Games I Thought About Running, But Then G+ Was Going Away

Okay, it's highly likely, indeed probable, that I wouldn't have run any of these games regardless, but I did think about it. And then I thought about the impending doom of Google Plus. They are presented roughly in chronological order of conception:

Wild Wild West: Old West spy-fi like the 60s TV show. Well, inspired by the TV show, maybe with a bit more of a SHIELD type organization and the sort of villains that occasionally showed up in Marvel Western comics. I thought about using the much-maligned TSR Indiana Jones game for it.

Something Superhero: This was a less formed idea, but I had had a couple of ideas, one of which was running it in the world of the Armchair Planet Who's Who.

Vancian Talislanta: The works of Jack Vance were a huge influence on Talislanta, and the native system has its charm, but I thought it might be fun to give the first edition of the Dying Earth rpg a whirl at the more heroic Turjan level. Tweaking Talislanta to be a land of verbose rogues is probably only a slight shift, but a flavorful one.

Solar Trek: What started out as a thought experiment of a hard science fiction leaning version of Star Trek set within our Solar System got me sort of interested in seeing how that might actually come out in play.

Comic Strip/Serial Star Wars: Coming out of Solar Trek discussions was an idea for a "back to the roots" Star Wars, shorn of the 70s, and exhibiting its full Buck Rogers and Flash Gordon whiz bang glory. I suppose it has a stronger version of the old Star Wars problem: If you play the main characters the story is sort of known, but if you play other people in the universe, how do you keep them from being overshadowed, and in this case, how do you keep it seeming Star Wars like rather than just some pulp space thing.

High Adventure Cliffhangers: Buck Rogers Adventure Game

In 1993, TSR took a second stab at the Buck Rogers license. Their first attempt, Buck Rogers XXVc apparently failed to find an audience. If anything, their second seems to have fared worse judging by the fact it has an even lower profile. Contrary to what many might assume based on its lack of success, it's actually not a bad rules lite sort of system.

Where Buck Rogers XXVc tried to update the then 60 year-old property, High Adventure Cliffhangers goes back to Nowlan's 1928 novel (Armageddon 2419 A.D.) and particularly the comic strip that ran from 1929 to 1967.  For those unfamiliar with the mythos, it tells the story of Buck (Anthony in the original novella) Rogers, who is put in suspended animation by some weird mine gas and awakens in a 25th Century where a Red Mongol Empire emerged from the Gobi to conquer North America. Driven from the ruined cities, the Americans formed "orgs" to fight a protracted insurgency. Despite its earthbound origins, the comic strip soon gets into space travel and peace is eventually made with the emperor of the "Airlords of the Han" so that villainy can shift to other worlds. (This story likely inspired the Yellow Peril and Red Scare Star Trek episode "Omega Glory," and perhaps the Klingons as "Space Mongols," and is at least prefigured if not inspired by Edgar Rice Burroughs' The Moon Men, which was originally titled Under A Red Flag.)

The game makes use of a lot of  Dick Calkins’ work from early days of the comic strip. Combined with the subject matter and the technology presented, it gives the setting a very retro feel, in contrast with XXVc.

The system, however, features a relatively hot new thing (in 1993) in game design: the dice pool. After all, Ghostbusters had only pioneered those sorts of mechanics in 1986. HAC uses six siders exclusively. The dice rolls are totaled and compared against a target number. Dice pools are capped at 8. It also makes use of "exploding 6s."

Like TSR's Marvel Super-Heroes ability scores have descriptive names, ranging from OK, to Good, Better, and Best. Each of these translates to a number of dice to be rolled for actions. The abilities (Strength, Aim, Brains, and Health) each have associated skills, though the list is not particularly large.

In combat, the heroes always get initiative, though situational factors may alter that. There are no hit points or other damage metrics. Instead, a successful hit calls for a Health roll, with failure meaning a character is out of commission, the duration varying with the means of attack. Deadly attacks require a second Health check on failure of the first, a Mortality Roll, with failure meaning death.

Combat uses maps, minis, and Action Points to quantify actions. It's not really as tactical as it sounds; it is certainly less detailed than 3e. Rather, it seems an 80s relic, like a less detailed version of the FASA Star Trek AP system.

Characters may spend experience points (or chips, because it uses poker chips to represent them) to add die to rolls. NPCs can also spend Experience Chips for a last minute escape.

Overall, the game seems to have been intended for those new to rpgs. Presumably, it was aimed at all these fans of  a 60+ year-old property lurking out there waiting to start roleplaying. Even its map-based combat seems less wargamey than catering to presumed boardgame comfort and familiarity. Overall though, it is a system with a bit a charm, and probably could be fun for any pulpy-type setting.

Wednesday Comics: Heroes of the Golden Age Reference Guide #2

The pdf's for the Kickstarter of Heroes of the Golden Age Reference Guide #2 are out, which is a bit confusing because there wasn't a issue 1. It's actually a remaining of the series that started out as Heroes of the Public Domain, which I discussed previously.

Other than the man change, it is much the same as the first one. It has art by Chris Malgrain (who's name and work you may recognize from Armchair Planet Who's Who stuff) and entries on a number of Golden Age characters from Airmale (not a typo) to Tommy. This issue highlights just how many captains there were in Golden Age comics. There are seven in this issue alone.

If this sort of thing interests you, issue 3 will be not doubt Kickstartered as well, so be on the look out.

The Fall of the Toad Temple

Our 5e Land of Azurth game continued last night, with the party still exploring the Toad Temple, looking to stop the depredations of the cultists--and searching wardrobes.

There were a number of smallish sacks of money in wardrobes.

Mostly avoiding conflict because a (pre-planned) uprising of the townsfolk was creating a diversion, the pary sneaked through the levels of the temple. Ultimately, they find the Power Plant and subdue a Apprentice Powerman. With the proper persuasion, he reveals that the "shifting" of the temple is controlled by the Main Computer. He also lets it slip that they are originally from the future, and they do not want to return there.

Luckily, the Computer Room is just across the hall. Unluckily, the Computermen have herd the ruckus and barricaded themselves in.  As soon as the party breaks through, the Computer Supervisor and his apprentice open fire with ray guns. Finally remembering they have already picked up ray guns themselves, the party returns fire. The apprentice goes down instantly.

The Supervisor, believing they have go to destroy the computer, fights to the last, but eventually falls.

The party uses the high priest's ring and a keyboard to speak to the computer. Strangely, both the keyboard and the screen are in Azurthite Common.

They command the computer to take the temple back where it came, but program a delay, so they can escape. Random encounter rolls are in their favor, and they make it out of the Temple just in time to see it ripple and disappear.

The tyranny of the toads is at an end. The party is reuinited, but has little time to celebrate their victory. Phosphoro appears and reminds them of their promise. He activates his staff and whisks them away to the future--where Rivertown lies in ruins!

Hellion [ICONS]

HELLION

Abilities:
Prowess: 5
Coordination: 6
Strength: 4
Intellect: 4
Awareness: 5
Willpower: 5

Determination: 3
Stamina: 9

Specialties: Athletics, Martial Arts, Investigation, Stealth

Qualities:
Something to Prove
"I'm nobody's sidekick"
Hotheaded

Powers:
Hellfire Bands (Strike Device Bashing): 6
      Extra: Burst, (Degrades, Burnout)
Swinging Device: 3

Background:
Alter Ego: Robert Chase
Occupation: Graduate student, musician
Marital Status: Single
Known Relatives: Nick and Nora Chase (parents, deceased)
Group Affiliation: Former partner of Devil-Man
Base of Operations: Arkham
First Appearance: (as Imp) STRANGE DETECTIVE COMICS #42; (as Hellion) ARMCHAIR PLANET PRESENTS #71
Height: 5'10"  Weight: 175 lbs.
Eyes: Blue  Hair: Blond

History:
Robert Chase is the son of Nick and Nora Chase, Occult Investigators and friends of Devil-Man. When they died to the reckless actions of a group of cultists, young Robby was seriously injured and Devil-Man gave him the "invitalizing draught" (which had heightened Devil-Man's own physical abilities) to save his life. In his identity as Kurt Ward, he became Robby's guardian. Devil-Man began training the boy, who soon debuted as the first Imp.

When he entered college, Robby's activities as Imp decreased. He began to want to separate himself from his mentor, with whom he had began to disagree on methods. The final break was over the use of the Hellfire Bands, which Devil-Man felt were too dangerous. Robby took on the new identity of Hellion.

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.

Omniverse

Last year I did a series of superhero-themed posts on Google+ inspired by Wold-Newton essays and with the conceits there was only one Earth (encompassing both the Marvel and DC and possibly other "universes") and the world tended to work like our own, despite its somewhat altered history. This served to both ground the characters in history, making them more "realistic" and making history stranger! The name for the series was taken from Mark Gruenwald's 1979 fanzine alternate comic book realities.

With Gplus in its death throes, I exported those posts and they are now blogposts here. Only a few of them are currently visibly, but if you want to check them out, follow the Omniverse label at the bottom of this post.