The Soft Conquest

The traffic in Minga slaves is illegal in many jurisdictions in the Strange Stars, but the owning a being of such a famous genotype--fragile, delicate and ephemeral as biosophonts generally are--is too much a status symbol for the wealthy in the Vokun Empire and other polities to ignore. What the Slavers who trade in them and the collectors who acquire them don't realize is that their slow dissemination across the galaxy and their meek servitude in places of wealth and power is all part of their plan. 

Appearance and Biology: Minga resemble the baseline human type, and are considered physically attractive by most of that clade. They are gracile of build and have pale skins, ranging from a pink-tinged porcelain to chalk white. Their hair and eyes are in a wide variety of pastel shades. They tend to have large, expressive eyes.

Psychology: For autonomous sophonts, Minga are very submissive and complaint beings. They do disagree from time to time, but always do so in an indirect way best calculated not to give offense. They are nonviolent, even against personal attack, but will defend themselves if absolutely necessary. They are incredibly intuitive beings who seem to anticipate (and then serve) the desires of those they spend any significant amount of time with. Most who try to read a Minga's expression will find exactly what they wish for; only the particularly empathetically adept will note that the Minga are in fact exceedingly hard to read and generally just reflect the wants and desires of others.

The Minga are exceptionally skilled at reading the microexpressions and kinesics of other humanoids. It may be this ability is enhanced by some level of psi empathy. In contrast, they have a fine degree of control of their own nonverbals. They are skilled at manipulation, both through voice, body language, and physical intimacy. This ability is likely pheromonally and psychically enhanced. 

Slavery & A Secret: Minga emerged from a world in the Coreward Reach. It's exact location is known only to the Slavers and their thralls. The Minga were immune to Slaver psionic control, but their allure to other humanoids was apparent, and so they were spared from destruction. Slaver's take away shipments of Minga youth (never too many, so as not to saturate the market). Though the Minga are relatively long-lived, the Slavers have certainly not bothered to introduce any of the anagathic therapies common to civilized worlds. The Minga elders seem to rule their society but meekly acquiesce to demands of the Slavers for more of their people.

The Minga don't enjoy subjugation or their world's occupation by the Slavers, but their ruling cultural belief is in nonviolence and the spiritual exploration of sensuality. The Slavers and their thralls opened the Minga's eyes to the deplorable and iniquitous state of the wider galaxy. It was decided they would use the Slavers as a conduit in their mission to convert all sophonts to their way. The Minga are patient; slowly each slave is bending their supposed master to their view of enlightenment.

Stats: Minga require a Charisma of at least 14. They natively have an ability that works like the psionic ability Empathy (though there's is not purely psionic). This only works on humanoids. Minga also have the ability exert effect similar to Charm Person on a humanoid who fails a Mental Effect save with whom they have had intimate or extended (over 48 hour) close contact.

Wednesday Comics: Za!

Here's the next installment of  Jim Starlin's Metamorphosis Odyssey. The earlier posts in the series can be found here.

"Za! Metamorphosis Odyssey Chapter II"

Epic Illustrated #1 (Spring 1980) Story & Art by James Starlin

Synopsis: Za is a bestial Tyjorian on an inhospitable world around Alpha Centauri. He's not like his fellows, and as his knowledge and self-awareness grows, he's becoming less like them all the time.

Tyjorians are the only life on their planet and so are cannibals. Only their rapid rate of reproduction keeps them from killing off their species. Their brutal lifestyle never forced them to develop civilization or even empathy.

Za was born different. The meat of his own kind sickened him, so he had to subsist on his world's strange blue crystals. After his mother died, Za never joined a band. He lived alone, making him a target for groups of other Tyjorians:

He had the strength of 10 Tyjorian males thanks to his diet of blue crystals. None could harm him, but he was still alone.

One day, he met a female and that changed. He felt an emotion unlike the fleeting mating instincts of his species. He brought her meat and protected her. Then one day he couldn't. She was killed while he was away. Feeling a sadness his kind was never made to feel, he climbed high into the mountains intending to end his life. Instead, he met someon--and found it's purpose.

Aknaton apologized, for he was the cause of Za's pain. He had bestowed knowledge and given the ability to understand speech. Aknaton needs a monster with a mind and a soul. There is a darkness spreading across the stars, and it cannot be defeated, only destroyed.

So the two jump on the back of a giant, insect-like creature and head out to their next destination: Earth.

Things to Notice:

• Za looks a bit like a later Starlin creation, Skeeve.

Commentary: 
The hints dropped in Chapter I about Aknaton's activities when he was away from Aknaton begin to pay off. The next few chapters will follow the same pattern of character introduction

The improbability of Tyjoria's ecology just serves to accentuate its a symbolic nature. Tyjoria is the hostile universe in microcosm; it's literally dog eat dog. Za isn't just an everyman, he's all humankind, self-aware and adrift in a savage world, wondering why he suffers and why the world is the way it is. Only love makes it bearable for him, but then he loses that, too. Just when he's about to end it all, God shows up.

Za is a bit like Job, but at least the god Za encounters apologizes (somewhat perfunctorily) for the sufferinghe has caused and gives a reason for it. Still, Aknaton doesn't explain a lot; Za is forced to take things on faith. Given the world he was living in, it's really no wonder Za grabs hold to what Aknaton offers, however vague it may be.

When he does, we see the emergence of another sort of narrative, though one influenced by Biblical ones: the fantasy quest. 

The Futures of Howard Chaykin

Howard Chaykin has worked with a number of science fiction properties in comics over the years: Star Wars, a graphic novel adaptation of Bester's The Stars My Destination, and a Watchmen-ized DC science fiction characters with Twilight. He's also done a few original science fiction charatcers:

Ironwolf
The Hero: The tartan-wearing, outlawed lord of the planet Illium. The sort of guy willing to slap a Galactic Empress over a political disagreement.
Appearances: Weird Worlds #8-10 (1973), Ironwolf: Fires of Revolution (1992).
The Setting: The Empire Galactika in the 61st Century, a time of spaceships made out of anti-gravity wood, vampire legions, and swashbuckling. I talk about it more detail here.
The Look and Feel: probably Burroughs and Alex Raymond inspired. Futuristic guns and swords are in wide use. Most male characters dress a bit like Raymond characters, while the female ones seem to wear hippy or disco inspired outfits.

Cody Starbuck
The Hero: A space pirate. A guy who will charge a nobleman twice the ransom price to rescue his kidnapped bride-to-be then receive fellatio from the woman on the flight home.
Appearances: Star Reach #1,4 (1974, 1976), Cody Starbuck (1978), Heavy Metal (May-Sept., 1981).
The Setting: It seems to drift a little over time, but always a far future galactic society, where an empire has fallen to be replaced by feudalism. A corrupt future version of the Catholic Church is a frequent villain. The first story mentions wooden and crystalline spacecraft, but later stories show fairly standard sci-fi ships.

The Look and Feel: Initially this swashbuckling future is very Alex Raymond (probably by way of Al Williamson), but the later stories show the influence of Star Wars and probably other 70s science fiction film. The level of technology is increased in the later stories. Being in more adult publications, the series is more explicitly sexual.

Monark Starstalker
The Hero: A space vigilante, former rigger (a pilot with his nervous system linked to his ship), rebuilt by aliens and given a robot hawk that he's telepathically linked with. He's the sort of guy that's disliked by both sides in the war, but still manages to right wrongs and get the girl.
Appearance: Marvel Premiere #32 (1976).
The Setting: A space frontier in rebellion against the Federation that founded it. It has riggers that link with their ships and "terranizers" that are some sort of terraforming device.
The Look and Feel: It's sort of Western meets Science Fiction at a time of galactic civil war (a year before Star Wars and an over two decades before Firefly). The clothing and equipment is a bit like the Cody Starbuck stories this same year, but there aren't any swords.

Reuben Flagg
The Hero: An actor from Mars (who lost his job on Mark Thrust, Sexus Ranger to a CGI duplicate of himself) drafted into becoming a real-life lawman in Chicago. The sort of guy that likes to listen to jazz.
Appearance: American Flagg! #1 (1983).
The Setting: A somewhat dystopian, very 80s 2031, where the U.S. government and most major corporations fled to Mars during a crisis in 1996. A media-saturated, corrupted, and violent former America is controlled by the new corporate-governmental entity known as the Plex. Many cities have become arcologies called Plexmalls.
The Look and Feel: A vague hint of the pulp era (zeppelins, stockings and garters), filtered through a whole lot of 80s. Consumerism, pervasive media with subliminal messages, a bit of Judge Dredd-ian urban dystopia. A talking cat.

Cold Eggs

Ksaa are an aggressive and expansionist species native to a system on the Rim in the Strange Stars.

Appearance and Biology: Ksaa are oviparous humanoids with some reptile-like characteristics. They have three sexes with a great deal of phenotypic difference between them. Females are large, aggressive (particularly after egglaying) and territorial; males are smaller, more brightly colored, and less intelligent. The neuter sex has pale white coloration and is more intelligent than the others. It is born from eggs incubated at a cooler temperature, hence the name khii gan, meaning "cold egg" literally, but also "eunuch." It is used figuratively to connote something like "cunning bastard."

Psychology: Ksaa society is formed around family groups of related females. They control territory that is administered by cold eggs born of their clutch or another clutch from the same mother. Cold eggs play games of political intrigue for greater wealth and position. They view themselves as superior to the rest of their species and believe their species to be superior to all others. Ksaa are not an organized threat, except in the occasional period where a cold egg manages to unite a significant number of the great families. These periods are generally short-lived, as treachery takes its toll.

Ksaa still retain the predatory instincts of their evolutionary ancestors. They greatly enjoy hunts and take pleasure in toying with prey (and enemies) before killing them.

Stats: Male ksaa are cannon-fodder soldiers little smarter than animals (AC 7, HD 1, AB +2, bite 1d4 or melee weapon), female ksaa are less likely to be encountered but are more formidable (AC 6, HD 2, AB +2, bite 1d4, tail slap 1d6 or weapon), cold egg ksaa can be built like PCs have have attributes in the same range.

The Weird Adventure of the Anagrammist

I always enjoy hearing about (and sometimes playing in) other peoples Weird Adventures games. John Till has been blogging about a cool game he ran using Fate at Con of the North recently. Like Lester B. Portly, John has his own sort of interpretive spin, which I think is great.

Anyway, check out the set up here, and follow it up with part two and three.

Wednesday Comics: Metamorphosis Odyssey

Here's the first installment of a new Wednesday feature. Leaving Warlord behind, I'm branching out to other comics, starting with Jim Starlin's Metamorphosis Odyssey...

"Metamorphosis Odyssey: Aknaton"

Epic Illustrated #1 (Spring 1980) Story & Art by James Starlin

Synopsis: An alien in pseudo-Egyptian garb flies through space via power of a mystic chance on a disc. This is Aknaton, and his mind is consumed not by the wonders of the cosmos he travels through, but by the past.

He remembers his world of Orsiros, an ancient civilization mixing magic and science, now gone. He thinks of the friends and loved ones he lost including his beloved Nieth. All of them gone now. Only the hated Zygoteans remain.

Even the Orsirosans didn't know the origins of the Zygoteans. They knew well the Zygoteans war of conquest though, as they watched horror befall world after world. The Zygoteans invaded, enslaved the people, then stripped the world of resources, and left their slaves to die on the withered husk.

The Orsirosans watched but didn't act. War was unknown to them, and though centuries were as hours to them, they feared death. Still, they knew that the Zygoteans would one day come for them, and so they watched and learned, and made ready. When the Zygoteans finally attacked, they met stiff Orsirosan resistance. The confrontation lasted 500 years, but Orsiros stood.

The Elders of Orsiros knew their victory wouldn't last. They considered many strategies for overcoming the Zygoteans, but ultimately came to realize that the outcome was inevitable. And so, they fixed their minds on the idea that Orsiros should not die alone.

All their facility for magic and technology went into making the Horn of Infinity; the universe's last resort, the end of the Zygoteans. One of the elders was chosen to be the Horn's guardian: Aknaton. He was granted great powers by his fellows, and these he used to look into the future. He saw the Zygotean triumph, the destruction of his homeworld, the sounding of the Horn and vengeance--and his own death.

Aknaton hid the Horn on a barren world. Then he laid the foundation for what he knew must be. He visited Earth and place a racial memory in emerging humanity. He visited a lush world in the Crab Nebula and released life of his own creation. In Alpha Centauri, he instilled in cannibalistic brutes the capacity for empathy, and on a gelid world in Vega, he hide "a sword of icy fire."

When he was done, he returned to Orsiros to await the end. Though it took 100,000 years, it came. As the Zygoteans attacked, Aknaton said his good-byes. Then he stepped on his helodisc and left his doomed world.

He tried not to watch, but in the end, he couldn't resist. He turned at the precise moment to see Orsiros ripped apart. And then:

Things to Notice:

• Aknaton has a pointy nose (and to a lesser extent, chin) that the other Orsirosans don't share. Maybe it's just Starlin deferentiating them, but I wonder...
• The Zygoteans are never clearly seen, only their "thralls."

Commentary: 
Metamorphosis Odyssey was serialized in Epic Illustrated, Marvel's answer to Heavy Metal, starting in it's first issue. Starlin had been working for DC just prior to this, but his return to Marvel (albeit in a creator owned environment) marked a return to the cosmic vistas and big themes of his work in Strange Tales and Captain Marvel. Starlin has said some things about the origins of this story, but I don't want to touch on them now as they might be a bit spoilery for what's to come.

The Orsiros clearly have an ancient Egypt vibe going on. Orsiros is derived from Osiris, the god of the afterlife. Orsiris was killed by his brother Set and then dismembered. Unlike Orsiros, Osiris gets reassembled and resurrected. The name Aknaton is reminiscent of Akhenaten, pharaoh of the 18th dynasty who forced the abandonment of Egyptian polytheism and the adoption of monotheism, in the form of the worship of Aten.

"Zygotean" is likely derived from zygote, the name for a cell formed by the union of a sperm and egg. The word is derived from a Greek term meaning "joined" or "yoked." Perhaps this choice of names represents the Zygoteans as a growing threat to the galaxy, its gestating doom?  

The Simple Art of Mystery

After this weekends Detectives & Daredevils game, I was talking with the game's creator and our GM, B. Portly, and the man from Kaijuville, Steve, about running mystery-based games. This is something I've put a bit of thought into as most of my Weird Adventures games are mysteries in one way or another. Here are some things I feel like help make a mystery genre game (as opposed to game that just happens to have mystery elements or a mystery setting) successful and enjoyable:

1. Get players' buy in. To create the feel of a specific genre, everybody needs to be on the same page about what you're doing--at least if it's going to be fun for all involved.
2. Plan, but leave some blank space. You need to know the "who," the cast of possible "whos," and at least have a good idea of the "why," if you're going to be able to effectively lay clues for the PCs to uncover. There needs to be some fuzzy areas though, as the player's are going to suggest interesting details either purposefully or through their actions during play. So long as you're not changing the fundamental facts of the mystery the PCs are trying to uncover, this only enhances things.
3. The PCs always find the important clue. This one is borrowed from Robin Laws' GUMSHOE, but it can be employed in any system. If the PCs look, there going to find the critical clues. If they don't look, be on the look out for alternate ways they can discover the information. There can always be some details players' might miss, but if it's really important, don't make it hard to get.
4. Repeated interviews yield new information. As Raymond Chandler pointed out in "The Simple Art of Murder," one of the "unrealistic" things about the murder mystery is that it features a close-knit group of people. Going back to those few NPCs with new questions will get new information, because they will have thought of things since last they were interviewed or new things will have occurred as the malefactor's "plot" precedes.
7. Keep things moving. To again quote Chandler's "The Simple Art of Murder": "When in doubt, have a man come through a door with a gun in his hand." If the PCs have hit a wall or their just not connecting the dots, they shouldn't flounder too long. Their investigative actions are going to make the villains react or (related individuals with something to hide), and the reaction will often be to try to kill the PCs or throw them off the trail. Maybe the villains don't come after the PCs, but after someone else they think might give the PCs information. Their actions shouldn't be random; they should make sense, but their exact timing can be when the game needs it.
8. Everybody has got secrets. Even when someone isn't the killer/primary criminal, they may have something to hide. Hints at these provide good red herrings and discovering them gives the PCs a feeling of accomplishment while they're slowly chipping away at the big case. Be careful not to let these overwhelm the main mystery or make them too hard to discover, lest the PCs spend too much time on a tangent.
9. It's not necessary to be Sherlock Holmes. In The Maltese Falcon, Sam Spade does very little investigation. He mostly reacts to people coming after him; he thinks on his feet, keeps the other guy talking so they give up a lot of information for relatively few questions, and uses violence judiciously.

That's what I've got. Anybody else got any pearls of wisdom from their gaming table?