80s Action Cartoons Were Very Gameable

I'm not just talking about the usual suspects like Thundarr the Barbarian or The Pirates of Darkwater; or ones that already have games like G.I. Joe, Transformers, or of course, Dungeons & Dragons. Even the deeper cuts are great too. Let's take a look at a sampling and the gaming inspiration they provide.

Sky Commanders (1987)

If you're a fan of hexcrawls or even pointcrawls, could I interest you in high elevation, feature-to-feature exploration? The premise is a new continent has arisen in the Pacific thanks to some weird energy source, and a multi-national group of mountaineering-specialist good-guys fight the baddies via flight, or by using "laser cables," a fancy rappelling line shot from combat backpacks. There are all sorts of environmental hazards to contend with too, and some monsters.

Spiral Zone (1987)

The high concept takeaway here might be G.I. Joe meets the Walking Dead. In the show, an evil scientist and his Road Warrior refugee have released a weird, bioactive mist (the Spiral Zone) that turns the people in it into mindless zombies. A crack team of agents and their tricked-out vehicles and protective suits do battle with the badguys. A twist is that both sides want to limit civilian casualties as the bad guys want to use them, and the good guys want to save them. 

Defenders of the Earth (1986)

While this team-up of several King Features Syndicate characters against Ming the Merciless might seem like a low-powered supers thing (and in some ways it is), the takeaway here, I think, is genre crossover. You've got a sword & planet guy, a pulp hero (or two), and a wizard who get together to take out a villain.

Fantasy Anime You Should Watch

I've been watching some fantasy anime of late, revisiting the classic Record of Lodoss War I hadn't seen since the 00s, but also checking out some new stuff. Here are some recommendations:

Frieren: Beyond Journey's End (Crunchyroll)

Frieren starts with a basically D&Dish world, but tells the sort of story most epic fantasy media doesn't really deal with: what happens after? The title character is a nigh immortal elven mage who realizes that she didn't know as much about her party members (the leader, Himmel the Hero, in particular) as she would like only after one of them passes on. She agrees to take on a child adopted by another one of her aging comrades as an apprentice and together they set out on a journey to retrace the steps of her original party's journey into the demon-haunted North to find the place where the dead can speak to the living. Along the way she picks up a warrior who is the protege of her old dwarf comrade and they meet other allies and get in adventures big and small on their journey. 

It's a nice combination of slice of life travelogue, magical duels, and character drama, with both humor and poignancy.

Delicious in Dungeon (Netflix)

Everybody knows about this one, I think, but it deserves the hype. A group of adventurers has a deadly encounter with a red dragon, and a few of the survivors plan to go back and save their cleric before she is digested to have her raised. They have no time to buy supplies, so they resort to eating monsters in the dungeon with the help of dungeon-dwelling dwarven chef. 

It's pretty funny, but despite the setup, it has surprisingly deep setting "lore" that is slowly revealed and helps it from being a single joke show.

Ranking of Kings (Crunchyroll)

This is the least D&Dish of the three. I've seen it described as "fairy tale Game of Thrones" which is probably a pretty reasonable descriptor, so far as it goes. In a world where the gods were defeated, a committee of some sort ranks the power of the mortal world's monarchs. The king that is awarded the number one ranking is entitled to a boon from the Divine Treasure Vault, a fabled trove brimming with riches and magical artifacts. Bojji, the main character, is the first born of one of these kings, the giant, Bosse. But Bojji is diminutive, deaf, mute, and weak. When the throne is given to his younger brother due to duplicity and a lack of faith in Bojji, the boy sets out to find a way to become stronger.

The fairy-tale type beginning and the cartoon art style which recalls Shotaro Ishinomori and Osamu Tezuka belie the hidden agendas and moral shades of gray of the story, as well as the level of world-building. The 1st season doesn't end as well as it begins (with some dragging out of the final fight to multiple episodes as you sometimes see in anime, and some abrupt story developments) but I'm still interested in the world and characters and want to see more.

The Retro-Reviews Continue!

This is your periodic reminder that Jason Sholtis and I are still watching old TV shows free on streaming and blogging about them on the Flashback Universe blog. This week was the Western  Have Gun – Will Travel (1957). The week before was the trucker drama Movin' On (1974).

What's on TV

Here's your periodic reminder that if you have an interest in old TV shows, Jason "Operation Unfathomable" Sholtis and I are watching one a week, pulled from the forgotten corners of streaming and the moldering pages of old TV Guides, in our "Classic TV Flashback" over on the Flashback Universe Blog.

We've been on a British TV kick lately, sampling Star Cops (1987) and Jason King (1971).

Holiday Viewing

Got some time over the holidays? Over at the Flashback Universe Blog, Jason Sholtis and I have been watching selected episodes of old TV shows available on streaming and reviewing them. Something here is bound to be what you are looking for!

Mr. Lucky (1959)

Gigantor (1964)

Barbary Coast (1975)

Raumpatrouille Orion (1966)

M Squad (1957)

Riverboat (1959)

The Renegades (1983)

Space: 1999 (1975)

Flash Gordon: The Greatest Adventure of All (1982)

Yancy Derringer (1958)

Blackstar (1981)

Miami Vice (1984)

Blake's 7 (1978)

Peter Gunn (1958)

Cliffhangers (1979)

Dragnet (1951)

Classic TV Flashback

Over at the Flashback Universe Blog, Jason Sholtis and I have started a series where we watch an episode or two of some "classic" TV show we find on streaming and blog about it. So, far we've watched Mr. Lucky (good) and Gigantor (less good)--a post that debuts tomorrow. 

If you're entertainment starved, might be worth a read.

From

I've recently started watching the Epix (now MGM+) TV series From on a free preview. It's the story of a family that find themselves stranded in a small town where no one can leave and they are beset each night by apparently supernatural creatures that appear human, but are not. As a setting and situation, it's the sort of thing I've called a mystery sandbox before--though there's always the chance it will be revealed to be more of a sort of mystery terrarium where the true mysteries are other than what they initially appear. I'm only 4 episodes in, so it's hard to say!

Reviews tend to compared it to Lost, which is not completely off-base, but  think it's a bit lazy and possibly inspired by the presence of Harold Perrineau as the town sheriff. More apt comparisons I think are in the works of Stephen King. You've got a family where the parents have some relationship stress, a kid who has supernatural insights, and an eclectic group of characters, some of whom are dangerous to the others. It's perhaps a bit less volatile than how King would mix those elements, because it's meant to potentially last longer. So maybe it's a mix of a Lost-type show and a King work--the second one of it's type, since King's book The Dome was stretched into that sort of show.

Anyway,  think this sort of thing would make an interesting sort of short to medium rpg campaign. I'm sort of surprised their isn't a Powered by the Apocalypse hack to do this sort of thing, though maybe their is and I just don't know it.

Planet of the Apes Episode 3

This is a repost from a few weeks ago on the Flashback Universe Blog and a reminder that Jason Sholtis and I are reviewing the entire, single season series over there, once a week on Tuesday!

 

 "The Trap"
Airdate: September 27, 1974

Written by Edward J Lasko
Directed by Arnold Laven
Synopsis: The gorillas pursue our heroes to the ruins of San Francisco. When they are buried underground in an ancient subway station during an earthquake, Burke and Urko are forced to work together. Above ground, Galen and Virdon try to figure out a way to help Burke, with the reluctant assistance of several gorilla soldiers.

Trey: This episode was written by Edward Lasko who wrote a lot of TV back in the day, including episodes of Six Million Dollar Man, Mannix, The Mod Squad, 4 episodes of Wild Wild West, and one bad episode of Star Trek, "And the Children Shall Lead." How does he do here?

Jason: Well, it ain't Shakespeare! This episode had some of the clunkiest dialogue yet in the series, perhaps due to sloppy editing and time pressures in the production schedule. 

Trey: We're only two episodes in!

Jason: Three! Anyway, I'm not familiar with much of Lasko's work, but I get the feeling the old pro blasted this one out in one sitting, turned it in, congratulated himself on another job done, cashed his check and never looked back. All that said, I must admit that fun and amusement could still be harvested for those sympathetic to the franchise or 70s TV in general. 

Trey: Our perpetually on the run protagonists hide out with the Millers, a family of humans refreshingly at least passively resistant to ape hegemony.

Jason: Urko and Galen both know the town in question has a reputation for harboring fugitives, which suggests some kind of human resistance or at least non-compliance. Unless Astronauts intrude from the past in even greater numbers than the apes would care to admit!

Trey: Some bits and pieces of old wiring from a nearby ruined city give Virdon the hope there might be some near functioning technology left there.

Jason: Wires mean hope to Virdon, but Burke remains, perhaps sensibly, totally unconvinced.

Trey: I get that Burke is supposed to be more of the pessimist/realist about the prospects of returning home but given that his buddy has a wife and family he wants to get home to, he seems kind of dismissive and flippant at times! Show some sensitivity, guy!

 

Jason: We all cope in our own way! At least Burke is willing to go along with Virdon's plans, because what the hell else are you going to do on the POTA? I suppose he could settle down and begin a new life in a human village, but the company seems pretty lackluster thus far. 

Trey: The ruined streets of San Francisco are obviously a city street set on a studio backlot, but they dress it up nicely post-apocalyptically.  It does seem awfully well preserved for a nuclear holocaust, though.

Jason: It looked surprisingly good, I thought, though as the episode wore on it was clear they shot a handful of streets and alleys from every conceivable angle. I felt a twinge of sympathy for the studio workers who had to clean up all the apocalyptic mess after shooting. 

Trey: The ancient subway station and train, on the other hand, needed a bit of work. It looks like the small tram for a studio tour.

Jason: I didn't think of that, but now that you mention it, yeah, last stop, tour over.

Trey: Pretty good action sequences this episode.

Jason: Urko brought some appreciable gorilla-strength to his struggles with Burke, tossing him around effortlessly, which was the first hint of a disparity that I've detected in the series. 

The epic mano a mano brawl between Urko and Burke was an especially fun flavor of cheese. Between flying kicks and Judo chops, Burke and Urko engage in a verbal struggle straight out of a Marvel comics fight scene! Burke attempting to pummel the denial out of Urko, whose mind was blown by a poster advertising a rather barbaric-looking zoo that featured a gorilla behind bars. 

Trey: That poster and all the posters in the subway station demonstrate that printing technology suffered in the future!

Jason: Again, here I empathized with the beleaguered art department temp that had to crank these out before lunch. They were indeed crappy. 

Trey: Irritable Urko is amusing. He's constantly "fed up with this shit!" He's like the lieutenant tired of the cops that don't play by the rules.

Jason: Mark Lenard's back pain may be the inspiration! Roddy McDowell's ape-gait looks more sustainable...

Trey: Zako, Urko's lieutenant, gets to shine a bit this episode. I wonder if we'll ever get a payoff on his discovery of the truth about the past?

Jason: It would be nice! Zako's climactic choice is a dramatic highlight of the episode, indicating that gorillas are more than jack-booted thugs and that perhaps Urko is just an exceptionally grumpy ass.

So, what's your verdict on this one?

Trey: Overall, this is at its base a pretty cliched basic plot: enemies have to work together. I think it comes together pretty satisfyingly, though, and I like the way Burke maneuvers Urko. This also increases the stakes for Urko. These humans are not just a threat, they're a threat to his worldview. You?

Jason: My bottom line: I'm still entertained. Onward to Episode 4!

Go Ape

 

Over on the Flashback Universe Blog, Jason Sholtis and I have started an episode by episode review and commentary on The Planet of the Apes 1974 TV show.

Head over there are check it out if that short of thing interests you.

Weird Revisited: 70s TV Science Fiction Combined Timeline

Back in 2016, I was running a Planet of the Apes game that stole liberally from other science fiction shows besides PotA. In talking it over with my friend Jim Shelley of The Flashback Universe Blog, he hit on doing sort of trading cards of major timeline events. Here's my timeline, and what Jim did with it. I didn't use everything in the game, but it was a fun exercise.

An additional note: This is a TV timeline. A lot of dates in Planet of the Apes are given in the movies, so it doesn't so up in this version. The Logan's Run tv show and film offer different starting dates, but the show is being used here (though in my game, should the City of Domes ever show up, I'm using the movie date).

Creation of cyborgs (like the Six Million Dollar Man) may also rank among the late 20th Century's achievements.

Suspended animation was used in spaceflight in the 80s, so either a less developed version was already in use (as suggested by the POTA films) or data from Hunt's project  did lead to a breakthrough despite the loss of the team leader.

The actual date is August 19, 1980.

The Great Conflict is the name given this war in Genesis II/Planet Earth. These shows make it clear that the war occurred in the 20th Century, though it most have been after a subshuttle station we see in the Planet Earth pilot was built in 1992. The Planet of the Apes tv show suggests a later date. No never specifies, but this date fits with the POTA film series. The Logan's Run series sets the apocalyptic war in the 22nd Century, which is why I chose to go with the earlier film dates in my game setup.

This is also true of the 2nd Roddenbery pilot to deal with this material, Planet Earth. There Dylan Hunt is played by John Saxon.

No evolved apes are seen at the time of PAX (or even Logan's Run), true, but it could be the apes were confined to the area that once was California then. Neither of these shows necessarily covered a wide territory.

Astronauts Burke and Virdon arrive in a North America (or at least Western North America) controlled by apes in a well-established civilization in 3085, so the culture must have spread before that.

Strange New Worlds

Star Trek: Strange New Worlds debuted on the Paramount+ streaming platform this past week. For anyone that hasn't heard of it, it follows the adventures of Captain Christopher Pike and his crew on the Enterprise--the group we saw in the original Star Trek pilot, "The Cage."

Pike and Spock played important roles in Discovery season 2, so in a way this is a spinoff of that show. A such, we unfortunately, don't get a retro-aesthetic like the Mirror Universe two-parter on Enterprise or even a straight modernization of the TOS aesthetic like Abrams' Star Trek, but rather something that moves Discovery looks in a modernization of TOS direction. The uniforms here, though, are much better than the one's shown for the Enterprise in Discovery S2, being something like a combination of elements of the Star Trek (2009) and Star Trek Beyond uniforms.

Anson Mounts' Pike isn't like Jeffery Hunter's but then we only saw Hunter play him pre-The Cage. Those events no doubt impacted him, but the biggest thing Mounts' Pike is dealing with is the aftermath of Discovery. It's a minor spoiler, but Pike is now aware of the fate that awaits him where he ends up in the sad condition we see him in in "The Menagerie." Mount isn't playing another version of Kirk here, which is good.

Ethan Peck's Spock is likewise good, but doesn't quite nail the Nimoy vibe in the way Quinto does. However, "The Cage" pilot was before Nimoy and the writers really made Spock the character we know, so that's okay. The other "recast" characters (Number One, Nurse Chapel, Dr. Mbenga, April) didn't have so much development in the serious previously that a new actor seems like a change. Indeed, all of these actors are good in their roles. Young Uhura likewise seems reasonable to me or that character.

That does bring up one of the (minor) problems with the series for me. In their eagerness to throw in character callbacks, they aren't really respecting continuity. Mbenga appears to be Chief Medical Officer here, yet he is at most second in command to Dr. McCoy by the time of TOS. Maybe McCoy got brought in an outranked him, but that would explain why he looks pretty much the same age as here as he does in TOS with seven years supposedly separating the shows. Indeed, the actor in TOS is a decade younger than the one that played him in SNW.

Also, Uhura stellar communication's officer (at least as far as the "extended universe" of the novels and comics tell us) is one her first cruise here here, but has only made it to lieutenant 7 years later? Maybe that's possible, but it just feels like they didn't think it through.

Those fannish quibbles aside, I like the show. I like the episodic nature of it, which moves it back in the direction of older Trek after the very serial Discovery and Picard. I like that we're getting an Andorian on the ship, if the trailer is accurate. I'm hoping will get more tie-ins to older Trek lore than Discovery's over-arcing plot allowed.

Blake's 7

 

Something we read online last week prompted a brief discussion on Discord regarding the British science fiction series Blake's 7 (1978-1981). The show involves a political dissident (the titular Blake) leading a small group of escaped prisoners turned rebels (the titular 7) against the forces of the totalitarian Terran Federation. I don't know anything much more about the setting or how the plot plays out than that, having only seen the first episode years ago on PBS, but I think the concept has plenty of rpg potential.

There's nothing wrong with the set-up as is with the serial numbers filed off. The comic book series Six From Sirius would be another potential inspiration for this sort of thing--both in plot elements and characters and in 80s sci-fi trappings. I can think of a couple of ways the idea might be tweaked, though.

The first (possibly predictably, since I've done this before) is strip away some of the space opera conventions and have it confined to the solar system with more realistic tech. This becomes a little bit more cyberpunk, I think. It would be darkly dystopian, certainly, but serious or satirical would be possible.

My other though is to retain the galactic scale, but not have the setting be so humanocentric. Borrowing a bit from Farscape, the escaped prisoners might be a motley, mostly alien crew.

The Retro Expanse

The Expanse had its finale on Amazon Prime this week. Its rocket-propelled space battles, intrasolar system conflict, and relative paucity of AI, cyber-, or bio- tech got me thinking about science fiction of the Golden Age and the pulps. I think you could fairly easily transplant much of the conflict and setting of the series to a setting with gleaming-hulled rockets, habitable planets beyond Earth, and 50s haircuts. That last one is optional.

There are different approaches to take, of course. You could go full Captain Future with every celestial body in the system with enough gravity to be spheroid having native human life, or something more like the work of Stanley Weinbaum where the other worlds are not so hospitable to humans and the life there is alien. I think a Weinbaum approach would fit well with the protomolecule and ring gate stuff, but that material is less interesting to me that the human-colonized solar system conflict. My approach would be something along the lines of Asimov's Lucky Starr juveniles or some 50s work of Poul Anderson:  a view of the planets that proved to inaccurate, but was plausible (if optimistic) at the time the stories were written.

So the settled inner worlds would include Earth, Mars, and Venus. Venus would be a water world, perhaps with artificial islands or undersea cities. Mercury would likely research stations or the like, controlled by the UN on Earth. Unlike in The Expanse, Mars and Venus would likely have native life, though probably not intelligent life.

The Belt would be much like in the show, though in keeping with pulp conventions, pirates would be more common. The Outer moons might be a bit more hospitable (perhaps a lot more depending on how pulp you want to get) so the Outers as a whole group might be a bit better off than in The Expanse.

What does this add? Well, it certainly adds a new aesthetic. And of course, since this becomes alternate history, so you've got the potential for it to go in a very different direction from similar core conceits and concepts.

Cowboy Bebop and the Faithful Adaptation

I've watched one episode of Netflix's Cowboy Bebop. so I could be wrong, but I think I already see how this is going to be. I don't think it's awful, but there are definitely things I'm not fond out.

Watching it brought to mind Rodriguez's first Sin City film. That film is a pretty faithful adaptation of the comic, down to the composition of shots, but my reaction on first viewing was very different from my reaction to the comic. It felt silly; I was vaguely embarrassed by it. It's not that I missed that Sin City the comic is over-the-top in some ways, and part of that over-the-topness is Miller's dialogue and narration. But when I read it, I get to decide how the characters deliver the lines, and the almost superhero comic level action scenes are just Millerisms to be translated to real world terms. (Much in the same way I know when reading a comic that characters don't have time for long discussion while they trade a couple of lightning quick blows. It's mere convention of the form, not something to be taken literally.) But on the screen their were actors not selling the clunky lines they were saying and all the action was taken all too literally.

Cowboy Bebop came from a cartoon not a comic so it's closer to film, but it's also the product of another culture (and honestly, another era) so maybe that all washes out. The show gets the details right in cosplay sort of way, but it doesn't feel the same. Gone is grubby future and much of the range in tone. The action is similar in prosaic description but what seemed dynamic in the anime feels fairly flat here. It may be less wacky than the cartoon, but then my tolerance for wacky is much less in live action.

Perhaps the biggest disappoint is some of the choices they made. The first episodes of the anime and the live action show have the same basic plot, but are otherwise fairly different. The anime opens with Spike's dream (enigmatic at that point) then goes into spare scenes of the solitary, early morning rituals of Spike and Jet, accompanied by blues harmonica. There is a lonesome feel to this sequence, and there is nothing like it in the live action show, which instead opens with quipy action. The cartoon returns to a bit of this somberness later with Spike's discussion with Katerina. This is also quite different in the live action episode. The show perhaps gets Bebop's silliness right, but misses the anime's mix of tones, except as absolutely requisite to the plot, and then it can't quite land it.

There's also the indication that we will be seeing hints of the Vicious-Spike conflict every single episode. This is no doubt to make a "season arc" fit for a modern streaming show. Cowboy Bebop the anime was structured like old school tv, with "stories of the week." Over-exposing Spike's arc robs it of any sense of slow reveal or discovery and has the potential to make everything else feel secondary.

Anyway, I'll keep watching. The wife likes it, and I've still got the animated series to watch when I want.

The Wild Wild West Rides On

I have posted about it here in a while, but Jim Shelley and I are still working our way through The Wild Wild West (nearing the end of season 3!) over on his blog. Check it out here.

Wild Wild West Wednesday: The Night of the Skulls

This post appeared over at Flashback Universe a couple of weeks ago. Consider this a teaser and reminder that Jim and I are doing a Wild Wild West rewatch over there...

 

"The Night of the Skulls" 

Written by Robert C. Dennis and Earl Barret
Directed by Alan Crossland Jr.
Synopsis: West is a fugitive after appearing to shoot and kill Artie. It's a ruse, they leads him to a secret organization, rescuing fugitive criminals for a sinister purpose.

Jim: This episode really encapsulates some of the things we've been discussing the past few days.

Trey: That's right, folks. We talked about WWW even when not getting ready for one of these posts! But yes, I feel like it brings weirdness I like to see. Sure, a villain building a band of fugitive criminals for some caper, we've seen before, but it's the details: the skull make up and colorful robes, the kidnap hearse, the trial, and the insanity of the main villain and his motley, chosen group all lend what I view as the essential WWW touches. 

The writers are reported to have said: "We saw The Wild Wild West as a comic book type show, so we camped it up." I agree with their approach!

Jim: There is a good bit of humor in this episode. And the third act cliffhanger with West shooting Artemis (again) is one of the better ones. 

Like you,  I really liked the cloaked skull faced cabal in this episode-- though I found it amusing that the "girl of the week" Lorelei just got a domino mask.

Trey: Emblazoned with a skull, though.

Jim: I'm always impressed with the dining rooms of these secret, criminal cabals. The stylish chairs and sumptuous dinner makes a nice juxaposition with the various notorious thugs and murderers.

Trey: I feel like we may have seen that same table and chairs in a previous episode, but I'm not sure.

Outside of the camp and presentation, I think it's well done episode, with a fair amount of action and stuff for both Artie and Jim to do. There's a hint of friendly rivalry between them here which I think works. 

Jim: I was impressed with Artie in three different disguises. I found the aged minister at the funeral particularly good. It's no wonder he was nominated for an Emmy for this role, albeit not until the fourth and final season.

Trey: The only complaint I have is that Skull Judge and his crew are really quick to believe West has turned villain. I mean, even if he murdered Artie in a crime of passion, it seems a stretch that he's willing to help you overthrow the government.

Jim: That's the least of Skull's problems with rationality, I think.

Trey: True!

Jim: I have to say, seeing him rant at the end about how he's the rightful president of the United States hits a little too close to home!

Wild Wild West Wednesday: The Night of the Whirring Death

Let this re-posting of a Christmas-ish episode of Wild Wild West serve is a reminder that Jim and I are reviewing the series here on his blog...

 

"The Night of the Whirring Death" 

Written by Jackson Gillis
Directed by Mark Rydell
Synopsis (from IMDB): Jim and Artie are collect money from millionaires buying bonds to save California from bankruptcy. The problem is, Dr. Loveless is back and blowing up the would-be benefactors with booby-trapped toys to steal the money.

Trey: This is the closest WWW came to a Christmas episode. It isn't stated in the episode to be Christmas, but the winter weather, focus on toys, and other story elements give they vibe. It aired, however, in February of 1966.

Jim: It starts off with a nice tip of the hat to Charles Dickens’ A Christmas Carol with Jeremiah Ratch taking the place of  Scrooge. Ratch is played by Norman Fell, aka Mr. Roper from Three’s Company. Fell’s comedy chops come in handy as he hams it up with the Ratch character for the short time he’s on the screen.

Trey: This is Dr. Loveless' third appearance and the first not written by his creator. It sticks pretty close to the established Loveless schtick though: he's still trying to carve his own kingdom out of part of California. Voltaire (Richard Kiel) and Antionette (Phoebe Dorin) are back, as well.

Jim: I believe this is the one and only time Loveless is ever shown smoking. It’s mostly for comical effect, admittedly, after he's revealed as the “child” who gifted Ratch toy soldiers.

Trey: Voltaire speaks for the first time, too. It's note as being a change within the episode. One Loveless related conundrum: Why does the brilliant doctor continue to employ lovely female assistants in his plans, who he knows by now are only going to fall for West's charms?

Jim: He tries to maneuver Priscilla away from it, but to no avail! She is the most wide-eyed innocent of the group, so far.

Trey: Unbelievably naïve is the better descriptor! I wonder if her toy maker grandfather raised her with no contact with the outside world?

Jim: A funny bit is the look of cynical disbelief on lovely Antionette’s face when Priscilla is convinced by Loveless that the exploding toy train is a perfectly fine toy.

Just putting this out there: with the naivete Priscilla displays, I think a nice plot twist for the episode would’ve been to have her be revealed as a human sized animatronic created by Loveless. 

Trey: I could buy that.

Jim: In general, I think the level of technology in this episode seems a bit advanced. We see electric trains and phonographs.

Trey: The phonograph was an anachronism noted in Loveless's first appearance. The electric train is similarly just a bit ahead, having been invented in the 1890s. Incidentally, this episode actually gives us an onscreen place and time: "San Francisco, 1874."

Jim: One of the unintentionally funny bits to me: After West is ground zero at the explosion in Ratch’s shop, Gordon proclaims that he's fine and just needs some rest. Supporting him in this dubious claim is a city cop who says, “He’s right lady. Working this beat, I’ve seen enough to know he’ll be fine.” Just how violent is this neighborhood?

Trey: Thinks are hard in California in this alternate 1874, apparently. I mean, the governor's plan here is explicitly laundering money for rich people with shady, possibly criminal, business practices to keep his state solvent. 

Jim: Vote Loveless! How could it be worse?

Go to Very Distant Lands

Art by Steve Ellis

 Adventure Time ended its original run in 2018, but there's a now series of single episode stories on HBOMax. Watching those reminded me how a lot of rpgers were excited about Adventure Time, at least in its early seasons. It's sort of gonzo, post-apocalyptic setting seemed very much cut from the same cloth as a lot of rpg worldbuilding.

No official AT rpg has ever appeared in English, and in the end the show is a kid's cartoon, perhaps more character driven, than exploration based, but I think it would be pretty easy to derive inspiration from the form of AT's Land of Ooo, as opposed to exact content. In other words, if you wanted a D&D campaign for adults to do D&D stuff that was just in some ways reminiscent of Ooo, this is how I would go about it. (If this thread gets comments someone will no doubt mention the Far Away Lands rpg. Let me preempt that by saying that it has slightly different goals. It's more doing an AT but not AT rpg. I'm thinking of "if you want D&D to have more of a resemblance to AT" without going full cartoon.)

So this is what I think:

• Make the setting more expressly post-apocalyptic. Not in the usual Tolkienian way that D&D usually is, but in the Gamma World way.
• Avoid the standard versions of standard monsters. You can use names like "dragon" if you want, but avoid the standard fantasy dragons of D&D. Ok, maybe goblins or giants can stay, but no orcs. My suggestion: borrow a lot of monsters and races from Gamma World, and lean heavy on the AD&D Fiend Folio derived monsters.
• Elementals are important, but maybe not the standard Greek ones. They seem to be part of a fundamental magic structure of the universe, but Fire, Water, yada yada may not be where it's at. Luckily, D&D gives us para- and quasi- elementals that are weirder.
• Don't be afraid of the player's getting ahold of more advanced tech, but not weapons so much. Let them freely pick up a bit of the 20th or 21st Century here and there, but don't make weapons or combat related. Let them find record players (or ipods), or gameboys and the like.
• Mutagens and weirdness. While AT doesn't dwell on it, it has decree of weirdness and even body horror that seems drawn from the most fevered of post-apocalyptic or atomic war fiction. The zones of Roadside Picnic have more in common with it that you might think.
• Negotiation is always an option. Very few creatures should be attack on sight sorts. Most of them have got the same sort of troubles and aspirations as the adventures, just a different point of view.
• Don't be afraid of humor. The first edition of Gamma World embraced the silliness of its premise and with something like this, you should too.

Wild Wild West Revisited Wednesday

Instead of watching some parade on Thanksgiving, you can sit back and read the installments you've missed of "Revisiting the Wild Wild West" a rewatch and commentary on selected episodes by Jim "Flashback Universe" Shelley and myself.

Revisiting the Wild Wild West Season Two

Jim Shelley and I are continuing our selective re-watch of the Wild Wild West weekly on the Flashback Universe Blog. We're now starting the second florid, full-color season.

You can catch up on installments here.