Roleplaying Games


Hasbro announced that they’ll be bringing out a 5th edition Dungeons & Dragons only a few years after releasing 4ed. I don’t really have skin in this particular game — I don’t play fantasy settings, so I haven’t played in a D&D game since 1993 or so. However, I am aware of the absolutely insane response to the release of 4th edition — friends apparently not talking to each other, game groups breaking up over whether to play 3rd or 4th edition. It’s the sort of thing that makes we gamers look the nutbags we are portrayed as in media.

You don’t like one system? Don’t play it. You have players who want to play one edition or the other, compromise.

I will admit I was unimpressed wtih 4th edition (and more specifically the Star Wars Saga Edition.) I found the mechanics looked to be trying to emulate the RPG video games, rather than emphasizing role playing. But that’s my opinion; you may feel otherwise, and please do. Here’s the kicker: I don’t like 3rd Edition either…in fact, I think d20 is a terrible set of mechanics in general and its the reason I don’t do D&D oriented material here at Black Campbell — I don’t play it, so I have no opinion one way or the other. Additionally, there’s plenty of sites dealing with fantasy-based settings, so I target old, dead systems and settings that aren’t as typical for RPG blogs.

 

Last night was our weekly game session, this time part 2 of the episode 3 of our Battlestar Galactica campaign. In this, the characters’ vessel Aegis arrives at Sagittaron with the mission to protect an archeological dig and the scientists there from fundamentalist terrorists who want the planetary government to arrest them for blasphemy and suppress their findings. (They have found the remains of a modern city that would have existed 8-10,000 years before Colonial settlement!)

The characters shuttle down a small marine detachment to provide protection, as well as the ship’s chaplain and commander — who will be negotiating with the local government to try and sort the matter out. One of the issues — Commander Pindarus’ father, a famed vet of the First Cylon War, helped suppress a serious general strike 20 years ago…his family name is not a benefit here. They are escorted to the Colonial military base outside of the capital to avoid possibly being shot down by insurgents. On the post, they find out Colonial servicemen are asked not to leave the post, and when they do to travel in groups for their protection. The commandant is adamant about respecting Sagittaron customs off-post; they are looking to avoid another attempted bombing on the place.

The meeting between the First Secretary of the Sagittaron Planetary Quorum and Sagittaron Security Minister went well, although the presence of the spiritual leader of the  Sagittaron Freedom Movement (Tom Zarek’s “defunct” terrorist group) threw a wrench in the works. Pindarus essentially lies to them: they’ll suppress the findings and get the archeologists off planet when their funding runs out in two weeks, and hints that he’s willing to leave it all in local hands, so long as they don’t pop the trigger on the blasphemy charges…the meeting goes well.

Meanwhile, the military protection detail, in civilian clothes, talks their way past a couple of road blocks by local thugs to the dig and set up security, instructing the scientists on how to act, should they be attacked.

The next morning, Pindarus and his brother-in-law (the priest) head out to the dig site and their convoy is attacked in a rather expert way. They lost a few NPC marines that were guarding them, but all the characters got away with minimal injury. The fight sequence was tense until the lieutenant in charge of the dig site security and a couple of PC NCOs arrived to aid them. They have two prisoners they evaced to the ship (breaking a promise to the commandant of the military base not to fly outside of prescribed areas of operations.)

Pindarus is now going to use this to excuse military action to protect the dig and put pressure on the Sagittaron government — which is obviously looking for the easy way out of the issue — to help them shut down the splinter group that has been threatening the dig.

Next week, we’ll be seeing interrogation, politicking, and more trouble for the crew…

This month’s RPG Blog Carnival is being sponsored by Keith Davies and revolves around the idea in the title: Fantastic Locations.

Creating compelling locations for your games isn’t much different, in many ways from set location scouting for a movie: you want to find something that will grab the attention of the players and imbed the action into their minds. Even better is if the location pushes the action, as well.

At the “strategic level”, I like to start plotting an adventure by deciding where it will take place. For modern espionage, I like to follow the James Bond school of location scouting — pick a few major locations for the action to occur. For instance, in Die Another Day, the action sequences take place in North Korea, Cuba, London, and Iceland. For a Star Wars game, you might choose Coruscant, Tatoonie, and an asteroid field on the Rim. In periods where the transportation is slower, you might want to just fix on a certain general location: Tombstne, Arizona in a western, London and maybe it’s environs in a Victorian setting.

Once I’ve got the general place, for modern games I look for interesting buildings, scenic locales, something that will “look neat” and fit a predetermined action sequence or allow the place to set the action for me.

Cases in point: In a modern espionage campaign, say the heroes have to raid a high-rise office park — how do they get in? Do they rappel from the roof, climb the outside of the building? (There is a hotel in modern Shanghai I desperately wanted to use because it was a spectacular set piece for this sort of thing…some day…) For a sequence in my recent Hollow Earth Expedition campaign, I envisioned a multi-level restaurant with lots of staircases, intervening balconies, hanging lights, etc — perfect for the climb all over the damned set style of chop-socky fighting I wanted for the sequence. There were koi pnds to knock villains into, flaming kebab spikes to impale them on, lights to swing from level to level…everything was there to be used as cover or a weapon. (Think the big gong in Temple of Doom…why was it there if not to hide from Tommy gun fire? Or any Jackie Chan flick — the location is central to the stunts and fights going on.)

The description doesn’t have to be that extensive to set the atmosphere. You’re in an abandoned steel plant…it’s nearly dark and the catwalks and ladders between the levels throw shadows everywhere. Abandoned equipment lies dust covered and cobwebbed — shovels near the coal bins, tools here and there…. If there’s something you want the characters to notice, highlight it: …footprints in the dust lead you under the massive cauldrons that would drop molten metal. Chains rattle slightly from the rain that is coming through broken window panes in the roof, as you avoid a stand of metal poles that were used for whatever purpose (and maybe they notice one missing?)

Here’s a few examples from different eras of settings that have worked for me:

The working Victorian steel mill — nothing like molten slag, moving equipment, and the hazards of fire to get the players’ blood boiling. Dodge the kids and workers while chasing the villain over and around dangerous gear.

“Ridleyville” — when you need atmosphere at night, make the street slick from rain or recent rain and throw in a little neon to throw distracting shadows. A venting steam pipe or grate doesn’t hurt… You can even had Ridleyville inside a spacecraft (see Nostromo from Alien.) I’ve used this a lot for my 1930s Shanghai. The smell of crap from the nightstools doesn’t hurt, either.

A foggy hill in the woods, near a running stream (preferably winter time to throw breath, etc.) and the villans hidden in the mist. I’ve used this for my China campaign in Hollow Earth Expedition (fighting warrior monks) and in a Battlestar Galactica game where they could hear the toasters but not see them.

Craggy snow-bound mountains with loads of moguls and trees to have a ski/snowmobile chase through. And of course that big chunk of snow a few hundred feet up the slope is coming your way eventually…

The dimly lit pumping station wit lots of metal grate catwalks and steps to give you “spooky” lighting. This works for sci-fi, modern day, horror… I used this for a Supernatural game in which the heroes were hunting a werewolf. Fighting in tight spaces, with lots of metal guard rails to bang off of, water on the floor, the hum of the pumps to disguise movement, not to mention big spanners for weapons, fire extinguishers, etc…

Cliffs are always good. Cliffs are scary. Cliffs with waterfalls or snow, or loose earth are even better. A really good use of a cliff as a weapon? For Your Eyes Only. Kick that henchmans car that is holding on the edge by a tire or two into the ocean below. He was a bad guy, anyway.

Airplanes are great set pieces. They are a tactical nightmare when loaded with innocents. You have very little room to move, and there’s the danger of breeching the hull (which with a handgun or rifle really isn’t going to do much unless you clip a control line or bounce one into the engine. Some have big droppable gates at the back end so you can get tossed into thin air.

Boats are even better — most have a few decks and loads of stuff to destroy or use in a fight. Yachts are nicely lit but you’re still a bit cramped belowdecks. The engine rooms are a wealth of injury-inducing stuff. Cargo vessels are badly lit with tight companionways, big cargo holds full of stuff to climb on, fight around. Military vessels…well, you get the picture.

For things like car chases, the terrain can be very important. Try have a high speed chase on the crowded, very twisty roads int he Dolomites of northern Italy: hell, they couldn’t even transport an Aston-Martin Virage safely to the set of Quantum of Solace. When in doubt, drop a big Indiana Jones style cliff in…even when you’re driving along the flatest chunk on Egypt as in Raiders of the Lost Ark. If they’re having fun, the audience won’t care.

Cars in a chase can be your locale. Think the tanker from The Road Warrior — there’s a lot of action going on just on the rig itself. Or any western involving a stagecoach — runaway or otherwise.

When picking your settings, look for something to spice them up. You don’t need a monster or clever trap to make a cave complex dangerous (but it helps) — spelunkers can tell you they’re damned hazardous all on their own. The point is to have fun with it, and make sure the method of the character’s salvation is part and parcel of the danger they are in.

I haven’t gotten a chance to see a lot of stuff in the theaters since Sofia was born, so I try to catch up when and where I can on DVD or Pay-per-view. Here’s a few of the ones seen recent(ish) and possible uses in a role playing setting:

Captain America — Probably one of the best movies of the year, despite a few hiccups at the end, this movie is perfect for stealing ideas for a pulp game, or a World War II-based game. The characters are very well written, the acting is solid to superb (Hugo Weaving), and the pacing is tremendous. The flavor of the movie fits with similar war comics of the time, from Airboy to the original Captain America stuff. It’s also a good look at how superheroes in historical settings can be done.

And along that note…X-Men: First Class — I had zero hopes for this one, and by the end it went on my to-buy list. The acting from Michael Fassbender and James MacAvoy (always good) is fantastic, and the rest of the cast does well, even Rose Byrne, who I find boring in almost everything I see her in. The movie is set during the Cuban Missile Crisis, which in this universe is being launched by the machinations of Sebastian Shaw, head of the Hellfire Club (played well by Kevin Bacon…) It’s a James Bond flick with superpowers and even better than Captain America, and excellent primer on how to do espionage in the 1960s, or superheroes in the 1960s. One of my friend’s fervent wish is for another “Magneto hunting Nazis in some exotic locale” film.

Strangely, it’s a better feel for the time than watching an old James Bond picture, which are fairly conservative (there’s the famed line about having to listen to the Beatles with earmuffs). First Class has mod fashions, a soundtrack that evokes the period well. It also does a superb job of pacing. There’s a lot going on, but the movie never bogs down in the exposition and character bits, never overloads you on action (like, say, Quantum of Solace.)

Burke and Hare — a little movie by John Landis about the infamous grave robbers turned murders in 1820s Edinburgh. The movie gives a good look at life in early 19th Century Scotland and you could use this in early-period steampunk games. The movie centers on the famed medical schools of the city competing to gain access to cadavers for anatomical training. Executions were dropping with the repeal of the Bloody Code and the heavy demand for graverobbing (a cadaver could bring upwards of £6!) made supply of bodies scarce, so the characters decide to create their own supply. Eventually, Burke — who’s name now applies to a form of murder, the asphyxiation while compressing the torso of a victim — is caught and hanged. His body, by the way, is on display in the Edinburgh’s Museum of Anatomy, if I recall…)

This one is played as a romantic comedy and it works mostly due to excellent performances by Andy Serkis and Simon Pegg. It’s definitely worth a look.

Rise of the Planet of the Apes — Another shocker…it’s really good. A medical chemist (James Franco) is desperate to save his father (John Lithgow, knocking it out of the park) from late-stage Alzheimers goes rouge when one of the chimps from a failed experiment shows mental improvement. He tests it on his father who improves, and actually exceeds his former self. Caesar, the chimp, is like a son to the men, but when the father’s dementia comes back, Caesar gets himself thrown in an animal sanctuary when he defends the old man from annoying neighbor (Stargate Atlantis‘ David Hewlett.) The company is working on a new version of the drug and Caesar escapes the abusive sanctuary, retrieves the drug, and “awakens” his mates so they can escape to the Redwoods north of San Francisco.

It might sound dumb, but it’s not played that way and works quite well. The kicker is why the apes are successful; sit through the credits for it. There’s a lot going on, but the pacing is so good that the movie feels much more complex and fuller than the 1:45ish run time.

The Unit — I finally got a chance to watch the entire series. If you want to see how to do modern espionage with a team, instead of the lone or pair of spies, here it is. The first two seasons are the best and hew closely to the sort of work the special forces do; the last two seasons drift too much into contrived conspiracy land…but it’s still fun. The show was loosely based on Eric Haney’s book on Delta Force, and the series was produced by Shawn Ryan of The Shield and famed playwright David Mamet. It’s worth it for a lot of reasons, not the least bit being Dennis Haysbert in the lead.

Fright Night (2011) — The remake’s better than the campy 70s/80s flick in that it’s got some fabulous performances by Colin Farrell and David Tennant. Same basic story — a creepy guy moves in next door (Farrell) and the lead character (Anton Yelchin) finds out he’s a vampire. Mayhem ensues. He enlists the aid of a Chris Angel-esque magician (Tennant) to help him. Farrell has a truly skin-crawling moment where he’s stuck at the stoop of the door to Yelchin’s house (he hasn’t been invited in) and is giving him truly sex offender-like advice about his girlfriend. You don’t know what’s worse — him being a vampire or him being the guy that would try for your underaged daughter or mom.

The flavor’s just about dead bang on for a Supernatural campaign or similar light humor/horror game.

Last week saw the return of our Battlestar Galactica RPG campaign. The first two episodes dealt with the mysterious disappearance of the personnel of a listening station on the Armistice Line, the second was a secret recon to a star system on the other side of the line, where they learned the toasters haven’t gone away…they’re still lurking around out there.

The third episode saw the introduction of two new PCs, Master Chief Ajax Giadis and the MARDET/intelligence officer, young LT Maia Carina. The episode opened with standard combat training exercises, where the command staff was getting a chance to work the crew up to heightened standards, as they are aware of the Cylon issue. They get an order packet from PIcon HQ ordering them to Sagittaron to protect the personnel of an important archeological dig. The dig, on the dry lakebed outside a major city holds the remains of a city that appear to be 10,000 or more years old…long before the historical settlement of the Colonies.

A terrorist grou, the Soldiers of Kobol, has injured one of the graduate students in an attack in the nearby city of Paresis – that victim the daughter of a major supporter of President Adar. The 21 people of the dig have been threatened and there have been called from the SoK and other groups to jail the scientists for blasphemy, and their findings suppressed.

The mission is two fold: the commander is to salve the local politicians feelings over military action on their world, and protect the find and personnel for the two weeks until their funding expires and they return to the University of Leonis.

No way this can go wrong…

A belated AAR for our Thrilling Action Stories! campaign, set in 1936 China. Our heroes have been, throughout the year, exploring and fighting to gain control of a collection of mellified men. They’ve had ups and downs, we’ve had an ancient prince in the body of a 100 year old female general of the White Lotus Rebellion, we’ve had Japanese villains, we’ve had gangsters, and the introduction of Hanoi Shan.

This all came to a head as the characters discovered that in the month or so they’d been gone, the White Lotus warrior-monks had moved the last two mellified men to a monastery outside of Chungking. They were in a race with Hanoi Shan’s Silk Mountain Triad, arriving in Chunking where they linked up with the local tong/KMT powers that be to try and raid the monastery.

They were attacked in a classic martial arts set piece — multi-leveled balconied restaurant — that lead to lots of chop-socky action — from gun fu moments to the classic using the hanging lanterns to swing from one level to the next, etc.

In the end, they had a company of Chinese soldiers to fight the Silk Mountain, who were using a semi-rigid airship painted to look like a dragon, to poison gas the monks. (We had a nice green smoke from the nostrils of the dragon moment. In the end, they were able to drop the airship with a recoilless rifle and recover the mellified men and a massive archive of historical and esoteric knowledge from the monks.

There’s one more episode in China before they repair to the United States for a few episodes…then I’m hoping to take them to Indochina for an episode or two to fight Hanoi Shan before returning to China to look for other relics. The timing should put them smack in the middle of the Battle of Shanghai and Rape of Nanking.

As most Battlestar Galactica RPG fans know by now, Quantum Mechanix has done a superb map of the Twelve Colonies of Kobol (I just got mine framed, along with my map of the ‘Verse by the same bunch, for Christmas.) Now the cannon thumpers can agree or no on the map — there’s plenty of people who prefer the one star with 12 habitable planets model, others that like a dual sun, trianary, or the four-star version (QM’s)…but whichever way you go, here’s  something I think is essential to note:

The Colonies’ star system is unusual. And being a star-faring race, they would have done enough exploring the local space around the Cyrranus system to know this. 12 habitable worlds around one star shouldn’t happen. Four stars with multiple planets each in perfect barycentric harmony should not exist. This should be part of the Colonial religious and scientific thinking: the Colonies was blessed with a set-up that is obviously of supra- or supernatural origin. (Especially in light of the cosmology of the RDM version.) For the colonies, their worlds are a gift, perhaps found, perhaps made by the Lords of Kobol. Their exodus to the colonies should seem almost a fait d’accomply…hence their history of a 2000 year development post-exodus unquestioned.

The universe, to the Colonials, seems custom built to their cosmology…and maybe it was.

I bought Aces & Eights by Kenzer & Co. back in 2007 when it was game of the year and winning awards all over the place. I’ve met a few people who have bought it; I know no one to date who has played it. Why buy a game you’re not going to play? (I know there are those that collect games, who enjoy reading them, sussing apart the mechanics, etc.) In this case because it was simply one of the best sourcebooks for the Old West you’ll find. (I made a cursory internet check and suspect at least one of the authors has a degree in history, specializing in the West.)

When I bought this, I was hip deep in preparing for my comprehensive exams in Modern US History and US Western history…I have an idea concerning the subject and how well this might cover it. Suffice it to say, if you know nothing about the West shy of a few movie tropes, this book would go a long way to helping you fill in the blanks for playing or running in a Western. (For Victorian period gamers, remember that many folk loved to take a trip out West, to see the frontier and have an adventure or two.)

First, the system. Kenzer & Co. decided to go with a “modular” system that allows you to add on elements of the mechanics as you want. It feels to me like this started out as a simple set of Western-style gunfighting mechanics onto which the authors ported a role playing game rules set. In the most basic set of rules, you need to know how fast you are, how accurate, and not much else. For the fleshed out version, you have nine basic abilities that give you benefits and governor how much you can lift, learn, how many people you can influence at a time, etc. Skills are bought on a straight percentile dice and you want to get below that number to succeed (modifiers can alter the target number, of course.) The character creation seems very clunky, but it went smoothly enough when I sat down to crank out a quick gunslinger.

Combat’s where the game has truly novel mechanics. The initiative system is based on tenths of a second and you cannot even say what you’re doing until you get to your roll (say I roll a 5, but have a speed of -4 [I’m rattlesnake quick!]…I get to announce my intentions on the first 1/10 second.) It’s a bit overly bookeeperish for me, but it works alright. When shooting you take a “shot clock” — a clear plastic sheet with a bullseye series of numbers and playing card symbols on it. You place it over where you are aiming (say, the hand of the other gunfighter), roll your d20 with all your mods. 25 or higher and you hit right where you want to. Less and you pull a playing card — the suit and number gives you a position on the shot clock. Say I rolled a 20 total and pulled a 4 of diamonds — according to the shot clock, I shot outside and low of his hand. Had I been going center of mass, I’d have plugged him near the liver.

Where the game really shines, however, is on the background material. While Shattered Frontiers is set in a West where the Confedeate States are still hanging about, and other powers than the US government are in play, the book provides a superb view of the West. Beyond the usual cost of stuff, the authors paid special attention to genre specifics: there’s a chapter on horses — from the breeds, to markings, temperament, etc. there’s a fascinating chapter on cattle ranching — what it takes to start and keep one, how you would do branding, why and how you do a cattle run. Another deals with the day to day hardships of prospecting to gold and other metals. It covers claims, claim jumping, quality of gold, and more.

There’s a chapter on gambling — what games were common, odds, cheating, etc. Then there’s the chapter on “frontier justice” — both legal and otherwise. There’s how to run a trial (this is a set of rules I liked so much I once stole them for another system.) There’s a chapter on towns and the campaign:  illustrating how towns would come together and evolve. (Their campaign town goes so far as to have lot numbers, owner listings, and a listing of townfolk you could meet.)

The game has each of the professions one might meet in the West, from the standards of cowboy or lawman, to more mundane ones like dentist. These are listed with personal goals for characters that might be in those trades. Say you have a Farrier — a person that trades in furs. His goals would be fairly simple — start his business, make it permanent, grow it until he has an employee, etc. Cowboys would want to get a job as a ranchhand, work their way up to pushing cattle on long drives, to maybe buying his own herd and running it.

The production quality of the book is stunning: red embossed faux leather with gilding for the lettering on the binding. Heavy high-glass stock for the paper in full color with loads of Remington and Charles Russel paintings from the period. The clear shot clocks for pistol/rifle and shotgun are tucked in the back.

I forget how much I paid for the book, but it was upwards of $50 or more new. As a primer for an Old West campaign (or say, a certain space cowboy franchise) it’s invaluable for ideas. Substance is an easy 5 out of 5, with the background material making it worth the price of admission; the game system is well developed, but as I said — everyone I’ve met who has it has Aces & Eights as a sourcebook of sorts. The style is also 5 out of 5 — it’s a beautiful book.

There’s been a discussion going on over on LinkedIn regarding breaking into RPG writing. It’s had some excellent posts, some solid — if hackneyed — advice about sticking to it, making connections, etc…but I’ve noticed all of the posters seem to miss a salient point about this niche of writing: the lack of professionalism.

Don’t get me wrong, there are plenty of folks who come at their work from a professional attitude: they work hard, do good product, meet deadlines, etc…I’m talking about the employers here.

The industry is comprised mostly of game fans that go into the biz for the love of making a game, or because they have outsized expectations of what kind of money is in game publishing. Many run a tight margin and have to play fast and loose with their production schedules and also with their paying the talent.

Let’s see if this sounds familiar:

It might not pay, but you’ll get your name out there.

This is perhaps one of the biggest loads of crap that gets slung the way of a new writer or artist. Outside of the arts and academia, this would be considered insultingly unprofessional; real businesses recognize that their emloyees expect remuneration.

Yes, you can get your name in a book. The publisher may even come back to you for more…but they’ll assume you’ll continue to work for free. Often, even when you get an offer of pay, you’ll be lucky to get paid on time thanks to shoddy business practices. I’m currently going through this with a relatively big name publisher…they’re weaseling over $600, but they’re showering money all over for licensed product lines.

Additionally, you will get paid (if you do) a crap wage. Standard is $0.03 a word. I break down the full job, divide the payment by an acceptable hourly rate, then attempt to get the work done in a period of time that breaks out to that hourly. For a $600 job, that came out to roughly 30 hours work, give or take. I did it in 36.

Your employers are not your friend.

I don’t care how cool the line editor is, or how well you got on with the publisher at GenCon — good connections will get you a chance to get in the door (I’ve never pitched for a game company; they’ve all come to me based on other work and reputation) but when it comes to doing the job and getting paid these people are not your friends.

No matter how awesomely awesome your ideas might be, you are producing their material. That means you give them what they want and you don’t blow artistic-spinded nonsense about your process or integrity up their ass. You are a monkey on a keyboard or art table. Shut up and do it.

Whe you’ve completed your task the same goes for getting paid. They owe you money, so go after it professionally: invoice, keep the emails between you and the publisher while they shine you on about your check being on the queue for the (like it was last month, and the month before…) hit up the line developer and the A/P person about once a month.

Hint: Pay on delivery is usually a quick trip to collections nightmares.

The publishers love this. Contract or no, they’ve got your work and their money. I used to demand half up front, half on delivery — it creates trust: I’ve got some of their dough, they’ve got the rest I want…so work already. I made a serious mistake in violating bold type #2 and assuming that working with a guy I liked meant I’d avoid collections issues. Pay on delivery is never acceptable and it always puts you on the hook to get your money.

Even worse is pay on publication — this is just another way of saying “we’re not going to pay you.” Publication can be defined however they want — maybe they only did a .pdf run and don’t consider that “publication.” Maybe they do eventually print on demand runs…but don’t consider that publication, either. There’s a smallish bunch based out of Kansas that are very fond of this one.

I do it for the love of the game.

Totally understandable. The RPG industry is full of amateur writers and artists who kick our material to be part of the scene, and that is okay. If you care more about getting your name out there, more power to you, but for those looking to work it the industry, you have to take it seriously.

Market, Network, and Keep at It.

Once you’ve got your foot in the door, you need to stay active. Keep your CV up to date even with project that are still upcoming. Hit the boards for game publishers and drop some good comments and ideas. You could start your own blog on game matters, but that’s of limited utility.

If you’ve gotten the impression that I don’t view the RPG industry as a place to make a living, you’d be wrong. I know people that have done so, but only for lmited periods of time, and they were usually running a line for a company. Once the company makes a bad step on production schedules or licensure (they get you customers, but dealing with the expense and approval process can kill a game line fast!) you can find yourself back to your old day job.

Because that’s what RPG writing is: it’s part-time work, at best, most of the time. I would suggest that it is best looked at as simply another writing assignment, like cranking out blog posts, ghost work, ir amy number of gigs you can get as an artist.

There’s an old adage that goes something like this: stereotypes are stereotypes because they’re usually true. Recently, a character design for our Battlestar Galactica game brought this home for me. The character is prejudiced, but not toward a particular group…he simply views people through the prism of stereotypes. That made me wonder what the stereotypes were of the various colonies in the BSG world. We see some of it in the series, mostly directed toward the religious worlds, Gemenon and Sagittaron, and with Caprica toward the Tauron characters.

I decided to flesh this out because, while I’m not stumping for stereotyping people, it is a common cultural factor. First off, stereotypes are based not just on the culture of the group being characterized, they are characterized through the prism of the culture viewing them…what the stereotype says about those creating the image is as important as those being characterized. Much of what we saw in the Galactica series were through the eyes of Capricans, and even Baltar’s rant about Arelon and Caprica in season four was Caprican — he might have been from Arelon, but he adopted the ideals and prejudices of that adopted world.

Secondly, all of these viewpoints are created allegory for Earthly nations and groups, however vague, and viewed through the prism of educated Western sci-fi writers from North America. To this end, to make things more accessible, I’m going to shift back and forth, occasionally providing real-life stereotypes to explain those of the 12 Colonies

Arelon — The impression Baltar gives us is of a mostly agrarian world that is somewhat culturally backward. To this end, the actor chose to use an accent that typifies rural England. I chose to use this as a basis for the view of Arelon as a rough world of practical, hard-scrabble types, similar to agricultural and suburban Britain — primarily the Midlands, Yorkshire, Borders Scotland. The world might have cities and urbanites, but it is typically viewed as a world of dirt farmers and sheep herders — uneducated, cheap with a cubit, suspicious of outsiders and their culture. They’re the rednecks of the South as viewed by those “better” folk in New York and Los Angeles; they might be folksy and neihgborly to each other, but you worry about getting lost in banjo country while on a river rafting trip.

Arelonians, however, see themselves as honest, hard working folk, and view the wealth, science, and culture of offworlders through that prism — that they are effete, and get ahead not through honest work, but fiscal and legal trickery. A good way to look at this would be the view most Southerner outside of urban centers view the two coasts of the United States.

Aquaria — This low population, inhospitable planet is never really explored by the series, so the obvious parallel is Scandinavia: a sea-faring people who are as cold as their world, hardy and tough, but otherwise mostly ignored as a population. At worst, most of the stereotypes (as is often the case) would revolve around food: pickled fish and other horrific (to the discerning Virgonian or Caprican palette) present the notion of a quaint but ultimately forgettable people.

Aquarians, of course, very the outside worlds as soft, spoiled brats that squabble over everything, instead of pulling together — as you have to on their rough world — to survive. Whether it is a family, a small boat crew, a village, or one of their small, picturesque towns, Aquarians understand you have to work together to make things world. That requires altruism, self-reliance, and shared sacrifice. Having that moral superiority over the other colonies is a point of pride for these people.

Canceron — The “Largest Democracy” of the 12 Colonies is home to people who are arrogant, loud, greedy and violent, self-centered and fecund…or if you listen to them, confident, exuberant, motivated to improve themselves, and self-reliant. They breed without restraint to civilized eyes, but the Canceron consider procreation one of their inalienable rights, along with the right to speak their peace, make a cubit, and be left the hell alone. Their independent streak makes them stubborn and smug in the eyes of the uncharitable. Their claim to the oldest democracy is often challenged by Capricans, who borrowed many of their ideas of government from the Canceron, but it is a historical fact.

Those that admire Canceron tend to over-hype their love of freedom in everything — since the Articles of Colonization were signed, Canceron has begun to see a growth in economic regulation and laws bounding personal freedom with “responsibility.” They might recognize that these are a friendly, charitable, and creative people, and see them as undisciplined, rather than anarchic (a popular view.)

Those from Canceron view themselves as free people, first and foremost, and the criticism of them as sour grapes. They  point out that Caprica adopted many of their ideas of privacy, free speech, open markets, and popular consent over the government, but that the Capricans quickly sullied these grand ideas with a preference for security over liberty, big government welfare over personal charity, and a distrust of religion in general (and monotheism in particular.) They see worlds with tight cultural controls like Sagittaron and Gemenon as repressive and dangerous, and often push for the Colonial government to “open” these cultures…often missing the irony of their coercive desire to make people’s lives better.

Caprica — Capricans are viewed with respect and contempt, depending on the world. Older cultures that have influenced this prince of Colonies point to their effects with pride and view the Capricans as a logical conclusion of cross-pollination of ideas between the twelve worlds. Virgonians can point to their cultural influence (and superiority), Librans to the use of much of their legal structure in the Colonial government, Leonis to the notions of economics (although Canceron had just as much of an effect), Canceron to the notions of self-ownership…. Many respect, but envy, Caprica its natural resources, its recent success, its position as leader of the intercolonial government.

Envy is exactly what Capricans would point to in response to their detractors. Leonis and Virgon both had grand empires int he past, but could not sustain them; Canceron was too undisciplined and governed by selfish personal interests to be successful (this, of course, ignores Canceron being the second largest economy in the world behind Leonis); Gemenon — always viewed through an imperial eye — and Sagittaron are filled with backward, superstitious and violent religious fanatics; Tauronese are all part of organized crime (see the American view of Italians from New Jersey and New York. Be assured, they’re not all extras from The Sopranos or Jersey Shore.) Caprica likes to think they invented republican government and industrialism (Leonis) and democratic ideals (Canceron), that they don’t borrow and “improve” on Virgonian art, architecture, and literature; or that their legal system is the recipient of Libran jurisprudence.

Gemenon — The first colony to be settled by the exiled of Kobol, Gemenon is a rather inhospitable world, although it was not in times past. The reason is not fully understood. The people are known to be highly religious, even fanatical, and were a common strawman for the security services of Caprica in the lead up to unification. Theirs is a world that is strong on family and tradition. They are viewed as anti-technological, although this is not the case; they simply do not have the investment necessary for that sort of industry — outside of resource cultivation, most modern industry is lured off to Caprica due to better tax incentives and connections to the market.

The Gemenese have gotten the short end of the stick for centuries, know it, and make a point of whining about it often. They see their relationship with the other colonies through the prism of colonial oppression, and they satisfiy themselves by looking on the other worlds — Caprica particularly — as arrogant, decadent, deceitful, and ultimately, sinful. Gemenese give themselves a feeling of moral superiority, not just for their religious faith, but as that of an oppressed people morally superior due to their political weakness.

Leonis — A world of bit-pinching workaholics with a stratified class system based on wealth, Leonis is a world of racists that wished to rule over all of Man — that would be the view of many of the other colonies that were, at one time, the imperial charges of Leonis. It was the first world to recover their industrial base after colonization, and the first space-faring world. They view everything though the prism of money, and see success as evidence of divine grace (and some do think this.) They are considered to be cheats, clever, and litigious. (The real life parallel is obvious, and just as full of crap.)

Leonine people see themselves as hard-working, honest brokers. They might work an average of 10 hours more a week than the average Colonial citizen, but they see this as a sacrifice that will eventually pay off — either in a better standard of living, a better start for their children, or a chance to influence the future. They see other colonies as lazy grousers who would have done as well as Leonis did in the past if they had applied themselves, or been smarter than they were. Many are still proud of their imperial heritage, even if they decry some of their past methods.

Libran — The seat of intercolonial justice is seen as irredeemably corrupt by many of the colonies. they are a world of libertines and lawyers — never a good combination. As one of the primary sources of illicit drugs, and having one of the most liberal political asylum laws prior to the Articles of Colonization, Librans are seen as criminal, or at the very least soft-headed supporters of illicit activity. Post-Articles, Libran continues to have cornered the market of “sanctuary cities” — where criminals can escape other worlds and find legal cover to prevent arrest and extradition, particularly to those world that still have the death penalty (Caprica, Gemenon, Picon, Sagittaron, Tauron.)

Librans see themselves as the heirs to Canceron liberty, using rule of law to protect the powerless from governmental overreach. (Canceron citizens would tend to agree.) They view drug laws, and other victimless crimes through the same liberal prism as Canceron, but are more actively aggressive about bucking Colonial authorities by decriminalizing much of these “crimes.” Librans think of themselves as much more cosmopolitan than other colonies, mostly because of the world is mostly a hodge-podge of people from the other worlds.

Picon — The stereotype of Picon as “Little Caprica” is so pervasive that even its own people use the nickname for their world. A smaller world than Caprica, it’s like they’ve distilled all of the ideas of Caprican society and concentrated them. Their economy is built on Colonial central government largess following the Cylon War — it is the home of the Colonial Fleet, has the largest training base, as well. This has earned them the image of being whores for the military and central government. The massive wealth redistribution from the other colonies to Picon for their massive military-industrial complex and very generous welfare state makes the world unpopular with nearly all of the other worlds, who view them as spoiled and lazy. It is hard to argue this, as Picon workers receive almost twice the vacation and sick time as other comparable workers around the colonies, and the average work week is 30 hours with 40 hours a week pay.

In reality, Picon is a melting pot of the other 11 Colonies. Piconian culture was long ago subsumed by Caprican media conglomerates — many of which now produce their television and data-net programs on Picon due to excellent tax incentives (Virgonian and Caprican artists haven’t missed that their media companies have exported jobs to Picon, and made their populations pay for the honor.) Picon society is split on the military — over half of the industry is connected in some way to the Colonial Fleet — and a strongly anti-military portion on the population. Most of the latter is connected to the artistic community and the massive, powerful unions in the public and private sectors. The military tends to view these civilians as weak and spoiled, without realizing it is the masive graft and waste attributed to the military sector of the economy that makes the generous benefits to Piconians possible.

When others complain about the lifestyle of Picon, the citizens tend to se this as sour grapes, and believe that it is simply bad management and “evil” corporatism on worlds like Leonis (known for their hard-working, vacation-eschewing workers) that is why they don’t have what Picon has. To them, the point of life is leisure and self-actualization. None of them think it could come to an end, but Picon bonds are overly inflated and the welfare state is on a tipping point as the central government looks to cut the massive expenses connected to the Fleet.

Sagittaron — This world is one of the most maligned of the Colonies as a world of violent and uneducated bigots, religious zealots, backward anti-technologists. And a quick look at their judicial code would suggest this is a correct view: dancing and other frivolity is banned in some municipalities; it has the death penalty on more crimes than any other colony; many people do eschew technology and medical care in favor of prayer; they do view the other colonies with suspicion and occasionally open hatred.

Sagittaron is also a harsh, deserty world that has suffered repeated invasion and colonization by the Leonine and Virgonian Empires. They suffered  heavily during the Cylon War, when the toasters used it as one of their primary bases of operation. With this in mind, it is easy to see the desire to remain free of ties to the other worlds. More over, the prevalent religious doctrine suggests that life is a dream of the Gods — nothing is truly real, a story that cannot be altered by mortals. With this in mind, much of their culture makes sense. The view of Sagittarons as violent comes mostly from small political and religious groups known for disproportionate amounts of carnage, but in fact, most Sagittarons are fervently pacifistic; violence toward another will not alter the will of the Gods, but paradoxically, when it occurs it is also seen as the will of the Gods.

Scorpia — This world is an odd one. A relatively small population of Scorpians still exists due to the use of the world by the Cylons in the War. A policy of extermination led to the collapse of the urban centers of the planet. As a result, like Libran, Scorpia is a world of immigrants and a mishmash of cultures and attitudes. The prevelant view is of Scorpians as open-mined and cosmopolitan, but that depends solely on the neighborhood you are in. There is much ghettoizing of the immigrant groups — Caprican neighborhoods, Gemenese neighborhoods, etc. It is, like Picon, a heavily militarized world and is one of the main shipyards for the Colonial Fleet, making it a strong supporter, in general, of the Colonial experiment.

Original Scorpians still exist and they are a culture of hedonists and layabouts,in the minds of the newly emigrated. The colony is blessed with incredible natural beauty, and has been known for centuries as “The Playground of the Colonies.” Outside the cities, Scorpia had a reputation for being a world of childlike natives that were much slower to redevelop technology due to their world’s climate. This view is based on a very select experience with the world, and most people do not realize it was an artifice created by the Scorpians themselves to bring people to their world to spend money, as well as create the impression of the world as non-threatening.

Tauron — Commonly seen as a world of gangsters, oppressive corporate entities, and corrupt politicians, Taurons still have that stigma throughout the Colonies (but most intensely on Caprica, a long-time rival.) Their highly ritualistic ways regarding rites of passage, death, and tattooing lend an air of the exotic and dangerous to them, and their very violent, balkanized politics have stigmatized them. they wee, however some of the most effective fighters against the Cylons. Post-Articles of Colonization, the world has sought to strengthen its position, politically and economically against the other eleven worlds, but most particularly Caprica. This has led them to institute policies that have irritated the central government — from lax tax and incorporation laws, to allowing other Colonial ships to fly the Tauron flag (with very low registration requirements), to actively committing corporate espionage on competitors.

To the Tauron, family and community come first, and that includes their world over the other colonies. They vew outsiders with a combination of disdain and avarice — but once befriended by a Tauron, they are hard to sway from their loyalties; you, in effect, become part of the family (but there is still always that last hurdle of not being family…) They view foreign law, like that of the central government, to have no hold over them and surreptitiously engage in small acts of rebellion. When abroad, they will obey the laws that are convenient, and if the risk of punishment is minimal. They respect the ideas of freedom and independence of the Canceron, but see their rabid individualism as dangerous to familial and community order; they prefer levels of hierarchy they trust with overseeing the running of things.

Virgon — When Colonials think of Virgon, they see arrogance, class stratification, imperialism, and libertine social attitudes. One of the first big powers in the past, the Virgonian Empire was highly successful and spread its culture and language throughout the 12 Worlds. Virgonians (if you are from the world) or Virgonese (if you are not) are cultured and snooty, elegant and sissified, sexually promiscuous and prone to all manner of deviant behavior. If they’re not big-spending aristocrats, they are artists, actors, writers, and prostitutes. Their buildings are beautiful, their food delicious, and their arts very smart. They are alternately despised or aspired to.

A lot of it is true — Virgon was the center of the arts for a long time, until they were overtaken by Caprican popular media (Virgonians would deny they art and literature are in any way inferior to Caprican competitors. Capricans would say sales figures don’t lie, but Virgonian critics view Caprican art as “low culture” and point out Caprican is based strongly on their language.) They still have a vestigial arsitocracy that does earn those with a title some influence; poor aristocrats (and they are legion) usually are the face of various business entities, their breeding assumed to give them more respectability. Actors, artists, writers, and architects flock to the Royal Academy of Art in Lydisius (known as “the Great City of Lydisius”) but once you get outside of the major cities, this stereotype falls apart.

The sexual mores of the Virgonian people, however, are also somewhat salacious and overblown. Homosexuality and group marriage are not considered deviant, as on some worlds, and outside of the urban areas, some of the more lewd practices are not common at all.

The use of stereotypes is not something that you use to define the people of these worlds as a game master — some NPCs will conform to these viewpoints, some will not, just as people do not conform to cultural stereotypes in the real world. But the player characters might hold these views, and it could color their interactions, or at the very least provide some semblance of a living culture for them, in-game. Your campaign will, of course, have its own flavor, but adding elements like this to your game can enrich the setting and provide a bit more realism to the setting, pre and post-attacks.

« Previous PageNext Page »