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The Year of Aliens and the Magician Born in the 80s

Ts

(Romanian)

1986 brings us the best film in the Alien series, represented by “Aliens” (under the “wand” of James Cameron), which I “discussed” in previous episodes…

Then there would be “The Fly” (directed by David Cronenberg), which has become a classic of the horror genre, but it is a modern reinterpretation of a classic story, exploring dark themes such as identity, transformation, and the consequences of uncontrolled science that stood out through the effects of innovative specials for the times (the progressive transformation of the protagonist, Seth Brundle, into a human-fly hybrid creature is presented in a visceral and extremely convincing way).

And, why not, “The Wraith,” a film that, while it didn’t have the same cultural impact as “The Fly,” remains an interesting film for action and science fiction fans, being a combination of racing movie cars and a thriller with supernatural elements, in a specific style of the 80s (constituted as a kind of “time capsule” of those times), the story is based on a spirit that returns for revenge (a kind of an idea for Ghost Rider ???).

And “Dead End Drive-In”, a film that takes you to a dystopian future (rather unique, where Australia is in chaos and where an outdoor cinema becomes a symbol of control and oppression), where a couple of young, Jimmy and Carmen, find themselves trapped in a truly bizarre trap, represented by an open-air cinema transformed into a real concentration camp for those marginalized by society.

In terms of television series, 1986 is notable for Alf (which ran from 1986 to 1990, with a total of 104 30-minute episodes).

ALF, an acronym for Alien Life Form, is a fluffy and funny alien who crashed his spaceship in the Tanner family’s garage, and his eccentric personality, combined with an insatiable appetite for cats, made him instantly beloved by the public (which will initiate, through the similar theme and, why not, the success of the series, 10 years later, the series of “3rd Rock from the Sun”).

The series is built on the funny interactions between Alf and the Tanner family and Alf’s attempts to adapt to life on Earth (in “3rd Rock from the Sun,” the entire Tanner family is a team of aliens disguised as people, with a scientific mission). The jokes are often based on absurd situations and the specific humor of the 1980s (whereas “3rd Rock from the Sun” has a more intelligent and subtle humor; the progress is obvious).

It would also be the series Outlaws (made between 1986 and 1987, with 12 one-hour episodes) that comes with a combination of elements from two completely different eras: the Wild West and the 80s, the premise of having a group of cowboys transported to the future and seeing them adapt to a modern world is certainly novel.

The idea of ​​mixing the Western and science fiction genres is bold. It provides fertile ground for comic situations and interesting plots, without “losing sight” of the satirical potential represented by the contrast between the values ​​and customs of the cowboys and the modern world, used to satirize aspects of the contemporary society of those times.

And Starman (1986–1987, with 22 one-hour episodes), a series “inspired” by the success of the film of the same name (Starman) and continuing its captivating story.

This time, the series centers on the relationship between the alien and his human son, a complex and emotional bond that explores universal themes of identity, belonging, and love, with the alien and his son on the run from government agents and searching for clues to their past.

Even in the case of the “print book” the activity seems somewhat “weaker”, by stating the continuation of the novel The Ender’s Game, under the name Speaker for the Dead by Orson Scott Card and the novel Count Zero by William Gibson, then The Ragged Astronauts by Bob Shaw, Vernor Vinge’s Marooned in Realtime and L. Ron Hubbard’s Black Genesis (under the Hugo Awards “mention”)…

To which are “added” The Forge of God by Greg Bear, The Uplift War by David Brin, Vergil in Averno by Avram Davidson, When Gravity Fails by George Alec Effinger, The Falling Woman by Pat Murphy, and Soldier of the Mist by Gene Wolfe (under the Nebula Awards “mention”).

But, from this year, we can discuss the increasingly obvious presence of video games, whose rise is becoming evident (the technological advance opens up these new manifestations).

We’re talking about a true “Arcade Era” that rarely had any tangents with “Science Fiction” games, but they were not lacking, these being the exception rather than the rule, with many of the video games having a simple premise, focusing more on gameplay rather than narrative, with sci-fi elements often being used as a background theme without being explored in depth.

But, in these “times” (1986), as a specification with a “precursor” character for “Science fiction” (without belonging to the genre), the video game “Super Mario Bros” appears (released on September 13, 1985, in Japan, for the Nintendo Entertainment System (NES) console), a 2D platformer that revolutionized the industry and laid the foundation for a franchise that continues to delight millions of players, is on the rise, “propagating” video games to the public more than imagine an “unapproved” person.

To understand those times, I will “make a parenthesis” by also mentioning Tetris (a game that has overcome the barriers of time and cultures, being a particularly well-known one in these times, even becoming a term used as an insult related to “the primitiveness of the manifestation “ by current players — “Get over this game and go play Tetris!”).

The original idea for the game originated in 1984, with the official release and widespread distribution becoming “somewhat more complex” due to copyright issues and the geopolitical context of the time.

Alexei Pajitnov, the game’s creator, developed Tetris in the Soviet Union, with the game intended as a test program for computers.

In the mid-80s, Tetris began to spread among programmers and computer enthusiasts in the Soviet Union (and in the “Soviet bloc” or, officially, “beyond the Iron Curtain” — not to hear comments because, in Romania, I lived those times and, at the end of 1985, I was playing “Tetris”, copied and distributed on BASF audio tapes — this is how software transfer was done in those days, and not on the well-known “floppy”, on an Atari “clone” produced and distributed “ local”, via computer science “clubs”, Romania often being champion at the so-called “Computer Olympics”), and in 1986, Henk Rogers, an American entrepreneur, discovers Tetris at an electronics exhibition in Budapest and realizes the “Western” commercial potential of the game.

Only at the end of the 80s, did a real “race” begin to obtain the rights to distribute Tetris (due to copyright “problems” in the Soviet Union and strained relations between East and West, the licensing process was long and complicated).

So, it was only in 1988 that Henk Rogers finally obtained the rights to distribute Tetris in Japan and began releasing it on various platforms, including the Nintendo Game Boy, a version that became a global phenomenon and contributed enormously to the popularization of both of the game as well as the Nintendo Game Boy console.

So, based on this “introduction”, returning to the world of “Science Fiction” one could now discuss Space Invaders (1978, an arcade game that can be considered one of the first examples of a space-themed video game) and Elite (1984, considered one of the first space video games with simulation elements, allowing players to explore a vast galaxy, trade goods, and participate in space battles).

For example, the video game Elite is considered to be one of the pioneers of the space simulator genre and a real landmark in the history of video games.

Originally released in 1984 (for the BBC Micro and Acorn Electron computers), Elite managed to create an incredibly rich and complex gaming experience given the technological limitations of that era.

Why was it remarkable (at least to me)? Unlike most games at the time, Elite gave players almost unlimited freedom to explore a vast galaxy full of solar systems, planets, and space stations, combining elements of trading, space combat, exploration, and even RPG elements, allowing players to build their own story within this vast universe.

Although the graphics were very simple by modern standards, for the time the 3D representation of the spaceship and outer space was a real innovation, allowing for the “emulation” of a simulated economy, with commodity prices fluctuating according to supply and demand, with players able to become traders, pirates, bounty hunters or explorers, the choice is completely theirs.

In this “Universe,” you could discover new solar systems, planets, and space stations, create your map of the galaxy, and, why not, additionally, you could advance in your “career” (as you gain experience and money, you could upgrade your ship space, get new weapons and equipment and advance through the ranks of different factions). An idea that will be masterfully “explored” in the future Univers X…

Oh yes, inevitably, one could also discuss the Star Wars video games, based on the popular cinematic saga…

At this time Star Wars (released in May 1983 in the US, developed by Mike Hally, a game designer with experience creating arcade games), an FPS, platformer, action game for the Atari 2600 (a “wrong” platform chosen, since the first PC had already started its evolution several years ago, and also the “current” consoles) which introduced sci-fi elements in a format accessible to the general public.

The game simulated the attack on the Death Star as featured in the first Star Wars film, with players controlling a spaceship to destroy various targets while avoiding obstacles.

It used vector graphics (being among the first video games to use this “technology”), offering a 3D representation of the spaceship and its surroundings, a relatively new technology at the time that impressed many gamers and demonstrated the potential for film adaptations and successful video game series, thus paving the way for a licensing-based video game industry (based on great commercial success, quickly becoming one of the most popular arcade games of the year, also “attracting” a sequel, Star Wars: Return of the Jedi, released in 1984).

And finally, it’s time to complete this “new world” (this “New Universe” of the Wizard) with Legend of Zelda, originally released for the Nintendo Entertainment System (NES) in Japan on February 21, 1986, (setting the foundation for a of the most beloved adventure game franchises), revolutionizing the adventure RPG genre by introducing concepts such as open world and free exploration.

As a necessary clarification, although some elements of The Legend of Zelda games, especially in more recent titles such as Breath of the Wild, may appear to have science fiction accents (advanced technologies, ruins of an ancient civilization, etc.), in The Zelda series is generally classified as fantasy.

However, I mention it because, in my view, it’s a complement to the “starter” set of “story” “Science Fiction” video games (especially along the lines of RPGs and “associated” developments), which will contribute to the expansion of the “Science Fiction” universe on a global level.

Merticaru Dorin Nicolae

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