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Now It’s a Series

June 30, 2010 in Blogs

With the release of the third article in the Adapting series, it now covers two books, and can be said to be more than one two-part article.  This one, Adapting Stasheff’s Escape Velocity, is I think considerably longer than the last, but this is because the book offers a wider variety of potential settings plus a driving plot into which a player character could easily be drawn.

It was part of a flurry of typing I did yesterday, trying to catch up notes to articles.  I’m concerned about the fact that none of that work was on the temporal anomalies materials, the only online articles for which I am currently paid; that, though, is my own fault, as I could have put the time into those, or into fixing the problems that prevent me from collecting on my articles here (bad links on M. J. Young Net disqualify me from Google Ads registration, but it’s such a massive site it’s daunting to attempt to track them all).  It also concerns me because I have deadlines to meet on those and not on these; but then, finishing this article, starting the organization of the next, and getting the notes started on yet another is a good shot in the arm for the series, so I should be more encouraged.

It doesn’t help that I’m tired.  I was up at the 9-5 Equivalent of three this morning–that’s nine o’clock for you regular nine-to-fivers, but since it’s six hours before the three-to-eleven shift starts, it’s terribly early for me.  I had to be up so that an air conditioning repairman could give me the news to give my wife, that the central air repair will cost about ten times as much as she thought the high end might be.  Then when I thought I was going to get a bit more sleep, there was another interruption, so I’m running on coffee, of which I really ought to go get another refill.  Fortunately, today is cooler, and the computer is running a bit more stable.  (I also had the bright idea of placing one of those two liter soda bottle racks under it to get better circulation, but I don’t know whether that’s really a contributing factor or not.)

So with that, let me see if I can get focused enough to remember what else I’m supposed to do today.

–M. J. Young

Adapting Stasheff’s Escape Velocity

June 30, 2010 in Articles

The interstellar democracy is on the cusp of collapsing into a totalitarian dictatorship, and members of the LORDS party are all too eager to place themselves at the head of the new regime which they will bring about by promises of efficiency in government.  One man has proof of the plans of those involved, but because of their maneuverings he is in no position to deliver it to the chief executive Louhi Kulvero (called Secretary-General in the early chapters but later Executive Secretary; it appears to be an error in the writing, not intended to indicate a change in the title).  He seeks someone willing to accept the mission of carrying the message from the outer extremes of human space to Earth itself, and to find a way to deliver it.

This government, the IDE (Interstellar Dominion Electorate), has stood for about five centuries, but will not stand for another.

Like our first article in this Adapting series, this article looks at a book which came to me bound with another, the first of two parts of To the Magic Born by Christopher Stasheff, but was originally published under its own title, Escape Velocity.  It happens that I am adapting the second book in that volume in great detail as I run it for a player, and I anticipate learning much about that book from that run, although it may be a while before it appears in this series.  Meanwhile, the first volume is also interesting, and has potential as a game story.  Further, although in a very real sense this book is the prequel to that, they are so completely separated from each other that the only characters in both–a several thousand year old computer and a ghost–do not remember their involvements in the critical events of the first that lead to the setting in the second.  Reading this discussion will not interfere with playing that world.

The book provides a sort of race and chase plot through several interesting settings; a player character could be introduced at any of several points along the way and could move with the main characters or fall into the developing sidestories of those other worlds.  The author uses several mnemonic tools including drug names and twists on names of famous people and turns on words; those the referee spots will be helpful for him, but those which are obscure are not worth learning.

We’ll start with a quick overview of the major characters.  They are distinguished as “major” by virtue of the fact that they appear in multiple “acts” of our story; other important characters appear in one part of the story and then vanish.  The plot itself will be divided into “Acts”, which will be our way of moving the characters from one point to another.

There is at least a chance of positioning the verser as the main character in the story as written, although the referee is able to do otherwise and still put the verser in the primary story.  As a convict on a prison planet placed there by administrative fiat by an angered military superior, Dar Mandra has good reason to want to get away from the planet Wolmar and go see the wonders and comforts of the nearly fully urban Earth (where there are still a few parks, such as the Rockies, but most of it is city and most of the people are bored and trapped in their place in the universe, according to Samantha “Sam” Bine who fled the place).  Dar has some basic computer skills, is a low-level professional teacher trained to mid professional level as an army pilot with extensive knowledge of the army’s quartermaster’s office systems–how to get what you need delivered where you want it.  Only the piloting skill is put to use, but he is the logical choice for keeping the plot on track.  He also has some wilderness stealth skills which are used at one point, but are not particularly prominent.

Dar’s first role is to introduce Sam to Wolmar, so as to shift her understanding from seeing it as a settlement of conscripted colonists (the prisoners) stealing the world from the established native settlers (the Wolman, human descendants of an earlier “back to nature” group) to a place of hope with a growing democracy and unity with a developing unified economy.  He works for “Cholly” ostensibly as a trader, but surreptitiously as a teacher bringing the natives an understanding of philosophy, technology, science, economics, politics, and other fields of study.  He enlisted in the army and became a space tug pilot, then was assigned to quartermaster corps, where he attempted to correct an intentional mistake and got administratively routed to prison entirely by the manipulation of red tape and alteration of computer records.  Described as slim, Dark Egyptian skin color, he was a pilot, then stock clerk, then studied data processing, promoted to corporal, and knows all codes for all army platoons and naval ships.  He is given the temporary name “Ardham Rod” (“Dar Mandra” reversed by sound) by Cholly when disguised on Wolmar, and is later dubbed Perry “Pa” Tetic, given the position of commercializing scripts, by Tod when they are masquerading as a film crew in Act V.  He is trained in hand-to-hand and disarming techniques, and in wilderness stealth skills.

Samantha Bine, known as Sam, was an experienced clerk in the Bureau of Otherworldly Affairs (BOA) who dropped out to join the leading “non-comformist” faction of the universe, the “Humes”.  As a Hume, she shaved her head and wore the least flattering dull flannel outfit possible, which causes her to conform to all the other non-comformists in the universe.  As Cholly explains at one point, non-comformists dating back to the English Puritans have always been more unified in their conformity to each other than are the members of that society to which they refuse to conform.  It gives her the advantage that other Humes will recognize her and will provide assistance even at significant risk to themselves against the “outsiders” that comprise the law, govermnent, and society.  She also matters because she is psionically gifted, referred to in the story as a “telepath” but using several distinct abilities.  She never reveals them.  Those with whom she travels are so completely unware of her gifts that when their adversaries broadcast accusations that there is a dangerous telepath traveling in their group the group writes it off as propaganda intended to bend opinion against them.

At various moments in the book, Sam might project thought.  She understands how to operate ship communications, and is notable for her sleight of hand skills when she rifles luggage and removes credentials unperceived.  She also picks a primitive combination lock after “listening” for sound outside, finds path through a pitch black labyrinth, anticipates traffic in halls and avoids occupied cells, and picks a second lock in total darkness.  Cholly gives her the temporary name “Enid Mas” (which is “Sam Bine” reversed by spelling) when she is disguised on Wolmar.  She is dubbed Unit Manager Ori Snipe during the film company ruse, and ultimately becomes Lady Loguire.

There is a major villain, Canis Destinus, who appears in the first act but who remains on the edges of the story and is not named until considerably later.  He begins as ostensibly an Aide to Bhelabher, described as rat-faced or fox-faced.  We gradually learn that he is half cousin (son of father’s half-brother) to Father Marco, and is working for IDE Secretary for Internal Security, a LORDS party member.

In the third act, three more major characters join the cast.  The most important of these is Tod Tambourin, also known as Whitey the Wino.  No one knows Whitey is Tod except his companions–the outer rim people know Whitey the drunken entertainer, while those in the Terran region know Tod, Poet Laureate of the Terran Sphere.  He is described as a lean, short, aging man who looks as hard as a meteor and merry as a comet, with stark white hair, eyes so light blue they are almost colorless, skin weathered and toughened but with a bleached look.  Dar’s first impression of him is of a skinny pincer-like hand, and he limps when rushing.  According to grandaughter Lona, he would come between a man and his wife only if he had the chance.  On stage he plays a flat keyboard which he otherwise keeps under his tunic.  He is a brilliant writer and good singer, and also reasonably skilled in fisticuffs.  To escape Falsaff he buys a surface-to-surface navy surplus scout ship, christening it “Ray of Hope”.  It is later destroyed.  He mentions at one point that he was once an engineer, so he has some understanding of ships and ship systems.  Being quite wealthy, he buys another ship in Act IV with cash in his pockets.

The most significant of the three characters to join the cast in Act III is Lona, whose last name is never given but is probably also Tambourin as she is Tod’s grandaughter.  He insists that she call him “Uncle”, which she is quite content to do once everyone within earshot knows the truth of their relationship, because of a commitment to honesty in the little things.  Described from Dar’s perspective as the body of Venus outlined by a flowing sleeveless calf-length gown that clung to every curve, high smooth brow, delicate eyebrows, large wide-set eyes heavily lidded, small tip-tilted nose, mouth with a hint of a smile, tawny hair rippling to her waist, with a singing voice as sweet as spring and clear as a fountain, she also has piloting skill and skill with nearly any machine, particularly if it has electronic parts.  She is dubbed Fulva Volpes, Assistant Director and Director of Editing, when her grandfather is creating a cover story.  The planetoid Maxima, a dead world filled with extremely wealthy computer and robotics experts, sounds like heaven to her.

The third character to join in act three is Father Marco Rice, Order of St. Vicoden of Cathode (O.S.V.), an order whose members are all engineers or scientists in addition to being priests, and who carry a small yellow-handled screwdriver in the breast pocket as a symbol of their order.  He demonstrates skills at physical crowd control, blocking people out of a fight; it is implied that he would be able to fix the important parts of a computer-operated spaceship, but his precise skills are never discussed.  He is described as a little stout, which is relatively slender given that on Falstaff where he meets them most of the people are incredibly fat.  He is later dubbed Coburn Helith, research & script development, when Tod is creating his film crew cover story.

The final major character is Fess, or that’s what Lona calls him.  He is the robotic brain controlling the second spaceship they purchase, from an asteroid miner.  Properly he is designated FCC651919, but Lona wants to be able to call him something that establishes a rapport between them, and “Fess” is her choice for how to pronounce the three-letter opening acronym, which stands for Faithful Cybernetic Companion.  Fess cannot resist accuracy in mathematics.  Its prime overriding instruction is the sanctity of human life, and it otherwise obeys its owner completely.  Fess suffered damage to a capacitor in an accident.  A circuitbreaker bypass was installed, which shuts down all systems when stressed.  Designed on Maxima as a brain for a humaoid robot, when he joins the team he is running a “burro boat”, a rather maneuverable but relatively slow utility craft with practical tools on the exterior.  His previous owner is discussed in Act IV.

Maxima, a planetoid in Sirius’ asteroid belt, makes computers and robots.  It has no atmosphere, no trees or grass, but is all rocks and dust.  It is said that there is nothing to do but design and build computers, which are the best in the galaxy, and laze in luxury with three robots per person and the computer people all very rich from the industry.  It is also 8.7 light years from Terra, which Lona regards close enough for weekend excursions if desired.  Fess was designed and built there.

Act I:  Wolmar

The planet Wolmar is an army prison planet, very like eighteenth century Australia in space.  It has a 28 hour day, so noon is at 14:00.  Some years back, General Shackler, an army psychiatrist, was sent to serve as Governor, effectively warden of the planet.  However, the planet was not uninhabited; there existed other humans, descendants of a long-past back-to-nature settlement.  They opposed the presence of the prisoners.  Shackler decided that running it as a prison was not going to be the best approach, particularly given that he was anticipating the fall of the central government which would cut off support from the outside.  Thus in a skillfully plotted string of moves he removed the prison guards, allowed the prison population to degenerate into gang warfare, waited for the locally indigenous Wolmans to attack to force the gangs to unite for their defense, advised the prisoners as to battle strategy (the warden’s secure quarters had high-tech surveillance gear to give him a view of events), and when the dust settled accepted when they voted him to the position of governor of their new budding democracy.  He has since been guiding them in the building of a government and working toward peace with the Wolmans.

Part of that peace includes that the war continues, but in an orderly and relatively safe fashion.  Battles are scheduled for 8:00 AM and 2:00 PM, 8 hours apart, and soldiers from the prisoner’s city compound meet outside the walls with attackers from the Wolman tribes, everyone taking a chalk stick and fighting a combat in which to be marked with chalk is to be removed from the fight to the sidelines, where refreshments are served and the prisoners and Wolmans chat and get to know each other.  When the battle is declared finished by the commanding officers of both sides, a cash settlement is made based on the number of men each side has marked of the other, and individuals also pay out of pocket to the opposing warriors who marked them.

Trade is conducted by traders like Dar who are actually teachers.  They casually mention technological products, but they don’t sell the products–they sell the manuals and the parts, and let the Wolmans learn how to build their own and so learn how they work.  It is all done quite cordially.  This work is mostly overseen by Charles T. “Cholly” Barman, one of the most famous educators and educational theorists in the galaxy formerly at the University of Luna whose proposals that educators shouldn’t teach in classrooms but one-on-one in life situations in which they have cover jobs made him enough powerful enemies that he fled from assassins and was invited by General Shackler to hide and work here.  Sam Bine is not the only person in the story who recognizes his name when it is mentioned.  Cholly works as the bartender in the local tavern, discussing anything that will educate his customers, such as Descartes.

Cholly also runs the Wolmar Pharmaceutical Trading Company Inc, which trades materials requisitioned from off-world for “pipeweed”, a tubular grass-like plant that contains chemicals useful in the manufacture of certain valued drugs.  His experience includes working with a theatrical company, from which he acquired and learned to use some superior theatrical make-up which he uses to disguise Dar and Sam so they won’t be recognized by Bhelabher’s people.

Sam arrives on Wolmar expecting to see how the natives are being oppressed by the evil settlers, and is quickly impressed.  She then gives Dar the bad news, that someone named the Honorable Vincent Bhelabher has been sent to replace Shackler.  Bhelabher is a bureaucrat, formerly head of the BOA, whose move here is being couched as a promotion but might also be an effort to remove him from local access, because he has knowledge of the planned coup.

Cholly insists that this information not be delivered to Shackler, to preserve his ability to deny knowledge of it.  Instead, Sam and Dar set up a phony customs office with the help of a Wolman shaman of the Sars tribe, a known mind reader, who uses the name Reverend Haldane for the sting but is not otherwise identified.  During that customs inspection, the trio is able to cause all of the credentials and orders carried by Bhelabher’s group to become lost, putting Shackler and Bhelabher in the awkward position of having to send to Earth for confirmation of his claimed appointment.  However, Shackler’s work so impresses Bhelabher that he resigns his appointment and takes a job in information management in Shackler’s local government.  He needs someone to carry his resignation back to earth.  (Hyperspace makes faster than light travel possible, but not faster than light radio, so hand-delivered communications are necessary even when the communications are electronic in form.)  He also needs that person to alert the government to the conspiracy.

Bhelabher’s conspiracy includes the Electors Boundbridge and Satrap, one of whom is Minster of the Exchequer (we are never told which one), and a General Forcemain.  A set of memorized numbers calls up a file of hacked documents from the electors which proves the conspiracy; Dar is to deliver the file information to the Secretary-General.  He and Sam are given credentials, cash, and the promise of a return trip to Wolmar if they want it.  Dar is eager to see the luxuries of Earth, but Sam is reluctant to go until promised the return passage.

There are several good possible entry points for a verser.  He could arrive just before Shackler, finding himself on a prison planet whether within the compound or just outside.  He could watch the dismantling of the artillery and departure of the guards, the collapse into anarchy and then the tribalism of the gang collectives, the attack of the Wolmans that led to the arming of the prisoners by the gang leaders and their revolt against those gang leaders, then their election of Shacklerr and the beginnings of their constitutional democracy.  Alternatively, he could arrive after the developmental phase and be introduced to the backstory much as Sam is.

It would be easiest for the verser if he arrives in plain view of Shackler or Cholly, giving credibility to his claim that he is not a prisoner.  He could still maintain this claim based on the absence of records concerning him.  It will be most difficult if he arrives simultaneously with a prison transport.

Once Shackler recognizes that the verser does not belong there, he will offer to provide paperwork and transportation off-planet.  This provides an opportunity to send him with Dar and Sam.  It will also mark him as one of the telepath suspects, whether he leaves as part of their mission or simply travels on the same transport.

If the verser stays on Wolmar when Dar leaves, over the next year they will receive news of the telepath conspiracy and the shift to totalitarianism, and then transports will cease.  Shackler will establish contacts to resume private shipping for the import/export business, and Wolmar will settle into a democracy.

Act II:  First Flight

The hyperspace leg of the journey from Haldane IV to Wolmar took Sam a week and a half by freighter, but the return trip is made in a courier ship in only five days.  What Sam and Dar don’t know is that Canis has stranded the assigned pilot on Wolmar and is flying their ship into trouble.  They emerge from hyperspace and are ambushed by pirates.  They escape in a life boat with limited capability, but Dar flies it adequately to hide in the asteroid field in which the pirates had been hiding until police arrive, destroy the pirates, and rescue them in response to their distress signal.  It is at this point that Dar learns that Haldane IV is known locally as Falstaff; the police are local to that planet.

If the verser did not start on Wolmar and so depart with this ship, he could verse in here.  Since Dar and Sam know themselves to be the only passengers, he will have to explain his presence to them.  The pilot won’t check and the robotic stewards won’t care.  His explanation might be significant, though.  If they believe he might be psionic, he may eventually become the scapegoat if Dar reveals this.  (Sam probably won’t, in protecting telepaths like herself generally, but Dar does not reveal her as a telepath simply because he does not know.)

From that point forward, the verser will be marked as one of the telepaths.  Canis Destinus knows that two passengers left Wolmar but three were rescued by Falstaff police, and that to him will mean that telepaths are more powerful and more numerous than feared.

Act III:  Falstaff

Once rescued, Dar and Sam are delivered to the planet Haldane IV, which is known to those who live there as Falstaff.  Iron and all metals are rare, nails are cash, and wood, rare on many planets, is used for construction.  Everyone here is very fat, and all eat sausages constantly.

It is while waiting in a bar here that Dar and Sam meet Father Marco, then Ted Tambourin and Lona.  Dar falls for Lona immediately, much to Sam’s displeasure, but when Sam realizes that Whitey the Wino is Ted Tambourin, she becomes very interested in him.

Canis has by this time raised a police force of his own, which raids the bar during a staged brawl shortly after our quintet become acquainted.  They fight their way out, slipping through a basement crawlway into a brothel where the good Father has ministered, then in fresh clothes into the street where they are separated.  Sam and Dar escape the police mostly due to the help of some thugs who then take them prisoner to see Thalvar Sard.  These thugs would want also to capture the verser, if he came here.

Thalvar Sard is also known as The Syndic, head of the House of Houses, the leading crime syndicate in the galaxy, which happens to be headquartered not on Terra where everyone expects but here on Haldane IV where there are very few radios (due to the shortage of metal) and easily compromised police and authorities.  He has heard the rumors that one of them is a telepath, and at this point he figures it has to be one of these who just arrived from elsewhere.  He wants whichever one is the telepath to work for him; both deny any knowledge of telepathy, and he holds them prisoner.  It is at this point that Sam exercises her gifts in getting them out of their underground cells into the wilderness, and Dar gets them back to the city.

Sard, the Syndic, will be content to enlist either telepath, but would probably prefer to eliminate any suspected telepath who does not work for him.  He will not know how many are telepaths, but will not take chances.  He is not above making false promises to achieve his objectives, however.

The city is not particularly safe, because it’s crawling with police looking for them.  At this point, Sam takes advantage of her identity as a Hume and connects with the local Humes, who find it outrageous that the establishment is persecuting them and wonderful that they’re going to break the coming coup with their information.  One of them provides a hiding place for them.

They are discovered there by Myles “My” Croft (one of those mnemonics), mayor of Haskerville, by far largest town on Haldane IV thus making him de facto governor of the planet.  He is too fat to stand, and so rides in a hover chair.  He exhibits strong deductive reasoning, by which he locates them.  He also reasons that the best way to get Canis Destinus and his outside police force off his planet is to get Dar and Sam off first.  He thus sells that surplus scout ship to Tod, who is interested in fleeing the scene as well.  He would want the verser to leave, too, if he can find him; he at least wants Destinus to believe that any telepaths have escaped and fled.

If the verser initially arrives on Falstaff (verses in there), it might be tricky connecting him to the main story.  The best hooks are to introduce him early to either Father Marco or the Tambourins, and have him present for the fight and flight.  Other creative alternatives are plausible, but none are likely to draw him into the story.

If he remains on Falstaff, it will be similar to Wolmar.  Mayor Croft is anticipating the fall of the democracy, and expects to become de facto ruler here when his metal-poor wood-rich planet is divorced from the rest of the galaxy.  He has ships adequate to maintain some interplanetary trade, and knows how to manage his highly corrput society and the major crime syndicate that operates from it.  It is something of a seedy planet, with most illegal pleasures easily obtained.  It is evident that the overall obesity here is due to the diet, which includes the near constant consumption of sausages, and the verser who is not attentive will gain weight.

Act IV:  Second Flight

The now quintet (sextet if the verser has joined them) does not quite escape Falstaff cleanly, and when they enter the Terran system they are soon pursued by police ships seeking to kill or capture the dangerous telepath aboard.  They take significant damage, hide again in an asteroid field, and send out another distress signal.  Fess picks up the signal, and following his protocol brings the burro boat to their rescue.  The burro boat features a bachelor’s decor and a locker room scent, but has room and the necessary amenities.

Fess’ owner, an old asteroid miner, is never named.  He opposes the rescue, and is still arguing about it when he discovers that the crew of the stranded ship are all aboard his ship.  Tod bargains to buy his boat, and the miner accepts the deal thinking he got the better end of it, given the problems with Fess’ overloads.  He then sends word to Ceres City that he has been boarded by people who might be the criminals the police are seeking.  In exchange, Tod strands him in his own asteroid bunker with only an emergency beacon, and heads for Luna.

The verser could arrive aboard Ray of Hope (the escape ship).  The group would suspect him to be a stowaway and likely spy for one of the three factions they are fleeing (Mayor Croft, Syndic Sard, or Canis Destinus), and might threaten to space him if he can’t explain himself.  Assuming he gets through that, he will have time to win their confidence.  Failing that, he might be stranded with the miner.

He could arrive on the burro boat during the rescue.  This has interesting possibilities, because the miner would assume he came with the rescued, and the group would assume he was with the miner.  Fess would know, though, that he arrived by unknown means separately.  He would offer this information if asked, or if it became obviously relevant.  Fess would hold the data as “unexplained”, but a roll should be made to determine whether the explanation causes an overload shutdown.

He could arrive after the miner is stranded, which eliminates the possibility that they would strand them together but otherwise puts him in much the same position.

Act V:  Luna and Terra

Because Terra, that is, Earth, is so overcrowded, only ferry ships from Luna are permitted to land on it; thus the sextet come to Luna, the Moon.  There they begin building a plan to reach the Executive Secretary.

It begins by contacting Mr. David Stroganoff of Occidental Productions Inc.  He is a major studio executive who wishes he could educate the masses, but the masses want entertainment and expect that education ought to be dull.  Tod, who is a friend of his who has long resisted the pressure to go commercial, gives him a brilliant show script, and they quickly have things moving toward a vid production that will include an interview with the Executive Secretary.  This is still on Luna, where all the vid production companies have relocated for space.

Horatio Bocello, richest man on Terra, patron of the arts and especially Tambourin’s work, happens to own a controling interest in the production company, and so heard his friend Tod was on Luna, and phoned.  Tod and his other friends call him “Cello”.  He is described as a devout Catholic, tall and skinny with a thin long-jawed boney face with receeding iron-gray hairline, blade of a nose, burning eyes.  Sam is immediately struck by him.  Horatio believes there is no point in sex without love.  He plays Duke Horatio Loguire in their medieval reenactments, and becomes the same when they leave.

Before they reach earth, the Honorable Kasi Pohyola, Chairman of the LORDS party and Majority Leader in the Assembly of Electors of the Interstellar Dominions, is calling for an end to legal protections that protect telepaths (such as protection from unlawful search and seizure or the protections of due process and the requirement of probable cause and need for arrest warrants), and for the removal of the Executive Secretary Louhi Kulvero who is not acting aggressively enough to curtail legal protections in the effort to capture these dangerous telepaths.  The argument is put forward that since a telepath has made it all the way to Terra, he must have had help from other telepaths, and therefore there must be thousands of them throughout the galaxy working together against ordinary people.  Dar is stunned that such nonsense would be believed, but it is obviously building paranoia in the common people, all of whom are fearful that their thoughts might be being read.

Dar and Tod go alone to the meeting with the Executive Secretary, who is described as tall, white hair, craggy handsome face, dressed in modest coveralls.  Dar delivers the information exactly as it was given to him.  The secretary springs a trap and arrests them, and uses this to have himself voted emergency powers and the title Executive Director.  He has no interest in preserving democracy, but only in ensuring that when it collapses into a dictatorship he will be the dictator.

However, there is a genuine fear of telepaths underlying all this, and Dar is interrogated under heavily disorienting sensory stimuli to get him to reveal that he is the telepath or knows who the telepath is.  Since he doesn’t, he does’t crack.

Horatio Bocello arranges his rescue, sending in Father Marco with false credentials and two “torturers” from his medieval group, who in the pretense of taking him to where the real torture machines are located manage to bundle him into a car and get him to the ferry where Bocello and hundreds of emigres are waiting to flee to Luna and beyond.  The only one specifically identified is named Markone, who is also Baron of Ruddigore.  They also take Stroganoff.

Once on Luna, Sam joins Horatio and company.  Stroganoff hitches a ride with a promise that he can be dropped off at Wolmar, where he is eager to meet Cholly Barman.  Tod, Lona, and Dar reunite with Fess and head to Maxima, where Lona expects to be very happy becoming very rich using her computer talents, and she and Dar expect to change their names to d’Armand.  We know from the sequel that they did, had children, and kept Fess as a family heirloom for centuries.

It’s a bit late for the verser to enter here, unless the referee wants to use the fall of the democracy as a setting.  In that case, the character should hear Pohyola’s speech, with its fear of telepaths and push toward curtailment of all legal impediments to a police state.  From there, it’s mere days until the Executive Secretary announces what amounts to martial law and an open telepath witch hunt.  Whether on crowded Terra or environmentally enclosed Luna, he’ll have to hide and survive, or escape to the other planets.  This would be so, too, if he comes with the party and stays behind.

He could go with Dar, Lona, Tod, and Fess to Maxima, but unless he has remarkable computer or robotics skills he is unlikely to do well there.  If he hitches a ride with Horatio to Wolmar with Stroganoff, that will put him back in that scenario, detailed in Act I.

He could travel with Horatio’s people to create Grammarye, a medieval kingdom.  The sequel tells us that they succeed, and that Duke and Lady Loguire have descendants.  However, it must be made clear to him that going there means having his memory wiped and replaced with a false identity, and that it is not clear how or whether he could recover his lost knowledge.  The sequel, A Warlock In Spite of Himself, offers significant insight into Grammarye, despite being set centuries later.  That, though, is another article.

Transmats

June 15, 2001 in Articles

  Matter transmitters bug me.  In short, I find them incredible in the most basic meaning of that word:  I don’t believe them.

  If by some chance you’ve avoided all science fiction, let me explain the matter transmission concept.  A material object, possibly even a living object, is deconstructed particle by particle, and a complete record of the position, motion, and energy of each particle is recorded and transmitted to another location where an exact copy of the original is constructed particle by particle, having the same energy levels and motions and relative positions.  It’s the teleporter of Star Trek, the transmat encountered on Doctor Who.  Larry Niven envisioned such matter transmission booths replacing telephones.  And there’s something about it all that I just don’t believe.

  It actually is not the science.  It is pseudo-science, certainly; someone is going to have to find a way around the Heisenberg Uncertainty Principle if it’s going to work.  But there’s a logic to it that suggests to me it will one day be accomplished.  I don’t know that I will live long enough to have my molecules disintegrated and reintegrated, but I would be surprised if no one ever manages it.

  What bothers me is the way in which this technology doesn’t matter in the worlds in which it is prevalent.  To have done this is to have accomplished much more, but generally those aspects are not considered or even worse are discounted for insensible reasons.  So bear with me while I take another look at transmat technology.

  In order to build a matter transmitter, you have to be able to disintegrate a target.  This may seem obvious; yet in how many settings do they include matter transmitters and don’t include a simple disintegrating weapon?  If I can find and disintegrate a dozen men on the surface of a planet far beneath me, why doesn’t it work as a weapon?  Since I don’t have to worry about reproducing the object disintegrated, I should be able to destroy buildings, structures, perhaps entire cities.

  But that’s just the beginning of my interest in disintegration.  After all, I’m quite aware that if you disassemble a molecule, you convert it to an enormous amount of energy.  The problems inherent in containing and controlling such levels of energy are another question; but why can’t this technology be used to generate power?  Given the amount of energy in a mass the size of a human body, the energy required to initiate the disintegration reaction must be a tiny fraction.  When the dilithium crystals are failing, why don’t we just throw furniture into the transporters and convert it to reserve power?

  And the weapon use of such power is staggering.  A moment ago I was talking about a disintegrator; but if you start to take apart the molecules of an object, you initiate nuclear decay on a massive scale.  Every building, every person, every rock is a potential nuclear bomb whose massive energy can be explosively released with a bit of prodding from our disintegration technology.  As it says in Multiverser, “a device which disintegrates without containment is a remote nuclear fission reaction stimulator.”

  And that leads me to think about the containment.  If I’ve built a transmat, I’ve found a way to contain the energy of complete nuclear collapse.  I don’t know what those force fields will be like, but somehow I think they’ll be able to deflect or absorb unimaginable amounts of power.  We are casually assuming the presence of a shield that could have easily contained the impact of Hiroshima.  We are tossing those shields around as an everyday tool, without any consideration of their real power.

  It’s probably not impossible to design a matter transmitter which reintegrates directly from the disintegration pattern; but it makes more sense to include a memory circuit.  And most of the matter transmitters in most fiction at least imply the existence of such memory banks.  That means that whenever you transfer an object from one point to another you also make a data copy of it; and as long as you have that data copy, all you need to do is add energy to it and you can make another–and another, and another, as many as you need.  You can make a hundred dinners, a thousand starships, a million soldiers.  But this is a largely untapped resource, and the excuses used are complete nonsense.  Not enough energy?  Easily rectified:  throw a few rocks into the disintegrator.  Pattern loss?  This is as foolish as those badly-written spy shows where they are passing around the “only copy” of a computer program.  If making a copy of a program deleted the original, it would make sense–but anyone who understands even a little about computer memory knows that even deleted data is still there until something replaces it.  Keeping the file in memory is easier than losing it.  But is the available memory too small?  The memory circuit really only makes sense if it’s large enough for the entire file.

  But writers go to great lengths to make it impossible to copy things, especially people.  We are told that complex DNA molecules are imperfectly replicated such that life forms can’t be copied.  But we know that life forms can be copied, because that’s what happens when we teleport them.  Really, we’ve completely destroyed one body and built another identical to it.  Besides, those “tiny molecular changes” are inconsistent with most of the other replication applications we can conceive.  How many water molecules have to accidentally be mis-linked as hydrogen peroxide before the liquid is not merely bitter but deadly?  How many mistakes can you make in the atomic structure of a metal object before the levels of radioactive decay are measurable?  No, molecular copying has to be perfect for it to be useful at all; it doesn’t have to work substantially better to copy life forms than anything else.

  Not only can we copy things, we can modify them.  The applications of this have never been adequately explored.  In fact, the medical applications alone are mind boggling.  Did you break a bone?  We disintegrate you, make an adjustment to the program, and reintegrate you with the bone corrected and fully strengthened.  You can do the same thing with a ruptured spleen, or a hernia, or a defective heart valve.  With a filtering program, you can completely remove every trace of a targeted virus or a chemical poison.  If there’s chemical imbalance, whether insulin or hormones or neurotransmitters, you can adjust to correct levels.  Body temperature can be corrected.  With our growing knowledge of the human genome, we would be able not merely to instantly undo the effects of such genetic disorders as sickle-cell anemia or Chrone’s Disease but to reconfigure the genome itself to remove the cause.  And when it comes to cosmetic surgery, well, “you ain’t seen nothin’ yet.”  You want to be taller?  We’ll re-craft your long bones and vertebrae.  Overweight?  We’ll filter out a hundred pounds of fat on one shot.  We can add muscle mass in all the right places, turning a ninety-eight pound weakling to The Incredible Hulk in minutes.  Forget hair dye; we can change the color of your eyes, the pigments in your skin, the length of your fingernails.  Your facial structure can be completely rebuilt.  If we want we can provide you with entirely alien features, or make you look like someone else.  Giving you short blond hair in the morning and long dark hair by dinner is no problem at all.

  Let’s consider cooking.  Insert the roast of your choice and enter the program.  We can increase the temperature such that it is fully cooked in seconds.  At the same time, we can screen out gristle and bone while dispersing the ideal amount of fat and moisture for the most tender servings.  And spices can be added not merely to the surface but throughout the meat.  It’s as easy to chill as to heat.  Water can be turned to ice, cream and sugar to ice cream–we can even make Baked Alaska, with the hot cake and meringue surrounding the frozen center.  Spoiled food is no longer a problem, as we can screen toxins from our meat and dairy product far more easily than we could from our bodies and serve them fresh and delicious.

  Your wardrobe is as flexible as your imagination.  Oh, there will still be designers; but instead of selling clothes they’ll sell computer files.  And getting dressed won’t take long.  Stumble out of bed in the morning into your transmat and execute the preprogrammed routine.  A few seconds later you arrive at work dressed in a new suit cleaned and pressed, with your hair combed and your teeth clean.  If you like you can even program a shot of caffeine already in your blood, or go one step better and clear those endorphins from your brain.  After work, you enter another program into the transmat and go directly from work to the club; you arrive in a completely different outfit with your makeup redone and even a new hairstyle.

  But we don’t have to stop there.  Do you like being thirty-five?  No reason for you to get any older–we’ll just save the pattern of your thirty-five-year-old body and restore you to that physical form with each trip.  Or if you’d prefer being younger, we can probably do that too–maybe not the body you had then, but something very like it.

  And of course everything that isn’t true of cloning is true of transmat copies:  they have your personality, your memories, even your fingerprints, and they’re your age.  Today there are people who are highly skilled to the point of indispensable; tomorrow we’ll be able to copy these people so that they can be in several places at once, and if something should happen to one he’s not entirely irreplaceable.

  And we could go beyond that:  we could design our own people.  Once we know the basics of the human genome, we can modify it to suit our preferences; and unlike with genetic splicing, we don’t have to wait to see the results of our changes:  we can birth the new person fully grown.  And we don’t have to be limited to people.  We could design and build a faster race horse, a smarter ape.  We could design bodies completely different from anything we’ve seen.  And if we like we can give them human levels of intelligence.

  That, of course, leads to a much deeper question.  Why is it that we don’t let our science fiction stories make copies of people?  At least, whenever we do it’s usually an accident, and usually with serious complications.  For television, it may be in part because of the technical problems of having multiple roles played by the same actor.  But there are also moral and theological challenges raised.

  As already said, everything that isn’t true about clones is true about transmat duplicates.  At the moment of their creation, they match the pattern exactly.  They will diverge from each other thereafter, as each acquires distinct experiences and memories, but depending on how established their characters are at the time the pattern is made they will always be similar.  Which is the original?  In truth, neither–both are copies, the original having been destroyed in the creation of the pattern.  Neither has any more claim to being that person than the other; each has the same continuity of consciousness up to the moment the original was disintegrated.  And you might argue that it is illegal, immoral, or unethical to make copies of people–but is that going to prevent it from happening, or force it underground?

  But there’s a deeper problem, a theological problem which you have to answer before you can use a matter transmitter:  is man merely the sum of his material parts?  Is there nothing more, nothing intangible, what might be called spiritual?  If there is, then when the body is disintegrated it would presumably leave a disembodied spirit; and when it is again reintegrated, some spirit would have to occupy it.  It’s easy to hypothesize some sort of spiritual dimension such that the spirit of the man can travel any distance instantly and so be immediately reunited with the body; but it’s just as easy to imagine that some other disembodied spirit would fight him for that body–one of the dead, perhaps, or something worse.  Also, if a man has one spirit, and you duplicate him, what spirit occupies the other body?

  The presence of matter transmission technology in a game world has so many other implications it should be carefully considered before inclusion.  If you’ve got it, you have the basis for uncounted changes to the world from its weapons of warfare to its basic social structure.  You also have some very challenging story ideas from which to build adventures that can be as intellectually compelling as they are exciting.

  Technology always changes the world in unanticipated ways.  When you consider the effects it has in your world, make sure you don’t stop with the obvious.

  Next week, something different.

—–

M. Joseph Young is co-author of Multiverser and Vice President for Development at Valdron Inc.  His many contributions to online literature are indexed for convenience.

Avatar of EDG

by EDG

Venus: Bauhaus Forces of War

November 1, 1999 in Reviews

The many universes of the varied role playing games have led to
proliferation of detailed supplements to provide the gamer with background
information on the lands traversed by the player characters. This need for
source material quickly found an audience in the miniature figure wargames
with each new rule set being published with supplemental material. For a
fantasy or science fiction wargame rules set centered in a world (or worlds)
different from our own, these source books provide a means of enhancing the
game by giving a colorful background and purpose for the battles fought on
the table top.

I have had little or no experience with the Warzone system prior to
receiving several items for review. Now, I’m seriously rubbing my chin and
contemplating making an investment in the system, as my wife despairs. In
truth, I have little patience with BSMSs (Big Shoulderpad Miniature
Systems), but there’s a depth to the Warzone milieu that I find jaunty and
stylish.

Venus: Bauhaus Forces of War is the first supplement to the Warzone second
edition rules. As the title states, this supplement provides the details on
the planet Venus in the Warzone universe and of the Corporation of Bauhaus,
one of the five major corporations. Venus is a terraformed, jungle planet
cursed with a day of rotation longer than its yearly orbit around the Sun
leading to a Venus day that is 117 Earth days long. Bauhaus, whose roots
harken to an imperial Germany, is the dominant corporation of Venus.
Through this supplement, players will find a rich new world to fight over
and detailed information on the armed forces of Bauhaus.

Okay, so what do you get for your hard-earned shekels? The book contains
nearly 100 pages of information. After a brief introduction, the book gives
30 pages of maps and short graphic vignettes, which introduce the six
campaigns covered in the book. These vignettes provide campaign maps and
visual glimpses into the continual fighting on the jungle world. Next come
detailed sections on Venus, the Bauhaus Corporation, and the four ruling
Duke Electors. The six Venusian campaigns are outlined, allowing for combat
between Bauhaus and any of the other four Corporations or the forces of the
Dark Legion. Several new rules for Warzone follow. Among these are rules
for night fighting, including concealment, tracer rounds and flares, and for
the hazardous jungle, which can be as deadly as the enemy. The final third
of the book deals with the Bauhaus Armed forces, giving information on
various troop types, special units, heroes, weapons, vehicles, and a
thousand point army list for each of the four Duke Electors. The book also
includes two pages of punch out templates and counters for use with the new
rules. My only gripe with the book is the total lack of a table of contents
or index, making it hard to quickly locate specific information.

The supplement is visually striking with illustrations or photographs of
Warzone miniatures on every page. The graphics portray the terrain of Venus
and spark the imagination. Photo vignettes of miniatures offer inspiration
and ideas for jungle terrain for the game table. The visuals distinctly
evoke the Target Games style. In the army section, each troop type is
illustrated at least once and those types with miniatures available have
photos of the figures. The different uniforms and camouflage patterns along
with the differences in helmet types are clearly shown.

The Verdict

My overall impression is that Target has a winner. The background material
is rich and allows the reader to easily imagine the savage fighting in the
dark jungles of Venus. The Bauhaus troop types and army lists provide a
variety of units, which can be tailored for fighting on any part of the
planet and will forma basis for Bauhaus forces elsewhere in the solar
system. The supplement covers the subject and I await reading the next one
on Mars and the forces of the Capitol Corporation.

Parable of the Sower

August 23, 1999 in Articles


First things first: Kevin Nunn dropped me a line to point out Robocop
as an excellent source of the trade-off between power and personal freedom
(see last month’s column). Given that Robocop is one of my favorite
movies, I was a little embarrassed to have forgotten to point out such an
excellent source for GMs. Thanks for the heads up, Kevin. Now, on with this
month’s column.


Apocalyptic gaming has remained the red-headed stepchild of gaming genres:
it’s been there since the beginning, but it has never had a successful title
as has fantasy, SF, or cyberpunk. The key is that the apocalypse in and of
itself really isn’t enough to support a quality game world. There’s a couple
of things most every apocalyptic game world has in common:


  • Society is fragmented and unable to protect its members.
  • Supplies are scarce and basic survival is not a given.
  • The modern civilization has left behind a series of ruins full of danger
    and powerful artifacts.
  • Weird mutations have introduced a host of bizarre new creatures.

Those four points can pretty much be found in almost ANY game setting.
There’s nothing there that’s unique to post-apocalyptic gaming. Most every
fantasy setting has some sort of lost ancient civilization. If society was
able to protect the characters, then they wouldn’t have much danger to deal
with. And just about every game uses magic, weird science, or some other
gizmo to give the players funny looking beasties to blow holes in. When you
come right down to it, post-apocalyptic gaming boils down to a different
background than other games: before your character was born a lot of stuff
went ka-blooie. That’s about it. That doesn’t mean that post-apocalyptic
gaming has to stay dull, however. This scenario has been used in quite a few
SF novels. By looking at one of the most effective ones, we can learn a lot
about how to construct a refreshing end of the world game.


There’s two different ways that you can end the world: with a bang, and with
a whimper. Almost every game goes for the bang scenario. Let the nukes fly
so we can get on with the five headed mutants that gamers love to gun down!
Well, I honestly don’t see much difference between most apocalyptic mutants
and fantasy beasties. Both look weird and both want to threaten humanity’s
fragile existence. There’s not enough of a difference there to really make a
compelling game. So, why not go the opposite way? Let’s end the world with a
whimper.


In Octavia Butler’s Parable of the Sower, society is crumbling. The
divide between rich and poor has become a gaping chasm. Cities (not just the
inner city, but any urban area) are now overrun with homeless drug addicts
and ultraviolent criminals. Those few who can eke out a somewhat civilized
existence huddle together within walled communities, living off of
subsistence farming and venturing outside of the walls only under the most
pressing circumstances. Most communities are little more than fragile
islands in a sea of chaos. Police and fire departments charge exorbitant
fees for their services, leaving only the rich able to afford services that
were once considered essential. Society has collapsed for all but the upper
class. For everyone else, civilization is rapidly becoming a distant, fondly
remembered bit of nostalgia.


Into this uncertain world steps Lauren Olamina, a young woman who possesses
maturity and foresight far beyond her years. Parable of the Sower
follows Lauren as she is forced out of her walled community and propelled
into a quest for survival. But Lauren’s quest isn’t simply one of survival.
Convinced that society is fundamentally sick, Lauren conceives of a new
religion called Earthseed. Earthseed is a product of its environment. Lauren
preaches that hard work and foresight rather than prayer and blind faith are
needed now. Lauren hopes to find a safe spot to build a tiny community where
Earthseed can take root and flourish.


What makes Parable of the Sower so effective is that the remnants of
society as we know it are still visible. The police are still there, but you
have to have cash in order to get any help out of them. You can still go to
the local market and buy food, toilet paper, and soap, but you had better be
ready to pay ultrainflated prices. Even if you have the money to buy
anything, there’s no guarantee that you can hold on to what you have. This
intersection of barbarism with our modern culture yields an effective
setting. One minute, you’re buying a sleeping bag at Sears. The next, you’re
fighting a running gun battle with a mob of drug addled psychopaths. This
should be a key point in your game. Take pains to relate the slow spiral of
decay to your players. Relate events to their everyday lives, frame items
and locations in a context that speaks to their knowledge of modern America.
A burnt out ruin shouldn’t be anonymous wreckage. Describe it as the remains
of a McDonald’s franchise. Use what you see in everyday life to fill in the
details and ram home the point that the players are adventuring in a
familiar setting gone horribly wrong. Think of the typical RPG setting and
turn it on its head. Often, games are set in an era that sees ignorance and
the unknown pushed back as civilization expands. In Parable of the
Sower
, civilization is wiped away to reveal the barbarism and anarchy
that always lurked beneath it, ready to break out.


Any modern era game can use such a setting for a campaign, from Unknown
Armies
to Werewolf: The Apocalypse. The advantage here is that
with the collapse of society there’s no central authority to get in the way
of any campaign plans your may have. The downside is that there’s no central
authority to get in the way of any campaign plans you may have. Yup, you
read that correctly. You now have a lot of freedom to come up with stories,
but on the flip side you also lose one of the most important story tools to
keep characters in line: the social repercussions of destructive behavior.
In a world gone mad, barbarism and brutality are the norm. If everyone else
is doing it, what’s to stop your characters from joining in? This is where
story goals come into play. In Parable of the Sower, Lauren Olamina
has her dream of a successful Earthseed colony. Obviously, dead men can’t
join religions, so violence isn’t the best way to gain recruits. Similarly,
you’ll need a story arc that gives focus to your game beyond blowing up
people, places, and things. The first place you can look for info is the
first Idea Mine. That article deals with gaming in a world overrun by hordes
of zombies. The basic ideas presented there work in a setting inspired by
Butler’s work, just without the zombies.


A more interesting story line to follow, though, is one that mirrors
Lauren’s struggle to form a new community. Rather than create a physical
challenge for the players, give them a social and spiritual one. There’s a
lot of roleplaying potential here. Can the characters recruit people to join
them? Can they convince the residents of the small town that they’re
journeying through that they are simple travelers and not psychotic drug
addicts? One of the major hurdles facing Lauren is that no one can afford to
trust her. On the other hand, allies and friends are worth their weight in
gold in a world gone mad. By giving others reasons to trust her, Lauren
quickly gains allies on her journey. A gun may be nice in a hostile world,
but a trusted companion or two is much more likely to help you survive. This
should be a major theme of your post-apocalypse game and can help
differentiate it from other gaming genres. Instead of busting heads and
racking up combat skill points, your characters would be much better served
by talking things out and gaining allies.


There’s another major point in Butler’s setting that deserves mention: what
little authority remains is hostile at best and dangerous at worst. With
civilization falling apart, there’s no one around to police the policemen.
Civil rights are a distant memory, and cops are often no better than
legitimized thugs and bandits. This corruption of authority also spreads to
corporations. In Parable of the Sower, slavery has started to make a
comeback in the US. Workers are often forced to pay exorbitant prices for
food and shelter at company run stores. When they eventually slide into
debt, employees are forced by law to work off their ever increasing debt to
their employer. As anarchy rises, the remaining bastions of order view any
freedom as a threat. The collapse of society has created a fascist backlash
amongst those who still wield any power. This can quickly become a major
complicating factor in your characters’ lives and gives you a ready made
source for antagonists.


Finally, you should add a twist to character creation in order to create
fully fleshed out characters. Have each player create a normal, modern day
person. Then, add the skills and stat modifiers that you feel reflect the
character’s experiences as society collapsed. This helps to define
characters along an important divide: all of them were different people
before society collapsed. It also helps create believable characters. Most
people will not have survival or combat skills. These only become important
with the collapse of society. By limiting your players’ skill selection, you
can highlight the theme of everyday people trying to survive in a suddenly
hostile world.


Post-apocalyptic gaming does not have to mean funny looking mutants and
death rays. Societies collapsed in the past without the aid of nuclear
weapons. A non-nuclear, slow decay of society scenario can be far more
challenging than the typical nukes and mutants game. Call of Cthulhu
is so effective because the characters in that game are ordinary people
facing extraordinary circumstances. The same thing is true in a game set
during society’s dying whimper. Put down Ethelred the 10th level warrior and
try playing Myron Smith, a lowly accountant now trying desperately to pull
his friends through the death of civilization. The change may do you good.

Avatar of EDG

by EDG

Mag*Blast

August 17, 1999 in Reviews

Get ready for some screaming space battles in Mag*Blast, a card game for two to six players. In it, you’ll find yourself blasting opponents’ ships in an attempt to reach the heart of their fleet–the Flagship.

There are three types of cards in Mag*Blast: the Flagship cards, the Ship cards (they have “Shipyard” on the back), and the Action cards (they have “Mag*Blast” on the back).

The Flagship card represents one of the six interstellar empires, and each one has a special ability, like being able to draw an extra card. If the Flagship is destroyed, you’re out of the game!

All Flagships have four “Zones” (Green, Blue, Red, and Yellow)–this is where you place the ships that comprise of your fleet. The Flagship is always in the center of the Zones. The Zones are important in that enemy ships can only attack other enemy ships that are in the same zone, and if a Zone is berift of ships, it can be targeted by enemy ships who occupy the corresponding Zone. All Flagships have the same defense (called Hull Value), and can’t attack, so always keep your Zones occupied with friendly forces.

Ship cards represent the various vessels that will fight for their Flagship. They range from the massive Dreadnought to the fast moving Scout Ships.

All Ships use a particular Action card called BLASTS, which are shots from your ships to your opponents. Certain ships use certain BLAST cards, and some can use more than one BLAST, so you never know what to expect from those Ships. The three BLAST cards are the LASER, the BEAM CANNON, and the powerful MAG-CANNON BLAST.

Other action cards include the GAME cards, which represent ship maneuvers like “Direct Hit” or events like “Temporal Anomaly.” Some Action cards include a Resource Symbol, which can be used to get more ships, or “reinforcements.”

The turn sequence of Mag*Blast works like so: Discard, Draw up to 5 cards, Play Reinforcements, Movement, and Play Action Cards. You can discard as many cards as you want–even if it means getting rid of your entire hand. Drawing up to five cards is self-explanatory, so it won’t be discussed. Playing reinforcements can be done by either playing a “Reinforcements” card, or by discarding cards with the “Resource” symbol (there are three different types of Resource Symbols. You can discard three of the same symbols, or all three types of symbols). Movement consists of moving from one of your Flagship’s Zones to another (the Dreadnought is the only Ship that can’t move)–a good thing if you have a undefended Zone–and finally you play Action cards that can rangefrom blasting your opponents to space dust or hiding in an Asteroid Field to protect your Fleet from harm.

The Verdict

At $16.95, Mag*Blast had better be fun to play, right? Well, it is! Most of the night was spent pummelling the enemy ships into space dust.

But the best thing about Mag*Blast (besides it’s fun to play) is the reason it’s referred to as “Screaming Space Battles”–you actually have to make the sound effects as you blast your opponents’ ships, or the attacks fails! It was fun powering up the Mag-Cannon and unleashing hot plasma death on those poor, unsuspecting ships. KA-BLAM!

Mag*Blast is just what it advertises to be–screaming space battles!You’ll be hooked the first time you unleash a Mag-Cannon blast at your opponent. Just don’t forget to make the sound effect…

The Price of Power

July 3, 1999 in Articles


Power doesn’t come cheap. If it did, we’d all be living in mansions, spending
our weekends sucking down margaritas on some isolated tropical beach. That
isn’t the way the world works, and that isn’t how games should work. Now every
game has different definitions of power. In fantasy games, magic is usually a
good route to power. Hardware and techno-gizmos are often the surest way to
power in an SF game. In this article, I’m going to draw on Orson Scott Card’s
Hart’s Hope and Stephen Donaldson’s Gap Saga for examples of how to
extract the price of power from your characters.


Blood Magic


Hart’s Hope, one of Orson Scott Card’s earliest works, tells the tale
of a young man named Orem who must overthrow the cruel Queen Beauty and
restore the just and rightful king to power. I won’t go into too much detail
about the plot, since I’m not a big fan of Card, but he does describe the
basics of a ghastly, if compelling, magic system.


In the world of Hart’s Hope, magic is divided into two parts: magic for
men and magic for women. Women’s magic gets only passing description in
Hart’s Hope. It is men’s magic that I am going to focus on. In order to
cast a spell, you must draw blood from a living creature. So, for a simple
spell, you can give yourself a small cut and gain the magical power needed for
the spell. A more powerful spell may require the blood of a wild animal. The
most potent magical power comes from the blood of loved ones. A wizard willing
to kill his wife or his child stands to acquire massive amounts of power. Of
course, only a truly heartless or diabolical fiend would do something like
that. Which means that only the heartless or diabolical will have access to
the most powerful magics.


I’m not going to try to boil this idea down into a game mechanic. That would
dodge the basic point of this article: too many games water power down into
some neat little game mechanism. A new spell or increased skill simply means
that the character can now beat up bigger and badder beasties.


BOOOORING!


Imagine if your players had to sacrifice something, a stat, a magic item,
their nifty new starcruiser, in order to nab that little piece of personal
power. It is often said that people will value something that they have to
work for. RPGs have that angle covered rather well. Most experience systems
require a character to clobber x number of baddies before he can get a new
skill. Well, what if we turn that system on its head? Give your characters the
power they want, and then hit them with the price of that power. If they want
to pull a cool stunt, its going to cost them. To get back to Hart’s
Hope
, how attractive would magic be in your game if your players knew that
they’d have to injure themselves or hurt the ones they love to use it? Such a
situation breeds a respect for power and a clear understanding that if the
characters want to hoist out their big guns, its going to cost them. This can
generate a lot of sticky moral situations and tension between the thirst for
power and the reluctance to pay its price. Instant compelling role-play fodder
right there, folks!


There are a few things to keep in mind when creating a magic system like this.
First, you have to make the price worth the reward. In an AD&D game, it is a
little ridiculous to expect a mage to kill his first born child just to cast a
magic missile! Simple spells in Hart’s Hope require that the mage only
draw a small amount of his own blood. The key is to keep the cost of magic on
a mage’s mind, no matter how simple the spell. But don’t over do it.


A related guideline is to keep your magic system usable. If truly powerful
magics require a mage to jump into a volcano or something, you won’t find many
mages using such magic often, if ever. Magic should demand a stiff price, but
it should be something that a heartless or at least a dedicated character can pay.


The price of magic should also have reverberations throughout your campaign.
NPCs should know what a mage has to do to gain power and react to spellcasters
appropriately. If you decide that mages have to sacrifice puppies and kittens
to cast spells, you can bet that most NPCs won’t be too keen on mages in
general. Such social isolation and stigma can lead to some great role-playing
opportunities. The ideal magic system should give your game a unique flavor
and added depth. It shouldn’t be just a laundry list of stuff needed to cast spells.


Finally, be sure to follow through on whatever sacrifices a character makes.
You should ensure that a character’s decisions do not take place in a vacuum.
If the player is role-playing this out, he may need some not so subtle reminders.


Cybernetics and Freewill


So far, I’ve talked about extracting a material cost from your characters. In
most games, it will be enough to require characters to sacrifice trusted items
and their personal health. If your group is up to role playing challenge,
there is a very cool concept that you can steal from Stephen Donaldson’s Gap saga.


In his five volume series, Donaldson tells a sprawling (and a bit long winded;
I skimmed the last book and a half) tale of an interstellar struggle for
power. I could write a few months’ worth of columns just on this series alone,
but instead I’ll focus on one very cool character: Angus Thermopyle.


Angus was a space pirate, one of the most brutal and heartless men in all of
space. I say “was” because at one point in the saga, Angus is captured by the
authorities and turned into a cyborg, complete with laser beams in his
fingers, a sophisticated suite of ECM tools, and increased strength and
agility. Basically, he gets all the cool stuff out of Shadowrun.


But that’s not all. Since Angus is just a bit on the murderous side, the
government implants a computer in his head, a computer that controls his
actions. Angus isn’t reduced to a simple automaton. He still has most of his
freewill. The computer kicks on in certain situations and forces him to obey
the commands of selected individuals. It also controls his violent compulsions
and sometimes gives him access to new data or skills (a la the Matrix).


I think that this is one of the niftiest ideas you can add to a science
fiction game. Mind control like this is a natural outgrowth of cybernetic
implants. If we can modify the body, why not modify the mind?


There are a lot of pitfalls to this idea. One of the most common mantras in
any RPG that includes a seduction or fast-talk skill is that NPCs can’t use
skills like that to make PCs do things. PC freewill is inviolate. Often, I’d
agree with that. A game isn’t much fun if the GM is always telling you what
your character is doing. But with the right players and the right plan, you
can make this work in a game.


My first suggestion is that you check with your players before trying
something like this out. Most gamers, I imagine, wouldn’t be too keen on
hearing halfway through a campaign that those implants that took at character
creation have turned them into corporate lapdogs.


On the other hand, it is a good idea to keep the limits of the implants’
control secret. Part of the fun of this idea is that it gives a game a hint of
the unexpected. It can also worry your players to no end. You want to give
your players a basic idea of what’s up, but save a full explanation for an
appropriately climactic scene.


Don’t over do it. It is a little easy to shackle everyone with mind control
devices, but it makes it a little less unique and may be problematic if not
everyone is keen on losing some of their character’s free will. A character
coping with something like this should be the exception, not the norm.


Finally, keep the level of control over a character reasonable. Any mind
control implants a character has should be there for a reason. This can be a
great tool for advancing your plot and provides a lot of cool role-playing
opportunities. Don’t just use it as a method to browbeat or abuse characters senselessly.

Avatar of EDG

by EDG

Starbase Jeff

June 3, 1999 in Reviews

“You need money to play.”

Starbase Jeff is a card game. It’s not a collectible card game, because
everybody has exactly the same deck, just shuffled differently. It’s not a
playing-card game, because, well, they’re not playing cards. However, Jim
Geldmacher and James Ernest do an admirable job of meshing the two.

You see, Jeff Tuttle was turned from a humble shareware programmer into the
manager of a deep-space construction firm. He’s interested in making money
- big money. He wants to create starbases as large as major cities. And
he wants you to build them.

Starbase Jeff is a game for two to four players. Each player takes a deck
of cards – twenty cards to a deck, each deck a different color – and
shuffles it thoroughly. Each player also starts out with some
money. (This can be represented with poker chips, board game money,
tallies on paper, or what have you. The designers “strongly recommend that
you don’t play for real money. Furthermore, we strongly don’t suggest a
ratio of a nickel for every credit.”) The object of the game is to make
the most money, you see.

Players draw hands of five cards from their decks. Then, each turn, each
player plays a card from his or her hand. Cards are played according to
rank, and each card has a different rank. There’s also a building cost
associated with each card, which the player must pay when playing the card;
additionally, pieces of the starbase have different numbers of directions
to which they can connect to other pieces, and if the player can’t connect
his piece of the station to another of his pieces directly, he must pay
each of the players in-between one credit for each piece of theirs he has
to pass through to build his piece.

Oh, and you get bombs, too. These take precedence over any other card, and
blow up a piece of your choice.

The game ends when someone runs out of money, at which point the person who
has the most money wins; or, when someone closes off the station (i.e. no
more pieces can be connected), at which point the player who closed it off
takes the pot (into which building fees are paid), and then the
person with the most money wins.

The Verdict

Starbase Jeff is a lot of fun, and due to its small size it’s immensely
portable – you can play while you’re waiting for your food at a restaurant,
or in the backseat of a car (assuming the seat is large enough). It’s a
lot like poker – you have to know what to play and when to play it – and a
lot like chess – in that you have to think through several moves at a time.

Plus, it’s a Cheapass Game, and that’s just fun to say.

If you want in-depth characterization and massive storylines in every game
you play, this game isn’t for you. If you don’t – then it probably is.

Avatar of EDG

by EDG

The Clans: Warriors of Kerensky

April 23, 1999 in Reviews

On the other side of the spectrum from Maximum Tech is The Clans:
Warriors of Kerensky
, which has enough flavor text to choke a camel.
This, too, is intended to add detail and a touch of realism to your
Battletech games, but The Clans focuses less on the rules aspect and
more on the background aspect, providing a rich and definitive look at the
Clans, their history, their society, and their customs.

The Good Stuff

The Clans is fun to read. That’s the first thing I have to say
about it. Even if you don’t play Battletech – even if you don’t roleplay
at all, and are just a science fiction fan – The Clans is a good
book to pick up. The entire book contains no more than three pages of
rules, leaving 125 for history, customs, and society.

It fills them well, too. Chris Hartford spends 25 of those pages telling
us just how the Clans got to be where they are in the current era; then, he
gives us another 35 telling us about society and government. The remaining
pages go into detail about the individual Clans – politics,
distinctiveness, and origins – and the systems which the Clans control.
Only the last three pages before the index contain rules – and those rules
mainly cover honor systems within the Clans.

The Bad Stuff

On the other hand, The Clans is a highly specific piece of work;
you’re not going to learn much about the Inner Circle by picking it up, and
if you’re looking for new rules for your game you’ll be quite disappointed.
Also, it is the kind of book that you’ll want to read again and again to
make sure you got everything; it’s comprehensive, but some of the
information is fairly buried in anecdotes.

The Verdict

I recommend The Clans to pretty much everyone who enjoys science
fiction – gamer or not. Even if you’re not interested in Battletech it’s
good reading material, and if you are, and you’re a Clan fan, this is
possibly one of the best buys you could make.

Exodus

April 21, 1999 in Reviews

“Before the dawn of time, they rose to rule the world.

“Sixty-five million years ago, they fought a war so devastating that it
nearly destroyed that world and everything on it. Those who survived
fled into the vast night of space, looking for a new home

“Today they are here, among us.

“Those who know them call them Saurians, viscous looking lizard
creatures with technology centuries beyond our own. For the moment, they
walk among us, hidden within false flesh, barely recognized as their own.

“Soon more will arrive – many, many more.

“Then, the true battle will begin.”

That is a quote from the back of the Exodus Sourcebook, a supplement
dealing with the aliens known as the Saurians for Conspiracy X.

Everything you know about Saurians is correct, but you don’t know
everything about them. There are more species of Saurians that those who
work with the Black Book – would you believe there’s eight types of them?
That they are originally from Earth? And, in less than a century,
humankind will be fighting for their very lives?

Read on, friends – this may be for your own survival!

Chapter 1 gives you an introduction to Exodus, including the obligatory
“How to use this book.” A neat short story begins your venture into the
Saurian Culture.

Chapter 2 begins the descent into the mystery of Saurians, including the
“Lizardmen of Vietnam.”

Chapter 3 introduces us to the Dreamspeakers, a rogue group of Saurians
who wish to learn from humankind on how to be human. They can be used as
a potential ally, or as possible new recruits for Aegis.

BTW, Chapter 3 also gives us what really happened in 1938, when a news
reporter broadcasted an alien invasion.

New equipment, character generation, and a new ability called Hypnomancy
for the Dreamspeakers round out Chapter 3.

Chapter 4 gives us the history of the Saurian Race – their life on Earth,
the Great War between the Saurian Races that forced their escape into
space, and finally their secret return to Earth, with the rest of the
Saurian races to return in less than one hundred years.

Chaper 5 gives us the biology, motivations, activites, and game stats
for the four clans currently on Earth, as well as motivations and goals
for the Saurians.

Chapter 6 describes Saurian Technology, with items common to all clans,
and also those specific to a certain clan.

Round it out with an adventure dealing with Saurians, and you have the
making of an excellent sourcebook. The art is wonderful, with the
pictures of the Saurians a we bit too lifelike. Creepy.

My only complaint is the werid lizard-like art on the bottom of the
pages. It makes the type difficult to read whenever it is on that
“skin,” but it still didn’t detract from the enjoyment of the sourcebook.

Finally, one of the most chilling sentences which foreshadows trouble
for Humanity is:

“Some humans have stumbled across them (remains of Saurian’s history)
from time to time, but the evidence was misunderstood or concealed. In
the next hundred years, no amount of disinformation will contain the
secret.”

Extinction is on the way, folks…