Galactic History with Pictures

It's commonly accepted that most of the galaxy's sophonts are either descendants or creations of humanity who came into being on the fabled world of Earth. The location of this ur-world of the humanoid phyle is lost. 

The original civilization of humanity collapsed (perhaps multiple times) or perhaps it ascended. Whether the end was glorious or tragic, the true history of these times is only fragmented legend.

The Archaics rose with the aide of knowledge salvaged ruins of the past. They built crystalline cities that floated in the air, and connected the noospheres of their worlds with superluminal relays via wormwholes.  

Something happened. There was a Great Collapse and galactic civilization fractured into individual worlds, and some of them slid back into savagery.

The Radiant Polity, one of the successor states to the Archaic Oikumene, was torn asunder by conflict between toxic memes. The Instrumentality of the current age was born out of this struggle.

The planet Phobetor is home to monsters: Bandersnatches, kalidahs, cateblopases, and crocotta are among the deadly bio-art horrors released onto the world's surface by the artists living in the dilapiated floating city above it. This artists' colony became the Phantasists of today.

The Zao Corsairs

The Zao are an infamous group of space pirates. Their brazen crimes and theatrical flair have made them a favorite as villains and anti-heroes in sims and other popular entertainments. The truth is far from glamorous: the Zao are killers who capture ships, loot them, and hold their passengers for ransom or sell them into slavery--sometimes selling their bodies separately from their uploaded minds.

The Zao are a multi-bioform (perhaps even multi-species) association, but the original founding group was composed of perhaps a few hundred former prisoners of the Radiant Polity. As the polity was torn apart by meme wars, the prison asteroid Naraka was left understaffed.The prison was taken by a group of inmates (legend has it, after one of their rehabilitation programs was replaced by hackers with a sim mixing elements of various ancient adventure and crime narratives), and the asteroid has served as the pirates base of operations since. The asteroid is cloaked in a defensive dust that only allows authorized craft to pass unscathed.

Anyone may call themselves a Zao pirate, and some vessels operating under that title may have no connection to Naraka, but the actual Zao pirates react harshly to those “flying their flag” who don't obey their established codes governing the division of plunder, interactions between affiliate vessels, and the secrecy of their defense system keycodes.

No. Appearing:1-10

AC: 7

Saving Throw: 15+

Attack Bonus: +1

Damage: by weapon (1d8+1 monoblade, 2d6 void carbine)

Movement: 30'

Skill Bonus: +2

Morale: 9

The Zao have fondness for old-fashion appearing bladed weapons for close-quarters boarding, but are certainly not adverse to the use of ranged weaponry.

Science Fiction Inspirations

My appreciation for pulp science fiction is well known, but I haven’t recommended any non-pulp stuff in a while, so maybe it’s about time. These are not only good reads, but good gaming inspirations:

The Risen Empire and The Killing of Worlds by Scott Westerfield form a space opera duology about a struggle between two powers: an empire ruled by the immortal-after-death Risen and the Rix, cybernetic humans who worship planetary-size AIs. The opening battle is much more “hard science fiction” than anything in Star Wars or Star Trek--and all the more  fresh and inventive for it. The Rix, there abilities and goals, are much interesting than the Borg ever were, while filling a similar niche.

Diaspora by Greg Egan is less of an action narrative and not as immediately gameable, but has plenty of interesting elements. In the far future, when the solar system is inhabited by post-humans, a cosmic catastrophe endangers all life. The digital citizens of one polis hatch a plan to escape--to higher order dimensions! Probably the most gameable bits here are the different clades of post-humanity and their societies: the digital polis citizens, the robotic gleisners, the devolved dream-apes.

The Quantum Thief by Hannu Rajaniemi sits between these two. It’s got a bit of Diaspora’s heavy science flights of fancy and post-human setting, but more of the Succession duology’s action and conflict. Jean le Flambleur, the greatest thief in the solar system, is busted out of prison by an Oortian warrior and her intelligent ship. The Oortian’s master has a job for le Flambleur, but first the thief has to retreive his own memories from a moving city on Mars--and match wits with a young consulting detective to do so. The various societies of Rajaniemi’s future are exotic and the technologies presented are really evocative.
 

The Necromancers

They can sometimes be seen along the space ways and at port: black ships, sleek, angular and glinting like an obsidian blade. Their crews are small; often only the master of the vessel and his slave daemons or bioroids are aboard. They do not come to trade or to meet other species. These dead men, these Necromancers, have other concerns.

Tall and cadaverous, the Necromancers are of a near human bioform. They appear to be lacking in biologic processes--except perhaps decay, slowed by the black nanosuits they wear. Though they don’t live in the usual sense, they do use energy; nanites infuse their tissues, reanimating them. But the bodies break down, after centuries--or millennia perhaps. Then their intelligences, held in palm-sized scarabae, can attach themselves to the nervous system of a new host.

There are a lot of stories told about the Necromancers: that they have magical powers or that they’re ultraterrestrials or qlippothic entities from a previous universe. The most credible theory holds they are the guardians of an ancient culture: A culture which committed mass suicide to avoid some sort of cataclysm, with a plan to resurrect themselves in a future time. Their bodies were interred in tomb worlds and their minds uploaded and conveyed through a wormwhole to a secure data underworld. The Necromancers were their people's psychopomps and were to be their resurrectors.

Something went wrong. The underworld was lost. The Necromancers search for them still, dealing with any being that might be able to help them--and destroying any that stand in their way.

AC: 3 or better

No. Appearing: 1-2
Hit Dice: 5 
Movement: 20'
Saving Throw: 13
Attack Bonus:  +7
Damage: 2d8 energy weapon or better
Morale: 10
Skill Bonus: +4

Warlord Wednesday: Of Captives and Cannibals...

Let's re-enter the lost world with another installment of my issue by issue examination of DC Comic's Warlord, the earlier installments of which can be found here...

"Of Captives and Cannibals... Scavengers and Kings"

Warlord #118 (June 1987)

Written by Michael Fleisher; Art by Ron Randall

Synopsis: The ship taking the blonde stranger to New Atlantis is attacked by a strange scorpion-looking vehicle. The stranger flies from the ship, blocks stinger blasts with her bare hands, and starts punching the craft open, The pilot distracts her by blasting the ship in half.

The stranger flies back the ship. Holding the halves together, she carries it to a nearby island. There the crew can make repairs, but it looks like the stranger will be flying to New Atlantis.

In Shamballah, Morgan is saddling his horse to ride out looking for Tara. The Queen for her part is on her way back, presumably, just stopping to water her horse. That’s when the former Vathek Y’Smalla makes her move:

Using Apokolipsian illusions, she gets the drop on Tara and knocks her out.

Morgan comes across a woman being attack by an weird, orange, insect monster. He dispatches it in his usual way, but the girl--far from thanking him--tells him to stay away, then she faints. Puzzled, Morgan picks her up to carry her to a nearby town.

Morgan brings the girl into an inn. He doesn't get the welcome he expected:

Desaad’s smear campaign has turned the townsfolk against him. He has no choice but to fight them. Luckily, a blind man who was tortured by Desaad (then freed by the Warlord) shows up to vouch for him.

Elsewhere, Redmond is in the hand of tribesmen about to sacrifice him in the flaming maw of their idol. He manages to get free, and lobs a couple of grenades at them. In the chaos the follows, Redmond retrieves his and makes his escape.

In Shamballah, Jennifer is practicing to get her magical mojo back. She’s interrupted by Mariah, who has come to tell her goodbye. Mariah feels guilt about how her actions have made everyone else miserable, and she’s leaving:

The blonde stranger has reached New Atlantis and finds it deserted. Her thoughts reveal her to me the superheroine known as Power Girl. She used to believe she was Superman’s cousin, but now she knows herself to be the granddaughter of Arion, Lord of Atlantis. She doesn’t plan to leave New Atlantis until she finds out more about her parents and grandparents.

A bit later, Morgan rides back into Shamballah. He’s greeted by an angry Machiste who suckerpunches him. Machiste is angry about Morgan’s relationship with Mariah. He declares their friendship over and rides off.

Things to Notice:

• This issue marks the first time a DC Universe superhero has appeared in Skartaris.
• Mariah, Morgan and Jennifer are back in their old costumes (though Mariah still sports her new eye make-up).

Where it Comes From:
This issue marks the beginning of a series of retcons over decades to the origin of Power Girl. When Power Girl first appeared in All Star Comics #58 (1976) she was Kara Zor-L, Kryptonian cousin--essentially the Earth-2 version of Supergirl. Post-Crisis there was no Earth-2, and post John Byrne's Man of Steel Superman reboot, Superman was the last survivor of Krypton.

Power Girl needed a new origin. In Secret Origins vol 2 #11, she got one: She was now the descendant of the Atlantean sorcerer Arion, and she had been in suspended animation for a long time.

Selling Dreams

The Phantasists are renown throughout the galaxy as dream merchants. No purveyors of mere sims or other mass produced neural trickery, the Phantasists use ancient arts to craft neurochemical mixtures that deliver an individualized, specific, and vivid oneiric experience.

The Phantasists inhabit the sky city of Eidolon (believed to be a folly constructed by a prelapsarian plutocrat), floating above an environmentally damaged world populated by nightmare horrors. They generally appear as baseline humanoids with pale complexions and blue eyes, though they are a creative people and sometimes wear other more varied bodies. Phantasist society is a syndicate subdivided by guild and class. At least when dealing with the public, all Phantasists affect an air of ancient nobility. Though their own official history is perhaps purposefully obscure on their origins, historians believe the Phantasists are descended from an artists’ colony that took up residence in the city during the age of decline before the Great Collapse.

Phantasists have made extensive study of dreams. Their technicians (or “oneironauts” in their advertising copy) delve into simulations constructed from centuries of dream log data gathered in their sleep laboratories from a myriad of sophonts. Comparing the subjective experience with real-time neurologic data they have been able to isolate dream elements and experiences. All this knowledge goes into the synthesis of their oneiric neuronanochemical cocktails for high paying clientele.

Phantasists don’t seek to create crude and causality-bound simulations of physical reality; Their aim is the crafting of experiences with the particular sensation of a dream. There are rumored to be rogue oneirochemists who are willing to create jamais vu traps and  unwaking nightmares for special clients, but the Phantasists vigorously deny that any of their number would participate in those practices.

[For Brutorz Bill who's been wanting new science fiction material. More to come. ]

How Do You Like Your Sci-Fi?

My recent science fiction posts in multiple settings (Star Trek, Pulp Space, Talislantan Space) has got me thinking about the different levels of "hardness" in science fiction. (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. Powerful but plausible nanotech might fall here, too (like in John C. Wright's Golden Age triology). 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. 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?