This week’s Battlestar Galactica game brought us up to the events in the miniseries and might help for those looking to run a campaign in a licensed or established setting where you want to use elements from the original work, but cut out on your own.

One of the nice things about Galactica‘s universe is the idea of a cyclical history — a Wheel of Time — in which different people across time act out roles in a story that is told over and over again with variations on the main theme. In this case, the player characters have replaces those main characters from the Moore version, and many of the trappings of the same setting are in place, but tweaked for this retelling of the story. Instead of Adama, we have Commander Pindarus — a younger man, but with many of the same traits. Apollo is replaced by “Lucky”, the commander’s brother in law. Roslin is still around, but she is replaced by Pindarus’ father, the acting defense minister as president after the Fall of the Colonies. Starbuck is still present, but many of the traits that would go to her in later seasons have been moved onto Lucky — he has prophetic visions and may or may not be an oracle. The XO is Athena — a tip of the hat to the old series — and she is a young, hyper-intelligent, tactical genius, but not a people person. Tyrol and other background characters are around as NPCs, but all have been tweaked for this iteration of the story.

We still have Galactica being decommissioned and retired. This is on Armistice Day — a major holiday during an election season. Half the fleet is on leave. The politicians are scattered around the Colonies politicking. Old man Pindarus and several minor government officials are on the ship for the decommissioning ceremony and opening of the museum. The ship is undermanned, many of the officers in non-essential positions having been transferred (like their gunnery officers…after all, she’s offloaded all but her point defense munitions, and only the PDS and a squadron of fighters are still with the ship to prevent piracy of the craft.) Dipper, the CAG, is taking the last of their fighter squadrons to Caprica, escorting the MinDef and other officials after they leave Galactica.

We did the reveal of the attacks differently. One of the PCs is watching the Armistice Day parade from Picon (17 minute delay) when the newscasters start talking about the fireworks display the fleet is putting on. Minutes later, they get the first reports of a fight between the Colonials and unidentified forces they think might be the Cylons. For the rest of the session, they keep getting dribs and drabs of information — all more catastrophic than the last. They did not abuse their out-of-game knowledge about the Command Navigation Program, figuring out the fleet was being hacked, but not knowing how. Pindarus (the CO) pulls the network that the museum set up on the ship, just to be safe, and orders his father’s ship back to Galactica.

About that time, Adar’s surrender comes through, but the Cylons ignore it. More reports of ships lost and nuclear attacks on the various worlds. The PC that had seen the initial attacks on the news, and who has all their family on Picon near the major military base, hears of the nuking of the city. Lots of characters angst.

Then the Cylons find them and Dipper takes the squadron to meet them, only to be shut down and destroy as in the miniseries. The PCs Lucky (in the MinDef’s old MK II from the war) and Billboard (whose MK VII had computer issues earlier and had to be restored to factory settings…no CNP) rush to meet the four Cylons. A good dogifght ensued and the Cylons were splashed. Shortly after the Case Orange reponse making Pindarus senior the president comes in.

They’ve queried a few of the military repositories and found them all under attack but one — Ragnar. They jump to the planet to rearm, then get into the fight or aid in rescue operations. Their first priority is also t get raptors out and gain intelligence they don’t have from the various colonies — at this point, they know they are losing, but the fight is not lost…

The night ended there. The main elements of the miniseries are present, but twisted here and there to provide better chances for the characters to have an impact. Overall the night’s pacing was good, and we wound up running much later than expected. Can’t wait to see what they do next…

Here’s ashort based on Tim Maughan’s Paintwork — a book I’ve had queued in my reader for a while and haven’t gotten to:

Over the years, I’ve bought a ton (no, really — think how heavy books are) of game books for stuff I either never played, or which was used for a short period. But just because you aren’t playing that particular game doesn’t mean you can steal from those game books to inform your campaigns.

The first class of these admittedly bad purchases are the games I’ll never play. One of the big white elephants for gaming (I think) is the Star Trek universe. It’s wonderfully well fleshed out (except for the Federation itself, which is only a sketch of the society) and the background buy-in is easy for players. Pull a screen cap of the bridge and other sets, the costumes are well known to even non-Trek fans, and so are many of the ship designs. We all know the “look” of Trek. But I found the alien/social commentary of the week doesn’t translate very well into a game universe. Partly, I just don’t think in those terms; partly, I don’t view the way Starfleet works as realistic enough for a game.

What do I mean by that? Some things you can give a pass on a TV show. Battlestar Galactica never explains the FTL engines. Why not? Because it’s not importnat to the story…but for a game, where they characters might need to know why their engines aren’t working, or how the artificial gravity works as a tactical element, that level of handwavium can get in the way. There’s a metric butt-ton of handwavium, improbnium, and silly-anium in Trek. But I like the Decipher and Last Unicorn Games rules sets and wanted to run them — hence, the Trek campaign.

Similarly, I have all the Eclipse Phase and Transhuman Space stuff, but it’s unlikely these games — or a hybrid of the two — will ever make it out of “development hell”. Another is Jovian Chronicles. All have the same problem: I love the level of pre-generated detail, but like Trek or BSG or other licensed products, the detail is a double-edged sword. The built-in metastory has a tendency to color the material, and unless the GM is willing to scrap chunks of the campaign world, these details can gum up the works. You have similar issues with GMs who create massive, Tolkien-esque histories for their fantasy worlds, then are shocked you didn’t read the 80 page campaign guide they sent you in Dropbox (because it would fit in your friggin’ email box.) Gutting the established canon can be harder than creating your own world out of whole cloth because in the latter case, you only have to build what you need for the campaign and can build as you go. (However, I have a gamer who is into the big robot scene, so that might act as a catalyst to eventually bring a JC campaign about. Only took 20 years…)

Other games that won’t get played include the Napoleonic period Duty and Honor and Beat to Quarters. I like the rules and the setting, but I doubt I can sell it to the gaming group. Same with the excellent Dr. Who RPG that Cubicle 7 has put out. (Disclaimer: I’ve done a bunch of work for C7 on their Victoriana line, but havent’ worked on Who…it’s just that good a set of rules.) I’m not likely to run The One Ring, but it was too beautiful not to buy. (It’s the same reason, I bought The Lord of the Rings RPG Decipher put out.) I have Mouse Guard but one of the players has shown opposition to the idea of playing it.

Some are nostalgia buys. I’m not likely to use the old Mayfiar Games DC Heroes system for supers (if I ever get to run a campaign…) as I was impressed enough with the Cortex Plus Marvel Heroic Roleplaying to swap to that. I wouldn’t mind having all the Mongoose rereleases of Traveler — not to play it, but because it was my first sci-fi game.)

A second class of “crap I won’t play” is the game books bought to augment other campaigns. The Transhuman Space was originally bought to enhance or kludge together with the Eclipse Phase game…then I started looking at the EP rules and went cross-eyed. (I suspect FATE or the new Marvel Heroic Roleplaying rules would work well with the Eclipse Phase universe.) Aces & Eights is a cool set of mechanics, but it was purchased more as campaign prep for any Old West adventures that might crop up in the Victorian-period games that were a staple up of our group until recently. Castle Falkenstein was originally bought to augment Space: 1889 but eventually usurped the latter as the rules set we were using…with the Space: 1889 setting. The d20 Stargate SG-1 RPG materials were bought to run, but I hate d20 (in all its flavors) so much that it became background material that was ported into the James Bond rules set. (It worked surprisingly well.) I’m not a big fan of Savage Worlds as a set of mechanics; I think you can get a similar rules flavor with better mechanics out of classic Cortex. But I have the Slipstream RPG book because I wanted to run a Flash Gordon-like campaign for a while.

So why collect games, other than to read through interesting settings and rules, and they forget them? Because I never forget them. I love the idea of the shot clock from Aces & Eights and have thought about bringing the mechanic into a Victorian-period game…but I don’t know how well it would run. I’ve borrowed ideas from Jovian Chronicles that made it into the current Battlestar Galactica game. Transhumanist ideas dominated the Star Trek campaign toward the end, and I borrowed heavily from the material I’d bought. I’ve stolen and modified rules mechanics from one system and fused them into other game rules (most notably, I cobbled together a set of combat rules for Castle Falkenstein that were ripped and modified from the excellent Lace & Steel.) The idea of weaknesses having soem kind of mechanic impact, or as a trigger for plot/hero/style/story points migrated from Cortex and Ubiquity to house rules for the Bond system.

You never know what you’re going to use, or play, so there. Collecting is also easier and cheaper to do than ever, especially on the nostalgia buys — many of the old games are on .pdf, either through sites like DriveThru or as torrents (Don’t pirate kids!) and you can have a massive library of games on your computer or tablet. I’ve got a stunning amount of indie and old games on my iPad and living on my backup drive and Dropbox.

I think all writing is a disease. You can’t stop it.

–William Carlos Williams

I’ve often felt this way about writing. I’ve given it up several times, due to work or family constraints. I chose a field in academia that was a writer’s field — history is a literary genre, not a social science — so I could feed the beast. No matter how many times I stop writing, I’m still writing; I might be blocking out scenes in my mind that are disconnected from any real narrative, sketching out ideas for a world for a story, coming up with characters and plots…

Much of this effort eventually works its way into gaming. I’m often the gamemaster for my groups, more due to my ability to come up with adventures and campaigns on the fly than any desire to be top dog. (Every time someone offers to run, it breaks down after a session or two due to their schedules, etc.) In many ways, GMing is a substitute for writing — I don’t need as much time to think, plot, and write as I do for a game, so it’s only logical a lot of the ideas I have migrate to the games we’re playing.

And like writing, gamemastering is a disease. When relaxing, doing chores, or riding my motorcycle, I find myself blocking out scenes, what an NPC’s reaction to events might be, what hooks and surprises I can spring on the players. As with writing, or perhaps because it is a surrogate for writing, game preparation takes up much of my downtime processing cycles.

When I play in other games, I find myself deconstructing the GM style, plot, and characters — much like I do when watching a movie or reading a book. Are there things the GM is doing that I could incorporate? Are there things they are doing I should avoid? I consider if the system that was used adequately pushed the story or genre, or was a hinderance to play. Would another system work better? Would the game mechanics of the game being played work well for the stuff I’m running?

It doesn’t matter if I’ll never run the game. I’ve had ideas for a Jovian Chronicles game for years, and much of that material migrated into the current Battlestar Galactica game because I’m unlikely to ever run JC. The politics of the BSG campaign borrow heavily from ideas for a James Bond RPG campaign that has never really gotten off the ground because it’s dark and seriously morally ambiguous — enough I thought the fun would be stripped out, but all the material worked well in the current BSG game because it is stripped of the immediacy of current events and politics. Similarly, there have been books and short stories that I will never write, or publish, but have informed game campaigns. My six year run of Star Trek was one of these that started as an idea for a sci-fi novel (or series of), but worked much better as a game setting.

I know there are players who write up characters, even when they aren’t in a game because it’s fun and it’s a means of creative outlet. Like an abscess, this creative impulse must have out.

[This piece was inspired by Don Mappin’s latest post on Gnome Stew. Scott]

This week’s BSG game was the beginning of the “season finale”. The game has been building up to what will be, essentially, our version of the miniseries. there are two groups of characters that we’ve been focusing on, so two “finales” that we’re playing back to back.

In this past week, the paths of the two main characters, Thaddeus Chaplain — a disgraced Colonial Security Service agent that had been a pawn of the Cylons before the Fleet Intelligence enlisted Dr. Richard Amarak to do some tricky experimental surgery to remove Cylon implants; and Dar Arris — a computer programmer and troubleshooter for Home Robotics, a subsidiary of the Vergis Corporation — had intersected a few episodes back. Chaplain was continuing to obsessively track down the networks of Cylon infiltrators (both humanoid Cylon and humans that had been modified to be intelligence gathers and puppets under remote control), while Arris was attending a big futurist symposium where Home Robotics was going to roll out their new VOS9, which is used in all manner of HR and other branded devices from smartphones to computers to automobile autodrive systems to other home electronics (including “dumb” robot servants.

VOS9 or “Nike” becomes the focus of their collective efforts when Arris finds strange code scattered through the program that he suspects is malicious and baked right into the operating system. The bits of code appear interconnected, but cannot be compiled without a code. They enlist the aid of hackers and conspiracy nuts on BBS around the Colonies, and are almost certain that the code is designed to allow someone with the key to take control of any Nike powered device. Worse, there appears to be a parallel development fork Nike b3.2.1 that they cannot gain a copy of. this led them to break into HR and face down the head of the Nike Development Group (essentially a #6 from the series) and a vicious killer (think the Rock, who we now know is another humanoid Cylon.) They were able to stop the dissemination of Nike, but were unable to get the other fork.

This week picked up with the characters being picked up by Colonial Fleet Intelligence, who were letting Chaplain run off the leash to let him scare up evidence and leads they could not legally. His notes and evidence have finally convinced the Colonial government they need to move on the threat and his suspects (including Gaius Baltar) are due to be picked up under a general presidential warrant of questionable legal standing.) However, their progress is being slowed, as it is Armistice Day weekend and 1/3 to 1/2 the Colonial government and fleet are on leave. that leads this small team to turn their attention tothe center of the web of conspiracy — a recluse billionaire philanthropist that lives on his own private island on Virgon –a former spa and hotel. CFI is planning an operation to arrest the man (Lord Azarius Lucan) and raid the computers of his island to try and find the key and the other version of Nike.

They get lucky, find another “update server” for Nike on Virgon in “the Great City” of Lydisius — an architectural wonderland — and they get a hold of the fork. They also find that it is more polished, and that the back doors of the “real” Nike OS are simply backdoor and control interfaces for a small, but highly smart artificial intelligence that can run on most devices. The Cylons are going to bootstrap intelligence into every networked device that can and turn them against the Colonials — phone that won’t work, cars that kill pedestrians or their occupants, cleaning robots run amok…the sort of distraction and psy-ops that would render the civilian population vulnerable in an attack.

The mission ended with the characters going into Dalvera Island, Lucan’s home, with a marine spec-ops team, only to find themselves up against heavy opposition — not just humanoid Cylons, but centurions of the older stripe (but a bit modified [think the Blood & Chrome look]) and they were quickly paired down to the PCs and a few NPCs trying to beat a retreat from the island. They call in an airstrike — an orbital bombardment from Atlantia group — and have minutes to evacuate. In the midst of this, the Cylon attack begins. They are able to get to a local spaceport, commandeer a pilot for their marine raptor, and try to jump to safety…

The adventure worked well — over the past few weeks, the pace of the adventures and the level of violent opposition has been ramping up. Our Cylons are tough — like they were portrayed in the miniseries and first two seasons — and the centurions were very tough nuts to crack. Since the players knew we were coming up on the season end (the episode was called Endgame), they were anticipating a similar thing to last time I ran a Battlestar Galactica campaign, when I dropped the attacks right in the middle of an adventure that was completely unconnected to the attacks to give a sense of surprise. Throughout the night, there were fireworks displays and others things going on for the holiday, news reports on Galactica‘s decommissioning (which the players, but not the characters, know is a trigger point), and other red herrings to make them thing the end was nigh. Overall, I thought the atmosphere of imminent danger and war, and the intense personal danger, but with the idea that there efforts had at least shut down one line of the Cylon attack, kept the players really engaged.

The night also showed a few of the tricks mentioned in my posts on pacing. The scenes were only as long as they needed to be this past night. The story and the pacing was paramount to keep the pressure on the players and characters. The clock’s ticking. The mission is running now, and the indications of an imminent attack gave them no time for lots of planning and chit-chat. The action sequences were kept short until the denouement on Dalvera, and even that was cut short as we were running late. I had an entire “get captured, learn the big bad guys’ plans from a monolouging villain”, but time was getting short. So it hit the cutting room floor, as it were, and they were hammered by bad guys and quickly left without their NPC support, forcing a retreat. I figured popping the attack, which they could see above them in the night sky — oblong blobs they know are battlestar exploding, flashes of weaponry, the first meteoric streaks of debris coming into the atmosphere, and finally the first flashbulb pops of nukes going off over Lydisius.

Narratively, I thought it a bit unsatisfying, but the players were excited and engaged and had a ball…and ultimately, that’s why movies with plot holes you could drift a big-ass spaceship through (*cough” Star Trek *cough*) still are fun enough we ignore the story issues. You’re having fun.

Next week — our version of the miniseries, as the other set of characters will be on the decommissioned, recently defanged Galactica when all hell breaks loose…

One of the conceits in our Battlestar Galactica game is that the Colonial Fleet steadily moved away from a fixation on preparing for war with the Cylons, to a more ‘Coast Guard” sort of footing — reduced special operations ability, more drug/gun interdiction, counterterrorist, and search and rescue-oriented missions where the main threat were humans. Instead of heavy battle rifles, they moved to pistol cartridge carbines like the Storm and P90 — guns that were well-suited for shipboard combat against soft targets (people) and were easier to teach Colonial Fleet personnel to use comfortably.

In the event of the return of the Cylons, however, I submit that the small arms lockers of repositories like Ragnar would be loaded with older weaponry that was oriented toward Cylon-killin’. To that end, here’s one of the weapons systems I would think we’d see in the Colonial Fleet inventory, but which doesn’t see widespread use:

Armor-piercing ammunition — I would assume that most of the rounds fleet personnel scrambling to mean the Cylon threat would grab would be AP rounds. These would be steel core or nosed rounds like the SS190 for the 5.7x28mm and 5.56mm.  These ignore 3W of armor according to the rulebook. I would assume they also had some kind of depleted uranium or similar AP round for heavier weapons like anti-materiel rifles and heavy machineguns. These should gain the benefit for small arms but for use against vehicles. (Example: a .50 M2 would have a d4W against vehicles, but with the DPU rounds would gain the “ignore 3W armor” benefit.

Another thing you would most likely see would be battle rifles in the .30/7mm to 8mm range. An example might be the FAL .7.62mm with a d8W damage, a range of 300 yards, and 20 rounds in the magazine. But the weapon I think you would have seen for boarding/counterboarding actions and urban settings would be the venerable shotgun…but with an improved payload.

For our game, I’m introducing the equivalent of the real-world FRAG-12 round. This is a 3″ 12 gauge shell that has a fin-stabilized 19mm round that increases the range of the shotgun dramatically. These rounds could be armor piercing slugs that fragment on hard targets, showering metal fragments throughout the Cylons that should damage electronic components and tear the “musculature” of the machines. Like the FRAG-12, there could also be HEAP (high explosive, armor piercing) rounds to add insult to injury. The FRAG-12 rounds would give a d10W damage and ignore 3W of armor for the AP version, and would increase the range of a shotgun the usual 8 yards to 30 yards; the explosive “grenade” rounds would do the usual d10W+2d6W explosive round damage.

Because of the utility for engaging Cylons, you could make a good bet that your marines would not waste AP rounds on humans when doing counterterror or law enforcement operations, and would be armed with the standard rounds for their weapon. But feel free to disagree.

One of the platforms that is pretty bloody deadly on its own, before you include the FRAG-12 rounds is the AA-12 automatic shotgun. Here’s a look at this beast in action:

Here’s the AA12 stats for BSG — AA12 shotgun   Damage: d10W (+2d6W)   Range: 30 yards   Cost: 3500   Availability: Military, rare   Ammo: 8 (stick mag), 20 (drum)

And for James Bond: 007 — 

AUTO-ASSAULT 12 SHOTGUN

PM: +1   S/R: 2/5   AMMO: 8/20   DC: I/K   CLOS: 0-10   LONG: 20-50   CON: n/a   JAM: 95+   DRAW: -2   RL: 2   COST: $3,500

FRAG-12 Ammunition

The FRAG-12 ammunition in JB:007 doubles the long range of the shotgun using it. The explosive version does DC: J and has half the blast radius of a standard grenade. In the AA-12 the explosive FRAG-12 does DC: J/L

Head on over to H+ Magazine to see more:

TheRealSuperheroPowerofTechnology_600x8130-2It’s a geek world!

Hard-hitting journalism is a thing of the distant, distant past: