Tenet and Further Meditations on a 4-D War

I saw Tenet last night, and I thought it was good, but I am typically a fan of Nolan's work. If you aren't I can't say you would like this one more than the others. It most resembles Inception with a plot involving a degree of spy fiction doings, overlaid with a science fictional conceit that is a strong, visual representation.

The film underscores nicely--and it's something I've talked about here before (this post is really just a reinforcement of those ideas, so check it out)--is how time travel/manipulation is how a temporal cold war provides a great set up for espionage paranoia. Shifts in allegiance and betrayal can have retrospective as well as prospective effects, and individuals changing over time can bring them in direct conflict with themselves in a very literal way. Your worst enemy could indeed be yourself.

Futility and fatalism, sometimes and aspect of spy stories, are played up in this sort of setting. If the best case scenario is that the world doesn't change drastically, then the protagonists are always stuck fighting for the status quo, no matter what the personal cost.

Weird Revisted: Impish Misadventures

This post originally appeared in 2018. I still haven't done anything with this idea, but I still think it's a good one...

 

I've had this idea for a game for a while, but haven't done anything with it yet, but I thought writing it down would insure I don't forget it.

The high concept would be: "C.S. Lewis's The Screwtape Letters meets GURPS Goblins." It would be an infernal Horatio Alger story (or parody thereof) where young imps try to get ahead in Hell's hierarchy by misadventure, toadying, and blind luck. They would be abused and give out abuse and probably come to comedically horrible ends--only to be respawned in the larvae pools and start their Sisyphean climb to archdevil-hood once again.

The rules would need to be simple, but (like GURPS Goblins) flavorful, and I imagine gameplay as something like (GURPS Goblins) with a bit of Paranoia and D&D with a pinch of Planescape.

Appendix X Minus 1: A Pulp Solar System Anthology

I've written a number of posts about old-style inhabited solar systems. Given that the literature that might prove inspirational for games in that setting are old and mostly out a print, I thought I might give a guide.

These stories were selected because they present and interesting (and gameable) take on the celestial body in question, not necessarily for quality--though I do think a number of them are good stories.

Since Mars and Venus stories are probably most famous and most available, I figured I'd start with the more obscure, Galilean Moons of Jupiter.

Callisto

"Monsters of Callisto" (1933) by Edward R. Hinton - Lost at the bottom of the mysterious aquasphere, they struggle on!

"Mad Robot" (1936) by Raymond Z. Gallun - Did it ever occur to you that a machine could be complex enough to go insane? This one did! 

"The Callistan Menance" (1940) by Isaac Asimov - What was on Callisto, the tiny moon of vast Jupiter, that was deadly enough to make seven well-armed, well-equipped space expeditions disappear? And could the Eight Expedition succeed where the others had failed?

Europa
"Redemption Cairn" (1936) by Stanley Weinbaum - Here is one of the last stories by one of the outstanding writers of science- fiction. Remember him as you read it.

"Mutiny on Europa" (1936) by Edmond Hamilton - An unnerving spectacle we must have been to them!

"Repetition" (1940) A.E. van Vogt - Because a people live on a planet, it does not mean that they have a civilization on that planet. First they need to learn the old tricks and make them new.

Ganymede

"Tidal Moon" (1938) by Stanley and Helen Weinbaum - Shackled by the Gravity of Mighty Jupiter, Three Vertical Miles of Water Rush on to Blanket the Surface of Ganymede!

"World of Mockery" (1941) by Sam Moskowitz - When John Hall walked on Ganymede, a thousand weird beings walked with him. He was one man on a sphere of mocking, mad creatures—one voice in a world of shrieking echoes.

 

"Crypt-City of the Deathless One" (1943) Henry Kuttner - Only once could a man defy the deathless guardians of the Ancient's tomb-city deep in Ganymede's hell-forest and expect to live. Yet Ed Garth had to return, had to lead men to certain doom—to keep a promise to a girl he would never see again.

"Tepondicon" (1946) by Carl Jacobi - He was not the savior-type. He certainly did not crave martyrdom. Yet there was treasure beyond price in these darkened plague-cities of Ganymede, if a man could but measure up to it.

"The Dancing Girl of Ganymede" (1950) by Leigh Brackett - She was like a dream come to life--with hair of tawny gold and the glowing face of a smiling angel--but she was not human!

Io

"The Mad Moon" (1935) by Stanley Weinbaum - The great, idiotic heads, the silly grins and giggles--those infernal giggles--would drive him crazy. 

"Invaders of the Forbidden Moon" (1941) Raymond Z. Gallun - Annihilation was the lot of those who ventured too close to the Forbidden Moon. Harwich knew the suicidal odds when he blasted from Jupiter to solve the mighty riddle of that cosmic death-trap.

"Outpost on Io" (1942) by Leigh Brackett - In a crystalline death lay the only release for those prisoners of that Ionian hell-outpost. Yet MacVickers and the men had to escape—for to remain meant the conquering of the Solar System by the inhuman Europans. 

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!

Star Trek Endeavor: Hard Rock Catastrophe

Episode 4: "HARD ROCK CATASTROPHE"

Player Characters: 

The Crew of the USS Endeavour, NCC-1895, Constitution Class Starship (refit):
Andrea as Lt. Ona Greer, Chief Engineer Officer 
Bob as Capt. Robert Locke
Gina as Cmdr. Isabella Hale, Helm Chief

Eric As Lt.Cmdr. Tavek, Science Officer

Jason as Lt. Francisco Otomo, Chief Security Officer
Tug as Dr. Azala Vex, Trill Chief Medical Officer

Synposis: Stardate 6054.1, answering a distress can from a Saurian colony, Endeavour finds the planet's settlements are suffering periodic attacks from giant rock monsters. The crew discovers that the monsters have been transported to the planet by an ecoterrorist group trying to destroy all cities. They fail twice in stopping assaults from the creatures, but do discover a pheromone which may control them, and the location of the terrorists' base.

Commentary: This is a published adventure written by Christopher L Bennett, who has written several Star Trek novels I've enjoyed. It ties in to the Animated Seris episode "Mudd's Passion" and makes several references in chapter titles and the like to kaiju films.

The Saurians (of Saurian brandy fame) have been seldom seen on screen, at least until Discovery.

Cowboy Bebop and the Pulp Solar System

The anime series Cowboy Bebop may not seem to have much in common with the sort of stuff you'd find in the pulp magazine Planet Stories in the period around World War II, but I feel like there are more similarities than one might think:

• The action occurs in version of the solar system where a number of bodies are habitable. Sure, Cowboy Bebop says that were terraformed, but the story takes place in the 21st Century and the terraformed versions of the Galilean moons and the like are as fanciful as anything from Planet Stories.
• Jet is a former cop and Spike and ex-gangster. These sort of hard-boiled backgrounds certainly wouldn't be out of place in pulp fiction of the 40s, and not unheard of in science fiction.
• Both draw on influences like Noir and Westerns.

Sure, there are also a lot of differences, as are bond to happen when two works are the products of two different cultures and half a century. But it does some to me you could do something resembling Cowboy Bebop that fight squarely in the pulp context (in the era where bebop originated), or say pull Eric John Stark into a world more like Cowboy Bebop.

Exploration and Science Fiction Settings

 On a pulp science fiction reading kick lately (mostly stuff out of Planet Stories or Thrilling Wonder Stories), I've come to conclusions about something in the structure of these stories that has previously bothered me. It's not uncommon for these stories to take place on a "Io no one has ever explored" or "a seldom visited Ceres" or the like, despite the fact the story suggests fairly developed civilization or at least trade lanes around these bodies. Why is (for instance) Ganymede a thriving colony world and Callisto unexplored?

The problem is not so much with the stories as with my expectations of them. I'm used to thinking space as divided into explored and explored territory, something like Star Trek or the like: here is civilized space, there's a border, there's the hinterlands. Sure, you might have outposts in the "wilderness" or "uncharted worlds" in otherwise fairly civilized areas, but mostly the unexplored is demarcated from the known. It's model inherited, perhaps, from simplified views of the Age of Exploration and the discovery of the New World.

These pulp studies model themselves on somewhat more modern conceptions. I think we can loosely place in them in three categories:

• The Jim Bridger Model: I'm wandering around areas others have passed through, seeing things they missed.

• The Amundsen/Hillary Model: Let us prepare to go to this place no one has yet been able to reach.

• The Shipwreck/Crashed Bush Pilot Model: People avoid this place because there isn't much to recommend it. I'm hear and I don't want to be, and I've found something weird.

Model Three and One mostly differ by intention, and can overlap.

These three models suggest a setting that is mostly explored, or at least explored around the edges and the primary exploration of the current age is "filling in the blank spots" to varying degrees.

Their are obvious parallels to traditional D&D style fantasy settings. The classic "wilderness exploration" game looks more like Star Trek, but the dungeoncrawl sort of game is more filling in the gaps exploration.

In making a sci-fi setting it seems to me you'd want to think about what sort of exploration you want to have (if that's going to be a focus) and the implications of the size and layout of setting "space."