Go to Part 1

In the final act of John Woo’s Hard Boiled, the bad guys have taken over a hospital. Realizing that the cops are closing in on them, they prevent an evacuation of the hospital and take the patients hostage. Now the heroes need to figure out how to rescue the hostages and get them out of the hospital before it explodes!

In the film, the bad guys remotely lock the doors and send out roving bands of gun-toting thugs. The patients try to make their way to the exits, but many get rounded up the bad guys or get pinned down in various hiding spots around the hospital.

Let’s break down the elements we see on screen.

1. The hospital has many distinct areas — lobby, surgery, security office, nursery, stairwells, morgue, recovery rooms, admissions, entryway, and the secret armory in the sub-basement.
2. There are multiple groups of hostages, including a dozen or so babies in the nursery.
3. There are bad guys holding the hostages, seeking more patients to take hostage, and/or hunting down the heroes.
4. In addition to the bad guys, there are additional security measures including locked doors, security cameras, and explosives.
5. There are police squads active in and around the building, who have created a perimeter around the building (creating a safe zone the hostages can escape to) and who can also help the heroes in freeing, protecting, and escorting the hostages.

HOSTAGE SITE

The action in Hard Boiled seems to flow pretty freely between different locations, so we could model the hospital as a sector crawl, with the PCs hopping from one action set piece to another.

In practice, though, the tactical concerns of a hostage rescue likely require something a little more concrete: For hostages to be pinned down, for example, they need to be blocked from reaching the exits. Conversely, the PCs will need to figure out how to reach the hostages and get them out.

So what we probably want is a pointcrawl — a flowchart-style map showing how the various areas connect to each other. In designing this, there are a few things we’ll want to keep in mind:

• We should know our entrances/exits to the site — doors, windows, etc. You’ll want multiple options here, but you’ll want to make sure that each one is either secured, difficult to use, or both.
• We’ll want deep areas in the hostage site — locations that are not directly connected to the exits.
• We’ll likely want chokepoints to create tactical challenges and opportunities. Multiple levels — like the three floors of the Hard Boiled hospital — can easily create natural chokepoints around the stairs and elevators used to move between the levels.

As a pointcrawl, remember that the areas you’re mapping are not necessarily individual rooms — they might be, but they can just as easily be multiple rooms or suites. (For example, “Surgery” could include multiple operating rooms and the prep areas around them.)

HOSTAGE TAKERS & SECURITY MEASURES

We’ll write up the bad guys in action groups and organize them into an adversary roster. This will keep them fluid and let them actively respond to what the PCs are doing.

Passive security measures can be keyed to the various locations on your site map. This includes the security cameras, secret doors, locked doors, and explosives seen in Hard Boiled, but there are lots of other options, like secured computer networks, motion detectors, or environmental hazards.

HOSTAGES

Finally, we have the hostage(s). I’m going to refer to them as hostage groups, but each “group” could actually be a single individual. Your scenario might have just one hostage group or, like Hard Boiled, there could be multiple hostage groups scattered throughout the site.

Determine whether each hostage group is secured or free. Most groups will likely be secured, meaning that they’re locked up and/or being guarded by an action group of bad guys. Free groups aren’t currently in the control of the bad guys, and may even be seeking to escape by themselves, but are more likely pinned down, cut off by bad guys between them and the exit, or simply in hiding.

Optionally, distinguish large hostage groups from smaller ones by giving each of them a size. The goal here is to provide a simple model for how difficult the group is to handle and maneuver — it’s easier to move five people quickly from one area to another than it is twenty. The exact form this takes might depend on the rule system you’re using, but here’s a simple structure:

• Small: 1
• Large: 2
• Unwieldy: 3+

Finally, create a hostage roster, which will work just like an adversary roster. I think we’ll want to keep these rosters separate from each other because it will be easier to manage them in play that way.

OTHER STATS

In addition to (or instead of) Size, you might give your hostage groups other stats. For example, maybe they have a Stealth modifier that will make it easier or harder for the PCs to slip them past the bad guys. Or the PCs might need to overcome a group’s Fear DC to convince them to take action.

OPTION: ALLIES

The other police officers in Hard Boiled can be modeled in a couple different ways.

First, they establish a cordon around the hospital. This is a common element in a lot of hostage rescue stories, and it effectively just contains the bad guys (and possibly the PCs!) to the hostage site. (Your bad guys, of course, may have some secret plan for bypassing this cordon when the time comes.)

In Hard Boiled, the bad guys keep assaulting the police cordon with machine guns and rocket launchers from the upper windows of the hospital. This, however, is essentially set dressing: It provides a lot of sound and fury (and cool explosions!), but never meaningfully threatens to destroy or break through the cordon. (If you wanted to model a meaningful assault on the cordon, of course, you could probably model that as a combat encounter.)

Other police officers in Hard Boiled, however, are taking action inside the hospital: They’re fighting bad guys and helping hostages escape. If we want to include something like this in our scenario, we’ll want to design some ally groups.

RUNNING THE HOSTAGE RESCUE

We’re going to run our hostage rescue using tactical turns. As a general guideline, on each tactical turn:

• PCs and adversary groups can each move one area. (Option: They can move two areas instead, but this also increases the range at which others can potentially detect them.)
• 5 rounds of combat can be resolved.

HANDLING HOSTAGES: Hostage groups can move from one area to an adjacent area in a number of tactical turns equal to their size.

Hostage groups can be attended to by one or more PCs. Attending to a hostage group should be beneficial, and there are a few options for this (any of all which could be true in your scenario):

• A hostage group MUST be attended in order to move. (Option: Not all action groups must be attended to move, but Hapless groups must be attended.)
• Larger hostage groups can reduce the time required to move by one tactical turn.
• Attending to a hostage group may give them unique access to evacuation routes. (In Hard Boiled, for example, tactical teams rappelling from the roof can evacuate hostages through upper floor windows.)

DETECTION: Bad guys have a chance of detecting PCs in neighboring areas. (Resolve this appropriately with Stealth checks or similar mechanics.) This distance might be increased by combat or other particularly loud activities.

Hostage groups can be potentially detected at a range equal to their size. (So if the PCs are trying to move a Large group through the hostage site, any bad guys within two areas of them on the pointmap could potentially notice them.)

ALLIES: An ally group can attend to a hostage group, helping the PCs to evacuate them from the hostage site. (Imagine dialogue like, “Get these people out of here! I’m going to help Rodriguez!” and “Go to the nursery! Help Teresa get the babies out!”)

Ally groups could also get into conflict with adversary groups:

• Clearing paths.
• Blocking bad guys from passing through an area.
• Protecting hostages.

You’ll want to think about how you want to resolve these conflicts. Some options include:

• Using your RPG’s full combat system. (If the PCs aren’t with the ally group, you might run this as a cut scene where the players are controlling the allies.)
• Setting up a countdown clock. (Unless you can reach the allies in 5 turns, they’ll be overrun by the bad guys!)
• A single check or die roll. (For example, roll 1d6. On a roll of 1 the allies win; 6 the bad guys win; 2-5 it’s a stalemate, check again next turn. Shift the weighting of this roll based on the relative strength of each side.)

An ally group might also have a special resource. (Like our rappelling tactical teams or medical expertise.)

HOSTAGE NEGOTIATIONS

Negotiating with a hostage-taker can be a pretty typical element in scenarios like these, but it outside the scope of this article. This is likely something I’ll tackle as a scene structure challenge in the future.

BEYOND HONG KONG

Die Hard is an interesting companion piece to Hard Boiled for a hostage rescue scenario. In some ways, the scale is smaller: The allied cops are limited to providing a cordon (instead of taking action inside the building), the hostages are generally kept in a single large group, and the bad guys are fewer in number (although more fleshed out as individual characters). On the other hand, the scale of the hostage site (a skyscraper) is much larger, and you might find techniques from a Death Star Raid useful here. Consider, too, John McClane’s use of air vents throughout the film: Would you want to add these to your pointmap? Or do the vents provide more flexible, open-ended shortcuts?

You could also think outside of the box a bit with something like Air Force One. Obviously the plane gives a very different hostage site on a much smaller scale. Here we also find that some of the hostages are very specific individuals rather than large groups.

Pushing things even further afield, what if the bad guys are zombies and the “hostages” are people trapped by the shambling horde? Would our scenario structure hold up here? What changes, if any, might we need to make?

Go to Part 1

Most of the Mothership adventure reviews I’ve written have focused on the wealth of trifold and other pamphlet modules, but there have also been many zine-style adventures published for the game. Here’s three of them.

THE EARTH ABOVE

James Hanna’s The Earth Above is set on the fast-rotating planet or moon (it’s unclear) of Cor-9. The Helios corporation has lost contact with their mine for unrefined starship fuel and the PCs are sent in to figure out what’s happening and/or get the mine back online. It can be as simple as delivering a new communications array!

… but you’ll probably be unsurprised to discover that hostile alien monsters are the real problem.

In this case, the hostile aliens are the Pest. These are clearly heavily inspired by the Alien xenomorphs, but there’s a dash of the psychic bugs from Verhoeven’s Starship Troopers movie in there, too, and some unique twists to their multi-stage life cycle. One of these twists is that the Pest can adapt to a wide variety of food sources, but then become hyper-focused on their chosen source. In this case, they’ve hyper-focused on starship fuel, including the unrefined ore, and infested the mines.

Round that out with a great isometric map of the mines and you’ve got a solid ‘crawl.

But Hanna doesn’t stop there.

Some of the miners survived the initial attack, but are now being held prisoner in the Hab City mining camp by the android miner workers, who have suffered a malfunction due to their core directive to “protect all intelligent life forms.” The directive was meant to apply to humans, but once the androids realized that the Pest were intelligent life forms, they needed to not only protect the humans from the Pest, but the Pest from the humans. And they decided locking everyone up was the best way to do that.

This adds a completely different threat vector to The Earth Above, while also introducing a rich social component to the adventure with a diverse cast of strongly motivated NPCs (human and android alike). And Hanna’s still not done! There’s also a rogue mercenary team loose on the planet who have been dispatched by Xenos Unlimited to secure biological samples of the Pest!

These additional layers add an exponential complexity and depth to the scenario. It’s a good example of how you can take two fairly simple, straightforward adventure ideas, add them together, and get something much greater than the sum of its parts.

The only thing holding The Earth Above back is a patina of strange holes and continuity errors. It’s a difficult to nail this down, but it’s stuff like:

• The mercenary team is both close to the action and 9,000 miles away “on the other side of the planet.”
• The PCs need to deal with threat of the malfunctioning androids… so how many are there, exactly? What security measures have the androids put in place?
• How many survivors are there?
• The adventure assumes the PCs are stranded here without fuel (which ultimately motivates them to journey down into the mine), but it’s unclear why. (The Pest are shown to have drained other ships of their fuel, so perhaps one could imagine adding an attack on the PCs’ ship at some point?)

This stuff is pervasive. Even why the adventure is called The Earth Above is unclear. And the net effect, in actual play, is to throw a bunch of grit in the gears. Unless you take the time to address them in your prep, these countless little snares are going to keep catching you out at the table.

But with a little extra polish, I think The Earth Above can be a really great addition to your Mothership campaign.

GRADE: B-

THE VIEW AT THE END OF TIME

At the end of the universe, an intelligent species evolves, expands, and discovers the cruel trick played it on by fate: They have been born in an era of unimaginable scarcity, as the last stars burn out and the fabric of space-time itself is stretched thin. They look back with envy at the civilizations which were free to plunder galaxies of abundance they hatch a plan: They create a machine capable of ripping a portal through time, but they lack the energy to activate it. What they can do is send a message back in time and hope that some younger race will discover it, decipher it, and open the portal. Then they will be free to journey back and claim what should have been theirs.

Is humanity foolish enough to open a temporal Pandora’s Box?

Of course we are.

And now the PCs have been hired to step through the portal and gaze upon the end of time.

To be honest, you can just inject this one straight into my veins. Everything about The View at the End of Time is aimed straight at my heart, and Elliot Norwood does a very good job of delivering on an incredibly challenging concepts.

As the PCs step through the portal, they find themselves in the preserved ruins of an alien civilization, gazing out on the death of all things in the lurid red glow of a dying sun. Exploring those ruins, they’ll have a chance to begin unraveling the secrets of the Morrow — the name given to these future species by human xenoarchaeologists. As the aliens begin waking up from the long sleep in which they awaited their “saviors,” the PCs will find themselves caught up in the strife

If they’re lucky, they’ll realize in time that their only chance at survival — and perhaps humanity’s only chance — is to flee back through the portal and shut it down from the far side before aliens can use it as a temporal beachhead.

The View at the End of Time is beautiful and horrifying and wondrous all at the same time. I’m very much looking forward to sharing its haunting vision with my players.

GRADE: B

BRACKISH

On the strength of Norgad’s Dead Weight, which I very much enjoyed and have previously reviewed, I immediately grabbed a copy of Brackish, written by Norgad and C. Bell. I recommend you immediately do the same, because I love everything about this adventure.

The basic scenario hook is pretty typical for a Mothership adventure: A corporation has lost contact with a research outpost. They’ve hired the PCs to figure out what happened.

Where Brackish shines, however, is in concept, execution, and detail.

First, they provide a player map of the facility. This seems like a small thing, but it’s literally the first thing at least ninety percent of my Mothership tables ask for when they’re sent on a mission like this: Obviously the corporation would have a map of their facility. Obviously that would be useful. Can we have it please? Brackish anticipating this need and providing what I need is just one example of how Norgad and Bell are intensely focused on the experience of actually running and playing this adventure at the table.

For the GM, the map is supported by an excellent key. The rooms are detailed and evocative, and their descriptions well-organized and easy to use. The layout cleverly uses box outs to provide rich detail while keeping the core presentation free of clutter, and the whole thing is supported by a cleverly compressed version of the map on every spread so that you always know exactly where you are. (So clever that it was only on the second reading that I realized what it was. So bear a wary eye, but once you spot it, it’s invaluable.)

Second, they elevate the generic trope: The corporation doesn’t just want a generic “investigation.” They want the PCs to account for the whereabouts of all station personnel, and the adventure immediately gives the PCs a staff manifest including names, jobs, and descriptions:

But the corporation doesn’t just want a verbal report: They want evidence. So they provide the PCs with a cryptographic camera that they can use to record secure visual and audio evidence, and to track this the players are given a worksheet:

The concept is that the PCs will track the recordings they make, keep brief notes on what the recordings contain, and draw a sketch of what they’ve filmed.

I’ve never seen this concept before, but it brilliantly pushes the players to creatively engage with the game world in a novel way while simultaneously using notetaking to force an attention to detail, sucking them into the scenario and immersing them into the environment.

They wrap up this whole aspect of the adventure with a detailed breakdown for the GM of every NPC — their current whereabouts (dead or alive), what happened to them, and the specific evidence the PCs can use to discover (and document) their fate. In other words, a comprehensive revelation list. I’ve seen so many published adventures screw this up, effectively forcing the GM to solve the mystery for themselves before they can run it for the players, but Brackish again gives you exactly what you need.

But there’s still more!

Third, Brackish makes the environment dramatically dynamic: A malfunctioning pump is causing roughly half the facility to flood, then drain, and then flood again in a forty-minute cycle. The idea is to track this in real time, using the environment to put pressure on the players and create a sense of urgency.

This element would be a little smoother if the key provided some clear insight into flooded vs. non-flooded rom conditions, but even without that, it gets the job done.

Finally, we have the monster of the week. “A bloated corpse, skin taut and silver-smooth like a pregnant mirror.” A strange, alien artifact transforms those around it into guardians with two key features: It can pass into, through, and out of reflective surfaces. And its touch gives flesh the texture of wet clay, allowing the creature to wipe away the features of its victims. The result — gliding unnaturally and relentlessly through the murky waters — is a truly terrifying nemesis that will haunt your players’ nightmares.

After one round in the tentacles’ grip, the features of the face are left crooked. After two, spun like a whirlpool. After three rounds, the face is polished away completely. The eyeballs are still in there somewhere, sunken beneath the surface.

Then, on top of all this, Brackish rounds things out by providing a custom soundtrack (that you can also use as a countdown clock for the flooding) and a bevy of print-and-play handouts for our players.

Very few published adventures reflect what my complex adventure prep actually looks like. Brackish does. Not because I’ve done something exactly like it — I haven’t! — but because Bell and Norgad have layered multiple scenario and scene structures together to create the desired situation and effect. It’s a technique that not only lets you prep and run complex scenarios with confidence, but delivers truly unique experiences — experiences like Brackish! — for the players.

GRADE: A

Review Originally Published in Games Unplugged (July 2000)
Republished at RPGNet – May 22nd, 2001

Heavy Gear is headed for the stars.

Activision’s Heavy Gear II computer game focuses upon the trial by fire of the 1^st Black Talons, the inaugural squadron of a new Terranovan fighting force designed to take the fight against the Terran aggressors back to Caprice. The Black Talon Field Guide, designed as a companion to this game, serves as a massive campaign resource for setting your own Heavy Gear games within the auspices of the expanding Black Talon program, or the wider struggle against Earth as a whole. The book is more than capable of standing on its own, but will be strengthened for some campaigns with the use of Tactical Space Support (detailing specialized rules for space combat) and Life on Caprice (the core sourcebook describing the planet of primary operations for the Black Talon program).

The only serious weakness of this book is a slight confusion over the time period when the material is set – the book is primarily presented as taking place after the events of the Heavy Gear II computer game, but some sections of the book instead seem to slip back to a time period just before the first Black Talon mission was launched. This is combined with numerous instances of copyediting errors and typos, which continue to make their debilitating presence felt in Dream Pod 9 products.

But these minor flaws are far outweighed by the sheer wealth of material which is present here. Some sections of the text will be familiar to veteran Heavy Gear players (but this is to be expected since the book is designed for new players brought to Heavy Gear by the computer game), but even they will be able to wade hip-deep in this one. When you can turn the page of a roleplaying supplement and say, “My god, there’s more?!” you know you’ve got a winner. This one’s a winner.

Grade: A

Writers: Marc-Alexandre Vezina
Publisher: Dream Pod 9
Price: $20.95
Page Count: 128
ISBN: 1-896776-63-9

This review is shorter than my typical reviews because it was written as a non-featured review for Games Unplugged magazine and I was writing for a very specific word count. One of the interesting things about GU reviews is that they would publish short recap versions of the review in subsequent issues, providing a much larger wealth of information in each issue. These recaps were written by the original review authors. Here’s the one I wrote for this review:

Recap: Heavy Gear is headed for the stars. The Black Talon Field Guide, serving as a companion to Activision’s Heavy Gear II computer game, serves as a massive campaign resource for setting your own Heavy Gear campaign within the auspices of the expanding Black Talon program. A sheer wealth of material makes this a highly desirable book for neophytes and veteran players alike.

I found that the recaps were an art in themselves: How to capture the key points in a VERY limited space, while still being a comprehensible to new readers.

Revisiting these older reviews really makes me want to run all the Heavy Gear campaigns I never got a chance to when I was younger.

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

Long ago I wrote a guide to grades here at the Alexandrian, but at the time I was mostly focused on reviewing narrative works (books, films, etc.). I use the same scale and same basic principles when providing review grades for RPG books, but people are sometimes confused about why I might give an adventure I liked a grade of B- or the like. So I wanted to update the grading guide to discuss how I grade RPGs, supplements, and adventures.

Broadly speaking, here’s how I think of the letter grades:

A – Excellent
B – Good
C – Average/Mediocre
D – Poor
F – Worthless

To get a little more specific, let’s first talk about how I use grades for roleplaying games:

A — This game is brilliant. I think it’s destined to become a classic. I’m excited to play it and I think you should play it ASAP. Even if it’s not the genre or type of game you might usually play, you might still want to check it out.

B — This game is very well designed. I recommend it.

C — This game is okay. If it’s in a genre you particularly like and if the mechanics sound like the sort of thing you usually enjoy playing, you’ll probably find something to enjoy here. But there are a lot of problems that will likely detract from the playing experience. Expect to use a lot of house rules here.

D — This game is seriously flawed. I wouldn’t refuse to play it, but there’s not enough here for me to recommend it on any level. Approach with extreme caution.

F — Complete and utter waste of time. Unless someone is paying you to play this game, don’t bother.

And for supplements:

A — This supplement is essential. Assuming you have interest in the topic covered by the supplement, it’s a no-brainer to use it in your game.

B — This is a very good supplement. I recommend it, and you’ll likely find it enhancing your game in a lot of ways.

C — The supplement is functional. It’s giving you the rules or setting information you need for whatever the topic of the supplement is. But there’s also probably a bunch of stuff you’ll want to ignore, tweak, or need to expand to make it usable.

D — This supplement is seriously flawed. I think you’ll end up ignoring most of it, but there a few gems hiding in here that might be worth prying out.

F — Complete and utter waste of time. Whatever the supplement is talking about, you’d be better off designing from scratch.

And for adventures:

A — This adventure is a classic. It makes me want to drop everything else and start running it for my players ASAP. Everyone should play this one.

B — This adventure is very good. I’d be willing to run this adventure without making any changes (although, in practice, I probably will).

C — This adventure was okay. It would be fun to run, but there are significant issues that I would feel compelled to fix before trying to run it.

D — This adventure is seriously flawed. It’s not a complete waste of time and if the concept sounds intriguing it may still be worth checking out. But there’s not enough here for me to recommend it, and you’re probably going to have put in a lot of work to make it playable. Approach with extreme caution.

F — Complete and utter waste of time. Probably not even worth strip-mining.

CONCLUDING THOUGHTS

Pluses and minuses generally modify or color the grades described above. An A- would be an excellent adventure, for example, but have a few flaws you might want to address before running it. A B+ adventure, on the other hand, would be a really good adventure with a really awesome elements (characters, scenes, situations, concepts, etc.) scattered about.

An A+, it should be noted, is reserved for a game or adventure that immediately finds its way onto my personal Top 50. This isn’t an exact science, since I don’t actually keep a precise Top 50 list, but if I’m giving it an A+ it’s because it compares favorably with Ten Candles, Technoir, Alice is Missing, Blades in the Dark, Suppressed Transmissions, Masks of Nyarlathotep, Banewarrens, Eternal Lies, Dracula Dossier, and City of Lies.

The basic theory of this grading system is Sturgeon’s Law: 90% of everything is crap. I figure if something falls into that 90% range, then it’s not worth wasting the time determining exactly how crappy it is — all of that stuff is just graded F. The other grades deal entirely with the 10% of stuff that’s in any way worth taking our time to consider.

I love using headlines as a GM.

In my campaign status document, these are short descriptions – usually only one or two sentences long – of current events, like:

• Solarians are preparing a pilgrimage to the Ternary.
• The Alshaahin megacorp announces new funding initiative for a colony in the Jadis system.
• The Hephaestus deuterium mining station at Ariel I was forced to shut down operations for five days due to equipment failure. Fuel prices have spiked in response.
• Crackdown on O2 debtors; hundreds thrown into Doptown.

These are not, generally speaking, events that the PCs are directly interacting with. (Although that can always change.) They’re background events: Just like there’s stuff that happens in the real world that you don’t personally witness, so, too, is there stuff happening in the game world that the PCs aren’t present for.

(Although once you’ve established your headlines, it can be fun to start weaving in references to stuff the PCs are responsible for.)

You can deliver “headlines” in a bunch of different ways: The PCs might literally check the newspapers. A news story might be playing on the TV in the dive bar where they find Tony the Rat drowning his sorrows. Or you might opportunistically weave them into any conversation with an NPC. They’re versatile tools that also create a dynamic sense of depth and motion in the game world.

When I’m running a dedicated campaign, managing the headlines is pretty straightforward: I keep a list. When the PCs hear a headline, I cross it off the list. Then I periodically update the list with new entries.

And that’s it.

But when I’m running an open table, things get a lot more difficult.

The difference, of course, is that when I use a headline at a dedicated table, it means that all of the players have heard it. At an open table, on the other hand, only the players in the current session hear it. There might be dozens of other players participating in the campaign who didn’t: Imagine living in a world where only five people heard about the Japanese attacking Pearl Harbor. Not only would that be weird, but you’d also have difficulty figuring out the next few years of current events in the United States.

The obvious solution would be to simply share all the headlines with all the players: If your campaign has a Discord server, for example, you might make a point of posting all the new headlines after each session.

I’ve found, however, that this isn’t terribly effective. It tends to require extra effort for me (because prepping a couple sentences I can riff on during a session is different than sharing a coherent written narrative) and, because it’s not a lived experience, it tends to blunt the impact on the players. Plus, part of the fun of an open table campaign is the PCs having disparate experiences, so you need to balance that against common knowledge.

The bottom line is that I limit community news postings to major events (like Pearl Harbor). But for everything else I need a different solution.

HEADLINE PROCEDURE

HEADLINES TABLE: Create a short list of active headlines and organize them into a random table. I recommend keeping the number of headlines relatively small and using a d6 table. (I’m using a d5 table for my Mothership campaign because the system uses d10s.)

SESSSION HEADLINE: Roll once per session on the Headlines Table. Find some way of weaving this headline into the current session.

USING HEADLINES: In addition to the session headline, you can also use additional headlines (rolling or choosing as appropriate). This might be additional procedural generation (in my Mothership campaign I make a Life Events check for each PC and a Headline is one possible result), but can also be opportunistic (e.g., the PCs go looking for rumors or are eavesdropping on NPCs who start chatting about current events). Either way, when you use a headline in a session, tick the headline. (Each headline should only be ticked once per session, no matter how many times you actually use or reference the headline.)

CYCLING HEADLINES: After each session, check each headline by rolling 1d10. If the roll is ≤ the story’s ticks, the story is dropped from the Headline Table. Replace it with a new headline.

If a headline was ticked in the previous session but not eliminated, advance the news story, adding additional details, reactions, fallout, and the like.

Note: Just like in the real world, some stories stick around in the headlines for days or weeks. More importantly, this iteration means most stories get repeated multiple times, exposing them to more players, but the updates also keep the headlines fresh for players seeing them again.

EXAMPLE OF PLAY

Let’s say that I launch a new campaign using the same headlines I used as an example above, but now arranged as a random table:

1. Solarians are preparing a pilgrimage to the Ternary.
2. The Alshaahin megacorp announces new funding initiative for a colony in the Jadis system.
3. The Hephaestus deuterium mining station at Ariel I was forced to shut down operations for five days due to equipment failure. Fuel prices have spiked in response.
4. Crackdown on O2 debtors; hundreds thrown into Doptown.

During the first session I roll 1d4 and get 4, so as the PCs are shopping on Prospero’s Dream at the beginning of the session, I mention that they see Tempest mercenaries raiding a residential block, checking oxygen IDs, and arresting debtors. I also tick the headline:

4. Crackdown on O2 debtors; hundreds thrown into Doptown. ✔

At the end of the session, I check the headline by rolling 1d10 and get a 5, so the headline remains on the table and is instead advanced. In addition, the group accidentally unleashed a bioweapon at the Nanopore Genlabs facility on Katerineta, and I decide that’s a big enough event it would make headlines. So I update the headlines table:

1. Solarians are preparing a pilgrimage to the Ternary.
2. The Alshaahin megacorp announces new funding initiative for a colony in the Jadis system.
3. The Hephaestus deuterium mining station at Ariel I was forced to shut down operations for five days due to equipment failure. Fuel prices have spiked in response.
4. Crackdown on O2 debtors; hundreds thrown into Doptown. ✔
   • Ukka, the Head Gardener of the Solarians, is attempting to recruit Public Defenders to help the arrested O2 debtors.
5. The Nanopore Genlabs facility in Zoyechka on Katerineta has been placed under quarantine by the planetary government.

Fast forward a few more sessions and my headlines might look like this:

1. Solarians are preparing a pilgrimage to the Ternary. ✔✔
   • Solar astrological survey will be departing soon.
   • Ukka hopes that the pioneer pilgrims will depart in 6815.
2. The Alshaahin megacorp announces new funding initiative for a colony in the Jadis system.
3. Novikov protests illegal sleeve trade on Prospero’s Dream. ✔
   • Yandee, leader of the Golyanova Bratva, denies permission for an Investigator General to enter Prospero’s Dream.
4. Crackdown on O2 debtors; hundreds thrown into Doptown. ✔✔✔✔
   • Ukka, the Head Gardener of the Solarians, is attempting to recruit Public Defenders to help the arrested O2 debtors.
   • Brunhildh, Chief Adjudicator of the Court, expresses regret public defender advocates have recently died in trial by combat. “This is what happens when the inexperienced attempt to defend the guilty. Justice will prevail.”
   • Hunglungs air Gaussian anonymized footage. Wearing Rorschach masks they demand all O2 debt in the Choke be forgiven.
5. The Nanopore Genlabs facility in Zoyechka on Katerineta has been placed under quarantine by the planetary government. ✔
   • Nanopore employees released from quarantine, but facility remains locked down.

The Hunglungs threats are a major event, so when those get triggered I’ll also send out a community-wide headline via our Discord server.

You can see how using the procedural generation has caused some stories to get hit more often (becoming surprising backbones of the campaign world), while others keep getting passed over. (I guess Alshaahin still keeping a cap on their expansion plans.)

DESIGN NOTES

This system creates a somewhat amorphous cloud of current events, and that’s by design.

As noted above, using a “standard” system of news events keyed to specific dates didn’t work at the open table because of skipped time and “missing” players.

With game time synced to real-world time and the implementation of downtime actions, I did have the option of continuing to link specific headlines to specific dates, simply delivering the headlines they’d “missed” to PCs at the beginning of each session. This, too, proved unsatisfying. With overlapping player and character timelines, it created a weird need to synchronize PC downtime in a way that slowed play and created a lot of weird headaches. Also, since some players often take long breaks between sessions in an open table, it also created novel bookkeeping issues (how long do I keep older headlines in my active notes?) and would often result in unexpected current event “deluges” that ended up just being unsatisfying exposition dumps without any sense of a lived experience.

In short, a lot of showing rather than telling, in a way that was painful to use and disappointing in its effect.

There are exceptions, of course. Major events so transformative that it’s important to nail down exactly when they happened. These are, of course, precisely the headlines that get shared with the whole community. (In practice, I’ve found this is often flipped around. Rather than identifying something as a major event and, therefore, setting the date, it’s rather realizing that I really want or need to know what specific date something happened that make me realize that it’s a major event and handle it accordingly.)

I’m only about a dozen sessions into using this new system for headlines. (That’s why I’m still referring to it as untested.) But I’ve been very pleased with the results so far.