An "Old Solar System" of Your Own

The "Old Solar System" is a term that has been used to refer to the more romantic views of our planetary neighbors before space probes and better observations through a wet blanket of reality over the whole thing. 

Back in 2019, I wrote a series of posts with generators based ideas drawn from fiction of the era about the three most important worlds of the Old Solar System. Check them out and roll up your own version!

Mercury

Venus

Mars

Atomic Age Space Horror Inspirations

 In a recent post, I discussed what I saw as the possibilities of retro sci-fi horror of the gleaming rockets and stalwart spacemen variety, not the grubby, paycheck-seeking space jockey's popular in the Alien-inspired rpgs. I mentioned a few inspirations there, but I felt like a more extensive list was in order.

Comics:

Weird Fantasy (1950)

Weird Science (1950)

Incredible Science Fiction (1955)

Some stories in later anthology series like Alien Worlds (1982), Mystery in Space (1980 revival), Time Warp (1979)

Fiction:

"In the Walls of Eryx" H.P. Lovecraft.

Leigh Brackett stories including "Shannach - The Last," "Purple Priestess Mad Moon," etc.

Ray Bradbury. Early short fiction, including "Death-by-Rain" and "The City."

CL Moore. Northwest Smith Stories

Clark Ashton Smith science fiction, including "The Immeasurable Horror," "Vulthoom," and "Vaults of Yoh-Vombis."

A.E. van Vogt. Voyage of the Space Beagle (1950). It's a fix-up of previously published short stories "Black Destroyer," "Discord in Scarlet" (both of which bear some resemblance to Alien; the first also likely inspired the Star Trek episode "Man Trap"), "War of Nerves", and "M33 in Andromeda."

Stanley Weinbaum solar system stories particularly "Parasite Planet," "The Lotus Eaters," "The Mad Moon," and "Planet of Doubt."

Film & TV:

The Angry Red Planet (1959)

It! The Terror from Beyond Space (1958)

Forbidden Planet (1956)

Planet of Vampires (Terrore nello spazio) (1965)

Outer Limits, select episodes

Star Trek, select episodes including "The Cage," "The Man Trap," "What Are Little Girls Made Of?" "Operation: Annihilate!" 

Twilight Zone, select episodes

Queen of Blood (1966)

Dark of Space

With Mothership, an official Alien rpg, and probably some others I'm forgetting, the 70s "grubby future" sci-fi horror genre is quite well represented in gaming.

But sci-fi horror wasn't invented in the 70s. Alien borrowed a lot from the films like It! The Terror from Beyond Space and Planet of the Vampires, where gleaming spaceship hulls, shiny floors, and smart uniforms were the rule, but horrors still lurked in the darkness. When you think about it, Forbidden Planet is kind of horrorific if we ignore Anne Francis--and Robby the Robot.

The antecedents of this sort of "rocket horror" are to be found in prose science fiction. A.E. van Vogt short stories "Black Destroyer" and "Discord in Scarlet" were similar enough to Alien that 20th Century Fox settled a lawsuit. Reaching even further back, CL Moore's Northwest Smith short-stories from the '30s had a strong horror element.

It's time to get blood splatter on all that chrome! No one can hear square-jawed spacemen scream in hard vacuum, either.

Transhuman Space + 2300 AD

I think a mashup of Transhuman Space and Traveller: 2300 AD (later 2300 AD) would work quite well. They both share the trait of being relatively "hard sci-fi" rpgs. Both eschew world governments and the like for squabbling nation states continuing into the future. Both try to avoid most of the fantastical technologies of a lot of space opera.

There are a lot of differences, sure, but I feel like those differences could compliment each other. Transhuman Space's exuberant optimism regarding AI and biotech balances out 2300 AD's in places laughably conservative (and now dated) notions regarding future tech. Adjusting in the direction of 2300 AD's temporal setting (maybe meeting in the middle at 2200) would make Transhuman Space's rosy tech and space travel outlook look more conservative. Bringing in 2300 AD's stutterwarp drive and "realistically alien" aliens broadens Transhuman Space into interstellar science fiction, which is often more to the rpg crowds' liking than solar system-confined post-cyberpunk, while staying relatively true to the hardish sci-fi leanings of TS. Plus, 2300 AD has a star map and young space colonies ready for you.

Of course, you could do without FTL and keep 2300 AD's aliens and colonies. If you had things like Alastair Reynolds' "lighthuggers" and suspended animation sleep, you could still maintain 2300 AD style civilization, particular when you factor in Transhuman Space tech regrading brain downloading and bioroid bodies.

Weird Revisited: Ways & Sigils

The original version of this post appeared in 2015...

When humanity discovered there was a way to cheat relativity, we found, to our surprise, that it was a lot like magic. The paths that shortcut distance and connected many universes were built by ancients no species remembered--though everyone had stories. A popular one was that the precursor culture came from outside the ordered universes, from a manifold or bulk whose physical laws would have been more familiar to Jung or Frazer than Einstein or Hawking. We called it "hyperspace." It sounded more scientific than "the astral plane."

Computers, even the most advanced AI, were mostly confused by the Ways. They could tell you a lot about the apertures, but they couldn't decipher the symbols that needed to be inscribed on the hulls of craft in order to make the apertures open or to arrive safely at a desired destination. And so the casters arose; they were people with the mental aptitude to understand the ways and create the symbols needed to traverse them successfully. With a good caster, a vessel can get almost anywhere.

Sometimes, though, ships wind up someplace other than their intended destination or just disappear entirely. At times the casting is probably to blame; encoding multidimensional state vectors into a compressed, symbolic representation has always been more intuition than science, and the internal state of the caster has always been a variable. Sometimes there's just a glitch--an act of God, you might say. Who knows what might distract the hypersophont entities or idiot gods in the machinery of the multiverse that "read" the sigils and guide ships to their destinations?

So the lucky and lost just wind up making an extra stop or two before their final destination. The unlucky truly lost disappear entirely. But there are a few, the stories say, that turn after a long absence with strange stories. There's a city at the center of the multiverse, these haunted-eyed travelers will tell you. A city where castaway alien vessels from infinite universes wind up. A city so vast, so old, so integral, that it doesn't have a name, just a single location sigil-- the Sigil. That's what they call it.

Weird Revisited: Spacehunters

A variety of real life stuff has led to little time to prep the next installment of my Talislanta series. Instead, enjoy this post whose original version was presented in February of 2017.

Luis Royo

Watching The Expanse brought to mind a game I ran in GURPS perhaps decade ago. A "hard" science fiction thing using a lot of stuff from Transhuman Space put giving it more of a Cowboy Bebop spin: a little bit cyberpunk, a little bit 70s action film.

Howard Chaykin

If I ever ran a similar game again, besides using a system besides GURPS, I think I would draw more visually from '80s and 80's sci-fi, borrowing some elements from things like American Flagg! and 80s cyperpunk rpgs. The players' would still be ne'er-do-well, planet-hopping bounty hunters/troubleshooters but with a different skin.

Janet Aulisio

A Campaign Idea in Pictures

A scout ship crashes on a distant planet.

A world teeming with life, some of which mysteriouslt shows ties to Earth, and primitive civilization.

Things are not what they seem.

But what can explain the apparent examples of magic?

The short pitch summary: A Planetary Romance short of sandbox, inspired by Vance's Planet of Adventure series with Talislanta (modified to taste) used as a base.

The Outer Dark of Space

There are rpg publications out there combining the Cthulhu Mythos with science fiction, and maybe even some combining transhuman science fiction with it, but I don't know if any of them have combined the mythos with hard science fiction with a bleaker edge like Reynolds's Revelation Space or Blindsight by Peter Watts, or maybe a hard science fiction Prometheus.

The magic and occultism of Lovecraft's (and other's) stories are just the primitive misunderstandings of extremely advanced technology. The many of the so-called deities of the mythos are entities predating the current universe, somehow intertwined with its structure.

The Great Old Ones and other Elder Races have been fighting to control these entities or the knowledge they possess for billions of years. In their long war, they go quiescent or hibernate for extended periods to build their energies and plan their strategies for the next titanic battle. Many of these beings are no longer conscious or sophont by our standards, but rather post-intelligence. Other species are nearly powerless in the face of these titans, and so they hide when they are awake, and the try not to wake them when they are sleeping--though some are not above attempting to "hack" them or exploit their advance technology. This is the solution to the Fermi Paradox.

I figure human civilization would resemble something like Revelation Space. AI probably exists, but there are not yet hypersophont AI (at least not widely known) like in the work of Karl Schroeder or Hannu Rajaniemi, because their existence might make the mythos races less special.

Weird Revisted: Fiend Folio...In Space!

If your looking for some alien monsters for any traditional science fiction game you could do a lot worse than starting with the original Fiend Folio, I think. I'm not even talking about things like reskinning undead as nanotech animates or victims of exotic plagues (though you can certainly do that); I think there are a lot of creatures in there that are just straight up science fiction.

The first creature listed are aarokocra, which are just straight up birdmen--like the Skorr of the Star Trek Animated Series and a bunch of other places. The algoid is a psionic algae colony; the CIFAL a colonial insectoid intelligence. (It even has an acronym name!) Osquips are pretty much ulsios from ERB's Barsoom stories. The grell already looks like a pulp sci-fi monster: I think there was one in Prometheus, wasn't there?

Yeah, there it is.

Anyway, demon, devils, and elemental princes are out without substantial overall, but some less interesting monsters for fantasy purposes might be made a bit more interesting in a science fiction context. Lava children might be a silicon-based lifeform that (like the horta) needs to be contacted rather than killed. Yellow musk creepers and zombies (undead also-rans) would work great in a horror scenario on a deadly jungle world. Even the much maligned flumph is less silly when it's a weird alien (maybe).

Encounters In A Martian Bar Before the Gunfight Started

Art by Jeff Call

01 A jovial human trader eager to unload a large, glowing jar containing squirming creatures he claims are Mercurian dayside salamanders.

02 A shaggy, spider-eyed Europan smuggler waits nervously for her contact.

03 Four pygmy-like “mushroom men," fungoid sophonts from the caverns of Vesta. They are deep in their reproductive cycle and close proximity gives a 10% chance per minute of exposure inhaling their spores.

04 A Venusian reptoid lowlander with jaundiced eyes from chronic hssoska abuse and an itchy trigger-claw.

05 Two scarred, old spacers in shabby flight suits.  They're of human stock mutated by exposure to unshielded, outlawed rocket drives.

07 A cloud of shimmering lights, strangely ignored by most patrons, dances around twin pale, green-skinned chaunteuses. It's  actually an energy being from the Transneptunian Beyond.

08 An aging, alcoholic former televideo star (and low level Imperial spy) with 1-2 hangers-ons.

09 A Venusian Wooly who just lost a Martian chess game to a young farm-hand who doesn't know any better.

10 A Martian Dune Walker shaman on his way to a ritual at a nearby Old Martian ruin, with a bag of 2d6 hallucinogenic, dried erg-beetles. He dreams of driving all off-worlders from Mars.

Random Mercury

Mercury is the least defined of the inner planets in pulp and early sci-fi. Beyond it being tidally locked  (which we've since learned it actually isn't), Mercury had no fixed characteristics, other than being generally more inhospitable than the other planets I've already dealt with: wet Venus or desert Mars. A lot of stories use Mercury for "Man Against Nature" stories, either for survivors of some sort of disaster or rescuers of survivors. But hey, when you've got your own Mercury, you can do what you want with it!Let's randomize:

Problems with Getting There?
1 None
2 Solar Storms (heat, radiation)
3 Magnetic Anomalies

Where’s the Action for Earth Folk?
1 Day Side
2 Twilight Belt
3 Night Side
4 The whole planet

Day Side Life?
1 None
2 Silicon-based lifeforms
3 Insect/Arthopods
4 Energy/Plasma beings
5 Whoever they are, they live underground
6 Alien robots/cyborgs

Earthlings on Day Side?
1-2 Not if they can help it. It’s got lethal heat and radiation with special gear.
3-4 Crazy prospectors in protective domes
5-6 Maverick archeologists after ancient artifacts
7-8 Fearless scientists studying the Sun (or Vulcan!)
9-10 Just robots

The Twilight Belt Terrain:
1 Badlands
2 Mountains, canyons and a cave network
3 Weird, crystalline forest
4 Torrid jungle, wracked by storms

Twilight Belt Life?
1 Hairy humanoid primitives
2 reptilian monsters
3 Plant-like
4 the same sort of beings as Day Side

Earthlings in the Twilight Belt?
1 Criminals hiding out
2 A small, struggling colony
3 Castaways
4 A scientific expedition

Night Side Terrain:
1 Cold, rocky desert
2 Odd crystal formations
3 Ruined Cities (and roll again)
4 Ice

Night Side Life?
1 None
2 Crystalline beings with telepathy
3 Incorporeal ergovores
4 Androids left by ancient inhabitants
5 Viscous, slime-like colonial intelligence
6 Creatures strangely resembling supernatural terrors of Earth legend

Earthlings on the Night Side?
1-2 Not if they can help it. It’s cold, dark, and unexplored.
3-4 Wanted men
5-6 Maverick archaeologists after ancient artifacts
7-8 Survivors from a long-lost rocket crash
9-10 Exploratory robots

Solar Trek: The Amok Trigger

These are the voyages of the exploratory vehicle, Enterprise...

In 2262, Dr. Leonard McCoy discovered the continuation of outlawed genetic practices among certain prominent families of Mars. This was revealed when Enterprise's first officer, Commander Spock began experiencing drastic mood swings and neurologic pain. Neurochemical triggers made Spock seek to return to Mars, regardless of his orders to the contrary.

The cause of his condition was an engineered gene sequence, created in the 21st Century by Martian geneticists for the purpose of making arranged marriages among their people compulsory and binding. The small, modified human population of Mars practiced arranged marriage for purposes of genetic diversity and promotion of genes critical for survival in the partially terraformed Martian environment to come over the next century. An unidentified family member of Spock's betrothed had introduced the genetic sequence through use of a viral vector when Spock was in his teens. The reasons are unclear, but may have had to do with Spock's father's diplomatic position.

T'Pring, Spock's betrothed, was absolved of any wrongdoing in regard to the genetic manipulation, but she did instigate a trial by combat that could have resulted in the deaths of one or more Space Fleet officers in order to be free of her obligation to Spock.

Dr. McCoy was able to repair the genetic damage to Commander Spock. His efforts led to a greater understanding of historic Martian gene-engineering techniques.

Solar Trek: The Archon's Return

source

The discovery of the long lost generation ship Archon by Enterprise in 2263 underscored to the General Assembly of United Federation of Sol why sophont AI was to be feared.

Though records of the its launch are nonexistent (either destroyed in the chaos of the third World War or lost in the rapid changes in data storage formats that followed), its design, computer systems, and the cybernetic implants among its passengers suggest Archon (ICV-189) was a generation ship launched toward Proxima Centauri b in the early 21st Century. Its habitat areas were home to several diverse communities, among them some religious minorities, including a (ironically) technology-rejecting traditionalist Christian sect.

Archon would never reach Proxima Centauri. Federation forensic teams have been unable to determine what calamity happened first: the death of a number of crew in an accident, a breakout of hostilities among the colonists, or a malfunction in the vessel's artificial intelligence. Whatever the cause, several habitat regions were lost and others became isolated, armed camps. One of the crew took radical action that restored a semblance of peace, but at a cost. Programmer Nicholas Landru put the computer in charge.

At some point, the course of Archon was changed. It re-entered history again in the Sol System, where it was intercepted by Enterprise. What they found in the only functioning habitat area was a society resembling a late nineteenth century agrarian community with the inhabitants completely unaware they were on a vessel. Despite appearances, the members of the community were extensively managed and condition by cybernetic implants controlled by ship's AI, whom they referred to as "Landru." There were dissidents among them,  individuals presumably for whom the neurochemical conditioning was inadequate, who looked to the return of the "Archons" (a distorted memory of the vessel's crew) to save them.

The Enterprise crew in the habitat

Unconcerned with cultural contamination, Captain James Kirk of Enterprise destroyed Landru. He was criticized in some academic circles, but both Space Fleet and Federation inquiries absolved the Captain and his crew of any wrongdoing.

The Archon's passengers have been resettled in a protect area so that a Federation team can slowly work on integrating them into society and undoing Landru's conditioning.

Weird Revisited: A Traveller's Life

Recent discussion on Google Plus regarding Traveller made me recall this post originally from 2014...

E.C. Tubb's Dumarest of Terra novels are one of the primary inspirations for the game Traveller, though the game doesn't bother the central conceit of the novel. Tubb's protagonist Earl Dumarest other travellers are essentially space hobos: they book dangerous low passage in cryogenic berths from world to world. This contrasts with the wealthy in high passage, who take quick time drug to slow their perception and make time pass quicker to shorten the ennui of the voyage.

Though the Traveller mixes in other influences and gives PCs their own ship, Tubb's original set-up would make a good game all on its own. What's more, it strikes me that Dumarest would be pretty easy to turn into a "hard" science fiction game. It would be trivial to dispense with artificial gravity (and anti-gravity), but I think you could even dispense with FTL.

Alastair Reynolds's novels in the so-called "Revelation Space universe" show how this could be done. Reynolds has no FTL, but does have interstellar travel via "lighthuggers" making voyages at close to light-speed with relativistic time dilation at play. Passengers on lighthuggers are put in cyrogenic freeze because of the length of the voyages. Just like in the Dumarest novels, cyrogenesis isn't without risks. Some passengers die and many have temporary amnesia.

In a modern, hard science fiction approach, low passage wouldn't just be cheap, it would be the only way for the middle class and poor to travel between worlds. Middle passage (the crew) might be more like the Ultras in Reynolds's books: transhuman space-mariners, living their lives on board ship and looking down on system-bound folk. High passage is still for the wealthy, but I don't think quicktime drugs alone would be enough the years (or even decade) long voyages. The wealthy (like the ship's crew) would no doubt have extended lifespans: perhaps centuries--and possibly even immortality, barring misadventure. Superlong lifespans,quicktime drugs, and brief periods in cryo-sleep would make it possible, though the the ships would have to have a lot of entertainment available and be pretty large.

Obviously, you couldn't do a lot a travel back and forth between worlds in this sort of set up, but if like Dumarest you mostly kept moving from one adventure to another that wouldn't really be necessary. Travellers would always be on the move to the next world, far away and years into the future.

Weird Revisited: Space Fiends: Marauders from Hyperspace

This post original appeared in December of 2013. It followed  a post about using AD&D Fiend Folio monsters in a science fiction context. It's not set in any particular sci-fi universe I've presented, any more than the write-up of the monster that inspired it was. This was one of a number of posts over the years of monsters or setting trying to get at something that was Spelljammer but not Spelljammer.

No. Appearing:1-4
AC: 4
Hit Dice: 1 (or better)
Saving Throw: as per class and level
Attack Bonus: +2
Damage: 2d8+2 mag rifle, 1d8+1 monoblade
Movement: 30'
Skill Bonus: +1
Morale: 9

Gathyengi are a xenophobic humanoid species who act as pirates, striking from hidden bases within hyperspace. They are theorized to be descended from humans abducted by the psionic Masters from Earth millennia ago to serve as both labor and food source.

Gathyengi (sing. gathyen) are ectomorphic, almost skeletal in appearance. Their skin is dusty yellow to the color of parchment, and leathery. Their skull-like faces, solid black eyes, and pointed teeth (likely ritually sharpened) give them a fearsome appearance in keeping with their reputation for violence.

A gathyengi raider will have a crew compliment of various classes, similar to any human vessel. A raid will be led by a captain of 4-7th level, depending on the size of the ship. It is likely there will be at least one combat psychic among them.

All gathyengi can shift back into hyperspace at will. Whether this is an innate ability or technological is unclear. Dead gathyengi shift back into hyperspace as well, thwarting attempts at close examination.

Valerian

Luc Besson's new film Valerian and the City of A Thousand Planets is based on the French comic book series Valérian et Laureline by by writer Pierre Christin and artist Jean-Claude Mézières (The film seems largely drawn from the sixth story in the series, Ambassador of Shadows). It's good source material for Besson, has the exotic locales of the comic and multitude of aliens give plenty of opportunity for him to engage in the in the stunning visuals that have been part of his previous science fiction efforts.

Valerian and Laureline are special agents of the Federation, with a bantering, unresolved sexual tension thing going. After acquiring a cute and valuable alien organism, the Mul Converter, to the massive, multi-species space station Alpha, to save it from a mysterious threat. All is not as it seems, and Alpha's Commander has secret plans of his own. Our heroes make their way through the alien locales of the station to solve the mystery and save everybody.

The plot is perfunctory, its drama is simplistic, and the characters are thin, but the sort of science fiction films Besson makes have never particularly focused on those things. The Fifth Element had an breeziness about some of the core dramatic elements, but did a lot with action, humor, and a Heavy Metal visual sensibility. Valerian may not become a the cult classic it has, but would make a good double feature with it.

In rpg terms, the visuals in Besson's film will likely give plenty of fodder with sci-fi gaming. Valerian and the City of A Thousand Planets: The Art of the Film, is worth picking up for that purpose, even if you don't like the film.

Guardians of the Galaxy, Vol. 2

I was not as fond as most people of the first Guardians of the Galaxy film. I saw Vol. 2 last night, and while I still wish I had gotten a Farscape movie instead, I think this one is a better film that the first.

In brief, the new movie pits the Guardians against the Goldenskinned authoritarian snobs of the Sovereign (who they ripped off) and Ego the Living Planet (a universe-imperiling threat). It has plenty of action and perhaps even more physical comedy that the first (too many hyperjumps causes cartoonish facial deformation). It manages to give all the characters some story beats and something interesting to do--something that other large cast Marvel films haven't managed as well. In contrast to the first film, the characters are allowed to grow a bit, in contrast to being reduced from their two dimensional comic versions to one dimensional cliched archetypes. Freed from the need to blatantly tie in to a larger Marvel "epic", Vol. 2 gets to more full psychedelic space fantasy, like Farscape if it were a Heavy Metal comic or Star Wars with a dayglo aesthetic and more dick jokes.

There are still some things I didn't like: I have come to the conclusion I just don't care for the Marvel Studios "fantastic" aesthetic. I thought Asgard looked like a Nike commercial version of the Star Wars prequels, and the first Guardians of the Galaxy managed to make Chris Foss inspired designs seem uninteresting. I'm still not sold; it all looks very expensive video for a pop song I don't like, but there are hints this time of a particular philosophy of design that makes the seedy Contraxia and the ostentatious Sovereign throne room work for me better than anything in the first film.

Also, it still seems like dimension hoping more than space travel. Forget Serenity's "into the black;" except for the fact that people dying in the vacuum is a plot point, you could be forgiven for not realizing they were ever in space. Everything is as awash in color, and planets are passed in travel not as planets but as little tableaux or comedy scenes, like the cosmic equivalent of the hapless fruit vendor getting his stand smashed in a car chase. I think colorful, busy design can be but to great purpose (I love Speed Racer) and in sci-fi (like The Fifth Element or the upcoming Valerian), but something about the way Marvel does it rubs me the wrong way.

Oh, and the music cues are omnipresent. Upping the ante from its predecessor (but in line with Suicide Squad) its much like a series of short music videos for classic pop songs. While not as bad as Suicide Squad in this regard, it also has a few that are so on the nose that the movie is sort of narrating itself to you in song (cf. "My Sweet Lord").

Bottom line: If you liked the first one, you will almost certainly like this one. If you were so-so on the first one, you still might like this one.

Spacehunters

Luis Royo

Watching the new season of The Expanse has led me to start thinking about a game I ran in GURPS perhaps decade ago. A "hard" science fiction thing using a lot of stuff from Transhuman Space put giving it more of a Cowboy Bebop spin: a little bit cyberpunk, a little bit 70s action film.

Howard Chaykin

If I ever ran a similar I again, besides using a system besides GURPS, I think I would draw more visually from '80s and 80's sci-fi, borrowing some elements from things like American Flagg! and 80s cyperpunk rpgs. The players' would still be ne'er-do-well, planet-hopping bounty hunters/troubleshooters but with a different skin.

Janet Aulisio

Space:1977, or Set Coordinates for Planet Funhouse Dungeon

It occurs to me there's never really been a sci-fi equivalent of D&D. (At least back in the day. Maybe someone's doing it now, and I'm just unaware.) By D&D I mean D&D of OG (Original Greyhawk) Gygaxian mode: a stupid, freewheeling, game of exploration that borrows promiscuously from genre media (of multiple genres) without bothering to particularly try to emulate any of it. Traveller is too interested in emulating specific source material and is more serious; Space Opera is goofy enough, but it still wants to be that sci-fi thing you like (whichever one it is) rather than being not any of those things but wearing their clothes. Metamorphosis Alpha and Gamma World get the vibe, but their scopes are more limited.

What I'm talking about is something a bit Vancian, definitely picaresque, where exploration for the purpose of profit is the order of the day. The character archetypes are from all over. An adventuring party might look like the ragtag protagonists in Battle Beyond the Stars (except that John Boy guy would be a Jedi in training and the lizard man would be Tars Tarkas) and act like a more disreputable Serenity crew. Only Silver Age comics truly encompass the level of crazy alien worlds ought to embody--given the appropriate figleaf of Gygaxian realism, of course. I figure adventures would often go down like an episode of Lost in Space, except more people would die. And then the Robot would take their stuff.

The Starrunner Kit

After an untended hiatus caused by internet-outage, I'm back with a copy of Mike Evans's The Starrunner Kit in my hand (figuratively, since it's digital) that got released last week. Mike is a friend, so I wouldn't call this an unbiased review, but I think Mike has done a bang up job.

The "kit" portion of the (so important it gets mentioned again in the subtitle) is the key. Everything that's in here fills in some little gap or another that may be present in the old school sci-fi game you're playing: mechs, or a hover-bike pilot or plant lifeform class. These are particularly aimed at White Star, broadening a bit its serial-numbers filed off Star Wars with stuff out of space opera seen in film, comics, and anime post-Star Wars.

There are a lot of gear and character options, but there are also goodies for the GM. In fact, the plethora of random tables are probably where The Starrunner Kit shines brightest and where it's most useful for those playing a fantasy game not derived from the D&D chassis. There are tables for random jobs, random events between adventures, random sights and sounds in the city, even a short random table of alien religions. All of these are easily usable in any space opera game and more importantly, they are a springboard to the imagination for creating your own setting specific ones. Looking through these I started getting a lot of ideas of things that could be used in Strange Stars--and that was without rolling any die!

If any of that sounds interesting to you, then you should definitely head over to rpgnow/drivethrurpg and check it out!