INTRODUCTION:

WHAT’S GOING ON OUT THERE?

Neil Clarke

When I think back on my life as a science fiction fan, there are various moments that I cherish. One of those occurred at age eleven in 1977, when my dad took us to see Star Wars. By then, I had had a long history with Lost in Space, Godzilla movies, and the occasional episode of Star Trek, but this was something different. We left the theater stunned and amazed. While walking to our car that night, my dad pointed to the sky and made some comment about what could be going on out there. I don’t recall the words, but that sentiment has always stuck with me.

Since then, through film and television, the galactic empire has further reached beyond the science fiction community and into our broader culture. Star Wars wasn’t the first, mind you, but it has become a touchstone across several generations. For many people, the mere mention of “empire” conjures “The Imperial March” and visions of Darth Vader. That inimitable franchise’s propaganda wing has kept that particular link alive and kicking ever since. However, one arguable side effect of the success of Star Wars was the resurrection of Star Trek as a series of movies starting in the late seventies. The Federation also saw a return to television through several spin-off series that introduced new civilizations and, unlike Star Wars, an empire portrayed as a force of good. Today, we have a modernized reboot of the original series in theaters and a promised return to television next year.

Galactic empires also play a significant role in shows like Stargate, Doctor Who, Farscape, and several others. However, the one that had the greatest impact on me was Babylon 5. While I enjoyed the rest, writer and producer J. Michael Straczynski approached B5 differently. He believed that while science fiction literature had matured, its representation on TV had become stuck in the past: bad science; clear-cut good vs. evil; simplistic plots; and stories that wrapped up all too neatly, often without impact on future episodes. Straczynski’s modern galactic empire story was complex, mysterious, gritty, and fun. It was a series of novels for TV and I was hooked for its entire five-year run.

Additionally, you can’t look back at the recent history of the entertainment industry without noting the rise of the video game. There’s a rich history of the galactic empire theme in this medium, but in the last fifteen years, it’s become a force to be reckoned with. Perhaps one of the most successful of these is the Halo series, which launched in 2001. Focused primarily on the character Master Chief, the mechanized armored protagonist battles an array of enemies set against the backdrop of the remains of the Forerunner empire. Big dumb objects, fancy toys, and memorable characters have made Halo the much-emulated king of the hill. Not only popular on gaming consoles, it has spun off best-selling novels, graphic novels, a wide array of merchandise, and videos.

Another notable game series is Mass Effect. Much like Babylon 5, the game has an overall arc spread out over three installments. Featuring a complete and well-conceived story, the tale is set in a galaxy controlled by several empires that must inevitably come together to avoid extinction. For many, it sets the bar for character development, plot, and storytelling in video games. The decisions the player makes as Commander Shepard, the main protagonist, have direct consequences on the trajectory of the game’s story, leading to multiple possible endings. Like Halo, Mass Effect has also crossed over into a number of successful novels and comics.

All that said, the galactic empire has had a much longer life in written form. By age twelve, I had discovered science fiction novels and stories and it would soon become an outlet for the seed my dad planted that day. What is going on out there? I turned to my local library and discovered Asimov’s Foundation trilogy, Frank Herbert’s Dune, and later, Brian Aldiss’ two-volume anthology, Galactic Empires. For that time, this was probably the best possible introduction I could have had. Brian’s anthologies introduced me to new authors and variations on the theme that I could spend years exploring. That journey took me through the works of E. E. “Doc” Smith, A. E. van Vogt, Clifford Simak, and many more.

As I grew older, my interests broadened, but I remained fascinated. I still encountered the occasional empire story, but my options were limited. It wasn’t until I started meeting like-minded individuals in college that I started to pay closer attention to what was going on elsewhere in the world. Over time, it became clear that the really interesting works featuring galactic empires were coming from the UK. If your tastes lay a bit more to the modern side of things, it can be argued that Iain M. Banks was one of the most influential contributors to the galactic empire in recent times. Starting in 1987, Banks revitalized the empire theme with his much-beloved Culture stories and novels until his death from cancer in 2013. His work opened doors for even more innovation and experimentation across the field. In the extensive reading I did for this anthology, I could certainly feel the ripples of his influence even in works quite different from his.

Despite this loss, the current state of the galactic empire is strong and healthy in the hands of many, including Alastair Reynolds, Ann Leckie, Lois McMaster Bujold, Ian McDonald, and others. They are the ones influencing the future in all media through their writing, and even as direct participants in the development process of movies, books, comics, and television programs. And so the empire continues to be one of the most visible motifs in science fiction today and, if anything, we’re experiencing a small period of expansion as its popularity across all media peaks. The stories in this anthology represent some of the best and the brightest from the empire as it exists in this century. So cue the music . . . and long live the galactic empire!

Neil Clarke

June, 2016