My short story “The Stepford App” is in the final issue of Mad Scientist Journal. Fans of Driving Ambition might want to know that, although it’s a stand-alone piece about the perils of looking for love in an age of AI, it’s also a prequel which explains Liz’s allusion to her former job as a chatbot. Buy a print or e-book at the link.
As we’ve seen extensively, one of the crucial issues in space opera is how to differentiate characters, and ideally give the audience some understanding of who they are and what their role is, in a quick and easy way that can help casual viewers tuning in to the series, while not alienating or boring regulars.
However, another crucial issue is that space operas require characters to visit different planets on a near-weekly basis. Which presents a twofold problem: first, how to make a landscape look convincingly alien on a budget– and, second, how to disguise the fact that the same location usually has to stand in for several planets?
(as an aside, I’d like to stamp very thoroughly on the idea that this is the result of space operas being done on the cheap. This is a problem that affects all space operas, from the genuinely low-budget Blake’s 7 through to original series Battlestar Galactica, at the time the single most expensive TV programme ever made. Because it doesn’t matter if you have the resources of a small multinational corporation, that budget still has limits– and, even if your budget was completley unlimited, physical and logistical considerations also mean your choice of locations is not infinite).
One easy, cheap and effective way of doing this is through lens filters. A simple filming or post-production effect can make a normal Earth landscape look alien, as in Battlestar Galactica‘s War of the Gods:
This particular effect clearly led to problems, as in the same story vis-FX shots including laser beams and the revelation of Count Iblis’ demonic forms were incompatible with it and had to be shot in conventional colours. Nonetheless, for the audience, the planet has been established as alien.
Blake’s 7, on more of a budget, used a red lens filter instead in Time Squad to make the planet look more alien and less Southeast England, without the troublesome vis-FX problem (sometimes simpler is best):
Which is rendered even more effective by the social and emotional connotations of the colour red, giving the adventure a sense of urgency and danger. Similarly, in Cygnus Alpha, the titular planet’s superstitious theocracy is highlighted early on by having the exteriors set in darkness:
Colour and filtering can also be used to drive the audiences’ emotions regarding the setting more subtly. For instance in the New Caprica story arc of reimagined Battlestar Galactica, the lighting and post-production teams indicate the sense of frustration, monotony and despair associated with the colony and its later occupation by giving it a grey, rainy tone throughout:
But, in the episode Unfinished Business, as characters remember happier days on New Caprica, the planet is seen in unexpectedly brilliant sunshine, reflecting how it can look with the rose-tinted glasses on:
Finally, the Eye of Jupiter story arc shows us how lens filters and visual effects can be used to achieve multiple ends at once. The use of lens filters, first, disguises the fact that the team are filming in Kamloops (handy for Vancouver and nicely rugged) yet again, and sets up a harsh, bleak, washed-out emotional tone reflecting the characters’ increasingly frayed relationships as well as their feelings about the planet:
And, when the revelation in the temple is about to unfold, visual effects can change the sky and the landscape to something more suitably terrifying and apocalyptic:
Next time: A shift back to costuming, and how to get historical referencing right… and hilariously wrong.
Welcome back to The Colour Out of Space Opera, a serial essay on colour symbolism, structuralism, and their uses in space opera television series (links to parts one, two, three and four for those of you just joining us).
This instalment: Blake’s 7. Like original Star Wars, and both series of Battlestar Galactica, there’s a clear nature/culture divide. Because it’s 1978, we get organic, warm nature on the side of our protagonists (they’re not exactly heroic), with their partly-living ship and green-clad leader:
And cool, technological culture is on the side of our antagonists, with a minimalist aesthetic straight out of Gary Numan’s stage performances:
In Season Four, our heroes take on a more technical/cultural aesthetic (more on why next episode) but it’s worth noting that they still keep touches of nature symbolism, for instance the lush houseplants around Xenon Base:
What Blake’s 7 also does, though, is something else you see colour doing in space operas. Take a look at this picture from Forbidden Planet, and see if you can tell, based on it, anything at all about the characters’ individual jobs:
Apart from the man at third from left, who’s clearly the cook (and also, just as clearly, going to be the comedy figure), nothing. You can’t tell at a glance who’s the doctor, who’s the captain, who’s the engineer, whatever. Which is problematic enough in Forbidden Planet, where your audience only has to keep everyone straight for ninety minutes, but it’s likely to be absolute murder for a television space opera, where casual and intermittent viewers will be tuning in all the time, and to keep them from tuning out again just as quickly, you need an easy way of differentiating characters and jobs. But you also can’t make it obvious and laboured, or you’ll alienate your regular viewers. Hence:
With the addition of a simple colour palette, it’s plain just from looking at the picture that we’ve got three groups of people, differentiated somehow, but probably by function. After a few minutes of watching, viewers should be able to have a rough idea of what the classifications are (blue is science/medicine; yellow for command and navigation; red for engineering and getting shot at by aliens). Regular viewers, though, aren’t being constantly whacked over the head with the distinctions. Much better.
Blake’s 7 used this sort of device to differentiate its human characters according to the functions and emotions we associate with different colours. Take a look at Season One’s space-anorak getups: dark green for our Space Robin Hood, Blake; paler green for telepathic nature-girl Cally; brown for earthy strongman Gan; pink for femme-fatale Jenna; blue for computer-expert sociopath Avon (not pictured: Vila, the comedy thief, in orange):
Later, when June Hudson takes over, she eschews the colour-palette symbolism, but does much the same sort of thing using clothing styles. Spot the Robin Hood, the femme fatale, the strongman, the telepath, the comedy thief, and the sociopath:
Finally, in the Season Three surrealist tour-de-force Sarcophagus, the characters’ alignment with their archetypes (musician, magician, priestess, warrior and death-bringer) is again symbolised through their colours:
Blake’s 7 does something else with colour and costume, though, which we’ll look more closely at next episode.
As well as presenting a paper at Worldcon last month, I also got to present one at the Royal Geographic Society’s annual conference, on Doctor Who’s serial “The Mutants” and its take on postcolonialism– a rare instance of a 1970s serial being post- rather than anti- colonial.
I’ve uploaded the draft paper to Academia.edu as usual; I couldn’t really record it this time, so there’s no accompanying video, sorry.
Catching up on events since I’ve been away– this is a sneak preview of the title page for “Jolene”, a story of self-driving cars, murder and country music, which will be appearing in Interzone 283, available from all good booksellers from September.