Surgery went fine, save for a wee hiccup with me going tachychardic under anesthetic. Wallet got lost in the shuffle, as well, so I had to cancel bank cards, however, we found it in the car — so that saves me having to get a new drivers’ and conceal carry license, etc.

Fatigue is the worst part of this, so far — the stents up the nose are very uncomfortable, but bearable. The pain level is much less than I was led to believe. However, the kid decided this was the week to backslide from sleeping through the night, something she’s been doing for five months…

Stents come out on Thursday.

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.

I’m going in for sinus surgery in a few hours, so there will be no updates for a few days.

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.

I got a chance to shoot the new PPQ this morning. One of the other shooters on the range had one and wanted to try my CZ-85, so we swapped guns for a couple of boxes of ammo. Here’s my take:

First, the PPQ is a new and “improved” P99. When you crack it open, it looks the same as the older gun. The differences are mostly cosmetic, but they are also functional. The PPQ does not have a striker “ready” indicator sticking out the back of the gun. I kind of miss it, but it should help keep the weapon from getting outside material into the striker’s tunnel. On the outside, there’s grip serrations at the front of the slide, and the serrations are bigger and more pronounced than on the P99. This should make it easier to do press checks and run the slide with gloves. The slide release is larger and ambidextrous (Thank you! I’m a leftie!) Lastly, the grip is more like that of the H&K P30 — instead of a flat grip with finger indentations to aid in holding the gun, the PPQ has palm swells that feel good in the hand, but — in my experience with the old SIG-Sauers — can cause the pistol to shift when fired. Not so on the PPQ: there is a non-slip design to the plastic that holds the pistol in place well.

Here’s a quick look at the cosmetic differences:

and the P99:

Now the range report: the new trigger, which looks and works like that of the Glock pistols, is phenomenal. The trigger pull feels about 3-4 pounds and the reset is very very small; small enough that I had two accidental second shots due to the recoil (which is mild.) The sights are like those of the P99, three dots…line ’em up. The light trigger pull made for a very accurate pistol — standing unsupported, I was able to place my first five shots at 25 yards in a four inch group. Two magazines of shooting at a steady string (a second or so apart) gave me a 30 round group that was no larger, and most of the shots fell in a 2-3 inch oval. At 25 yards, the sights were spot on: I was aiming at the shoulder line and the bullets hit in the shoulder neck region on the silhouette target.

Closer in, I shot like one would in a fight. Drawing and firing a double tap center mass without using the sights. All fell within the 9 ring. I would follow up immediately with an aimed shot to the head. Only three missed, and that was because the palm swells and my wedding ring were throwing me right. A slight adjustment to my grip and the shots flew true. There were zero malfunctions in 100 rounds, and the owner had put 500 through with the same results.

Overall, I think I still prefer the P99 grips, but the other modifications to the PPQ are a definite improvement.

Our latest game is set in 1930s Shanghai, and the flavor has been a cross between Indiana Jones, noir gangster, and chop socky action…while I’ve been working hard to make China fairly realistic to the period, this is — to my mind — a pulp comic being played out. It’s how I frame scenes, in panels and splash pages and sound bubbles (SMACK!) So looking at the combat rules, I’ve started tweaking to make it a bit more pulpy/Hong Kong action movie in style.

One of those tropes is the hero fighting scads of black-clad bad guys. The Ubiquity system rules give you a -2 dice step for each attacker past the first to your Defense, but that doesn’t capture the flavor of fighting hordes of warrior monks bent on turning you into a pin cushion.

To this end, I’ve created a house rule to 1) speed combat, and 2) capture the hero ducking/blocking multiple opponents while fighting. For each attacker wailing on the character at the same time, they gain a +2 dice step, but they roll as one attack; the character gets his regular Defense, or Brawl/Martial Arts test (to block), or Melee (to parry) the attack. Mechanically, it’s a bit easier on the character, but not by much, and each wave of baddies means a -2 to those defense rolls. There is a logical spatial limit to how many people can gang up on you effectively, about 4 time — anymore would blocked by the bodies of the other attackers.

Example: Jack MacMahon has slaughtered a bunch of Silk Mountain Triad guys with his trusty Smith & Wesson Registered Magnum (#RM11!) and has had to resort to the sweet sport of boxing to defend himself. He describes his defense as classic boxing style (hands up, guarding as much as he can and dancing about, his Boxing skill is higher than his Defense, so he is blocking shots, rather than trying to dodge combat: he has a Boxing dice pool of 6. Being in a tight space on a balcony over the rest of the action, the GM decides only two guys can get to him at once. They are typical mook, but with a bit more skill — Kung Fu of 5+2 for the second attacker. Jack rolls 4, the mooks get 2. He’s dancing and blocking shots fairly handily…but they’ve moved onto a wider area of balcony where the next wave of mooks come at him from behind.

The GM decides the max number that can get to him are four mooks. Jack’s Boxing is now a 4 for this set of blocks, but these mooks are fresh — Kung Fu 5+8 for the number of mooks: they roll 13 dice and get five successes, while Jack only rolls a 2. He takes 3 non-lethal hits for that wave of attacks and is getting bounced around pretty badly, reaching his stun rating.

The place where more numbers would be applicable would be grapple attacks, where the weight of attackers behind the immediate attackers could be added on, even this shouldn’t add more than +16 dice (eight attackers.)

Example: Jack has escaped the Silk Mountain, staggering out of the temple and straight into the arms of a crowd of the bad guys. They go for a grapple attack, seeking to dogpile him. There are dozens of bad guys, and they roll a base 4+16 — 20 dice, while Jack rolls his Defense (Boxing really doesn’t apply for grappling attacks…Wrestling, yes) of 5: He gets incredibly lucky: five successes! The mooks don’t even get their average of 10, but do get a seven: Bad guy throw themselves on Jack, driving him to the ground and securing him to be taken before their nefarious leader…

 

I’ve been a bit quiet on the new Battlestar Galactica campaign we’ve got running, partly because our China-based Hollow Earth Expedition game has been a blast and is just charging along, and partly because I’ve been retooling some of the ideas I’ve had. I’ve got to be a bit careful about saying to much, lest I drop spoilers for the gamer or two in my group I know read this blog (so stop now, you!)

The game is set roughly a year to two before the Cylon attacks. I did this last time to develop the background of the characters and the Colonies so that the players would have something to miss when it was gone — family, friend, places. This time, however, it’s also to give the initial “seasons” a new flavor. Whereas last time the Cylons just showed up out of nowhere, as in the new show, this time the toasters are out there, we know they’re out there, and we know they’re still sniffing about the Colonial space.

The flavor is more of a combo of Cold War tension — the characters are stationed on an “expeditionary” craft that is ostensibly on exploration missions out of the solar system (I’m using the Quantum Mechanix four-star cluster idea. I know some don’t like it, but it look pisser on the wall when referring to places.) The rest of the time they are on detached duty doing political flag-waving, military assistance of policing, etc. On that side, I’m pushing an erosion of rights and heightening inter-Colonial tensions flavor. Troubles from within and without.

The Cylons are probing Colonial space and outposts: ships and outpost personnel go missing. Strange ships are spotted only to jump away. The Fleet is returning the favor, slipping around the Armistice Line from time to time to do surveillance. But the goal is to avoid any escalation, especially as the public is convince the threat is gone (and the politicians are pushing the meme as a way to shift Colonial expenditures to domestic priorities) and the Fleet stands to be fiscally gutted.

Overlaid on this is another major subplot modified from the show: All of this has happened before and all of it will happen again. There are old ruins being found on the colonies that predate the Kobol exodus…could the scrolls be wrong? Or could this cycle have played out more times than thought? To that end I’ve created a few other “prophecies” — there’s the Scrolls of Pythia, which tell of great migrations; there’s the Sibylline Prophecies, which tell of another cycle, that of resistance and triumph; and there are the prophecies of Dione and Trophonius — which I’ve yet to flesh out.

The goal is to find evidence that humankind and Cylon had preexisted in the past, fought, run, refought, died over and over again, and that the Colonies themselves have been populated multiple times over the millennia as the story has played out on Kobol, Earth, the Colonies, and other places.

UPDATE: Didn’t get to this, and thanks to Runeslinger for giving me a nudge on it — Cylons. The new campaign is going to have a bit of mystery concerning them. As with the new show, there’s humanoid Cylons, as there were in the First War, but these were obviously android/gynoids — silicon skin polymers, very close to human-looking but still somewhere in the “uncanny valley”. There were classified reports of the Cylons doing strange experiments on humans near the end of the war, possibly an attempt to create something like the Terminator-style cyborg, skin over metal.

There will be the new improved Cylons, the old ones will be around, as well — no point in decommissioning them; they’re just not front line troops. There will be moto-centrions, similar to the motorcycle-Terminators (love this idea — why stick bipeds? They’re not exactly efficient for certain tasks.), Cylon tanks (similar to the heavy raider), and a host of other smaller devices for spying and scouting. The toasters aren’t going to stovepipe their design philosophy.

There will be a “big 12”, as in the show, but none of the Final Five nonsense — the 12 are the governing body and they will do the multiple copies thing, regularly uploading their consciousnesses to synch their knowledge. They will be similar in character to the Greek gods/Lords of Kobol — part of the cycle of time. How did they make the jump to biomechanical technology? They’ve had 40 years, they’re smart, and they don’t have regulations, scientific oversight boards, and politics to interrupt improvement of their design…they could very well have just ‘evolved.’ They also might have had help from older machine races…or possibly their God (I’ve not decided if this is a manifest creature — maybe the “jealous god” from the War between the Lords of Kobol [possibly older Cylons?] and Man [possibly older humanoid Cylons?].)

The big difference: the Cylons can use cloning and invasive cybernetics to create copies of actual humans. These humans are still Cylon-human hybrids, and depending on the length of time they have to do the work, they can get very very close to recreating a person (theoretically, they could create a Cylon that is so perfect a copy, it would not know it was a Cylon, and they would be completely unable of their nature…perhaps spying for the enemy without ever having to actively work for them [uploads of sensory data only.)

Now the big change I’m planning — the Cylons will still have to attack through stealth. Despite their 40 years to rebuild and prepare, they are numerically inferior to the Colonial Fleet, and they will be acting in response to something that happens in the game; they act a bit ahead of their ability to win out over the Colonials without subterfuge. They will be using the CNP, as in the show, but the first strike is not nuclear, but using mundane technology against the Colonials (ala Robopocalyse.)

I’m positing a Colonial culture that is on the cusp of attempting to recreate artificial intelligence ( a concern to the Cylons), but at this time they only do high-end expert systems: cars that drive and park themselves, heavily networked data systems, household butlers as in Caprica, etc… There are people that don’t like this trend, and a few of the planets have outlawed machine labor (Sagittaron, Gemenon), others control it heavily (Canceron, Virgon, Arelon), and others don’t use it because their populations are low enough that mechanization hurts the work force (Aquaria.)

The Cylons will use backdoors and software updates to create mass malfunctions (again Robopocalse) putting the Colonies off balance and distracted when the Cylons jump in. The CNP will disable much of the fleet, but they’ll still have a fight on their hands. Use of nuclear weapons will be focused on command and control areas — places like Picon and Caprica will get hit hard, but other colonies not so much.

The goal is to give the players a chance to win against the Cylons, but it would be a hard fought win. The Cylons aren’t interested in saving Mankind (although I might change this if I decide their God is an actual being), but they do want the real estate in good condition for the biomechanical Cylons (the humanoids and other quasi-biological critters.)

If they have to run, they’ll be able to find out that this has happened before, and that Earth isn’t the only human Colony left…but neither are the Cylons the only mechanical race out there.

I’ve been trying to get a bit more material up the last few days for the blog. Expect a bit of a lag over the next few weeks, as I’m going to be having some surgery done. Dissertation work is proceeding apace, and I am starting work on a couple of novels — a modern mystery/western and a retelling of the Hercules myth (a quasi-sequel to Perseus.) Even with this added work load, I should be able to punch out some more content for the next few months.

One reason is my work with Cubicle 7 has come to an end, even though I was originally going to be working on the next few books of the Victoriana line — unfortunately, while they are a delight to work with for content creation, it’s been over two months since I handed in my material and I’ve yet to be paid. While I understand they have a top-level shake-up going on, a sure way to lose your talent is to not pay them in a timely manner. They’ve been advertising for artists and writers, but I would not recommend them as an employer — I stopped working for them three years ago because they wouldn’t pay; I was coaxed back because I enjoy working with the current line editor, but it’s a simple thing “I do the job…then I get paid.”

I’ve also been picked up as a history professor at the University of Phoenix at their Albuquerque campus and should be starting in March.

All this on top of taking care of a soon-to-be eight month old. What can I say? I’m a glutton for punishment.

A character is more than a collection of stats, which might describe how good a person is at something, but doesn’t tell you who they are. Character is what you do and why, it’s where you came from, what makes you tick — strengths and flaws.

When coming up with a character concept, you can start with something simple — a human fighter for a fantasy campaign, a fighter pilot in a science fiction game, an exorcist in a horror game. From there you can build up stats and build the character around what you take — it’s a perfectly viable way of doing things — but I’ve found that building the mechanical aspect of the character around a richer concept makes for a more consistent character in the end.

Let’s start with the notion of the human fighter. Why is he a fighter? Is it part of his culture, like Spartans, where men were assumed to be warriors, first and foremost? Did he come to it because he wanted to “give something back” for his people? Is he a “protector” sort, wanting to rent his sword to aid those who can’t help themselves, or is he enamored with violence and blood? Is he a fighter because it’s all he knows how to do? (In a more modern or sci-fi campaign, is he on the college plan — hoping to get college cash and not fight?) Right there you’ve got the basics for a character. From there you can add more background, as you feel is applicable. You don’t have to document the guy’s past from zygote to last week; fill in what is necessary and applicable to help you grasp the “why” of the character.

An example of the kind of detail you have would depend on what is needed for the game storyline, or to under stnad the motivations of the character. Case in point: James Bond. What, from the movies and books, do we really know about him? We know he was an orphan and got through school on the good graces of others. We know he was a naval officer. Everything else we know comes from behavior (there are schools of acting and psychology that would say behavior is character…anything outside of the unobservable is theory.) — Bond is a womanizer, but why? Is it because he’s a misogynist bastard? Is it because he is looking for something that makes him feel alive? Is it a vague attempt to even the scales for all the people he’s killed? He drinks — a lot. Is it simply because he’s Scottish (in the books)? Is it anesthetic for his soul?

Does it matter? It could if a villain was looking to use those traits against him. Here’s another example of a character we only really know about through behavior: Malcolm Reynolds of Firefly…we know from the pilot he was a religious man (the kissing the cross prior to the raid on the antiaircraft gun in Serenity explains much about his relationship with Book later.) He has his dreams for freedom, and his believe in the Almighty crushed when the Browncoats surrender. We know nothing about his background before the war other than his mother had a place on Shadow and that it’s gone. Everything we glean from his desire to stay free and to protect his crew. He’s consistent, and he’s that way because the writers knew who and what he was when they began.

The benefit to a decently fleshed out character like Bond or Mal is that you can build in subplots as the campaign continues without having to worry about your continuity. However, in games where the character’s background is part and parcel of them, it’s a good idea to flesh them out more.

We have a character in our Suipernatural game that is a walking pile of subplots waiting to be used. He’s a former FBI profiler whose wife and son were killed by a “copycat” of a serial killer he brought down. The character has mild ESP — this is how he’s been such a good interrogator; he knows the murders weren’t a copycat, but he can’t quite figure out how it is he “missed” the killer. (Demonic possession for 500, Alex!) the name of the killer and his description is important, as is some of the character’s career at FBI.

Part of his family matters to the game plots, but his father and mother, not so much…they’re only slightly detailed by their names and professions; the wife and son matter in the psyche of the character — they’re more fleshed out in description. He’s a drunk, and had the propensity before they were killed, but it spun him out and made him a barely functional alcoholic. Eventually it cost him his job, and causes him trouble with contacts he needs for his job.

That brings us to the most important part of creating a character: flaws. Perfect people are boring (just look at the first two seasons of Star Trek: The Next Generation) for the GM and the players; strong, charismatic, bold, and unstoppable means there’s no challenge. That might be fin if you game for self-aggrandizement, but it doesn’t make for good role playing. Bond is interesting not because he’s a suprahuman killing machine — it’s because he occasionally does stupid stuff because he’s a sucker for women, he’s driven like a cruise missile after his target, sometimes to distraction. Mal is interesting because he makes bad decisions in his desire to stay free, avoid the Alliance, and in his attempts to protect his crew.

Flaws might detract from what a character can do, but they make the character interesting.