tzunder said:
Oh don't say we are patriarchal by nature and is it as a justification for the same in an SF game.
SF means speculative fiction as well as science fiction and has a very long tradition of different human societies.
Many people will disagree with me, but I find that the Original Traveller Universe is very conservative in its social assumptions, political ideologies, cultural attitudes, and gender politics.
Although Traveller is set in the far future and has an interstellar civilisation with vaguely feudal trappings, it sits in the subgenre that Charles Stross has somewhat rudely termed "White Middle America Goes To The Stars". The Third Imperium is based upon Western cultural models and everyone seems to aspire to the futuristic equivalent of an affluent developed-world middle class lifestyle.
In the Third Imperium most people speak Anglic, noble titles are drawn form European models, the career tables are based upon mid-20th century social models, the economic models seem to be based upon laissez-faire capitalism with a distinct post-Keynsian flavour, and 99% of the published artwork depicts white Caucasians as the dominant representatives of Humaniti. There is little evidence of any Chinese, Indian, Middle Eastern, or African cultural influences. Negros, Asians, Hispanics, and pretty much every other non-Anglophone ethnic or cultural group appear only as local curiosities and the dominant interstellar culture appears to be based upon the historical experience of the 19th century colonial powers. You might as well put Imperial governors in pith helmets and be done with it - after all, they do often seem to have an interest in hunting the exotic local wildlife.
This bias is largely because Traveller simulates the tropes of Golden Age SF and ignores most of the SF published after 1968 (with the exception of Larry Niven and Jerry Pournelle). There's nothing inherently wrong with this, but the choice of cut-off date is interesting. Most of the SF authors who strongly influenced Traveller (Poul Anderson, Bertam Chandler, E.C. Tubb, H. Beam Piper) were seen as old-school even by the standards of that time (with the notable exceptions of Jack Vance and Andre Norton).
Gender politics were prominent in SF after 1968, with major awards being won by works such as Ursula Le Guin's Left Hand of Darkness (Nebula Award 1969, Hugo Award 1970), Ursula Le Guin's The Dispossessed (Hugo and Nebula Award 1975), Joanna Russ' The Female Man (Nebula Award 1976), and David Gerrold's The Man Who Folded Himself (Hugo and Nebula Award 1976).
At the time Traveller was being designed, there were plenty of well-known SF authors exploring gender-related themes (James Tiptree Jr., John Varley, Samuel R. Delany, Octavia Butler, Tanith Lee, Vonda N. McIntyre, et al). But the game does not mention the possibility of gender relations or sexual politics other than those that existed in contemporary Middle Class America.