Inspiration: Rusta

Two Great Ladies will catch your fall

for they are the ones who catch us all.

Their children kept them far apart;

the Lady Light, the Lady Dark.

Dark broken, light storm

dead spoken, dreams torn...

and we will bring you home.

Long ago, in a faraway time called 1995, there was a made-for-TV movie called White Dwarf.  It was written by Bruce Wagner and starred the late, lamented Paul Winfield.  The ninety minutes of airtime provided a host of interesting concepts ready to be exploited for a role-playing game setting.  The story takes place in the year 3040; humanity has been colonizing star systems for hundreds of years.  Rusta is a world in a remote white dwarf system, hence the title of the film.  Although a VHS version was available, White Dwarf has not been released on DVD.

Rusta continually presents the same face towards its sun so that one hemisphere endures constant daylight and the other hemisphere remains in perpetual darkness.  Normally, this would result in extreme temperatures not conducive to supporting Earth-type lifeforms.  However, floating in Rusta's atmosphere are numerous metallic globes called 'regulators' that maintain environmental conditions suitable for humans and other terrestrial organisms.

Regulators

The regulators were put in place by a pre-human civilization ten thousand years ago.  (Throughout this article, I assume 'years' means 'Earth years' and when I write 'ago,' I mean prior to 3040.)  Inhabitants of Rusta believe that the regulators are “breaking down,” which lends an air of fatalism to the setting.  Vegetation manages to grow on the sunless half of Rusta and the people there do not seem to be concerned about vitamin D deficiency.  Perhaps the regulators are responsible or maybe it's genetic engineering (or suspension of disbelief).

The Wall

Five hundred years ago, the (human) inhabitants built a wall separating 'the light side' from 'the dark side.'  Only an orange-robed sect of eunuchs called “the Davids” are allowed to travel freely from one side to the other.  (A group of Davids can be seen in the lower right-hand corner of the 'Dark Side Castle' picture below.)  At the onset of the story, the two sides are at war but efforts toward peace are progressing.  Thus, Rusta is a divided world in more than one respect.  'The Two Ladies' are abstract religious figures representing Rustan duality; two parts of a whole.  There are indications that Rusta is a genius loci – one of the characters refers to it as “a sentient place.”

The technology in use on Rusta is not as advanced as one might suppose – horses are used for transportation.  Light side civilization resembles that of the American Old West, complete with badge-wearing marshalls sporting antique firearms.  There are, however, some noteworthy exceptions – electrical devices are in use to some degree.  The reigning light side authority holds the title of “governor,” but the method of appointment to that office is not described.  In contrast, the dark side has a hereditary monarchy; the culture and technology are both medieval.  For denizens of the dark side, the crossbow is the weapon of preference.

The Dark Side Castle

'The Keep' is a prison on Rusta where Lady X is incarcerated.  Although she maintains her innocence (Don't they all?), Lady X was convicted of “being responsible for the plague on Earth.”  As of 3040, she has served 500 years of her 5,000 year sentence.  So that she may serve the entirety of her sentence, she has been granted an undying existence.  This is possible by virtue of Osh, the alien warden of the Keep, who secretes an unusual enzyme that somehow “gives immunity to the aging process.”

The Keep

For executions, warden Osh uses 'Keep Hounds,' nearly feral humanoids with canine characteristics.  However, Keep Hounds are not always thus; early in their life-cycle they are quite intelligent and have a mastery of many talents and languages.

A couple of miscellaneous tidbits:  Among the exotic locales of Rusta, there are “the grottoes underneath the dreaming sands” and the red-colored Sea of Tears.  An example of Rustan fauna is the pumyx, a panther-like animal indigenous to the dark side.  It is mesmerised by the human voice.  When ill or injured, it travels to the light side in order to die.

Game Mechanics in Year of the Phoenix

Year of the Phoenix characters do not possess attributes in the sense of traditional role-playing games; instead, they have Skill Spheres.  The 'kickstart' section of the Read Me First! pamphlet says:

Anything a character can do is defined by one of six Skill Spheres... Knowledge (KNO) (your education and street smarts), Talent (TAL) (your spirit, presence, and persuasion ability), Observation (OBS) (your five senses), Communication (COM) (your ability to entertain or teach someone through conversation), Manipulation (MAN) (skill with your hands), and Kinetics (KIN) (prowess with physical activity requiring your whole body).

Each Sphere has a percentage value.  To determine if a character can accomplish any given task, the player rolls d100 and adds the value of the appropriate Sphere.  If the sum exceeds 100, the task is successful.  The amount by which the total exceeds 100 indicates the quality of the result; each additional twenty percent represents an increased 'level' of quality.  Our boy 'Keeps' from last week tried to play the harmonica.  The Manipulation Sphere covers ability with musical instruments and Keeps' MAN value is 34%.  Therefore, a roll of 67 or greater is necessary for Keeps to successfully play the harmonica.

Characters have specific skills with values that add on to the appropriate Sphere.  For instance, 'Surgery' is a Manipulation skill, 'Forensics' is an Observation skill, and 'Pharmacology' is a Knowledge skill.  While Keeps doesn't have a specific skill for harmonica playing, he does have 'Boating,' another Manipulation skill.  Keeps' score with Boating is 44% rather than 34%.  Incidentally, a skill of literacy with a given language is part of the Knowledge Sphere, 'linguacy' is part of the Communication Sphere.  Linguacy – evidently a word Wixted made up – is the ability to speak a language (and, I suppose, the ability to understand the spoken form of a language).

Skill Spheres have a Skill Speed which is inversely proportionate to the Sphere's value.  Skill Speed refers to the amount of time required to complete a task; a lower Skill Speed means the task takes less time.  The scale of time (i.e., seconds, minutes, hours, days) varies from skill to skill.  Skill Speed cannot be any higher than 5, nor can it be any lower than 1.

One might expect a skill penalty in Phoenix to take the form of some number subtracted from either the skill value or the dice roll.  However, Wixted implemented penalties in a different manner.  In Phoenix a Difficulty Die is used when “a disability or a reduction in the character's usual chance of success” comes into play.  The Difficulty Die is a d6 rolled concurrently with the d100 normally used in determining success.  If the result of the roll falls within the penalty range, the character fails that skill attempt.  An injury might impose a Difficulty of 2.  In such an instance, a roll of 1 or 2 on the Difficulty Die would mean failure even if a successful result was indicated by the d100.*  Difficulty penalties are cumulative.

Another Phoenix concept is the 'Max roll' (as in maximum success).  If the d100 results in a Max roll, the character succeeds with the highest level of quality and any Difficulty penalties are ignored.  The 'range' of a Max roll is based upon the value of the appropriate Skill Sphere; the greater the value, the greater the Max roll range.  For example, Keeps' Manipulation value is 34% – the Max roll for this value is 98-00.  A value of 50% or greater allows a Max roll of 96-00.

Contrasting with the Max roll is the 'Klutz roll.'  A sufficiently low roll on the d100 represents a 'spectacular failure.'  The chance of a Klutz roll decreases with higher Skill Sphere values.  Keeps' 34% Manipulation value means he would 'Klutz' with a roll of 01-03.  With a value of 50% or greater, a Klutz occurs only with a roll of 01.

*  As an optional, more complex rule, rolling within the penalty range does not cause automatic failure.  Instead, a roll within the penalty range reduces the d100 skill roll by 20% x the Difficulty Die result.

Inspiration: Imirrhos

Jeff Dee's cover illustration for Revolt on Antares

As I look over the posts that compose the first year of this blog, I am reminded of some of my ideas that I have yet to exploit.  One such idea is to present games (but not role-playing games) – as well as other media – of yesteryear as potential settings for your role-playing adventures.  Today marks the first of an intermittent series of 'Inspiration' posts.  Given that today is also Tom Moldvay's birthday, it is only fitting that we look at one of his creations.

Starting in 1980, TSR produced a series of rules-light, low-priced 'minigames' which typically consisted of a rules booklet, a fold-out map/board, 84 counters, and two six-sided dice – all contained in a plastic shell.  One such game was Revolt on Antares.  Although the back cover clearly states “by Tom Moldvay,” I would be remiss if I did not mention Kevin Hendryx' 'Development' credit.

Being a 'minigame,' Revolt on Antares was meant to be easily learned and played; thus the rules are relatively simple.  Antares accomplished its commercial purpose as a 'good' minigame, but it's not the sort of game that has a dedicated fan base three decades after its publication.  Yet it is the setting, not the game itself, that draws our attention this day.  The setting hints at a rich background that does not deserve to be forgotten.  Antares gives us interplanetary intrigue, restless natives, psychic powers, combat, colorful personalities, strange aliens and stranger alien artifacts.

The game takes place on Imirrhos, the ninth planet in the Antares system.  (Moldvay must have liked the name Imirrhos; he also used it as the name of the leader of the Puppet Masters in his Lords of Creation game.)  Imirrhos is part of the Terran Empire (sometimes referred to redundantly as the “Imperial Terran Empire”), although local power is concentrated in “seven clan-like families” called 'houses.'  Military units available in the game are “power infantry, laser tanks, artillery, jump troops, hovercraft, and airjet squadrons.”

The houses, along with their respective leaders are listed below.  The indicated color refers to the holdings of a house on the included map.

• Braganza (dark green)  “Catherine 'the Mad' Braganza can summon lightning.”
• Edistyn (yellow)  “Nureb Khan Edistyn has precognition.”
• Fitzgerald (red)  “Simon Fitzgerald can create ion waves” that can improve morale.
• Kinrabe (light green)  “Barracuda Kinrabe has the power to cause hallucinations.”
• MacKenzie (light blue)  In another instance of name recycling, “Black Dougal MacKenzie has teleportation power.”
• Orsini (purple)  “Messalina Orsini has the power of fascination.”
• Sessedi (orange)  “Ariton Sessedi has long distance telepathy.”

The game allows for three scenarios.  In the first scenario, rebel houses fight against Terran forces, loyal houses, and the natives of Imirrhos.  In the second scenario, the alien Silakka invade with the cooperation of some of the houses.  The Silakka appear to be part slug and part squid with three faceted, insect-like eyes.  (Moldvay also recycled the word 'Silakka' for Lords of Creation; however, in that game Silakka are giant, silicon-based porcupines.)  The last scenario is a free-for-all among the various houses that can accommodate up to four players.

The Imperial Terran Consul for Imirrhos is named Ward Serpentine.  The native leader is Mirrhos and the Silakka leader is called 'Magron the Invincible.'  Leaders are important in that they can engage in 'Leader Combat' with one another as well as with 'Galactic Heroes' than can be recruited.  The 'Galactic Heroes' include:

• Andros is an android that can summon “The Phantom Regiment.”
• Corvus Andromeda is an intergalactic assassin.
• Doctor Death can create “zombie-like troops from the dead.”
• Emerald Eridani commands a mercenary company of laser tanks.
• The Iron General is a cyborg who commands a mercenary battalion of laser tanks.
• Lyra Starfire is an intergalactic adventuress who commands an airjet squadron.
• The Nullspace Kid also commands an airjet squadron.
• Skarn 3 is an “Alien mercenary captain of a...jump troop.”
• Subadai O'Reilly commands a battalion of power infantry.
• Tovan Palequire is an “Intergalactic smuggler and weaponsrunner.”

“An unknown alien culture once flourished on Imirrhos.  The culture destroyed itself, leaving behind a number of artifacts now controlled by the seven houses.”  Without describing their game effects, the artifacts are the Devastator, the Dimensional Plane, the Energy Drainer, the Field Generator, the Force Cannon, the Sonic Imploder, and the UFO.

The map represents a (portion of a) globe; units moving off of the right edge appear at the appropriate hex on the left side and vice versa.  Although there are three types of rough “terrain,” they all have the same game effect – ground forces pay an additional “movement factor” in a turn when they enter one or more such hexes.  There are also no distinctions made among the “economic” symbols.  For scoring purposes, control of hexes with economic symbols grant one victory point each.  One imagines that Moldvay originally created a more complex game where the various terrain and economic types had distinct effects, but that level of detail was not appropriate for a minigame; thus we have a superfluity of symbols.  Of course, if we use Imirrhos as a role-playing game setting, these symbols acquire useful meanings.  Whether as a basis for an in-depth campaign or an isolated adventure, Imirrhos is a setting ripe with potential.

Characterization in Year of the Phoenix

Keeps plays the harmonica

In Martin Wixted's Year of the Phoenix role playing game, player characters are trained to be the first American “space soldiers.”  What exactly is a space soldier?  As the poignant flavor text quoted below indicates, not even the player characters know with certainty.  Of course, it doesn't really matter because the characters won't be space soldiers – at least not for very long.  Regardless, the cover of the 48-page book of character creation rules is fashioned to appear as an official government publication, Space Command Training Manual, complete with a 'classified' warning.  Most sections begin with flavor text in the form of conversations of the pre-generated characters as they proceed through their training.  (Rules examples are also presented as exploits of the pre-gens.)  Section 2.4 has the title 'Characterization' and begins with a discussion between Carol Horn and Bruce “Keeps” Keeler.

          Horn lay on her bed, listening to Keeps trying to play a harmonica.  He didn't have it yesterday, but that was nothing unusual – it would probably be gone tomorrow, traded for something else.  She swung her legs out from the cramped space and jumped to the floor.

          'I need a cigarette.'  It was a statement, not a question.

          'You know what the Major said about –'

          'I don't care.  I need a cigarette.'  He watched her face for a few minutes, dug into his knapsack, and produced a pack of cancersticks.  She held out her hand, but he pulled away.

          'You didn't get these from me, understand?'

          'I understand.'  She waited.  He dropped two into her hands.

          'That's all there is, Horn.'

          'Thanks, Keeps.'

          'Don't call me that.'

          'Sorry.'  She jumped back up, wrapped a sock around the sprinkler head she banged her head on at least once a day, and lit a cigarette.

          'Carol?'

          'Yeah?'

          'What do you think they're training us for?'

          'Probably to bomb the Russians.  They need a good strafing – maybe a Hydrogen bomb right on Moscow *POW*.'

          Wake 'em up...How should I know?'

Wixted states on page 7, “[R]oleplaying is a game of characterization.”  He also writes, “[T]here should be something about [your] character you find challenging or intriguing.  Make a commitment to that character.”

First, Wixted provides a list of 'Appearance' details to prompt a player's imagination.  Categories and specific examples include:  Face and Hair (receeding [sic] hairline, conniving, oval, et al.), Voice (divine, tolerable, chilling, et al.), Build (dynamic, rugged, ample, et al.), and Overall Appearance (loose, foppish, sleepy, reedy, mature, et al.).

Next, Wixted introduces the concept of the 'Personality Profile.'  Page 8 of the Training Manual has a list of fifty traits – actually fifty pairs* of opposed traits such as 'Kind – Spiteful,' 'Shrewd – Forthright,' 'Envious – Satisfied,' etc.  Wixted's instructs players to choose at least five traits (not pairs), but players are encouraged to think of one or two traits not listed.  Each trait should be quantified with a descriptor:  Always, Usually, Often, Sometimes, or Never.  On the Gamemaster Screen (but nowhere in the actual rules), Wixted provides percentage values for these descriptors:  Always (100%), Usually (80%), Often (60%), Sometimes (40%), and Never (100% – which, one supposes, could be interpreted as 0%).  Two of Horn's traits are 'Sometimes Bitter' and 'Always Honest.'  Examples of Keeps' traits include 'Often Kind' and 'Usually Emotional.'

Last, Wixted provides his 'Personal History Generator' which your humble host reproduces below.

The idea is for the player to roll 1D30 at least five times (but no more than once for each year of the character's life) and record the numbers.  The player should then reference the results and – in whatever order – connect them to make a narrative of the important events in the character's life.  “This doesn't give you much except the bare bones,” Wixted writes, “Like everything else, twist and interpret this to your own desires and conceptions.”

*  To be technical, there are only 49 pairs; #13 is 'Liberal – Conservative' while #22 is 'Conservative – Liberal.'