Black Gate

Twilight: 2000 takes place in the aftermath of a limited tactical nuclear war during World War III. While the inciting event is over (the use of nuclear weapons), the world is still very much in collapse, so the players are engaged in a game of survival. They are what is left of the US 5th Mechanized Infantry Division, crushed by two Soviet divisions in Poland in the spring of 2000.

The game is one of the few true sandbox games that I have ever encountered. While my Traveller games often had sandbox elements, they were still typically guided by a grand narrative. Twilight: 2000 forgoes even that, for the most part. Casting the players in the roll of trying to make their way in the world. The operating presumption is that they want to return home — aka, the United States. 

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One day a few years ago, my brother casually mentioned how he thought it would be fun to create our own RPG game. After a bit of conversation, I understood this was not an off the cuff remark and found myself excited about the prospect. We had a number of conversations about it. Would we use an existing rule set or setting that allowed others to write content into, or would we create our very own?

We decided to build our own. Neither of us had built a game from scratch, but we have played a lot over the years. I had also house-ruled any number of decisions. For those that do not know, house-ruling in RPGs is when the game master (GM) determines a rule on the fly or establishes a rule for their game that either contravenes or is not covered by the rules themself. This is a common activity for GMs because RPGs cannot cover every single thing a player may want to do.

My brother and I bounced a few ideas around, particularly setting. What kind of game did we want? Without knowing it, we stumbled our way through answering a number of questions in the Power 19. In the early 2000s, among the indie RPG movement, a number of names in that space interacted on The Forge. Folks in the indie RPG game community — for example, Ron Edwards the creator of Sorcerer — discussed game design.

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Mothership, by Tuesday Night Games and written by Sean McCoy, started making the rounds in beta format in 2018, causing quite a big splash amongst the RPG community. Styled as sci-fi horror RPG, its tag is: “Survive. Solve. Save. Pick one.” In other words, watch out.

Mothership falls into the OSR-style of game. OSR, which stands for Old School Revival or Old School Renaissance. OSR RPGs take their cues from the earliest days of the hobby, often with a focus on play style and use of Open Gaming License (OGL). In my mind, the former is the more important. OSR games are often as much about player skill as they are about rolling dice. The classic difference in this is that players often say, “Check for traps” before entering a room. The player then rolls an Awareness skill or like check. If they pass, they confirm the presence of traps or not. This is very mechanical.

OSR style play will ask the player to describe how they are checking for traps, and rather than relying on a detailed set of rules, the GM will “simply” establish the check. This “rulings over rules” is another hallmark of OSR games.

Interestingly, while characters are a big focus in modern RPGs (something I wholeheartedly endorse), OSR games often find ways for the players to engage in the game through the character in more meaningful ways because they eschew the “check x, roll y” mechanical formula.

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Nostalgia: noun — a wistful desire to return in thought or in fact to a former time in one’s life, to one’s home or homeland, or to one’s family and friends; a sentimental yearning for the happiness of a former place or time.

Dictionary.com

I have heard about a phenomenon in film making that when the decision makers and creators get into places of power (usually in their 40s and 50s), the public often sees an uptick in nostalgic films about the creator’s formative years. A cycle that repeats itself not unlike the cycle for fashions coming back in style (though, mercifully, some fashions remain purely historical). TV and film reboots are often the result of this nostalgia as well.

RPGs have reached the age where nostalgia is becoming more apparent — at least it is to this long-time RPGer. While Dungeons & Dragons, Traveller, Call of Cthulhu, and a few other games have had an ongoing existence through multiple editions from the late 70s and early 80s, many games have come and gone.

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The “Preface” to the 2018 science fiction roleplaying game Coriolis: The Third Horizon mentions the game’s major influences: Middle Eastern culture, Iain M. Banks, Alastair Reynolds, and Michael Flynn. Shortly after that, the writers state that Coriolis is Arabian Nights in space — an accurate self-assessment and pretty much hitting all the right notes for me. Grand science fiction space opera set in a universe that differs in meaningful and substantial ways.

Coriolis takes place in a setting called the Third Horizon. At one point in time far in the past, humanity discovered giant portals to other star systems, which had habitable planets. They colonized these systems, which became known as the First Horizon. The origin of the portals remain a mystery. Eventually, a second wave of systems were discovered via more portals and colonized: the Second Horizon.

The Third Horizon was discovered later and its 36 systems were colonized. What is known as the Portal Wars took place — a bloody, protracted, and devastating war that ended with the closing off of the portal between the Third Horizon and the first two. A long dark age ensued after the end of the war.

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In 1990, R. Talsorian released Cyberpunk 2020, a revision to the original game from the 1980s. This was followed by many supplements and the gaming world had a tabletop RPG that enabled players to engage with a world with elements they saw and read in Blade Runner, Hardwired, Neuromancer, and Strange Days. The game proved so popular that many still play it today. When a third edition was released, it proved so unpopular that it is basically forgotten.

A few years ago the creators of The Witcher video game series, CD Projekt Red, reached out to R. Talsorian. See, they had played Cyberpunk 2020, and they wanted to create a new video game and thought it might be fun to use Cyberpunk 2020 as the basis. Thus, Cyberpunk 2077 — a much anticipated video game — was born.

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The premise of Mutant: Year Zero is simple. You play a mutant (“human but more than human”) living amongst the wreckage and devastation humanity left behind and searching for something called Eden, but the world is full of dangers, ruins, and other mutants. You live in the Ark, the only safe haven. Even it is struggling. A person simply known as the Elder — the only person above the age of 25 – is declining in health. Factions in the Ark are vying for a place in the post-Elder Ark. More importantly, supplies are dwindling. Food. Water. Even Mutants. No one has been born in the Ark.

To provide the Ark the precious resources needed to survive, some brave (or foolhardy) mutants explore beyond the Ark’s protective walls and out into the Zone. Rare artifacts of unknown purpose can be found. The Stalkers, as they are called, bring back valuable items, scrap, clean water, and tales of a better place, Eden. If they come back that is. If they survive the monsters, the Rot, and any number of untold disasters.

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I’ll confess. I love random planet and system generator tools in roleplaying games. There I was as a young boy with the now classic science fiction RPG called Traveller, and I was able to roll up via a set of tables a planet. Size. Population. Technology level. Type of government. It provided a logical way to help game masters (GM) both create interesting worlds on the fly and help avoid our own creative traps of repeating the same planets with different scenery.

Additionally, I think it fired as much creativity as not, something that the creator of Traveller, Marc Miller, has noted. How does that small population world on a planet with a tainted atmosphere, high security level but rather liberal government function and look. The dice could result in interesting combinations the encouraged creative thinking.

Of course, the GM could ignore whatever results she wanted and choose at whim — something I, too, certainly engaged in. Nonetheless, I had a certain thrill every time I rolled up a planet and awaited its outcome.

Every edition of Traveller has had some planetary generator. A number options have shifted over time to reflect new understandings and science, but the core remains the same: grab some six-sided dice and generate the famous Traveller hexadecimal code for the description of a planetary system.

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