The Pulp Team

As with several genres adapted to rpgs, pulp gaming presents a little bit of a problem going from the inspirational fiction to the gaming table in that pulp fiction/movies/comics tend to be about solo heroes or a primary hero and sidekicks but rpgs tend to be about a group of equals. It's perhaps reasonable to play Indy plus Short Round and Sallah or even Doc Savage plus his Fabulous Five for one story arc, but it might not be as desirable for a long campaign.

On the other hand, a group composed of Indiana Jones, Jake Cutter (from Tales of the Gold Monkey), and Sam Spade may be fine for some, but seems to be less satisfying to me for a long-term campaign, because the characters don't see cohesive. 

The solution seems to me to build a group wherein the characters are roughly equal, but each has their own specialty, and they have the same theme/subgenre. Sort of like if the Fabulous Five didn't have a Doc Savage to outshine them. There are really more examples of this in comics rather than the pulps (though that may just be my knowledge of the pulps is less). Check out the Challengers of the Unknown:

Having the same subgenre is important for keeping power levels similar. Having the same sort of theme is important for helping support their reason for staying together as a group. Of course, both of these can be stretched a bit. 

Sometimes teams are brought together or forced to stay together by an outside force. DC Comics' The Secret Six and Suicide Squad (either the Silver Age nonsupers version or the later supers versions) are examples of this, but so is the more eccentrically charactered League of Extraordinary Gentlemen. For that matter, the Avengers, particularly in the Ultimate Universe and the CMU start out like this too.

Preparing for a New Campaign

I think my group will finish up our current campaign in the Land of Azurth this year, and though with months to go some plenty of time to change my mind, I'm in the mood for something different. With a semi-new edition of D&D arriving around that time and other, similar options available (Shadow of the Weird Wizard, 13th Age--possibly with a 2nd edition) it will be a good time to do it, too. My prerequisites are that the system be close enough to D&D so as not to cause undue angst for my players who don't always appreciate new systems and so I have an easy time finding/adapting published material. My experience running at a regular clip for 10 years now is that I need to use premade material a lot to keep it going.

Right now, I'm thinking about expanding on the world introduced in my recent "Draconic Empire" post. Inspired by my recent consumption of some anime with the Japanese version of "generic D&D fantasy" I think that's what it will be with influence from the two settings of various editions of the Sword World rpg and Uresia, as well as hints of more console game-inspired settings like BREAK!!, Fabula Ultima, Exalted, and Icon (though more "standard D&D" than any of those). I also want to utilize as much official D&D "lore" and character options as possible to keep it familiar, though they may be given a slight twist.

Additionally, I'd like to try to capture the passage of time better, something like Frieren: Beyond Journey's End, so I think I'll try to use the Fellowship and Journey rules from One Ring (or it's 5e adaptation).

Where'd the Grot Go?

Watching Delicious in Dungeon and Frieren: Beyond Journey's End (which are both great, so watch them), I've noted that both display very D&Dish world, but ones completely without even token gestures toward the gritty and grime of Medievalism. They are grot free, nothing like this to be seen:

This could be put off to the style of anime or cultural differences between U.S. and Japan, but I noted this same thing back in my review of Dungeons & Dragons: Honor Among Thieves. Compared the production design and costuming of that film to something like Excalibur (which is pretty gritty despite all that gleaming plate) or even Jackson's Lord of the Rings. 

I think it's even in the art of a number of 5e products, too, and in The Legend of Vox Machina animated series (at least the parts of it I've seen).

I'm sure there are counter examples, but these are fairly high profile works in the D&D world, some of them official, so I think we're in a moment where D&Dish fantasy worlds partake of more of a fairytale feel, perhaps, in regard to depict of their environments. Nothing wrong with that, really, just an observation.

A More Civilized Age

Art by Donato Giancola

I'm all for "lived-in futures" and dusty, grubby space Westerns, but I feel like there are some science fiction aesthetics that don't get their due. And I'm not talking gleaming, featureless rocket hulls and silver lamé outfits. I mean the more refined, swashbuckling, adventure film derived style.

Alex Raymond's Flash Gordon was probably the biggest feature in promoting this style, but it shows up in other places like Cody Starbuck by Howard Chaykin:

And in Milady 3000 and i Briganti by Magnus (Roberto Raviola):

It's not really absent from the Star Wars saga. It just shows up more in the prequels than in the original films. I think there's a hint of it in Lynch's Dune and the SyFy mini-series version--though it is sorely lacking from the drear Villeneuve version.

The Adventure-Point Crawl Campaign

My kid has been rewatching Avatar: The Last Airbender, which means I have been rewatching it, and that gave me a roleplaying game related idea, not so much in regard to its content, but really its structure. 

The creation of the fantasy epic, such a staple of fantasy media, has always been hard in games because historically, attempts to do so have led to drastically limited options for player agency. At best, the Adventure Path that is the modern descendant of the Dragonlance modules tends to be really linear. At worst, it's an outright railroad.

I don't think it has to be that way, though, but it would require some discussion and buy-in from players and a good session zero. Here's how I think it could work:

1. The GM tells the players the campaign setting and situation and suggests (but not mandates) a Quest, perhaps. Or perhaps, the players and the GM sort of make that up together? The "Quest" is the desired outcome: defeat the Firelord in the case of The Last Airbender or defeat Sauron in Lord of the Rings.

2. The player's make up characters, finalize the Quest, and plan the steps they think they will need to achieve it. The Quest needn't be etched in stone. It's possible the campaign as it unfolds might lead to a different goal, e.g.: Babylon 5 was our last, best hope for peace. It failed. But in the year of the Shadow War, it became something greater: our last, best hope for victory. It's even conceivable PCs might switch sides. Anyway, there should also be more character specific goals woven in, not just big campaign ones.

3. The GM plots those steps both geographically on a pointcrawl map and node-wise for a campaign structure map and makes clocks of antagonist/rival actions and other events. It's important to note here that the steps which will become nodes aren't plotted scenes. They aren't linked to each other in a linearly (or strictly linear) fashion for the most part, and they aren't supposed to go any certain way. Nothing is "supposed" to happen. In Avatar, Aang has to master the 4 elements. That goal could have played out in a lot of different ways. In fact, it takes two potential teachers before he ultimately gets to learn firebending. Localizing potential places where the goals can be achieved is important, because fantasy epics tends to cover a lot of geography. They aren't just dramas or soap operas to be played out in a limited location.

4. The players choose where to go and have other adventures and encounters along the way due to those choices. This may call for a bit of separation of player and character knowledge, but even without that, I feel like it works if the players just know the likely location of achieving one of their goals. Circumstances may mean it doesn't work out. The world doesn't stay static. But any unsuccessful attempt to achieve a goal at a point should always yield clues to a goal--either another one or the one they failed to achieve. In this sense, it's like running a mystery; clues to the next goal location shouldn't be hard to find.

5. Players can alter goals in response to events or their desires.  New point crawl "maps" may need to be generated in response. When new goal nodes come online, new hooks and areas of interest need to be populated around them. It's the "story" goals embedded in sandboxy locations that makes this much less linear than an adventure path.

6. Repeat until the PCs achieve the goal or the clocks expire and a new status quo (and possibly campaign) is established. What if the hobbits fail to destroy the ring before Sauron's victory? Well, the story needn't be over.

This approach doesn't feature the degree of session to session freedom of the completely sandbox game, it's true. However, the player collaboration in the planning phase ensures it's not a GM enforced story. Indeed, both players and GM will be surprised by the final shape of the emergent story. 

While this may be a bit of a novel approach (at least I haven't seen anyone ever talk about it) ideas about "node-based scenario design" and "mission-based adventures" have existed for a long time. What this does to enhance those is get player input prior to the missions and link the nodes in a grander campaign.

The Mixed Up Setting

 

Sometimes, always with an eye toward being able to use the published material for some well-supported game or another, I get (possibly mad) idea to take parts of one setting and combine with another so that the result wouldn't immediately be recognizable.

Ideas I've had in the past playing a wuxia game using the map of Middle-Earth (and MERP materials), The Known World replaced with Talislanta equivalents, or Creation from Exalted, but built as a D&D setting (using published 5e material).

I've never done any of these as at the end of the day the work required wouldn't be that much less than making up my own stuff in some instances, but it's still an idea that pops up from time to time.

Wordbuilding Through Social Connections

I've written before about the ways D&D is like (and could be more like) wuxia media. Reading a couple of works by Gu Long before delving back into Legend of the Condor Heroes by Jin Yong again, I've been struck by something else D&D-ish fantasy gaming code steal. 

Unlike most Western fantasy fiction and perhaps even Western adventure fiction (which is, admittedly, the more analogous genre to wuxia) wuxia fiction world building doesn't rely as much on description of locales above the single building level. Jin Yong's fiction does give us some local color at times--a description of the region of Lake Tai or the steppes of Mongolia--but it's a relatively small amount compared to say Robert E. Howard's Conan for the page count. Gu Long's stories sometimes come across as almost taking place in a vague "Wuxia-Land" comparably to a "fairy tale" Europe of knights and dragons--or the environs around a D&D dungeon containing the necessary locales at not much else.

What really does the worldbuilding heavy lifting in these stories is the description of the world of the Wulin or Jianghu: the styles, techniques, and personalities--but particularly the relationships between practitioners. This is seen most robustly in Legend of the Condor Heroes with its generations of shifu and students. 

Sometime before the main action of the story the five greatest martial artists of the land came together in a contest to decide the possession of a legendary manual of kung fu secrets. These masters each had a distinct style and resided in a particular cardinal direction. By their nicknames they are the Northern Beggar, the Southern Emperor, the Central Divinity, the Eastern Heretic, and the Western Venom.

These characters' influence is felt throughout the story, and their various students and scions interact, jockeying for power, playing out old enmities, and uncovering secrets.

I think this factional approach could be put to could use in worldbuilding in fantasy games. Instead of inventing various cultures and regions (though there's no reason you can't do that too) establish a relatively culturally homogenous region and instead link characters in some way to various factions. The Icons of 13th Age sort of do this, I think. (I think, because I've really only ever read about 13th Age.)

This sort of approach makes the worldbuilding potentially of more interest to players because it more directly impacts them in play. Maybe they don't start out knowing much about other factions, but if the game is run in the right way, they soon will--or at least will be motivated to learn more.

The Planar Grand Tour

I've been thinking about finishing this series on the Outer Planes. We'll see if that happens, but here's a review of where it's been so far.

The Planes of Pure Law
The Planes of Chaos
Hell
Carceri

Hades

Arborea

Elysium

Beastlands

Gehenna

The Layers of Heaven (part 1) (part 2) (part 3) (part 4)

Limbo

Power Scale in Superhero Comics

 Superhero rpgs often wrestle with the scale of super-power characters. This typically manifests itself in attribute benchmarks like in FASERIP-derived games or Mayfair's DC Heroes, but some games like Mutants & Masterminds have "levels" or even a separate scale trait. In all cases, it's some means of separating the capabilities of more normal heroes from cosmic or godlike ones.

There's another factor that could be called scale that is observable in superhero comics. It is not an "in-world" element; the characters aren't aware it exists, but its existence presents a barrier to superhero rpgs being able to emulate the comics (if that's something you care about), and I think its existence is just sort of an interesting observation about superhero universe comics storytelling in general.

It's pretty noticeable when you look at Batman.

In Batman's solo stories he is often given a hard time or gotten the better of by his rogue's gallery (most of whom are not superhuman and seldom as proficient in combat as him) or street thugs and the like. In Batman's team-up appearances or in his appearances as a member of the Justice League, he is far more formidable. He holds his own or triumphs against very powerful foes. Batman in his solo stories is almost a costumed, pulp vigilante in the vein of the Shadow or the Spider, but Batman in the Justice League is a superhero.

Spider-Man is sort of like this, too. The Enforcers given him a hard time in his own comic, but then in Secret Wars #2 he makes the X-Men look like amateurs, at least briefly.

Superman and Supergirl (and I think Thor and Iron Man) work in the opposite way. In Bronze and Silver Age comics, a Kryptonian can do almost anything the plot requires. Supergirl kicks the moon out of orbit in Superman Family #204...

...but she seldom seems that powerful in team-ups or crossovers.

The narrative reasons for these shifts, I think, are pretty clear. If Superman can solve any problem himself, what does the Justice League do? The type of stories that are classically told with Batman or Spider-Man as solo characters require them to be more vulnerable.

I'm not sure these sorts of "scales" in portrayal exist for all characters but they are certainly pretty common.

Could something approaching this be implemented in a supers game? Sure, in some sorts of rpgs. Marvel Heroic already has "Affiliation" (Solo, Buddy, Team) which doesn't do the same thing, but it could. Still, unless a campaign was going to include a lot solo character adventures as well as team adventures, I don't know that it would be particular necessary.

Still, I think it's interesting.

Marvel Super-Heroes with Step Dice

I got a set of those unusual DCC polyhedrals this weekend just for the hell of it, and I was musing on Discord how you could replicate the MSHRPG rankings (Feeble to Unearthly) with a complete set of those dice, like this: Fe (d4), Pr (d5), Ty (d6), Gd (d7), Ex (d8), Rm (d10), In (d12), Am (d14), Mn (d16), Un (d20).

I suppose switching to that sort of mechanic would allow you to ditch the action table, but but keeping something even loosely approximate to the success percentages of the actual game would probably be complicated enough to require one, as shown here:

If you didn't care about sticking as closely as possible to Marvel's percentages (and admittedly, even with this, you've had to give up on the chance of a red success for lower scores) then you could give flat roll thresholds: 4 for green, 7 for yellow, and 10 for red.

I don't actually think there is any reason to do this, but it was amusing to think about.

How Do You Like Your Sci-Fi?

I posed this question this question as the title of a blogpost the irst time on February 15, 2013. It's a topic that TV Tropes--unsurprisingly--has some thoughts on. This scale is a bit granular and more detailed (and perhaps a bit more judgey). Here's my sort of summary of the basics of both of these:

Hard: So, on one end we've got fairly plausible stuff that mostly extrapolates on current technology. This includes stuff like William Gibson's Sprawl series and the novels of Greg Egan (from the near future mystery Quarantine to the far future Diaspora). A game example is this category would be somethig like GURPS Transhuman Space.

Medium: Getting a little more fantastic, we arrive in the real of a lot of TV shows and computer games. One end of this pretty much only needs you to believe in FTL and artificial gravity but is otherwise pretty hard. The fewer impossible things you're asked to believe (and the better rationalized the ones you are asked to believe in are), the harder it is. Hannu Rajaniemi's Jean Le Flambeur trilogy falls here, on the harder end. The middle of this group adds in something like psionics (Traveller gets in here, and a lot of science fiction novels, like Dune and Hyperion). The softer end throws in a lot of too-human aliens and "pure energy" beings (Babylon 5, most Star Trek).

Soft: Here lies fantasy but with a science fiction veneer and context. Some Star Trek (the animated series, particularly) comes in here, and Farscape. This is also the domain of Star Wars. Simon R. Green's Deathstalker cycle turns up here, too.

Ultra-Soft: Some Star Wars tie-ins in other media come in here, as do things that include magic (or similar fantastic elements} mixed in with an otherwise soft sci-fi universe: This would include superhero sci-fi properties (the Legion of Super-Heroes and Guardians of the Galaxy) and comic book epic sci-fi (what might also be thought of as Heavy Metal sci-fi) like Dreadstar, The Incal, and The Metabarons. It's possible it stops beings science fiction on the mushiest end of this catgory and just becomes "fantasy."

So what consistency of sci-fi is your favorite--particularly in regard to rpgs?

The Magic Comes Back

Matthew Hughes's Henghis Hapthorn stories (and related stories of The Spray) take place in Earth's Penultimate Age, an era where science is beginning to wain and magic returning. Implicitly, this seems to be the age before Vance's Dying Earth, an era, of course, dominated by magic. This isn't the only setting with the pretense of returning magic: it shows up in place as diverse as Shadowrun and the 80s cartoon and toyline Visionaries.

I think this would be an interesting direction to take a science fiction setting in. You could use your favorite: Star Frontiers--or Strange Stars. The easiest thing to do would be to play post the change and just use those species and setting elements (minus the technology) in a fantasy setting. You could also play during the transition from tech to magic, which I could see having some interesting possibilities. Maybe have an era where spells and the like are beginning to appear but spaceships and other high tech stuff are still operational.