How do you do piracy… in SPACE!?

Interstellar space travel in Iridium Moons was always going to be a form of hyperspace jump like in Star Wars or Traveller. Simply because it’s the one form of faster than light travel that only requires the addition of hyperspace and can leave everything else about real physics untouched. But I also like the idea of ships being undetectable, untraceable, and unreachable by anyone.

But this form of space travel does raise one significant issue for typical Space Opera settings. How do pirates attack ships?

If there is no way to intercept ships in hyperspace, the only time they can be attacked is either on the ground, in which case it wouldn’t really be space piracy, or during takeoff and landing. Which means any pirates would already have to be waiting in orbit or sitting on the planet’s surface to take off right behind the ship they are after. And I think any spaceport that sees significant traffic would have some ability to track orbital traffic and provide a minimum degree of security.

In Traveller, there is a mechanic that ships can only use their hyperspace drive while maintaining a distance from any other objects that is at least 100 times the object’s diameter. Which sounds a lot, but for the Earth that’s 1.3 million kilometers. The closest distance to Venus is 26 times, and Mars 42 times further away than that. So there’s still no way for for pirate ships waiting on another planet in the system to catch up before even the slowest cargo ship is gone.

I don’t really care too much about specific made up numbers, but I do really care that at least the general logic of major setting elements is plausible within its own parameters and stays consistent over time. And if you don’t establish early on the basic rules of what is or isn’t possible, you end up with situations like Star Trek and even later Star Was works, where completely new mechanics are introduced at a whim without considering that their existence would have completely changed earlier events. It’s bad enough in passive storytelling media, but so much more worse in games where players can “why can’t I do this now when I saw it working earlier?”. And since I really want to have space pirates, and they have become quite important to some of the conflicts I have developed for the Foross Cluster, figuring out how pirates attack ships when freighters have hyperspace drives and spaceports have security is something that’s been on my mind for the last half year.

And I have finally found a solution that fits my narrative needs and allows for nerdy technobabble math that checks out.

In Traveller, a ship can only use its jump drive if it has a minimum distance from any other object of at least 100 times its radius. For Iridium Moons, the rule is that the jump drive can only move a ship through hyperspace if it has enough power to overcome the gravitational force between the ship and any other object. While the gravitational force on an object increases linearly with its mass, the way by which the strength of the force decreases over distance is exponential. Among ships with the same engine power, a ship that is 10 times heavier would need to gain 100 times the distance from a planet or star to use its hyperspace drive. One could of course outfit the heavier ship with an engine that has 10 times as much power, but cargo shipping is all about keeping costs down as much as possible, and going slower is always cheaper. While one could strap 200 corvette engines on a superfreighter to let it get into hyperspace as quickly as a corvette, nobody is going to do that because it’s not economically viable.

Using this logic, every planet has around it a large zone where small ships build for speed can use their hyperspace drives, but large ships build for cost efficiency can’t. And that’s how pirates can attack cargo ships in Iridium Moons.

One interesting consequence is that pirates would favor having numerous small ships that can jump very close to planets, instead of a single big ship. And in turn, system security forces would also use these smaller rapid response ships to come to the aid of cargo ships under pirate attack. Frigates and gunships become the default kind of warships and pirate vessels. Big cruisers with massive guns would still have a place in such an environment, but they would be used to attack targets that are heavily armed and can’t run away. Like space stations, planetary bases, and spaceports. If the defenders only have corvettes and frigates to defend with, a single cruiser can easily tear through them with little threat to itself.

And that’s something you barely ever see anywhere in sci-fi and space fantasy. Starwars has its swarms of little starfighters, and I think they are also in Battlestar Galactica, but other than those space battles usually seem to take place between a few big cruisers and battleships. The intermediate scale seems to be largely forgotten. Star Wars does of course have corvettes and frigates, but they seem to appear only as background cannon fodder while the starfighters and cruisers do all the real work. It’s also a scale that does lend itself very well to games. Lots of Space Operas have the classic Hero Ship with a crew of 4 to 10 people, but these seem to be mostly unique in the battles they engage in. By having players mostly engage with ships on a similar scale, you can have cool one on one fights rather than having to deal with half a dozen starfighters at once. And on a single enemy, its much more worthwhile to deal with gradual damage that impacts ship performance rather than blowing up after one or two hits.

I think this is a really interesting approach to space combat that has a lot of potential for doing new things.

More Star Wars/Traveller ship scale

Today’s contribution to I Made It So I Might As Well Share It. Might be interesting or useful to someone else as well.

A selection of some of the most iconic Star Wars ships at the same scale, with their respective volume in Traveller tons. (Traveller calls a volume of 14m³ a ton for interesting but annoying reasons. It’s the unit for designing space ship interior deck plans.)

Click to embiggen.

As the eagle-eyed have already spotted, this image does not include Star Destroyers as they would reduce anything else to small smudges of grey pixels. But I did calculate their volume, and the classic Imperial class Star Destroyer would be 5,000,000 tons, and the much less ludicrously scaled Victory class 900,000 tons. On the end of the scale, both the YT-1300 Millennium Falcon and the Airbus A320 passenger plane are about 40 tons. (Much to small to have a hyperspace jump drive in Traveller.)

The rapid increase in volume compared to only slight differences in exterior size may seem off, but that’s a simple optical illusion by the brain just not being any good at comprehending the relationship of length to volume. Cones in particular look like they should be similar in volume to a cylinder with the same base and length, but is only a third of that. And the Strike is much more of a cylinder compared to the Dreadnought being almost rectangular with rounded corners. And the Saturn-V rocket has 85% of its volume in the thickest section that makes up two thirds of it’s length. That’s how you can easily fit three of them into the considerably shorter but more than double as wide GR-75 freighter.

Not even a Review: Elite Dangerous

Haven’t reviewed anything for a while. This will barely qualify as a review because I don’t feel like putting a lot of work and efffort into it.

Just like the developers of Elite Dangerous.

This is a game in which you have a startship that you can upgrade with better modules to increase its stats, and you can fly to millions of stars where you can dock at space stations to pick up cargo to drop off at other space stations, collect rocks from asteroids to drop off at space stations, or get into fights with endless numbers of space pirates. Transporting cargo is no challenge, mining asteroids is slow and tedious, and ships handle very poorly in battle.

About 2 hours into the game, I was getting the impression that I’ve seen everything the game has to offer, just copy pasted and randomized over millions of star systems. Some 30 hours later, I now think that early impression was right. Yes, there are various kinds of things that you “can do”, but none of them are fun. And all you get is money to buy ships with better base stats and upgrade that provide better stat boosts. This lets you carry more cargo between stations to make more money, and I guess will make mining and combat less tedious, but then what? I’m a huge fan of Subnautica and Kenshi, two games without real plot or quests, where all you do is to go to new areas to find construction plans and materials to build new equipment. But in those games, new areas are different kinds of environments where you can find new things that create new interactions. In Elite Dangerous, every system is basically the same. In those good games, new equipment allows you to do new things. In Elite Dangerous, they only make the game less tedious.

I’m only some 30 hours into a game that some people have played for thousands, so I’ve not seen all of it. But that’s another crime of the game. It does nothing to indicate that there is anything more to reach later. Nothing that suggests the 500th hour will be different than the 5th. And it’s really bad at explaining its mechanics. You need to look up how some things work, and often people in forums say something to the effect of “yeah, the in-game text is wrong”.

Elite Dangerous is a game where I would say it’s quite an achievement if it was made by four friends in the their spare time over three years. But as an MMO? This is awful. It has average ratings slightly below 80%, but I think that is overrated. 80% generally means “good”. This game isn’t. User scores of 65% seem more appropriate. Because that includes thousands of people who actually love it. I don’t. I would give it a rating of “poor”. There’s just nothing about the game that is fun.

Oh, and also the setting is the most bland sci-fi world imaginable. I don’t think you could make a setting more generic and flavorless if you tried.

The Default Space Opera Setting

Over the weekend I was reading the Coriolis rulebook for the first time, and while making my way through it, I was frequently thinking “This reminds of Stars Without Number” and “This reminds me of Scum and Villainy“. (The first edition of Coriolis does in fact predate the SWN and Blades in the Dark systems.) I also noticed while reading the setting section of the book, that it really reminds me of the settings of SWN and SaV. I started working on my own space opera setting with the assumptions of both SWN and SaV in mind, so I can easily run a campaign with either system and will only have to pick one when the campaign is actually going to start. And I quickly noticed that Coriolis will also work perfectly fine with all my ideas, since it also uses pretty similar assumptions about the setting of a campaign.

In addition to all of that, I’ve been told on several occasions that my own setting sounds a lot like Traveller by people most familiar with that game. This made me realize that contrary to the common belief that sci-fi RPGs are less popular because there are no default assumptions for the game world to easily explain to players what they can expect, there actually is at least one such default setting very prominent in RPGs.

  • Humans only, or many alien species which are all nearly human with only one or two exceptions.
  • A single dominant galactic hegemonial power.
  • Governed by a ruling caste, often explicitly called nobles.
  • And also a few incredibly powerful guilds or corporations.
  • A past technological dark age.
  • Interstellar travel through hyperspace jumps (either gates or drives).
  • World War 2 style space navies.
  • A feared army of hegemonial super-soldiers (by reputation, not performance)
  • Swords.
  • Space pirates and smugglers.
  • Telepathic, telekinetic, and prescient powers.
  • Protagonists own a space ship for a crew of 3 to 8.

Not sure how many settings there are that check all these boxes, but it’s hard to deny that there is some kind of clearly recognizable pattern here.

Inwas first tninking of Star Wars as the source for this cluster of archetypes, but I think actually most of them even go back to Dune. RPGs which I think fit this mold are Traveller, Fading Suns, Coriolis, Stars Without Number, and Scum and VillainyFirefly also gets regularly mentioned as a source of inspirations for campaigns in these games, but I don’t know that one personally. The Mass Effect series also sits close to this cluster, but it also takes lots of influences from the StarCraft/FreeSpace/Halo style of videogame sci-fi. I think maybe even Destiny could fit in checking a lot of the boxes, but that one might be more of a fringe case than the others.

Space Opera

While I was talking with people about my Hyperspace Opera setting, at some point there came the inevitable comment that the name doesn’t fit because it’s not actually space opera. This always happens when you mention a genre in the context of anything you work on. It’s only a working title anyway, but out of morbid curiosity I went to look up descriptions of space opera across the internet a few days later. (And of course, it is totally space opera.)

Like all genre titles, some people use it extremely loosly, to the point of calling everythig that has space ships in it space opera. That mostly happens with journalists who put together a “30 best space operas of the last decade” list. People who actually talk about the genre itself tend to get much narrower, but being a genre don’t really reduce it down to any hard and fast rules that have any wider consensus.

In the end, space opera is something that is more defined by a feel or an aesthetic than by specific plot or setting elements. Which is of course much harder to nail down, but when looking into and comparing various descriptions of what space opera is, there are some clearly recognizable patterns.

When it comes to something feeling like space opera, there are only a few really necessary elements, whithout which a story becomes something else. In my perception, a space opera needs at least three different planets that are home to three different cultures or at least very different living conditions. If you have just Earth-Humans interacting with the aliens of one other planet, the resulting dynamics change very significantly. The story automatically becomes about this one interaction or relationship.

But the true essence of what creates the feel of space opera is the sense of a vastness of space, that is home to many things never seen or even considered possible on Earth, and which no single person can ever all explore in one lifetime. The setting in space opera has no known limits. You can always keep exploring and will always discover new strange things. Another critical element is that this sense is percieved as something positive. A space opera setting is one of endless wonders, not one of endless horrors. Space opera is full of things people want to see, not things they wish were never discovered. This is also what distinguishes it from strictly military science fiction. Those stories are about war and defeating the enemy, with no time to marvel at the wonders of the universe.

Ultimately, space opera is an expression of Romanticism (in Space!), rather than modernism. It’s an inherently fantastical genre, rather than an exploration of what could be possible, like how science fiction is commonly percieved. Space opera is about the wonder of impossible things, which really makes it more a child of fantasy than sci-fi. The technology of space flight and other marvels is an integral part of the aesthetic of space opera, but it is rarely important to the plot.

With those criteria in mind, I’ve been going through all the works .i am reasonably familiar with that one could argue as being space operas, and where I would put them.

Clearly Space Opera
  • Babylon 5
  • Dune
  • Homeworld
  • Mass Effect
  • Star Trek (60s)
  • Star Wars
Maybe Space Opera
  • Cowboy Bebop
  • Star Trek (80s and 90s)
  • StarCraft
  • The Fifth Element
Not Space Opera
  • Alien
  • Dead Space
  • Halo
  • Riddick Series
  • Stargate
  • The Expanse

Esekar Sector Map

Blue – Trade Ports
Yellow – Mining Planets
Green – Colony Worlds
Red – Fuel Stations

While it is still somewhat of a tossup between Scum and Villainy and Stars Without Number for the first Hyperspace Opera campaign, I am really liking the SWN sector map system and the worldbuilding implications that come from the limited ranges of Hyperspace drives.

The basic engines for any starship have a range of 1 hex, which takes 6 days to cover. The range and speed can be increased by upgrading the hyperdrive and installing additional fuel tanks, but aside from the costs it also takes up additional space and power that is no longer available for cargo space, weapons, and other upgrades. Since bulk cargo shipping is all about minimizing costs and speed is generally not a factor as long as the shipments arrive at a regular schedule, medium and heavy freighters are typically equipped with the cheapest hyperdrives possible. However, a range of only 1 hex rarely gets you anywhere, and a single extra fuel tank is much cheaper than an upgraded hyperdrive. As such, the standard for freighters is a range of 2 hexes, which take a transit time of 12 days.

The map shows all the possible routes for ships with a range of 2 hexes that allow them to refuel for the return trip. The systems not on the routes require at least a range of 4 hexes, which can be done with a Grade-2 hyperdrive and a single fuel tank. Such a ship is also capable of skipping any specific single systems along the freighter routes and avoid having to stop there for refueling. It also doubles the speed compared to commercial freighters, making it possible to overtake them in hyperspace and wait for them at their destination. And a Grade-3 hyperdrive that tripples the speed and range becomes a real game changer. A great thing to have the players spend all their hard earned money on and make them collect a lot of favors to get their hands on one.

A nice situation that emerged from this map is the connections between the mining planet Kamara and the two trade ports in Lupai and Ukon. Kamara is the main stronghold of the aspiring independent miners cooperative that is trying to free the miners from the control of the merchants on Lupai and Ordos. With a fuel station between Kamara and Ukon, the miners could transport their minerals to Ukon with really cheap old freighters with a range of only 1 hex, which are otherwise pretty much useless for anything else in the sector. However, that fuel station is in a location that would have very few other customers, except those who are deliberately trying to avoid having to stop at Lupai or Ukon. That completely forgettable fuel station could actually become a pretty important location for various adventures.