinvent space opera in the 1970s[15] (although most non-British critics tend to dispute the British claim to dominance in the new space opera arena).[4]:10–18 Significant events in this process include the publication of M. John Harrison's The Centauri Device in 1975 and a "call to arms" editorial by David Pringle and Colin Greenland in the Summer 1984 issue of Interzone;[15] and the financial success of Star Wars, which follows some traditional space opera conventions.[4]:10–18 This "new space opera", which evolved around the same time cyberpunk emerged and was influenced by it, is darker, moves away from the "triumph of mankind" template of older space opera, involves newer technologies, and has stronger characterization than the space opera of old.[15] While it does retain the interstellar scale and scope of traditional space opera, it can also be scientifically rigorous.[15]

The new space opera was a reaction against the old.[16] New space opera proponents claim that the genre centers on character development, fine writing, high literary standards, verisimilitude, and a moral exploration of contemporary social issues.[16] McAuley and Michael Levy[16] identify Iain M. Banks, Stephen Baxter, M. John Harrison, Alastair Reynolds, McAuley himself,[15] Ken MacLeod, Peter F. Hamilton, and Justina Robson as the most-notable practitioners of the new space opera[15]. One of the most notable publishers Baen Books specialises in space opera and military science fiction[17], publishing many of the aforementioned authors, who have won Hugo Awards.

Definitions by contrast, concurrence and comparisons

Space operas and planetary romances feature adventures in exotic, mostly extra-terrestrial settings.

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Planet stories 195205A

Some critics distinguish between space opera and planetary romance.[18] Both feature adventures in exotic settings, but space opera emphasizes space travel, while planetary romances focus on alien worlds. In this view, the Martian, Venusian, and lunar-setting stories of Edgar Rice Burroughs would be planetary romances (and among the earliest), as would be Leigh Brackett's Burroughs-influenced Eric John Stark stories.

Space opera can be contrasted with "hard science fiction", in which the emphasis is on the effects of technological progress and inventions, and where the settings are carefully worked out to obey the laws of physics, cosmology, mathematics, and biology. Examples are seen in the works of Alastair Reynolds or the movie The Last Starfighter. At other times, space opera can concur with hard science fiction and differ from soft science fiction by instead focusing on scientific accuracy such as The Risen Empire by Scott Westerfeld. Other space opera works may be defined as a balance between both or simultaneously hard and soft science fiction such as the Dune prequel series by Kevin J. Anderson and Brian Herbert or the Star Wars series created by George Lucas.[19]

Several subsets of space opera overlap with military science fiction, concentrating on large-scale space battles with futuristic weapons. In such stories, the military tone and weapon system technology may be taken very seriously. At one extreme, the genre is used to speculate about future wars involving space travel, or the effects of such a war on humans; at the other, it consists of the use of military fiction plots with superficial science-fiction trappings. The term "military space opera" is occasionally used to denote this subgenre, as used for example by critic Sylvia Kelso when describing Lois McMaster Bujold's Vorkosigan Saga.[4]:251

Parodies

Space opera parodies are often themselves examples of space opera.

Fredric Brown's What Mad Universe has as its protagonist a sober-headed science fiction magazine editor who suddenly finds himself transported to an alternative history timeline where all the space opera elements (a larger-than-life space hero fighting evil aliens who are totally bent on humanity's destruction, etc.) are concrete, daily life realities.

Harry Harrison's Bill, the Galactic Hero parodies the conventions of classic space opera,[20] as does his Star Smashers of the Galaxy Rangers, and his short story, Space Rats of the CCC - the Combat Camel Corps.

Jack Vance's Space Opera has an opera company go on tour into space.

The comedy film Spaceballs, directed and co-written by Mel Brooks, is a science fiction parody with many space opera characteristics. The anime Space Dandy by Studio Bones often parodies other science fiction works and the space opera subgenre.

See also

References

Notes

  1. ^ Pringle, David (2000). Space and Beyond: The Frontier Theme in Science Fiction. Greenwood. p. 36. ISBN 978-0313308468.
  2. ^ Nelson, Murry R. (2013). American Sports: A History of Icons, Idols, and Ideas. Greenwood. p. 310. ISBN 978-0313397523.
  3. ^ Child, Ben (2017-02-20). "A modern space opera: has Star Wars escaped the George Lucas worldview?". The Guardian. Retrieved 2017-03-24.
  4. ^ a b c d e f g h i j k l m Hartwell, David G. & Cramer, Kathryn (2006). The Space Opera Renaissance (1st ed.). New York: Tor. ISBN 0765306174.
  5. ^ "Space-opera". Dictionary.com. Retrieved 2016-01-20.
  6. ^ Stokes, Keith. "Issue 36 of Le Zombie - page 9". Midamericon.org. Retrieved 2017-03-24.
  7. ^ Turner, Graeme; Cunningham, Stuart (2000). The Australian TV Book. St. Leonards, New South Wales: Allen & Unwin. p. 200. ISBN 1741153727.
  8. ^ Langford, David (2005). The Sex Column and Other Misprints. Wildside Press. pp. 167–168. ISBN 9781930997783. Retrieved 24 March 2017.
  9. ^ Westfahl, Gary (2000). Space and Beyond: The Frontier Theme in Science Fiction (1st ed.). Westport, Connecticut: Greenwood Press. pp. 36-. ISBN 9780313308468. Retrieved 24 March 2017.
  10. ^ a b c d Dozois, Gardner & Strahan, Jonathan (2007). The New Space Opera (1st ed.). New York: Eos. p. 2. ISBN 9780060846756.
  11. ^ Latham, Rob (23 February 2017). Science Fiction Criticism: An Anthology of Essential Writings. New York: Bloomsbury Publishing. p. 133. ISBN 9781474248624. Retrieved 30 June 2017.
  12. ^ a b c Bleiler, Everett F. & Bleiler, Richard J. (1990). Science-fiction, the Early Years: A Full Description of More Than 3,000 Science-fiction Stories from Earliest Times to the Appearance of the Genre Magazines in 1930: with Author, Title, and Motif Indexes. Kent, Ohio: Kent State University Press. ISBN 0873384164.
  13. ^ Clarke, I. F. (November 1997). "Future-War Fiction: The First Main Phase, 1871-1900". Science Fiction Studies. 24 (74). Retrieved 28 November 2017.
  14. ^ Hardy, Phil (1995). The Overlook Film Encyclopedia (3rd ed.). Woodstock, New York: Overlook Press. p. 56. ISBN 0879516267.
  15. ^ a b c d e f McAuley, Paul. "Junk Yard Universes". Paul McAuley. Wayback Machine. Archived from the original on April 7, 2014. Retrieved November 28, 2017.
  16. ^ a b c Levy, Michael (June 2008). "Cyberpunk Versus the New Space Opera". Voice of Youth Advocates. 31 (2): 132–133.
  17. ^ Walker, Daniel (August 29, 2014) "Space Opera strikes up again for a new era " The Guardian
  18. ^ "SF Citations for OED". Jessesword.com. 2008-07-06. Archived from the original on 2008-01-08. Retrieved 2017-03-24.
  19. ^ Ryan Britt (2013-02-28). "How Timothy Zahn's Heir to the Empire Turned Star Wars into Science Fiction". Tor.com. Archived from the original on 2015-06-16. Retrieved 2017-03-24.
  20. ^ Lilley, Ernest (August 2003). "Review". SFRevu. Retrieved 2009-02-28.

Further reading

  • Langford, Dave. (1996) "Fun With Senseless Violence" in The Silence of the Langford. NESFA Press. ISBN 0-915368-62-5.
  • Sawyer, Andy (2009) "Space Opera" in The Routledge Companion to Science Fiction. Taylor & Francis. pp. 505–509. ISBN 0-415-45378-X

External links

Ancillary Justice

Ancillary Justice is a science fiction novel by the American writer Ann Leckie, published in 2013. It is Leckie's debut novel and the first in her "Imperial Radch" space opera trilogy, followed by Ancillary Sword (2014) and Ancillary Mercy (2015). The novel follows Breq, the sole survivor of a starship destroyed by treachery and the vessel of that ship's artificial consciousness, as she seeks revenge against the ruler of her civilization.

Ancillary Justice received critical praise, won the Hugo Award, Nebula Award, BSFA Award, Arthur C. Clarke Award and Locus Award, and was nominated for several other science fiction awards. The cover art is by John Harris.

Another novel, Provenance (2017) and two short stories, "Night's Slow Poison" and "She Commands Me and I Obey", by the author are set in the same fictional universe.

Annihilation (comics)

"Annihilation" is a 2006 crossover storyline published by Marvel Comics, highlighting several outer space-related characters in the Marvel Universe. The central miniseries was written by Keith Giffen, with editor Andy Schmidt.

Babylon 5 Roleplaying Game

The Babylon 5 Roleplaying Game is a role-playing game published by Mongoose Publishing in 2003.

Consider Phlebas

Consider Phlebas, first published in 1987, is a space opera novel by Scottish writer Iain M. Banks. Written after a 1984 draft, it is the first to feature the Culture.

The novel revolves around the Idiran–Culture War, and Banks plays on that theme by presenting various microcosms of that conflict. Its protagonist Bora Horza Gobuchul is an enemy of the Culture.

Consider Phlebas is Banks's first published science fiction novel and takes its title from a line in T. S. Eliot's poem The Waste Land. A subsequent Culture novel, Look to Windward (2000), whose title comes from the previous line of the same poem, can be considered a loose follow-up.

Crest of the Stars

Crest of the Stars (Japanese: 星界の紋章, Hepburn: Seikai no Monshō) is a three-volume space opera science fiction novel written by Hiroyuki Morioka with cover illustrations by Toshihiro Ono. This was followed by a second, ongoing novel series, Banner of the Stars (currently six volumes, a.k.a. Seikai no Senki) and a series of books collecting short stories set in the same universe known as Fragments of the Stars (星界の断章, Seikai no Danshō). Beginning in 1999, the novels were adapted into an anime series, the first of which ran for 13 episodes on WOWOW. A recap movie, Crest of the Stars Special Edition, was also released in 2000.

Jupiter Ascending

Jupiter Ascending is a 2015 space opera film written, produced and directed by The Wachowskis. Starring Channing Tatum, Mila Kunis, Sean Bean, and Eddie Redmayne, the film is centered on Jupiter Jones (Kunis), an ordinary cleaning woman, and Caine Wise (Tatum), an interplanetary warrior who informs Jones that her destiny extends beyond Earth. Supporting cast member Douglas Booth has described the film's fictional universe as a cross between The Matrix and Star Wars, while Kunis identified indulgence and consumerism as its underlying themes.The film was co-produced by Grant Hill, making Jupiter Ascending his seventh collaboration with the Wachowskis as producer or executive producer. Several more longstanding Wachowski collaborators since the creation of The Matrix films have contributed to the picture, including production designer Hugh Bateup, visual effects supervisor Dan Glass, visual effects designer John Gaeta, supervising sound editor Dane Davis and costume designer Kym Barrett. Other notable past collaborators include Speed Racer composer Michael Giacchino, Cloud Atlas director of photography John Toll along with its editor Alexander Berner and hair and make-up designer Jeremy Woodhead, who worked on both.

The film received generally negative reception upon release, with most criticism focused on incoherence in the screenplay, the characterization and an over-reliance on special effects. Some critics praised the visuals, originality, world-building and Giacchino's musical score. However, the film received positive response from a niche of female science fiction fans who appreciated the film's campiness and deviation from typical gender stereotypes in a genre that is traditionally male-centered.

Legend of the Galactic Heroes

Legend of the Galactic Heroes (銀河英雄伝説, Ginga Eiyū Densetsu), referred to as Heldensagen vom Kosmosinsel (incorrect German, translating to "heroic tales of the cosmic island") in the opening credits and sometimes abbreviated as LOTGH (銀英伝, Gin'eiden), is a series of science fiction novels written by Yoshiki Tanaka. In humanity's distant future, two interstellar states – the monarchic Galactic Empire and the democratic Free Planets Alliance – are embroiled in a never-ending war. The story focuses on the exploits of rivals Reinhard von Lohengramm and Yang Wen-li as they rise to power and fame in the Galactic Empire and the Free Planets Alliance respectively.

An anime adaptation of the novels, produced by Kitty Films and animated for the most part by Artland and Magic Bus, ran from 1988 to 1997. There is also a manga based on the novels, with art by Katsumi Michihara. In addition, there are several video game adaptations with the most recent release in 2008 being a real-time strategy game. The series did not receive an official English release until 2015, when North American anime and manga distributor Viz Media announced they had acquired the license to the novels. On the same day, North American anime licensor Sentai Filmworks announced their license to the anime and the anime was later released on Hidive starting in June 20, 2017.

Military science fiction

Military science fiction is a subgenre of science fiction that features the use of science fiction technology, mainly weapons, for military purposes and usually principal characters that are members of a military organization involved in military activity; occurring sometimes in outer space or on a different planet or planets. It exists in literature, comics, film, and video games.

A detailed description of the conflict, the tactics and weapons used for it, and the role of a military service and the individual members of that military organization forms the basis for a typical work of military science fiction. The stories often use features of actual past or current Earth conflicts, with countries being replaced by planets or galaxies of similar characteristics, battleships replaced by space battleships and certain events changed so that the author can extrapolate what might have occurred.

Realm of Kings

"Realm of Kings" is a crossover comic book storyline published in 2010 by Marvel Comics. Written by Dan Abnett and Andy Lanning, it is a follow-up to the 2009 storyline "War of Kings" and introduced the setting known as the Cancerverse.

Revelation Space

Revelation Space is a 2000 science fiction novel by Welsh author Alastair Reynolds. It was the first novel (but not published work of fiction) set in Reynolds' eponymous universe. The novel reflects Reynolds's professional background: he has a PhD in astronomy and worked for many years for the European Space Agency.It was short listed for the 2000 BSFA and Arthur C. Clarke Awards.

Science fantasy

Science fantasy is a mixed genre within the umbrella of speculative fiction which simultaneously draws upon and/or combines tropes and elements from both science fiction and fantasy. In a science fiction story, the world is scientifically possible, while a science fantasy world contains elements which violate the scientific laws of the real world. Nevertheless the world of science fantasy is logical and often is supplied with science-like explanations of these violations.During the Golden Age of Science Fiction, the fanciful science fantasy stories were seen in sharp contrast to the terse, scientifically plausible material that came to dominate mainstream science fiction typified by the magazine Astounding Stories. Although at this time, science fantasy stories were often relegated to the status of children's entertainment, their freedom of imagination and romance proved to be an early major influence on the "New Wave" writers of the 1960s, who became exasperated by the limitations of "hard" SF.Eric R. Williams lists the following "microgenres" which can belong to science fantasy: Discovery, Dying Earth, ET Relations, Mad Scientist, Space Opera, Sword and Planet. Carl D. Malmgren classifies science fantasy by the type of the violation of science and distinguishes the following main types: the time-loop motif, the alternate-present world, the counterscientific world, and the hybridized world.

Space Opera (novel)

Space Opera is a novel by the American science fiction author Jack Vance, first published in 1965 (New York: Pyramid Books).

This is a ‘stand-alone’ work, not part of any of Vance's numerous novel sequences. The term "space opera" is typically used in science fiction literature to connote interstellar adventures, clashes of spacefleets and galactic empires. Vance’s novel is instead about an opera company touring in outer space.

Space opera in Scientology

Church of Scientology founder L. Ron Hubbard included space opera narratives in his writings, wherein thetans (the name given to human souls) were reincarnated periodically over quadrillions of years, retaining memories of prior lives, to which Hubbard attributed complex narratives about life throughout the universe. The most controversial of these myths is the story of Xenu, to whom Hubbard attributed responsibility for many of the world's problems.

Some space opera doctrines of Scientology are only provided by the church to experienced members, who church leaders maintain are the only ones able to correctly understand them. Several former members of the church have exposed these secret documents, leading to lengthy court battles with the church, which failed to keep the secret. Critics of the church have noted that some of the narratives are scientifically impossible, and have thus assailed the church as untrustworthy for teaching them. The space opera teachings have also been satirized in popular culture. Scholars of religion have described the space opera narratives as a creation myth designed to encourage reverence of Hubbard as a supreme messenger. Several academics have drawn attention to the similarity of the space opera myths to themes of the 1950s Cold War culture in which they were constructed.

Steam Powered Giraffe

Steam Powered Giraffe (SPG) is an American steampunk musical comedy project formed in San Diego in 2008, self-described as "a musical act that combines robot pantomime, puppetry, ballet, comedy, projections, and music". Created and led by twins David Michael Bennett and Isabella "Bunny" Bennett, the act combines music and improvisational comedy on-stage, although their studio works focus almost solely on music.Steam Powered Giraffe has its own fictional universe and mythology, with the band members portraying characters both on stage and on record; its universe has notably been explored via several comic books mainly written and drawn by Isabella. Although SPG underwent several line-up changes, it always focuses primarily on three robot characters (played by the Bennett siblings and a third performer, although the original line-up featured four robots), with several "humans" assisting and performing comedy, music, and/or dancing on stage, and several smaller robots being performed via puppetry and/or voice acting. To date, they have released five studio albums, two live albums and one live DVD, and also provided the soundtrack for the 2015 video game SteamWorld Heist.

The Empire Strikes Back (novel)

The Empire Strikes Back is a science fiction novel written by Donald F. Glut and first published on April 12, 1980 by Del Rey. It is based on the script of the film of the same name. Along with the film, it introduces new characters, most notably Lando Calrissian and Boba Fett (though Fett had been seen in the earlier low-canon Star Wars Holiday Special).

Glut's novelization was originally released in two forms; a standard edition and a special Young Readers' Edition that was condensed into 150 pages. Initial printings of both versions contained 8 pages of color photographs in the middle of the book.

The Irresponsible Captain Tylor

The Irresponsible Captain Tylor (無責任艦長タイラー, Musekinin Kanchō Tairā) is an anime series based on The Most Irresponsible Man in Space (宇宙一の無責任男, Uchū Ichi no Musekinin Otoko) light novel series by Hitoshi Yoshioka. It was produced by some of Japan's larger studios, including Big West, Tatsunoko Production, King Records and VAP.

Tylor consists of a 26-episodes TV series directed by Kōichi Mashimo, and a sequel OVA series of 10 episodes directed by Mashimo and Naoyuki Yoshinaga. The TV show premiered in Japan on TV Tokyo between January 25, 1993 and July 19, 1993, and was broadcast across Latin America by the television network, Magic Kids. Both series were broadcast across the United States by AZN Television. Tylor is distributed across North America by The Right Stuf International.

It is usually classified as humorous space opera.Enterbrain published a 3-volume manga miniseries in 2001.

A new short anime series, titled Musekinin Galaxy Tylor (無責任ギャラクシー☆タイラー, Musekinin Gyarakushī☆Tairā) and produced by Seven, aired from July 11 to September 26, 2017.

The Thanos Imperative

The Thanos Imperative is a 6-issue comic book limited series published in 2010 by Marvel Comics. It was written by Dan Abnett and Andy Lanning, and was bookbended by two one-shot comics, Ignition and Devastation. The story focuses on the cosmic, or space-based, heroes of the Marvel Universe, who band together to combat the imminent threat of the Fault, a rift in space-time formed at the end of "War of Kings"; and the Cancerverse that lies beyond it, a universe where death itself is extinct.

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