The Unmitigated Gaul

Asterix, also known as Asterix The Gaul, Asterix and Obelix, or The Adventures of Asterix, is a franchise based on the French Comic Strips and Albums of the same name(s) created by René Goscinny (Writer) and Albert Uderzo (Artist) and originally published in the Franco-Belgian comics magazine Pilote, first released in 1959.

I am a big fan of the Asterix comics - 41 Volumes as of this post selling over 393 million copies in 111 language across the world - as well as the animated films - a dozen of those I believe - and the recent 3D Computer Animation series Asterix and Obelix: The Big Fight (in French) on Netflix (based on the story from a comic album published in 1966). I haven't seen any of the 5 live-action outings yet - two of which were among France's high grossing films! - as I'm nervous they won't be able to duplicate the feel of their illustrated counterparts. 

Like the Smurfs, I first came across those in both French and English adaptions when I was very young and so I was familiar with Asterix and his adventures long before they'd gained any kind of widespread footing in the book and comic book stores of the USA. In addition to the artwork and humor, I loved the mix of History and Fantasy. As with Smurfs, there was an occasional anachronistic twist on the setting and its inhabitants that was expertly handled and so I pretty much fell in love with it.

 

The premise is fairly simple and nearly every Asterix story begins...

The year is 50 BC. Gaul is entirely occupied by the Romans. Well, not entirely... One small village of indomitable Gauls still holds out against the invaders.

The mighty Legions of the Roman Empire, four of which camp not too far from this small Gaul village, have been unable to defeat these 'barbarians' as they possess a secret weapon; their Druid Panoramix (Getafix in English versions) has created a potion that temporarily gives the imbuer Superhuman Strength. In addition, one member of the village, Obelisk, has permanently enhanced strength as he fell into a cauldron of the concontion when he was a child.

As with all things that interest and/or inspire me, at some point I have to ask myself, "How do I game this?" 

As it turns out, Asterix is no stranger to gaming. 15 Board Games, a few dozen Computer/Video Games, and even a series of 10 'Choose Your Own Adventure' style Gamebooks have been produced over the decades since 1970. Impressive, no? Of course, I'm talking about Tabletop Roleplaying Games and it's very likely I'm the only one crazy enough to want to...wait a sec. What's this?

Indominable Gauls by Thomas M. Grenery is an Asterix inspired game that uses an interesting mechanic based on the game Cthulhu Dark [as I understand]. It is very clearly Asterix with the numbers filed off and that's not a criticism. That was basically the objective and he achieved his goal. 

So we have our Asterix game, yes? It would certainly make my life a lot easier to just use this instead of trying to make my own version, if indeed I was looking to run an Asterix RPG. Well...I do intend to do this, I've never been one for 'the easy way' if there might be 'a better way', and I actually do I a system in mind. 

I think Asterix and his world could benefit from the game system designed to run the adventures of our gallant Gaul's Franco-Belgian Comics cousins the Smurfs. 

Please note this is a fan made creation. As of this writing Maestro Media does not have the license to and is not making an Asterix RPG to my knowledge. If that changes in the future, call me guys. 😉

Gamemechanix

The core rules of the Smurfs RPG regarding Character Creation, Difficulty Level/Dice, and how Actions are resolved will largely remain the same. Probably identical at their most basic level. Having one 'Specialty' or signature ability that can lower the Difficulty Dice as well as Expending Effort will also be handled in the same way.

Where things get interesting is that Smurfberries and Smurf Power would need to be renamed or replaced, especially Smurf Power. I am thinking I need something that simulates how the Gaul Villagers become Super Strong once they drink their magic potion and that should be more reliable than the way Smurf Power works but also perhaps more rare.

Rare or infrequent isn't really the correct terms though. Conditional or Contingent Upon is a better way to put it. Their Superpower comes from drinking this elixir and it lasts X amount of time and that's it. There is no way to spend points to that. It either happens within the context of the narrative or it doesn't. 

Asterix getting his drink of the Magic Potion in Asterix and Obelix: The Big Fight

Maybe. I am suddenly thinking of an alternate approach wherein one can spend or activate a condition, like how Smurf Power functions, to gain Super Strength but you need to explain it. 

GM: Your group is surrounded by Romans who happen to have lions with them. It seems they were taking them to the Colosseum when they ran nto you.

Gaul Player 1: Lions?! Well that does it! I activate my Indominable Power! Now I have Super Strength (However I decide to have that function mechanically)! 

GM: Wow! How did you get a potion?

(You must come up with a reason why you have a potion handy if not anywhere near one).

Gaul Player 1: Uh...wait! Remember when I was discussing with Druid whether the potion would still work if reheated or frozen? Well I took a small vial to test my idea at some point and still have it on me.

GM: Ah-ha! Most fortunate! The vial is small though so it will only last one round.

Gaul Player 1: That's all I need! *Rolls up sleeves*

I'll need to think on this some more and test it in play a few times and see if anything else needs major adjustments. Overall, I think the conversion from the Smurfs to Asterix should be pretty smooth. 

Theatrix

A key component of Asterix's charm are the characters and the interactions between them. The Roleplaying opportunities abound! While its pretty obvious that Asterix and Obelix are best pals and Dogmatix is just the best friend doggo a Gaul could have. The rest of the village is a bit more complicated and surprisingly nuanced. 

While the men of the village seem to do all the things - Vitalstatistix (French: Abraracourcix) is the Village Chief, Fulliautomatix (French: Cétautomatix) is the Blacksmith, Unhygenix (French: Ordralfabétix) is the Fishmonger, etc. - it is the women of the village that have the real power, at least to a considerable extent.

A Variety of Female Characters from the Asterix Franchise

The wives of the aforementioned villagers are crucial to the smooth operation and continual existence of this group of Gauls. For example, Chief's wife Impedimenta (French: Bonemine) has numerous flaws but fights along side the men against the Romans, often wielding a Rolling Pin as a club. She is not only a good fighter and the village's best cook but is often able to rein in the chaos of the rest of the village when her husband can not. 

Many of the relationships and therefore the characters themselves are very old. The Druid Getafix (French: Panoramix) and the eldest villager Geriatrix (French: Agecanonix) are depicted as looking exactly the same in prequel and flashback stories that show the rest of the villagers as children or very young adults. Geriatrix makes references to having fought in a number of earlier wars and has knowledge of other villages long gone. Imagine playing an older character who remembers fighting Romans before the magic potion!

So many ideas in this category, I could easily write an entire post just on character concepts and stories. Hmm. Perhaps the 'Motivation' entry on the Smurfs Character Sheet could be modified to Relationship so you can identify what other character is important to your PC and why.

Geographix

Where does Asterix take place? Obviously Gaul, in the year 50 B.C.. On to the next...OK, OK, I'll expand on this. 

The Gaulish Village of Asterix and his friends is a seaside town, giving the inhabitants easy access to as much fish as they like. Unfortunately, they are somewhat limited in where they can travel by the four encampments of Roman Legionnaires near by (See above). 

That said, the villagers and their stories go all over the place in the Asterix Comics thanks to use of their magic potion, clever trickery, and dealings with those in power from other lands. Asterix and Obelix have gone to Roman, assisted Cleopatra in Egypt, and traveled to Spain, Germany, and Britain to name just a few of their exstensive travels. 

Sometimes the adventures come to them. Other Gaul tribes occasionally stop by to ask Chief Vitalstatistix and/or Getafix the Druid for assistance. The villagers are constantly confronted by Roman Soldiers of course. Additionally, Asterix's group of Gauls has been visited by the Normans (in the comics. The Vikings in the animated film adaption) and Huevos Y Bacon, the leader of a small town near Montilla in Hispania (Spain), and his son Pepe. 

I can see a nearly limitless series of scenarios of mixing Comedy, Action, Adventure, and Historical Fiction. That's not even addressing the Fantastic Elements of the franchise. 

Mythologix

Asterix takes a really interesting approach to Magic and Mythology. While there definitely is magic as evidenced by the Magic Potion that grants Super Strength, in many other cases the mystical falls more squarely into the realm of heresay and folklore.

Gods of both the Gauls and the Romans are referenced regularly but never seen in the 'flesh', nor do they appear to directly effect the stories in any physical way. In Asterix and The Griffin, the rumored half-eagle and half-lion creature is revealed to be a dinosaur skeleton frozen in a lake. 

However...in some stories and the animated films, the Magic Potion if made improperly can create other effects such as causing people to change color, glow, fly, and even give Getafix 'telekinetic' control over the imbuer. We've seen other evil Druids perform tricks of their own and Sulfurix (aka Demonix) [in Asterix and The Secret of the Magic Potion] grew into a giant after following into a puddle of bad potion. 

So are there 'real' magical creatures, spells, and/or gods in Asterix. It would seem the answer is...maybe. Yes?

Does magic exist? The answer is certainly yes. It takes a subtle hand and a bit of finesse to balance the nature and supernatural worlds of Asterix's setting in my opinion. Personally I love this sort of thing but I can see it being difficult to resist adding a host of witches and dragons and other major sorcerous elements. It can be done but takes a little mental effort to keep the feel of the comics authentic. 

Appendix

This project obviously needs a lot more thought and work but I was so jazzed about it I figured I'd share what I did have. If you have any suggestions, questions, or ideas on the subject I'd love to hear from you. 

Thanks for indulging me and onward ho!

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Barking Alien

Space is for the CREGUIAN

Science Fiction in Japan can be traced all the way back to the year 720 and a time travel fairy tale called Urashima Tarō, a story not unlike the Western world's Rip Van Winkle. In it, a fisherman rescues a turtle who rewards him by taking him to the Dragon Palace, a supernatural place populated by the Dragon God and other such beings. There he is entertained by a princess and after several days of the most wonderful hospitality returns home to find between 100 or 300 years have passed (depending on the telling). His home is a ruin, his family long dead, and he himself forgotten.

Another early story tells of a princess from the Moon, taken to Earth for her safety as the heavens erupt in a celestial war. She is cared for on Earth by a humble wood-cutter. When her true family returns to bring her home, they do so on a large bright disk resembling both the Sun and the typical early depictions of flying saucers.

Modern Japanese Science Fiction finds its roots in the Meiji Restoration Era of Japanese history (agreed by scholars to be from 1868 to 1912). Among the first novels of Western origin translated into Japanese and widely distributed were those of Jules Verne. The term 'Kagaku Shōsetsu' or Science Novel was put forth in the late 1800s and became a popularized name synonymous with what we know of as early Science Fiction.

Fantastic tales of undersea warships and rifts in space carried the literature movement through the early 20th century and all the way to the Second World War. With Japan's defeat and the horrific nature of the weapons used to accomplish this task, Japan's Science Fiction changed and evolved. Among the first to usher in this new age was not a novelist but a manga artist, none other then Osamu Tezuka, considered the 'Godfather of Manga' and the creator of Tetsuwan Atom (Astro Boy) and Black Jack, among many other works. Tezuka's early successes, such as The Lost World and Metropolis (1948-1949) were a major influence on Japanese Science Fiction authors of the period. 

The first full-length Japanese SF novel was Inter Ice Age 4, written by Kobo Abe, an accomplished playwright, musician, and inventor. Abe's writings have been compared to that of Frank Kafka. As more and more writers started to embrace the genre and Japan began to climb back from it's wartime conditions, interest in Science Fiction increase considerably. While periodical struggled to capitalize on the phenomena the way American companies did in the 1950s, novels did very well. In addition, American troops stationed in Japan brought their own interest in SF with them and by the 1960s many of the Western Science Fiction authors beloved in the US were also very much appreciated in Japan. 

Sci-Fi exploded in the late 1960s and 1970s with the expansion of manga, early animation, and the release of the Star Trek TV series, the first Star Wars film, and the first real Light Novels. Magazines made another attempt to impact the market and were more successful this time around. Before long the audio and visual mediums of movies and television surpassed the literature element of SF in Japan, thanks largely to Anime and Manga. Unfortunately, in the view of some Science Fiction literature scholars and enthusiasts alike, the line between novel, light novel, and other forms of SF blurred in the 80s and 90s, which caused the genre to be taken less seriously as an art form. 

Soon after the Science Fiction genre gradually dropped in popularity, with Japanese audiences looking for something fresh and the various entertainment industries not knowing how to respond. At least in the publishing business. SF Anime and Manga remained popular if not particularly deep or innovative in the mainstream.

The first Japanese Science Fiction Tabletop RPGs appear in the early 80s. Enterprise, a Star Trek RPG made entirely in Japan, is not only the first SF game but possibly the first stand-alone Japanese TRPG ever, coming out in 1983. Crusher Joe, based on a series of novels first published in 1977, received two RPG boxed sets in 1983 as well to coincide with the release of an animated film. Japanese language editions of Traveller and Star Quest came out the year after, with Traveller being especially popular. Interestingly, the covers and illustrations in the Japanese Traveller books were done by Naoyuki Kato, an artist best known for painting the covers of many Western SF novels when they were translated in Japanese [such as Dune, The Stars My Destination, The Forever War, and more]. 

In the 1990s, with Cyberpunk and Mecha stories dominating the Science Fiction scene in Manga, Anime, and elsewhere, it isn't surprising that we see the same thing in gaming. The first real Mobile Suit Gundam RPGs appear at this time, with Dainihonkaiga publishing the Gundam Sentinel RPG in 1990 and a classic MS Gundam 0079 expansion in '91.Tsukuda Hobby would publish their own Gundam game in mid-to-late 1990 but it was really more of a wargame akin to Battletech. Also in 1990 Hobby Japan puts out one of my all time favorite Japanese TRPGs, Metal Head; Cyberpunk meets Space Adventure. Gear Antique, another game I very much enjoyed debuts in 1991. Finally, the sadly lackluster Multiverse comes out in '91 as well. A rather bland game that doesn't deserve it's cover by the amazing Kenichi Sonoda.

In 1992 we get CREGUIAN, Tabletalk RPG in the Far-Future, a fascinating game best described as an alternative Traveller. I'll be talking a lot more about this one in my next post. A boxed set RPG called Space Opera Heroes and its sequel, creatively titled 'Space Opera Heroes 2', are both published in 1992. Fun if not particularly innovative or interesting tongue-in-cheek SF. 

American RPGs Mechwarrior and Cyberpunk hit Japan in 1993, though like its wargame predecessor Battletech, Mechwarrior got a huge make over for the Japanese market. A major entry comes in 1993 with Tsukuda Hobby's Tokyo Nova, the Cyberpunk RPG with spiritual/supernatural undertones which would become far more prevalent in future editions of the game. Tokyo Nova uses Playing Cards instead of dice. The second edition came out in 1995 and the quite revamped third edition was put out in 1998 under the title, Tokyo Nova: The Revolution. Lastly, in 1994 Japan's Dragon Magazine publishes Paradise Fleet, a Space Opera that had originally been published in monthly installments in the periodical. It was, in essence, the first crowdsourced TRPG I'm aware of. Certainly one of the first in Japan. 

Japanese Science Fiction went through another change in the late 90s and throughout the 2000s. Publishing companies, experiencing a fiscally weak market at the time, were eager to try something different in order to make money. A push was made to get Science Fiction back out there in a big way. Two of the major publishers, Tokuma Shoten and Kadokawa Haruki, created writing contests for SF literary achievement awards and it worked. Science Fiction short stories and essays by the likes of Satoshi Ito and Toh EnJoe were published, renewing interest in the genre. This eventually lead to a Sci-Fi renaissance and in 2007 the 65th World Science Fiction Convention, more commonly known as WorldCon, was held in tandem with Nihon SF Taikai* in Yokohama.

The popularity of the genre hasn't ebbed since and in fact, the 80s-90s lament of the blurring lines between Pop Culture Entertainment and High Literature are now embraced. We get to see fun and entertaining books and light novels along with philosophical Anime and Manga. Self-publishing, E-books, and User generated Web Novels allow for more variety, versatility, and exposure than ever before. Animated films previously considered independent arthouse approaches like Your Name and Suzume by Makoto Shinkai are major motion picture industry hits, grossing many hundreds of thousands of dollars worldwide. 

In addition to more translations of American games, there were quite a number of cool titles appearing between 2004 and just prior to the pandemic. Among the ones that really caught my attention were those from Japan's indie/small press market, including  Doujinshi games. Fun RPGs like The Trouble with Aliens (Resident Alien the RPG?), Lost Record (Secretly kind of dark), Metallic Guardian (Japan's answer to Mekton), and Space Ship Story (Rules-lite Sci-Fi in the vein of Captain Harlock and Ulysses 31). 

Also, got to give a shout out to Spaceship Star Truck. Love the look and the concept.

Wonderful! Fascinating stuff. Only one question...

Yes Barkley?

You put Creguian in the title of the post. I understand that its one of the earliest, biggest Science Fiction RPGs of Japan but why does it deserve to be in the title? Also, what exactly is a Creguian?

Ah, excellent question! The answer to which lies in the next 31 Days / 31 Characters post...

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Barking Alien

An Impurity In The Right Place Is A Quality

Have you watched Blue Eye Samurai? Yeah, I'm talking to you. You HAVEN'T? What are you even doing here?!? Go! Go watch it right now! Once you're finished you can join the rest of us at the Cool Kids table. 

Great, now everybody here has seen this series, we can discuss my favorite thing to come out in Pop Culture Media for all of 2023. That is not hyperbole. I'm 100% serious. Marvel, Star Wars, even Season 3 of Star Trek: Lower Decks and some great Anime I saw didn't come close to Blue Eye Samurai in my opinion. We're talking 11 out of 10, 6 Stars out of 5, 3 thumbs up, absolutely S Tier entertainment.

The art, animation, characters, plot, and direction were all top notch. Was it an absolutely perfect work? Perhaps not, it had minor imperfections here and there but overall I haven't seen any other series this past year that gets as close to ideal as this one. 

Enough praise, let's dig in...

Yeah, I know I insisted you see the show before proceeding but I'm feeling merciful.

As you know, I am not just an Otaku, I'm also a Nipponophile; I am interested in Japan's history, culture, food, and folklore. I've run Japanese 'Fantasy' RPG campaigns in the past but they are always set in the 'real' world of Shogunate* Japan with the addition of magic, spirits, and other elements of the mythology believed by the people of that period of history. I have no interest in Legend of the Five Rings' 'Rokugan' or D&D's 'Kara-Tur'. Much as I prefer Ars Magica's Mythic Europe to D&D's made-up places, I likewise prefer the Nippon of Bushido and Blue Eye Samurai to a fictitious world inspired by the real place and its people. 

With that as our starting point, let's take a look at the setting and themes of BES. They weren't all bright and shiny, sunshine and cherry blossoms. It was a look at a real place during a real time even if it followed a fictional story. Japan's Edo Period was a bloody, racist, sexist, and often terrible age for people who weren't the Shogun. Blue Eye Samurai doesn't shy away from any of this this. It instead embraces it as a key part of the composition of Edo Period Japan as the 'world' wherein this story occurs.

So the question is...is this the same world a Feudal Japan campaign takes place in? I would say a very definitive yes. For other players and GMs the answer might not be so clear or easy. I had some wonderful conversations a few weeks back with friends of mine who I game with regularly about whether they would include some or all of the negative elements mentioned above in their campaigns if they were setting a game in a historical setting.

My buddy Keith noted that one of his favorite periods in world history is The Age of Sail and a favorite game of his to run is Beat to Quarters, an RPG focused on playing members of the British Royal Navy in conflict with the French, Spanish, Pirates, and the intrigue of the court. One thing that was prevalent during this time that does not and will not appear is slavery. 

Keith has decided, based on how terrible and disdainful the American and European slave trade was, that it isn't something he wants in his Age of Sail games. No adventure scenario will feature it, it isn't something the PCs will be involved with, and it doesn't even get a mention. Why would it? That isn't what his games are about.

In my view, repulsive as it was and it was repulsive, it did happen. It is part of that time in history. I wouldn't dwell on it but I can't ignore it. Additionally, an RPG with the right GM, players, and tone might be the perfect place to discuss and explore these deeply regrettable and tragic aspects of the ongoing story of Humanity.

My love of Japan doesn't embrace its blemishes as positive things but neither does it pretend they don't exist. I accept the bad with the good and as a storyteller try to shed light on the darkness. This is what Blue Eye Samurai does as well and I would very much like to take cues from how well it handled these elements. 

Just some musings as I revisit the idea of running a Feudal Era Japan RPG campaign. Inspirations from BES definitely have me thinking about a rework of my Yokai Hunter Society concept.

More to come...

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Barking Alien

Funny Business

While Adam attends to our guests in the Green Room, I would like to take this time to introduce a very special surprise for the studio audience, and the viewers at home. Coming to you all the way from the Trailing Extensions of the Whirlpool Galaxy comes the great seer, soothsayer, and sage, Carnac the Magnificent!

Thank you Mr. Barkley, thank you. May the filthy soap scum of a thousand bathtub rinses avoid your private parts.

Thank you Carnac, you are too kind.

Now then, I hold in my hand a set of envelopes. As a child of four Earth cycles can plainly see, these envelopes have been hermetically sealed. They've been kept in a #2 mayonnaise jar on Funk and Wagnalls' back porch on Earth West-38 since noon today. No one knows the contents of these envelopes, but you, in your borderline divine and mystical way, will ascertain the answers having never before seen the questions.

THAT...is correct.

Very good. Here is the first envelope.

The answer is..."Expedition to the Barrier Peaks."

Expedition to the Barrier Peaks.

The question..."What is the term for attempting to look at your wife, or girlfriend's bosom, while her parents are in the room."

The next envelope.

The answer is..."Fire, Fusion, and Steel."

Fire, Fusion, and Steel.

I just said that. The question is..."Name three things easier to swallow than Donald Trump running for President."

I hold in my hand...er...paw, the last envelope. Here you go.

The answer is..."Nasty, Brutish, and Short."

Nasty, Brutish, and Short.

The question is..."Describe the history, as you understand it, of comedic RPGs."

A [Very] Brief History of Humorous Tabletop Role Playing Games,

By Adam Dickstein

 

I haven't had time to do a lot of research, and as such, I am unlikely to be as thorough as Lowell Francis is when he does his 'History of...' posts (which are oddly not tagged in such a way that you can just pull them up. A tag of History would make them much easier to search for IMHO).

The very first commercial RPG with a purposely humorous focus, as far as I can tell, was called Alma Mater. It was produced in 1982 by a company known as Oracle Games. Supposedly, the art for the game, by Dungeons & Dragons legend Erol Otus, so deemed so offensive, the game was banned from the GenCon.

I don't think the game was overly popular, as I've never heard much talk about it, hadn't seen a copy until much, much later, and it's definitely not one any player I've played with regularly has ever mentioned.

And I've played with a pretty diverse bunch.

One could certainly argue that Alma Mater was preceded by another game with a distinctly humorous tone. That game was Ken St. Andre's Tunnels and Trolls. While not specifically a comedy game, Tunnels and Trolls, first published in 1975 by Flying Buffalo, Inc., had a rather tongue-in-cheek attitude to many of its elements, including spells with names like 'Take That, You Fiend', and 'Hidey Hole'.

Furthermore, Flying Buffalo put out another game called Monsters! Monsters!, in which PCs turn the tables on the traditional Fantasy character dynamic by playing the creatures that live in the dungeons being invaded by adventurers.

Over the next few years, no significant entry into the field of humorous RPGs is even made. Role Playing Games, into the early-to-mid 80s, are serious business.

Thankfully, that all changed with the arrival of Toon in 1984.

The story goes that the idea for the game originated with artist, and Villains and Vigilantes co-creator Jeff Dee. Dee was with Greg Costikyan, as well as other game designers, trying to figure out what genres where not yet covered in the field of RPGs. Dee suggested a RPG based on Cartoons. The rest of the assembled talented said, although a great idea, created a system for such a game would be impossible. A few years afterward, with the help of Warren Spector, Costikyan created Toon.

Greg Costikyan is, in some ways, the unofficial father of the humorous RPG. In addition to Toon, Costikyan was also a key designer on Paranoia from West End Game, which came out in the same year, 1984.

While the ball was now rolling, the next two entries were licensed games, and so their popularity may have been more closely tied to their IPs, at least initially. Palladium's Teenager Mutant Ninja Turtles and Other Strangeness, and West End Games' Ghostbusters were hits, and while no where near as big as the big boys like D&D, Call of Cthulhu, or even Traveller, the gaming consumer had spoken, and been heard loud, and clear. Comedy games were a hit.

Proof positive was the fact that it didn't end there. Not by a long shot. Teenagers from Outer Space, Macho Women with Guns, Tales from the Floating Vagabond, HoL and many, many more followed. A not really complete, though decent list can be found here.

The independent publishing movement of the last 10 years, or so really helped in this area as well. Some of my personal comical RPG favorites such as The Secret Lives of Gingerbread Men, Doom and Cookies, and the recently released Spirit of 77 were all made possible by the indie game boom.

Interestingly, since this is something I am going to discuss in a later post, not all this humorous games are billed as comedy RPGs. Spirit of 77 is very funny, but it isn't sold as a humorous game. Likewise, HoL, and Doom and Cookies can be quite dark, though this is a definite comedic tone to them.

Well, that's about all I want to say on the subject for now. I highly recommend looking into the history of comedic RPGs, and Role Playing Games in general, as it is some fascinating stuff.

I highly recommend:

The Designers and Dragons series and Heroic Worlds by Lawrence Schick. Also Age of Ravens of course, as Lowell does a bang up job in this regard.

Thanks for watching! Now, back to our show...

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Barking Alien

All This Time

Thirty-eight years ago today, in front of P.S. 130 in Brooklyn, New York, I was introduced to Dungeons & Dragons. I went on to make up a character, play through a session, and started my long, crazy, wondrous obsession with the hobby of Role Playing Games.

All that time...

I've been looking forward to writing this post, commemorating such a long time following the same interest and passion, but now that I'm here I'm not sure what to say. There are so many memories. I've had so much fun, and there are so many things I've learned, it's not just hard to know where to begin, but it's hard to process it all as you start churning it up in your head to put it all down.

I started as a player of Basic D&D in 1977. I first GMed a game, also Basic D&D, in the Summer of 1978. I identify myself as a Gamemaster primarily, who also plays. I prefer to GM about a thousand times more than I like to play.

The first game I played after D&D was probably Boot Hill. I also believe it was the first game I ran after D&D, and possibly the very first campaign I ever ran. That would be 1979 I think. I've never run another Western campaign since.

I played, or attempted to play, Traveller for the first time in 1979. I hated it as only a 10 year old can when he feels like someone made a boring mockery of his favorite genre. I wouldn't get to play in, or run the kind of Science Fiction game I wanted until I purchased FASA's Star Trek RPG in 1982.

I did play a few other games between 1979, and 1982, notably Gamma World, the closest thing to Science Fiction I would get before Star Trek. From my initial entry into the hobby to 1982 though, we played mostly D&D. I altered it, added to it, ran things a bit more like a Superhero comic book, but it was D&D, and AD&D all the way for a good stretch.

I discovered Villains and Vigilantes in 1982, at one of New York's largest Comic Book, Sci-Fi, fandom related stores a few months prior to finding Star Trek at NYC's primary, dedicated game shop. V&V took away a lot of D&D's thunder for me.

That was nothing compared to buying the Star Trek RPG. It launched a fully volley of Photon Torpedoes at D&D that the old girl never recovered from in my eyes. For me, it was the beginning of the end for Dungeons and Dragons' place at my gaming table, and the dawn of a much larger world.

Between 1982, and 1987, we played a lot of, well, a lot of games. A lot. Trying new games was a goal of ours in, and of itself. A hobby within the hobby you might say. Many games never went past the first try out, or very short campaigns of three to five sessions at the most.

We eventually settled on favorites that saw a lot of table time, as free moments were devoted to gaming. Our mainstays were Star Trek, V&V, Mekton (and then Mekton II in 87'), Space Opera, Star Frontiers, Ghostbusters, MegaTraveller (Traveller redeemed!) and Toon. In 1987, West End Games produced the Star Wars Role Playing Game, and following hot on it's heals over the next few years was Ars Magica, Cyberpunk, Shadowrun, and my introduction to Champions. Not to be left out, and an absolute favorite during my high school years, was Teenagers from Outer Space.

D&D couldn't hold a candle next to the plethora of Science Fiction, Superhero, Anime/Manga, and oddball games that existed by the early 1990s. It was also around this time that I began to research and collect Japanese tabletop RPGs, or TRPGs, quite seriously, falling in love with Sword World, Wares Blade, Metal Head, SATASUPE Remix, Paradise Fleet, and others.

I attended my first Gen Con in 91'. I went again in 93', and 95'. I went there with my ex-wife in either 1998, or 99' and again in 2000. I then didn't go again until some years later, and my last time was around 2007 I believe.

I love conventions, and have attended far too many to count, both as a fan, and professionally. Among the ones I have the fondest memories of include Dex Con (NJ), Katsucon (MD), Origins (Chicago, IL), Otakon (Baltimore, MD), Shore Con (NJ), and a number of small local conventions such as Crusader Con, and the seriously missed RECESS.

I have done work that has appeared professionally in a number of RPGs. My most well known was writing I did for Star Trek (LUG), and Star Wars (WEG). I've also done artwork that appeared in Adventures in Oz, and some online magazines that are no longer with us.

I have appeared on National Television at least twice talking about RPGs on news, and Human Interest programs.

I have taught classes using RPGs as a tool for English-as-a-Second-Language students, and others, from 2nd, to 7th grade.

My longest campaign was, believe it, or not, an Advanced Dungeons and Dragons campaign, set in my homebrewed world of Aerth, which lasted 3 and a half years (almost four). It spanned over 300 sessions, most of which were about 6 hours long, others about 8.

Other long campaigns have included multi-year games of Star Trek, V&V, Space Opera, Champions, and Traveller, and year long campaigns of Star Wars, Mutants and Masterminds, Mekton, Teenagers from Outer Space, and many more.

I have had the absolute pleasure, and good karma, to have gamed with some of the greatest gamers, and most wonderful people, a guy could hope to know. There is no way to list all of you, but I feel I wouldn't be writing this now, and most of my best stuff wouldn't exist, without Tom Z., Paul, David F., Joe C., Chris D., Bruce D., Martin L., Richard K,, Mathew K., Ben O., David P., David K., Richard G., Rachel F., Danny G., Aldrin A., Nelson M., Martin K (RIP)., Ken L., Allen H., Lynn M., Rebecca H., Rob L., Phil L., Beverly M., Anna P., Avram G., David C., William C., AJ, Peter 'Pedro' H., Selim N., Michael M., Artie I., Vlad R., Adam T., Jason M. (Big J), Jason N. (Little J), Keith C., Junior, Ray H., Will L., Emi L., Steve Y., Andy R., Hans, Carl, Keith J., Lloyd G., Cameron C., Dan R., Leo J., Alex B., Arthur L., and of course, Selina.

Well, I think that's all I have in me for today.

Thanks for being here dear readers. Thank you for sharing, and spreading the love, the interest, the dreams, the ideas, the questions, and answers.

As always, a very special thank you to those I've never gamed with, but who remain steadfast friends of the blog - WQRobb, Lord Blacksteel, Lowell Francis, Ivy Shorts/The Happy Whisk, Jay of EXONAUTS, and Charles 'Dyvers' Atkins.

Play on everybody, play on.

AD
Barking Alien

For further (hopefully entertaining) information about my early days in the hobby, check out my 'Secret Origins', Parts 1, 2, and 3.

Those Obnoxious Aliens

I have Star Trek on the brain.
I have Superheroes in my soul (or spirit...well if I actually had either of those).
But my heart belongs to Teenagers from Outer Space.

I mentioned once before that Teenagers From Outer Space is probably my most favorite game of all time. Yes, a love Star Trek and I can hardly get enough of playing Supers but the game, The Game Itself, that I find the most fun is TFOS.

With Star Trek it's about exploring the unknown and playing in the universe of the shows and films. With Superheroes it's a combination of being a hero, saving people and emulating the comic books I grew up on. With Teenagers from Outer Space, it's an excuse to run wild.

If Mike Pondsmith was ahead of his time with Mekton, he was taking a long shot gamble on the future with the creation of this simple, flexible and humorous RPG based on Japanese Anime and Manga comedies, the likes of which had not yet been seen in the mainstream American pop culture at the time the game was published in 1987.

Robo...the R-word...hit American Television in 1985. Prior to that, American exposure to Japanese animated shows were either the early action/adventure/humor shows like Tetsuwan Atom (The Mighty Atom aka Atom-Boy - known to us as Astro-Boy) and Mach-Go-Go-Go ( or Speed Racer) or serious science fiction series like Space Battleship Yamato (as Star Blazers). A third type of sci-fi/superhero or space opera type show was seen in the form of Science Ninja Team Gatchaman (known to us as Battle of The Planets or G-Force) and in some states Space Legend Ulysses 31 (simply Ulysses 31* to most Americans).

Japanese romantic comedies and shows of a truly comedic bend wouldn't appear state-side until the late 80s or early 90s. While there is some indications in my research that Akira Toriyama's Doctor Slump and the original Dragonball series aired in English on American television as early as 1984 and 1989 respectively, those shows are still not really in the style or theme that Teenagers From Outer Space is addressing.

Urusei Yatsura, which roughly translates to 'Those Obnoxious Aliens That Make Bad Neighbors', is the most obvious inspiration for TFOS and indeed, the original edition of TFOS borrows heavily from the characters, ideas and adventures seen in episodes of the show, direct-to-video OVAs and films (there were 6 feature films produced). It should be noted that Urusei Yatsura (also known as Lum, named for the starring female lead character) didn't come out in America until 1992! When it did, it was a direct to video release.

So without nitpicking the timeline too much, one can at least competently say, Teenagers from Outer Space was on the market for at least 6 years before its closest, relevant source material was available to US consumers.

So...why did it sell? How did people in the US comprehend this very, very Japanese idea?

Well, for one thing, while some of the humor and cultural references in Urusei Yatsura and subsequent series in the same vein (Tenchi Muyo, Ranma 1/2, Ah My Goddess!) are specfic to the Japanese, some of the concepts are practically universal. The idea that superpowered and/or high tech aliens from space would come to Earth and get caught up in our pop culture and life styles is quite funny. Add in romantic entanglements and a cast of quirky characters both Human and not and you have the perfect recipe for a great show, not to mention a great campaign.

One of the things we did early on (aside from my expansion of the rules, which I think I've mentioned but will expand on a bit in another post) was open the field up to more than just aliens. TFOS is perfect for magical girl shows like Magical Emi and Card Captor Sakura (although it would need some tweaking to use it for Mahō Shōjo Madoka Magika, one of the darker and more serious examples of the genre).

Over the years our various campaigns of TFOS have included cyborgs, comic book style mutants, demons, time lost samurai, the children of comic book superheroes and giant robot pilots.

In addition, the game is so easy, fast and flexible that I've adapted in time and time again for completely non-Anime/Manga related subjects. TFOS formed the basis for my original Galaxy Quest RPG as well as a short but thoroughly awesome campaign set in the Land of Oz (adding elements of Ars Magica to my TFOS foundation).

As I noted in the comments of a previous post, Teenagers From Outer Space is a lot like rice. Every tastes good poured over it.

Examples of cool campaigns I've run with TFOS, as well as more RPG madness inspired by Anime and Manga, coming soon.

Happy Fourth of July Everybody!

AD
Barking Alien

*Ulysses 31 is actually more well known among the hispanic community here on the East Coast and I'd wager that's true throughout most of the country. While it was aired in the United States, the vast majority of cities and states were it aired seem to have shown it only on Spanish speaking television channels.

Once We Were Vikings

Our Ars Magica campaign has just three players involved in it, excluding myself as Storyguide, having lost one to a particularly nasty work schedule.

That leaves us with Dave, Marcus and Ray, all holdovers from our previous Champions game. Our usual fourth, Lee, is the one stricken with a terrible case of weekend work hours that, as of this time, there appears to be no cure for.

While I do miss seeing my friend Lee, who I like very much as a person, I am not overly sorry he is not joining us for this campaign. Wow, that sounds just as dicky read aloud from this post as it did in my head, no two ways about it.

Thing is...our first Ars Magica session went very smoothly and we got a lot done in just 4 or 5 hours. We played for less time than normal by about two or three hours and got about twice as much accomplished. No one was over explaining every action, no one was analyzing every tiny detail only to ignore the information when it was needed and no one seemed intent on bringing us out of our immersion in the setting with constant 'meta' references.

Yeah, Lee would do that all the time. He would point out the MacGuffin in the story, call it a MacGuffin instead of whatever its name was and note all the various tropes that went with it. He was especially good at focusing on those tropes that weren't Superhero Comic Book related...while we were running a Superhero Comic Book game.

I hope I see Lee again soon...but that will not be missed.

***

I decided to try running this game in the troupe style recommended in the Ars Magica rulebook. This means that each Player plays at least two characters, a Magus (Wizard) and a Companion. In addition, each Magus can bring up to three Grogs ( lower rung henchpeople who keep the Magi's Covenant up and running) along on their adventures as well.

I am using the Grogs as 'communial characters'. I generate a bunch and the players decide who they are taking. If Dave is playing the Scout Grog, Trilina Greenboots, this week, he might be playing Alfrick The Fair, Archer Grog, next week, while someone else uses Greenboots.

Now on to the PCs...

Ray and Marcus' characters are members of the Silver Elk Lodge, the oldest Order of Hermes Covenant in Denmark. They are playing comparatively young members, as the vast majority of the Lodge's inhabitants are older than the hills of the Northern Jutland and twice as rocky and irregular.

Dave's characters are travelling North from their original homeland of Germany. The two characters were originally native to the region in and around the Black Forest. Driven to find more Wizards like himself as part of his very nature, Dave's Magus has come to Denmark with his Companion in tow.

***

Ray

Ray's Magus is Nikolas Van Der Hagen, a 40 year old, Danish Male Wizard of House Jerbiton. Raised Christian, believes his magical Gift is a Gift from on high and as such should be used to help people in need. While the rapidly expanding Roman Catholic Church in Denmark looks down on Magi and wonders if its not best to be rid of them, Master Nikolas offers a counterpoint and says that he and his allies are there to help the Church, not go against it. Generally this places Nikolas as the spokes person for the group most of the time as the one Magi who understands the mundanes, the priests and to some extent the nobility.

Ray's Companion is Henrik Thorson, aka Henrik the Red, a 36 old school Norseman*. Henrick is a sailor, a fighter and a lover of all liquids of an alcoholic nature. His byname, 'The Red', comes not from his ability to fell his enemies but rather the color he turns when he is good and inebriated, which is fairly often. Henrik is not really an alcoholic but rather he enjoys celebrating. A good drink is something he favors but not without reason. A sound reason often comes in the form of  a victorious battle, an amazing discovery or a heroic act that saves the lives of his friends. Birthdays are also a good reason drink. At dinner with a fine lady. Tuesdays.

Marcus

Marcus' Magus is named Magnus (try that three times fast). Magnus is Danish Male, 33 or 35 ( I forget) and a Wizard of House Flambeau. Surprisingly subtle for a Magus whose specialty is fire and destructive spells, Magnus does have something of a reputation for having a violent temper. It has been implied (but not yet revealed) that this reputation is only partially deserved. Apparently Magnus is quite a patient and understanding fellow but has a certain something that sets him off. Calm, cool and collected, this House Flambeau Wizard will go off like an incendiary grenade if the wrong button is pushed.

The Companion to Magnus is Asnake, his 32 year old, Male Ethiopian Manservant and Bodyguard. Asnake means 'Become better than everyone else'. Not surprisingly, he is a multi-talented jack-of-all-trades, a cook, a knowledgeable guide to the South (Germany and Holy Roman Empire). He claims to be an escaped slave and that is, generally speaking, the truth.  Of course the true truth is more fantastic.

I was extremely impressed by Marcus for coming up with the secret of Asnake's background. It combines the legends of King Arthur, Rip Van Winkle and a type of African Spirit with a bit of real history thrown for good measure. Asnake did indeed escape from the Roman Empire...roughly 79 AD, 1093 years before the campaign setting year of 1172. He was a champion gladiator, taken to Pompeii with another gladiator, a good friend, by a Roman noble who wished to show them off to a rival. When Mount Vesuvius erupted and destroyed the city, the two friends attempted to escape by boat. Only Asnake made it off the beach. He rowed as fast and as hard as he could, entering into a huge cloud of mist and fog created by the blanket of hot ash hitting the Gulf of Naples.

Asnake rowed for what felt like days until the mist subsided. He found himself, somehow, in the North Sea, where he eventually made ground in Esbjerg, Denmark. Being completely unfamiliar with the region, he did not know he had travelled through time. It was only after a few altercations and the intervention of the Magus Magnus on his behalf that he realized what had truly happened. The two have kept Asnake's true origin secret to this day.

Dave

The wandering Wizard of House Bjornaer known as Adalfrid is Dave's Magus. He hails from Germany, one of several Magi who are self-proclaimed protectors of the Black Forest, its animals and to a lesser extent, its Zauberinnen (Faeries). Well, self-proclaimed but Faerie approved.

Long ago a covenant of Magi near the Black Forest made a habit of repeatedly stealing Faerie Vis (pronounce the V a lot like a W and the S not unlike a Z - it means raw Mana or Magic Essence) from the woodland's mystical inhabitants. The fae of the forest rebelled and decreed that without explicit permission from them, no Mage may pass through the Black Forest on penalty of death...or worse. And these are German faeries. They can do 'or worse' with no problem.

Adalfrid is on good terms with the animal spirits of the woods so the Zauberinnen approved him to be there as a favor to them.

Over time (for reasons we have not yet determined much less detailed), Adalfrid moved further and further North. He eventually left the Black Forest in search of more Bjornaer Magi, something that was becoming scare where he was. Eventually this quest brought him to the Silver Elk Lodge.

Dave's Companion character is Nadjute, a Female, visually in her very early twenties, serving as a healer and chirugeon. She is likewise German or at the very least seems German. She often seems to be naive or have limited exposure to the world outside of the deep woods of her home.

Her origins are a triffle odd, though not so much by Ars Magica standards...

One day, Adalfrid saved a doe (a deer. A female deer.) from unscrupulous hunters who were over hunting the area. The deer was an animal of great intelligence, will and spirit and it fell in love with him. The deer pleaded with the Wild Huntsman (Wode or Wodan, leader of the Wild Hunt of Germany) to allow her to become Human to be with her beloved. The Huntsman agreed but the transformation carried with it a curse. Although she can age in Human form, she can not die and will long outlive Adalfrid. What's more, Adalfrid does not feel the same way about her, treating her more often as a younger sister.

Nadjute looks perfectly Human.

She doesn't actually look like a beautiful girl with deer antlers.

I am being thematic here.
 

OK, tomorrow is the next session, which I may have to run from my chair at home as I hurt my foot a bit this week. We'll see how I am feeling in the morning. Maybe the guys will come over to my place. Maybe magic talking flowers will leap out of my backside. We shall see and I shall keep you updated.

AD
Barking Alien

* We've decided that the terms 'Norseman' and 'Norsemen' are given to those Norwegian, Swedish or Danish individuals who have trouble giving up the tradtional, old ways of Scandinavia. Essentially it is a slang term for those who still wish their people were the Vikings.