Tag: kilrathi

Wing Commander: Privateer A Review

Hello all and welcome to another installment in my video game review series! Today, I will be tackling an old (and I mean really old) favorite, a special installment in the Wing Commander series known as Privateer. Falling in between Wing Commander II, one of the best selling space combat simulators of all time, and WCIII, this game was a diversion for the series in that it dealt with the dark underside of the WC universe. Rather than delving into the Kilrathi War, which was central to the series, this game addressed the lifestyle of merchants, mercenaries and pirates.

And that’s what makes this game so cool. In fact, each game in the series had its own particular appeal, choosing to do things a little differently than the last. In the first, you flew missions and were promoted in rank and to new squadrons based on your performance. Over time, your success was mirrored in the course of the war and the theaters of operation you were sent to. In game two, much the same was true, except that you did not move in rank and the entire game was story-driven rather than based on your personal progress.

This time around, players were entirely independent, flying missions for private contractors or government payees, building up their savings, and using that money to buy new ships, new weapons, and new equipment. There was a story within the game, but you could either follow that or play entirely on your own. Naturally, the best approach was to combine both elements, playing freelance until you had a descent arsenal, and then taking on the storyline missions. And once it was all over, you had the feeling that a pretty damn good gaming experience had just occurred.

Plot Synopsis:
The game opens with the player’s character – Burrows, a privateer – being introduced aboard a mining station in the Achilles system. As you play your first missions and attempt to make your bones, rumors begin to spread that a mysterious ship is attacking shipping in the system. Eventually, you find your way to the New Detroit system, where a private contractor named Sandoval hires you to take an artifact off his hands. After running a mission for him and returning to the planet, you discover that the man is dead.

You are left with his artifact in your hands, and a lady named Tayla who offers answers, in exchange for a few missions. These take you to and from a Pirate base located out on the rim, where you run a series of missions hauling Brilliance (the designer drug of the day). Once complete, Tayla indicates that Sandoval was not the original owner, and sends you to the station of New Constantinople to meet Mr. Lynch, the notorious mob boss who will take you further.

wcprivateer_ndOnce again, you are contracted to fly a series of missions in exchange for information. After confirming that the artifact is of alien origin, he double-crosses you and sends his body guard Miggs to kill you. After beating him, you head for Oxford where the University and Archives are located to conduct research on the artifact yourself. Upon landing there, you work out an agreement with Masterson, the dean of the university. In exchange for running missions, he will allow you access.

Once you’re finished scanning the artifact, it concludes that it was uncovered by an archaeological dig in a far-flung system, led by a doctor named Monkhouse. Apparently, the doctor was investigating an ancient civilization known as the Steltek, a super-advanced species that is believed to have died out. Monkhouse was last seen in the Palan system at the edge of known space, so its off to Palan you go…

To find Monkhouse who is looking to get out of the system as soon as possible. There is a standoff between bounty hunters who have the world blockaded, and they must be defeated before he can be evacuated. After fighting with Lynn Murphy, the woman who is running a resistance against the bounty hunters, you are able to fly Monkhouse out of the system and learn that the artifact comes in two pieces, and he gives you the other half.

wcprivateer_derelictIt seems that the two form an ancient star map, and the coordinates they give indicate a system just beyond the fringes of charted space. To find the indicated system, you have to travel to the Rygannon system where you find Taryn Cross of Exploratory Services. She contracts you to investigate the rim and this eventually leads you to a Derelict at the edge of known space. Once you land, you find the ship is deserted and adrift, and an inoperative fighter with a weapon you are able to take.

wcprivateer_steltekAs soon as you leave though, the Steltek ship – the alien one that has been causing all the trouble – shows up and begins pursuing you. Once you find your way to a mining base (any mining base in the game), you are met by a woman named Sandra Goodin, the attache to Admiral Terrell, the supreme commander of all Confederation Forces in the sector. She tells you the Steltek ship has been on a path of destruction since it was woken up, and seems to have been following you all along.

wcprivateer_perryYou are persuaded to go to Perry Navy Base and meet with Terrell, who contracts you to lure the enemy ship into a trap. On your way there, you are met by another Steltek ship, an ambassador ship that explains to you that the vessel that’s been marauding the sector is an automated drone left over from the old days. It was designed to destroy advanced tech since it was this very thing that did the Steltek civilization in. They want to stop it, since it is a remnant of their old ways, and agree to help you.

wcprivateer_gemini_gold_14After getting your weapon supercharged, you meet with the Confed fleet and engage the Steltek ship. After a pitch battle, the ship is destroyed and you report back to Perry Naval Base to get your reward. Admiral Terrell offers you a position with the fleet, but you turn it down so you can continue to be what you always have – a Privateer!

Summary:
Pound for pound, this game is one of my oldest favorites. I loved the Wing Commander series ever since I got my hands on the first game, and this installment was especially cool in that it delved into the seemy underbelly of it all. What’s more, there were aspects of the universe which didn’t make it into the main series of games, not to mention some themes and motifs which seemed very much inspired.

For one, you have a number of locations located in the fictitious Gemini Sector, a place which is involved in the war but not featured in the other games. Here, you have such planets and installations as New Detroit*, Oxford, Perry, New Constantinople, mining installations, pirate bases, agricultural colonies, and pleasure bases. Each has its own character, feel, and these determine the nature of trading you can conduct.

Wing_Commander_privateer_01Then there are the factions featured in the game. In addition to the familiar warring parties – the Terran Confederation and the Kilrathi Empire – you also have a number of interesting parties that play their own role in the game. For example, there are the traders and mercs that are basically like you – privateers who are just doing there business and who’s guilds you can join.

And then there the perennially hostile parties such as the pirates, the ones engaged in illegal trade who will prey on you if you’re a merchant or merc, but can easily become friends, assuming you’re willing to embrace a life of crime. Then there are bounty hunters who just may be trying to fulfill a contract on your head. And then there are the Retros, a fanatic religious sect that is determined to force humanity to abandon its addiction to technology and embrace a simpler existence.

wcprivateer_shipupgradeAnd on top of that, there is the added benefit of being able to buy and upgrade your own ships. In other games, you fly increasingly advanced vessels as you increase in rank or move farther along with your missions. And by the third installment, you even get to customize your loadouts. But it is only in Privateer where you have total freedom to arm, equip, and outfit yourself. As long as you can afford it, you can make it happen.

And last, there was the storyline, which I really enjoyed the first time I played it. I was still in my teen years at the time, and this was one of the first franchises that introduced me to the concept of ancient aliens. And having been able to play it again years later, when my understanding of science fiction and classic motifs has matured considerably, I think they did a pretty good job of it.

wcprivateer_tarsusIn fact, the mission where you land aboard the derelict Steltek ship remains with me as a spine-tingling moment in gaming history! And the fact that the entire story is set against the backdrop of the war, an ongoing affair which really isn’t going so well for humanity, gives everything a dark and somewhat desperate feel. It’s like the universe is coming to an end, but you got your bills to pay and in the midst of all that, there’s an even more urgent menace making the rounds.

Gemini Gold Edition:
I should also mention that given the cult status of this game, a fan-made version was released in 2003 which boasted updated graphics and gameplay. In fact, it was one of several fan-made products released over the years by enthusiasts who were looking to introduce subsequent generations of gamers to its glory. Having played it, I can attest that it is certainly more fluid and visually impressive, but it just didn’t feel the same.

Yeah, we’ve all come to be pretty pampered with modern gaming, so much so that we think those DOS games that were once visually stunning are pretty laughable now. But if you want to appreciate a classic, appreciate it as is. As Billy Joel once sung, “Don’t go changing to try and please me!”

*I should also mention that the idea of this planet seemed so inspired to me that I felt obliged, years later, to borrow the name for my own science fiction series (titled Legacies). In fact, there were several details of this game and others in the franchise that crept into my consciousness and stayed with me through the years, forming the basis of my appreciation for science fiction and influencing my writing today.

Utopia in Popular Culture

Aeon Flux:
Fans of this animated cult-classic are sure to understand why this show has made the list. In the futuristic setting of the show, events revolve around an ongoing conflict between two societies. On the one side, there is Brenga, a police state run by the autocrat Trevor Goodchild. On the other is the anarchist state of Monica, where the show’s main character – Aeon, a Monican agent and spy – comes from.

Much like the world of the Cold War, these two sides are locked in an ongoing state of detente, where espionage and skirmishes take place back on both sides. The border region between them resembles that of Cold War-era Berlin, where a massive wall separates the two and those trying to cross are either shot or cut down. In one particular episode, people who are missing limbs were a focal point, demonstrating just how many people have fallen victim to the border defenses.

This is a common feature in the story, as it seems that the people of Bregna (known as Breens) would like very much to live the lives of Monicans. Its for this reason that one of Aeon’s duties as an agent is to make regular runs into Bregna to get people out through a series of underground passages. It is also suggested that it is precisely because Monica has no official representatives that it is impossible for Trevor Goodchild to deal with them. He does not seem to understand how their society works, and therefore cannot bribe, threaten, or intimidate them into a peace settlement.

Avatar:
Here is a perfect example of the traditional Edenic civilization being threatened by the evil progress-driven bad guys. Though it was not my favorite movie by any means, it’s undeniable (aka. blatant) utopians themes are quite clear. In short, the Na’vi live a peaceful, contended existence with their environment, and are even telepathically linked to a planetary intelligence known as Eywa.

Borrowing elements from Native American lore, the Gaian hypothesis, and the concept of an ecological utopia, Cameron created a world where paradise was to be found by anyone with appreciative eyes. Whether it was their communion with animals, the trees, or Eywa, the Na’vi elevated the concept of living in harmony with their environment to literal levels.

Demolition Man:
Again, we have what is often classified as a dystopia, but which is made so because of its apparent utopian elements. Set in the not-too-distant future of San Angeles – the mega-city formed from the merger of LA and San Diego – the story revolves around the social experiments of one Dr. Raymond Cocteau.

In addition to being the man who invented the cryo-stasis prison system, which was central to the plot, he is also the man who pioneered the San Angelans “utopian” way of life. In essence, this way of life is bereft of violence, crime, and drug use. The people live what can only be described as a peaceful and contented existence, believing that everything that came before them was characterized by violence and brutality.

The price tag was high, to be sure. People are no longer allowed to swear, play contact sports, own guns, or eat anything remotely unhealthy. Violent and/or sexual entertainment has also been banned, as has real sex. However, the people of San Angeles seemed to accept all this based on the state of society prior to Cocteau’s “revolution”.

The proliferation of violence, chaos, drug use and venereal diseases pretty much left them thinking they had no choice.  Such is the nature of utopian engineering, in the end, where people willingly surrender certain aspects of their lives in order to achieve something better. Much like collectivization, the banning of money, or the elimination of monogamy.

Futurama:
This might seem like a bit of a stretch, but I’ve always felt that anyone who loves science fiction can’t help but notice the classic themes and elements in this show. Usually this takes the form of dystopian elements – suicide booths, career chips, the tax monster, etc. However, at other times, some decidedly cheery and optimistic tones make it in.

For example, in one particular episode (season 1, episode 8: “A Big Piece of Garbage”), Earth finds itself being threatened by a massive ball of garbage. They deduce that only a similar ball would be able to deflect it, but unfortunately, no garbage exists. Everything on Earth is now recycled, used cans are recycled to make robots, and used robots are used to make cans. Nothing goes to waste, which is why Fry must teach them how to litter!

And then again, in season 6, episode 2: “In-A-Gadda-Da-Leela”, Leela and Zapp Brannagan land on what appears to be a mysterious, Edenic planet. Here, Leela and Zapp begin living freely as if they were Adam and Eve, which includes shedding their clothes, talking to a serpent, and living off the land. Of course, it was all a ruse by Zapp who once again just looking to get Leela in the sack, but the illusion was complete!

Sid Meier’s Alpha Centauri:
There’s a reason this game is one of my all-time favorites, and that is because it’s so inspired! One immediately gets the feeling upon playing this all the way through that a lot of classic sci-fi elements went into the making of it, as well as genuine cultural, sociological and scientific research.

For starters, there is the concept of colonizing a new world and the social experiments that it naturally will entail, which is in keeping with KSR Mars Trilogy. Each faction in the game represents a different take on engineering the perfect society. There are the humanitarians, the believers, the Gaians, the hive-mind people, the free-marketeers, the militarists, and the rational empiricists.

What’s more, the technology tree that is featured in the game contains many options for social engineering, the intended end result of which is a perfect society in one form or another. These include Thought Control, Cybernetic, and Eudaimonic, three basic visions of utopia which are dependent upon repression, post-humanism, and a utilitarian, social welfare approach meant to enrich the lives of as many people as possible.

There’s even the option of achieving transcendence, which is one of the victory condition’s of the game. This is achieved by merging with Alpha Centauri’s planet-wide organism, becoming part of its mass consciousness and ensuring a sort of quasi-immortality as it were. This is considered the biggest and best victory option since it ensures planetary peace, as opposed to conquering all the other factions, united them, or cornering the planet’s energy market (the three other victory conditions).

Star Trek:
When it comes to commercial sci-fi, Star Trek pretty much has the market cornered when it comes to utopian elements. Whether it was the original series, TNG, or its subsequent spinoffs, it was clear that humanity had reached a state of technical and social perfection thanks to advances made in science and technology, not to mention good old fashion optimism.

For starters, the United Federation of Planets was an egalitarian democracy where all member races were entitled to representation, a constitution guaranteed extensive rights and freedoms, and all wants and needs were addressed thanks to replicators, abundant energy, transporters and warp technology.

And of course, numerous references are made to the fact that Earth is crime free, all known diseases have been cured, and troublesome things like poverty, slavery, exploitation, inequality and human drudgery have all been eliminated. No real explanations are given as to how, but its clear it happened by the 22nd century.

Star Wars:
Though not a utopian series by any stretch of the definition, there are some tell-tale aspects of the franchise which warrant examination. For example, though the bulk of the story takes place during the “Dark Times”, when the evil Empire rules, numerous allusions are made to a time before the Empire where things are described in somewhat idealistic terms.

For example, here is how Obi-Wan describes the role of the Jedi in the good old days as follows: “For over a thousand generations, the Jedi were the guardians of peace and justice in the Old Republic.” In addition, it is also made clear that the Old Republic was governed by an interstellar democracy known as the Galactic Senate. Between the Jedi and the government, things like slavery, conquest, blatant racism, genocide, and all other forms of behavior common to the Empire were highly illegal.

In having this era of peace and relative prosperity to compare their current circumstances with, Lucas was able to drive home the point of how the Empire was illegitimate and had seized power by unjust means. It also made the heroes current predicament seem that much more emotionally involved.

Wing Commander:
Calling to mind such franchises as Star Trek and Man-Kzin Wars, the Wing Commander series takes place in the distant future when a semi-utopian humanity is engaged in a war with a militaristic foe. As with the violent Kzin, the enemy in this series known as the Kilrathi, are a race of feline anthropoids.

Governed by a strict hierarchy and warrior code, the Kilrathi are driven to war and conquest and have been fighting humanity for generations. Though no formal description is ever made of the Earth government or human customs, many hints are given that suggest that the Terran Confederation is governed by the comparatively enlightened ideals of humanitarianism and democracy.

For instance, in the first Wing Commander it is said that Kilrathi do not place the same importance on alien life as the Confederation. Evidently not, since conquest, slavery and genocide seem to be par for the course for them! In addition, several alien species are allies with the Confederation, usually for the sake of mutual defense against the Kilrathi.

And as with Star Trek, the bad behavior of the enemy species is held in contrast to the comparatively peaceful and egalitarian behavior of humans. And as always, this is designed to illicit a point about history and human nature.

Conclusions:
When it comes to popular culture, there never seems to be a shortage of inspired science fiction elements. This is true of movies, television, and the gaming world. However, I can’t help but notice just how more common dystopian movies, shows and games are. For whatever reason, it just seems like tales of dark futures are much more popular. Is it because dark futures seem more realistic, or might it have to do with the proliferation of dystopian literature in the last century or so. Either way, believe me when I tell you that examples of modern utopian sci-fi franchises were much harder to find. No wonder Neal Stephenson challenged the sci-fi writers of the world to come up with something cheerier!

The Alien Graph

The Alien Graph

Behold! After a few days of contemplating what I said in the Ancient Aliens post – you know, about how alien’s technology and moral capacity are often interrelated in sci-fi – I realized I needed to put it into graphic form. And as I said in that post, if we are to consider technological advancement as one axis and level of benevolence as another, then the outcome would look something like this:

click to enlarge

The design is based on the Zombie graph that’s been floating around the internet for some time. There, the designer placed different Zombie movies based on two criteria: intelligence and speed. In much the same way, I’ve designed a graph for aliens that is based on two similar criteria: technological advancement and level of friendliness.

I selected aliens that I thought best represented the range of development and behavior in the sci-fi genre. I also included as many franchises as I could think of, just off the top of my head. I certainly wasn’t scientific about it, just relative and to the best of my abilities. And when I was done, I noticed an interesting pattern…

Hostile/Advanced Aliens Rule!:
For example, notice how the vast majority of races from your well-known franchises (Star Trek, B5, Stargate, Star Craft, AvP, Halo, etc) fall into the upper left quadrant. This is the area where malevolence and technological sophistication combine in varying degrees. By contrast, the second largest concentration of races occurs in the advanced/benevolent quadrant, again to varying degrees. Almost no races fall into the nascent (i.e. primitive) quadrants, be they hostile or gentle.

On the one hand, the Xenomorph from Alien and the Arachnids from Starship Troopers both fell into the technologically backward category (technically), and were both classified as malevolent because of their innate hostility to foreign organisms. The Na’vi, from Avatar, were the only alien race that fit the bill for technologically nascent and benevolent. I’m sure there are plenty of examples that could stack this analysis in a different way, but like I said, this was off the top of my head.

The Zerg, I have to admit, were a bit of a conundrum for me. While they are technically a race that does not employ technology per se, they are highly advanced in terms of their biological evolution, to the point where they rely on specialized creatures in the same way that humans rely on machinery. But then again, that’s all for the sake of ensuring that the different factions in the video game are evenly matched. It’s not meant to be a realistic assessment. Much the same is true of the Xenomorphs. While they do not employ tools, fly around in spaceships, or use guns, they are nevertheless an extremely evolved organism that is capable of besting humanity in any contest.

And just to be clear, the middle point of the graph (0,0, where the axes meet) is where humanity stands now in terms of moral behavior and technological development. Sure, some say we’d fall into the evil quadrant, but I tend to believe that humanity is morally ambiguous, neither too good or too evil. Where aliens fall into the spectrum in most sci-fi franchises is meant to reflect this. Much the same is true of technological prowess, where aliens are classified as “advanced” or “primitive” solely in comparison to ourselves.

This all might sound anthropocentric, but that’s the point, isn’t it? These are stories written by human beings for other human beings. All the references, symbols and measuring sticks come from inside us. So in the end, aliens themselves, as represented in our best science fiction, also come from inside ourselves. Their values, their tools, and even their appearances are all constructs of what is familiar and accessible to us. In short, they are merely tools with which we measure ourselves, both morally and technically.

Conclusions:
Well, right off the cuff I’d say the reason we prefer our aliens hostile and advanced is because it makes them seem more threatening and scary that way. Clearly, this makes for a more interesting story. While an alien race that is kind, innocent and backwards can make for an effective tale about the evils of colonialism and imperialism and how one can easily find themselves on the side of evil, these seem to be fewer and farther between. I’d say this is most likely because moral allegories are less intriguing than action dramas. Or maybe just prefer to think of ourselves as the good guys. Let someone else serve as the allegory for evil, selfish and runaway imperialistic behavior!

In addition, there’s the very real possibility that humanity will be making contact with an intelligent life form at some point in the future. And when we do, it’s likely to be the most awe-inspiring and frightening of experiences. When it comes to the unknown, ignorance begets fear and we prefer to err on the side of caution. So it would make sense that whenever we think of aliens, even if its just for the sake of fiction, we would naturally prefer to think of them as both learned and potentially hostile. If indeed aliens serve as a sort of projection for humanity’s own thoughts on itself, than pitching them as potentially hostile beings with advanced technology represents our own fear of the unknown.

In any case, if there is life out there, all these questions will be resolved in the distant future. Hell, maybe even the near-future. If some theorists are to be believed, aliens have already made contact with us and might even be walking among us right now. Granted, most of these people are hanging around the 7/11 with tin foil hats on, but they can’t all be crazy, right?

Of Planetkillers!

What is it about doomsday devices that make them simultaneously scary and freakishly cool? Oh, I don’t know. Maybe it’s the fact that they can turn an entire planet into glass, render it completely uninhabitable, or just plain blow it to smithereens? If none of these things do it for you, I suggest you stop reading now, this is what the whole post is about!

Where these ideas come from is a source of debate, but it goes without saying that apocalypticism is part of our collective unconscious. The very concept of the end of the world has worked its way into every world religion and is as intrinsic to our beliefs as creation. And I suppose that it goes without saying that since humanity began to develop weapons that could actually level entire cities, depopulate entire countrysides, or even raze whole continents, that this obsession with the end of days has expanded beyond the spiritual world and has become an everyday preoccupation.

So it’s little wonder then why science fiction writers have taken it upon themselves to come up with concepts of machines that can destroy and sterilize entire worlds. It just seems like the next logical step after anthrax and thermonuclear weapons doesn’t it? And in the course of this, some pretty cool concepts have been thought up. Here are some examples from various popular sci-fi franchises:

The Death Star:
Without a doubt, this planet killer is the best known in the business. Making its first appearance in A New Hope where it destroyed the planet Alderaan, the Death Star was a massive space station that was created to inspire fear and silence all dissent to the Emperor’s rule. At the center of this force of unrivaled terror was a massive, high-powered laser that resembled a huge eye or a massive crater on the station’s surface. A single beam from this weapon was capable of breaking planets apart and obliterating all life on the surface.

Granted, this same station was then destroyed by a ragtag group of Rebel pilots, guys in tiny fighters who knew about a tiny exhaust vent in the side. But its replacement was even more badass! The second Death Star, which appeared in Return of the Jedi boasted a laser that was capable of recharging more quickly between shots and was accurate enough to take out large vessels as well. Before being destroyed by the Rebels at the Battle of Endor, the new Death Star managed to destroy two Mon Calamari cruisers with ease.

But alas, this weapon’s fatal flaw lay in its design. Being so big, small craft were capable of penetrating its defenses and attacking its vulnerable points. In the case of the first incarnation, this involved firing torpedoes into an exhaust port which would then reach the main reactor. In the second version, there were to be no exhaust ports so the station would have no outward vulnerability. But as long as it was still under construction, the station was vulnerable and hence open to attack. And given it’s sheer size and the time it would take to complete just one, that’s a pretty big window! I guess it’s true what they say: the bigger they are…

The Vorlon/Shadow Planet Killers:
In the B5 universe, a few different types of planet killers existed, both of which were the property of the oldest races. Given the amount of energy that would be required to destroy an entire planet, it was reasoned that only ancient races like the Shadows and Vorlons would be capable of constructing such a thing. However, the younger races had their own means of leveling a planet, if not destroying it completely. This involved mass drivers, which the Centauri used in season two to hurl asteroids into the surface of the Narn homeworld, causing massive destruction and forcing the Narn to surrender. But that’s another matter. Here are what the proper examples of planet killers in the B5 universe looked like:

The Vorlon planetkiller was essentially just a massive gun that was built into a ship. The long, flattened spheroid with plenty of tentacle like things would be escorted through space, fly into position around the enemy planet, and then fire a massive energy discharge that would obliterate the entire thing. By comparison, the Shadow’s planetkiller was much more complex, not to mention insidious!

In what appeared to be a massive, black cloud, a Shadows Shroud held a massive buckminsterfullerene-like assembly that would move into position around a planet and then enclose itself around it. The assembly would then unleash a massive swarm of missiles which would bore into the surface and then detonate, releasing a massive thermonuclear payload near the core of the planet which would trigger tectonic activity that would rip the planet apart.

The former planet killer got its fair share of attention in the series proper, where the combined forces of Sheridan and Delenn’s alliance managed to destroy one only by calling in the help of the First Ones. Between all their races, only they possessed the kind of firepower that was needed in order to destroy a ship of that size. Some attention is also given to the Shadow’s Shrouds, but it wasn’t until the TV movie “A Call to Arms” came out that any in-depth explanations of how they worked or how they could be beat ever came up. In this movie, we see for the first time what the internal structure of the Shroud looks like and how the device could be defeated by attacking its nerve center. This alone would not destroy it, but would prematurely trigger it, causing it to unleash all its missiles, which would then impact and destroy the assembly itself.

The Behemoth:
This planet killer comes to us courtesy of the Wing Commander videogame and made its appearance in the third installment in the series. Much like the Vorlon planet killer, the Behemoth was essentially a big gun that was designed to blow up planets by firing a single, concentrated beam directly into its surface. Simple, and effective, were it not for the fact that the weapon suffered from some congenital defects, which included gaps in the shielding array and the fact that it had no defensive mounts anywhere along the hull.

However, given the fact that the Terran Confederation (the good guys in the story) were losing to the Kilrathi Empire (the bad guys), the weapon had to be pressed into service before it was complete. Its intended purpose was to destroy the Kilrathi homeworld, a move which they believed was the only way to win the war outright at that point. Naturally, the vessel was destroyed due to a combination of its weaknesses and high-level treason. However, the good guys still won in the end due to alternate plans and daring-do, so don’t fret!

Unicron:
The Transformers franchise was something I enjoyed for many years as a kid. And were it not for Michael Bay, I might have enjoyed it again as a result! But whatever… In the course of telling the story of machines that could transform to hide their true identities, one robot in particular truly stands out. Mainly because of his size! His name is Unicron, a massive machine that can transform from a robot to a planet-sized sphere, and which preys on smaller planets. A pretty cool concept, really, especially for a children’s cartoon! Unlike other planet killer devices though, Unicron was unique in that he was a sentient being, and not a simple machine that was under the control of others. His first and only appearance was in Transformers: The Movie, where he was also destroyed. He did not appear again in the course of the original series, but was mentioned several times, particularly in the CGI-animated spinoff, Beast Wars.

The Doomsday Machine:
Gene Roddenberry weighed in on the planet killer thing back in the late 60’s with his own version of a doomsday weapon. It was known simply as the Doomsday Machine, a massive, lamprey-like device that was capable of consuming entire planets into its massive maw. In the course of the episode where it makes its appearance (episode 35, of the same name), the crew of the Enterprise learns that the machine is drawn to populated worlds which it then destroys and converts into fuel so that it can keep going. The process is entirely automated, the ship itself having destroyed its masters and sterilized its own region of the universe a long time ago.

Airing in the late 60’s, the Doomsday Machine was clearly a commentary on the Cold War and the creation on doomsday weapons which were intended for use as a “deterrent”. In fact, at one point Captain Kirk theorizes that the machine was never intended for use, merely to serve as a instrument to inspire fear in an enemy. However, once it was activated, it ran amok and destroyed its enemies and those who created it. In the end, the crew manages to destroy it by (ironically) letting it ingest a ship which they rig to go thermonuclear once its inside.

Halo Array:
Gamers are no doubt familiar with this one! In the Halo universe, much of the focus is on alien artifacts which were built by a race known as the Forerunners. The Covenant, the alien antagonists in the game, believe them to be holy, particularly the Halo devices which are central to the plot. These devices, it turns out, are “weapons of last resort” which the Forerunners built to sterilize all worlds of sentient life that are within range. Their reason for this have to do with a hostile organism known as the Flood, a parasitic life form that infects sentient organisms and turns them into zombie-like creatures.

Unfortunately, the Forerunners died off shortly after concluding their war with the Flood, leaving the Halos and several other artifacts behind. In time, these were stumbled upon by the Covenant who began to reverse-engineer the devices and used them to advance significantly. In time, the Convenant came to believe that the artifacts had been left behind by a holy race and built a religion and even a theocracy around this belief.

The Halo is apparently the crowning piece of the Convent faith. They believe that activating them will lead them on the “Great Journey” (aka. entrance into the hereafter). However, the main characters in the story quickly learn that this would actually cause the destruction of Earth and every inhabited planet in the sector. Inspired by Larry Niven’s Ringworld series, the concept of the Halo devices and the thematic elements which drive the story (i.e. blind faith, theocracy, evolution and ancient alien artifacts) are all prime examples of classic science fiction. Nice to see that they make their way into the gaming world once in awhile!

The Necromongers:
The Chronicles of Riddick is yet another example of theocracy, apocalypticism, and doomsday devices. Within the context of the story, we have a faction of hostile force known as Necromongers, a faction of humanity that worships death and believes that better world (known as Underverse) lies at the edge of the known universe. Leading them is a man known as the High Marshall, a person who apparently traveled to Underverse and returned half-man, half… something else. No kidding, this is how he’s described in the movie, verbatim!

In any case, in their drive to reach the edge of the universe, the Necromongers conquer, pillage and convert every planet in their path. The final step in this process, before moving on, is the use of a planet-killing device of their own, one which leaves the planet itself intact, but destroys all remaining life on the surface. In short, after they replenish their ranks and bring in fresh converts from the conquered populace, they commit whats called the “Final Protocol” before dusting off. Basically, it involves a series of ships standing up on end and releasing payloads into the air which then explode, unleashing a massive shock wave that kills everything in its path. This process gives literal meaning to the words: “Convert, or fall forever!”

The Inhibitors:
As I final example, I have included one of my personal favorites: the hostile alien species known as the Inhibitors, which come to us from Alastair Reynolds’ Revelation Space universe. According to the first novel in the series, the Inhibitors are all that remains of several ancient alien races which went extinct long ago. These machines, which are semi-intelligent and automated, are programmed to seek out and destroy sentient life.

The reason for their existence apparently has to do with a series of terrible events that are collectively known as the Dawn War. This war was apparently fought by all the earliest sentient races in the Milky Way Galaxy which began shortly after they discovered each other, but which lasted for eons. Finally, what was left of the various races decided to merge their consciousness with a series of specialized machines which they then programmed to ensure that no such wars ever happened again. These machines take the form of tiny black boxes which are capable of multiplying, replicating and seem next to impossible to kill.

Ostensibly, these machines were designed to nip the development of sentient life in the bud by sterilizing any planet that supported a potentially star-faring race. In short, they were meant to inhibit the growth of sentient life, hence their name. However, in books II and III, their motivations are explained further. In addition to wanting to prevent another major war from taking place, the Inhibitors were also concerned about the eventual galactic collision which is scheduled to take place between the Andromeda and Milky Way Galaxies several million years from now. When that happens, our two galaxies will merge, but the consequences for any lifeforms living within either of them will be disastrous.

The only way to prevent this, it is said, is to either ensure the development of a single race that has the requisite technological development to resist the destruction brought on by the collision, or to inhibit the growth of any sentient species until after the collision takes place. Once the collision is complete and the galaxy returns to a state of gravitational equilibrium, life can resume, but not before. Sounds crass, but the way they see it, they are doing sentient beings a favor by making sure they don’t get off the ground, rather than letting them die by the billions when the stars all come crashing together!

In the end, these machines destroy planets through various means. In fact, much attention is given to how the Inhibitors employ a great deal of creativity in designing ways to sterilize worlds. Instead of just parking a giant gun in orbit around a planet or covering with a toxic blanket, they will use the system’s natural resources to construct tools and weapons which they will then use to take planet’s or suns apart, bit by bit. The process can take years, even centuries for them. But they plan ahead, and are very patient…

Ultimately, the Inhibitors are not defeated in the Revelation Space universe, but are beaten back, pushed to the fringes of known space where humanity fights an ongoing fight with them that lasts beyond the final novel in the series. They do this by incorporating technology from other extinct races as well as one’s that have developed extremely clever ways to survive. And like with everything else in Reynold’s universe, it all comes down to technology that is both plausible and fascinating to read about!

Well, that’s about all the planet killing I can stand for now. Sure, there are plenty more examples in the realm of sci-fi, but these are the ones that stand out for me. Plus, if I were to take the time to research and list them all, we’d both be stuck on this one post forever. Remember, it takes longer to write than it does to read! So in keeping with the theme of this post, let me leave you with some words of advice:

No matter what you’ve done, its not the end of the world. Unless it is, in which case, it probably didn’t matter anyway 😉