Tagline: A masterpiece. ‘Nuff said.

This book is a masterpiece.

First, let us look at the design philosophy of the Heavy Gear line of products. Like any other roleplaying game on the market the first product you are expected to buy is the rulebook. Currently in its second edition as I write this, the rulebook contains a regrettably brief coverage of the world of Terra Nova, the setting of the game. ‘Regrettably’, I say, because the very best thing about the game (despite the fact that the Silhouette engine on which it is based is one of the best on the market today) is the rich and inspiring world in which it is set. This isn’t much of a shortcoming, however, because the main rulebook contains not only a complete roleplaying game but a complete tactical game as well (which is beautifully based on the same basic system and principles). The rulebook is a masterpiece of system design in its own right.

After purchasing the rulebook your next step should be to pick up Life on Terra Nova (also in its second edition as I write this). Life on Terra Nova is the key to a magnificent, layered, believable, living world. It is without equal in terms of its originality, depth, and potential. Don’t be fooled into thinking that because the game is called Heavy Gear that the primary focus of the game is necessarily on the gears – the primary focus is on the characters and the world. The gears (as DP9 likes to point out) are merely the coolest selling point available. Like the rulebook, Life on Terra Nova is a masterpiece.

Once you own these two books you have the core of the Heavy Gear product line in your possession. At this point (as a roleplayer) you can go in several directions: You could purchase the host of technical supplements for the game (primarily for Tac use, but also useful for roleplaying campaigns with a technical or gear-slant to them). Or you could look at buying one of the regional sourcebooks (some of which, like The Paxton Gambit, double as campaign jumpstart kits). Either way you’re on firm ground. I have yet to buy a Dream Pod 9 product that has come anywhere near to disappointing me – even their Character Compendium is an intriguing, exciting product for god’s sake! How do you pull that one off?

But the most original aspects of the Heavy Gear product line (in my opinion) are the storyline books and the Timewatch system. To understand why I feel this way you must first understand why I get frustrated with many other roleplaying game lines – such as Trinity or Fading Suns. While I feel both of those games are some of the strongest competition to Heavy Gear’s title as reigning champion of setting design, those settings are damnably difficult to keep up with. Trinity, for example, requires you to purchase adventure supplements in order to keep up with the developments of the world with any cogent completeness. Another excellent example of this trend is Shadowrun, a campaign setting which has developed through several years of “game time” and which intrigues me deeply, but which will never be able to attract much of my money because trying to buy enough product to untangle what the setting is and where it has been is simply too gargantuan a task for me.

Not so with Heavy Gear (which is to Shadowrun what X-Files is to Babylon 5; both have over-arcing storylines, but only one was worked out in advance… and it shows). First, each product (with one exception where they screwed up) has a date printed on the backcover: the cycle in which the product is set. This simple innovation (known as the Timewatch system) seems simple and obvious, but it is has never been done before. It means that it is possible to figure out when each product is set in the timeline of the setting with a simple glance – you don’t have to wonder, as you stare at a shelf full of product, which ones you should buy first in order to coherently understand the development of the fictional world. You know right off the bat.

The second element which makes Heavy Gear better than Shadowrun or Trinity, however, are the storyline books (of which Crisis of Faith is the first – see I’m going to get to an actual review of this product eventually). The storyline books cover the major developments in the meta-story of the world over the course of a couple of cycles (the Terranovan equivalent of years). This means that you don’t have to buy, for example, the campaign sourcebook The Paxton Gambit (which might be of negligible or nonexistent use to you) to know about the BRF uprising in Peace River in TN 1935; it will be summarized in the second storyline book (Blood on the Wind) just as the events in the campaign book The New Breed are summarized in Crisis of Faith. Other games have occasionally issued updates or new editions of products, but nothing of this methodical nature. In addition the meta-story of Heavy Gear is like that of Babylon 5 (as noted above) – it was worked out in advance and as a cohesive whole, instead of merely being thrown together as things develop. If some development is hinted at and then carried out later it isn’t because someone had a really cool hint and them somebody else had to ad hoc a solution to it, it’s because the guys down at Dream Pod 9 are really on top of the ball. (The closest I’ve seen anyone else come to this currently is Andrew Bates and Trinity — I heartily encourage him to embrace the storyline book concept from Dream Pod 9 in developing the very intriguing meta-story he is developing there.)

I could go on and on about other brilliancies in the design of the Heavy Gear product line (such as the chesspiece system which tells you at a glance how important DP9 NPCs are to the storyline – allowing you to gauge how much freedom you have in manipulating their lives in your own campaign), but instead I’m going to fulfill my obligation to you and start talking about Crisis of Faith in particular now that you understand the design philosophy which gave it birth.

As I mentioned above, Crisis of Faith is a masterpiece. It also has the potential of being a very misunderstood one.

Specifically, Crisis of Faith can be misunderstood due to its size and due to its content. The first is simple to understand. Like Making of a Universe (a behind-the-scenes look at the development of the Heavy Gear setting and reviewed by myself elsewhere on RPGNet), Crisis of Faith is a half-sized, 112 page book. It simply looks small on the shelf and the fact that it is no cheaper than your average roleplaying product made it look skimpy for the dollar value. Personally I have no problems with this format – particularly since it allowed the inclusion of multiple full-color sections (more on the art below).

The second misunderstanding arises because, quite frankly, this book doesn’t have any immediately applicable usefulness in a roleplaying (or tactical) campaign. Your average sourcebook gives you floorplans or NPCs or something of immediate, tangible use. Crisis of Faith gives you a narrative of events. This has led some to ask, “What good is it?”

Those of you who have read my review of Making of a Universe have probably already figured out where I’m going with this – in short, Crisis of Faith is being judged as something which it is not. Like attempting to judge your daily newspaper in terms of how well it succeeds at being the Great American novel, judging Crisis of Faith as a traditional roleplaying sourcebook is a waste of time. Crisis of Faith attempts to do two things, and it does these things very well:

First, as detailed above, it is primarily useful to the roleplayer or tactical player by providing a narrative of events transpiring in the setting of the Heavy Gear game in a single resource – meaning that you don’t have to buy every product released for the game in order to keep up with the major developments in the world as a whole. The storyline books (along with Life on Terra Nova) free you from that necessity, allowing you to pick and choose the products you need to buy (as much as you “need” to buy any form of entertainment). Naturally if you want a more comprehensive look at a particular event or a particular location then you buy the applicable sourcebook. The key here is that Crisis of Faith (and its sequels) means that you can keep track of the world without having to religiously deposit your weekly paycheck at the hobby store in order to keep up with every release. This is a good thing in my opinion. (The only flaw in this plan is that the Heavy Gear setting is so fantastic that it can prove addicting – forcing you to buy all the products anyway. Oh well. That’s a flaw I, for one, can live with.)

The second function of Crisis of Faith, however, is to tell a good story. The design team down at Dream Pod 9 have realized the simple truth that roleplaying games provide a medium for telling stories in a way which no other medium does – both at the meta-level and at the personal level. At the meta-level the story is the comprehensive development of the world. At the personal level the story is that of the particular PCs. Both stories by themselves (if the particular campaign in question is a good one) can be enthralling and entertaining, but when you weave them together (the personal story taking place in the backdrop provided by the rich, evocative, intriguing meta-story) you have a dynamic process taking place.

And the story being told by Dream Pod 9, and as epitomized in Crisis of Faith, is one of the best. Intrigue, power, politics, war, love, murder, mayhem. You name it and Heavy Gear has got it.

And if that’s all there was to it, Crisis of Faith would already be one of the classics in this industry. But I have yet to deal with another pillar of strength in the Heavy Gear: The Artwork.

[ A brief aside: Heavy Gear is a game seemingly possessed of no weaknesses and excellence in everything. No other line of games in the history of this industry can boast of such a consistent level of quality throughout their entire product line. Usually you can find, even in the best of games, some throw-away product or another where the writing or the art or the basic concept simply wasn’t all that strong. Not so Heavy Gear (or any other Dream Pod 9 product). The strength of their product methodology and their writing has already been dealt with, now let’s look at the artwork. ]

Quite simply no bad artwork has ever appeared in a Dream Pod 9 product. Ever. And that’s a pretty impressive thing considering the dozens of products they’ve produced and the hundreds of illustrations which accompany each one. Quite simply this excellence can be ascribed to Ghislain Barbe. His style for Heavy Gear has been heavily influenced by anime and this has led, occasionally, to the mislabelling of the game as an “anime game”. It isn’t. It is, however, superb – you merely have to flip through any Dream Pod 9 product to see that. It’s simple line art which is crisply inked and then colored by computers (even when the artwork is produced in black and white for the actual book), producing a rich depth to every piece.

The reason I bring this up is that Dream Pod 9’s products are the most visually dynamic and consistent products in the industry ever. And Crisis of Faith is, quite simply, the best of the best.

(To fully appreciate this you should note that Dream Pod 9 “throws away” artwork which most companies would give their left arm’s for by making them smaller on the page in order to produce a visually rich and dynamic whole. Crisis of Faith is an excellent example in which almost every page has three small illustrations (smaller than my thumbnail) in the upper corner – each of which directly reinforces the text. Some of these pieces are recycled from other works, but most of them are originals created specifically for Crisis of Faith.)

Every page in Crisis of Faith shows a brilliancy of lay-out and artistic design which, if everyone else in this industry possessed only 1/10th as much skill, would improve product quality exponentially. Unlike many “artistic designs” almost no element on the page is there merely for the sake of its own existence. Despite that simple utilitarian elements (page numbers, the date of the material being discussed, the line which separates the columns) are beautifully blended into a powerful whole in a masterful display of raw talent. Then there are the color sections, which you can just stare at for extended periods of time.

Did I mention that the last six pages contain a surprise, cliff-hanger ending so shocking that you will be begging for more?

So, to sum up: Crisis of Faith is part of the best game line in existence today. Crisis of Faith is the first in a series of “storyline books” which, if there is any justice in the world, will revolutionize the way in which game settings are developed in this industry. Crisis of Faith tells one of the best stories ever created, taking advantage of the full potential the roleplaying medium has to offer. Crisis of Faith is quite possibly the most visually dynamic and powerful roleplaying product ever designed. Crisis of Faith is one of the best roleplaying products ever. Period.

I know I’ve said it before (and I will undoubtedly say it again), but if you aren’t involved in Heavy Gear you’re missing out on one of the best things this industry has ever had. If you haven’t already done so, go out and buy the second edition of the rulebook, the second edition of Life on Terra Nova, and Crisis of Faith. You won’t be disappointed.

[ One final note: You should read Crisis of Faith before reading the second edition of Life on Terra Nova. This is due to the biggest mistake Dream Pod 9 has ever made, which is detailed in my review of the second edition of Life on Terra Nova elsewhere on RPGNet the Alexandrian. In short if you don’t read Crisis of Faith first the ending will be spoiled. (But then again, if you paid attention to the Timewatch system you’d already know that – since the second edition of Life on Terra Nova takes place in TN 1935, the cycle in which Crisis of Faith ends. ]

Style: 5
Substance: 5

Author: Dream Pod 9
Company/Publisher: Dream Pod 9
Cost: $29.95
Page Count: 112
ISBN: 1-896776-21-3

Originally Posted: 1999/04/13

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

Tagline: This is a beautiful book which some will find useful but which all should find wonderful.

The Making of a Universe: Heavy Gear Design Works is something which has never been done in the roleplaying industry: A peek behind the wizard’s curtain. Fans of speculative fiction have seen this type of thing before – the worlds of Middle Earth, Pern, and the Wheel of Time (among others) have all been subjected to visual tours, atlases, and looks at the “research materials” their creators produced before sitting down to write their stories.

What makes Heavy Gear unique, however, is that the universe was conceived as a whole. It was not produced so that a story could be set in it, but rather as a product which could stand on its own. Its creation was a collaboration, combining not only the written word but also the visual elements of the world in an organic whole (unlike Middle Earth, Pern, and the Wheel of Time wherein artists would come in after the author finished and conceive visually off of a finished concept). The result has been widely touted as one of the most original and creative settings ever designed – not just for roleplaying games, but period. And, in my opinion, the world of Heavy Gear deserves every one of those kudos.

And The Making of a Universe gives us a look at the design process which led to the creation of this wondrous place. That’s a pretty cool concept.

Indeed, this book lives up to it. It’s cool. Despite its half-size format (which has since been abandoned by Dream Pod 9 after the complaints associated with Crisis of Faith) The Making of a Universe is a visual tour-de-force showing in great detail the gradual development of the style, the Gears, the tech, the culture, the architecture, the creatures, the characters, and an entire living world. It’s breathtaking.

So that’s what this book is – a wonderful guided tour of how a universe was made (check out the title!); so what is it not?

The Making of a Universe is not a roleplaying supplement. It was not designed to be useful to a roleplaying session in the same way which a sourcebook or a campaign book would be. It treats the Heavy Gear universe as being separate from the roleplaying or tactical games – as something with a legitimate existence outside of “gaming”. It does so deservedly, but this has lead to some confusion over this product. Understand that if you are looking for something which would be useful for your gaming experience this book is probably not going to be your best buy. If you love the Heavy Gear universe as much or more than you love the actual game (and I know this statement applies to a lot of Heavy Gear players), then you’ll love The Making of a Universe. Buy this book.

Before closing, let me say that The Making of a Universe isn’t entirely worthless as a resource. In much the same way which the Illustrated Guide to Pern would be useful in running a Pern game, so The Making of a Universe is useful to a game set in the Heavy Gear universe. For example the Gear Showcase groups together a lot of information which I occasionally use as an uber-resource in referencing the broad spectrum of Gear technology (similar sections exist for ground and air vehicles). The section which shows detailed, isolated pictures of weapons, sensors, and other technical equipment has proven to be ocassionally useful in the extreme. So this book isn’t useless for such applications – that’s just not what it’s primary goal is and it shouldn’t be judged as a roleplaying resource.

Style: 5
Substance: 5

Author: Dream Pod 9
Company/Publisher: Dream Pod 9
Page Count: 112
ISBN: 1-896776-31-0

Originally Posted: 1999/04/13

In many ways, this is a book without a clear identity. (And, as my review tried to explain, that’s more than okay.) But that lack of a clear identity also posed a challenge for me in reviewing it. I remember struggling mightily with that challenge. And, in retrospect, it’s a challenge that I ultimately didn’t conquer.

Still a good book to check out if you’re a Heavy Gear fan, though.

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

Harry Potter and the Sorcerer’s Stone is a novel written using the English language. It was written by J.K. Rowling, who has also written several other novels.

As far as the novel goes, it has a nice cover featuring a picture of Harry Potter on a broom. It wraps-around fully and even goes onto the inside flaps. It’s rather whimsical and is one of the reasons that I bought the book. The book is a 6″ x 9″ hardcover with a glue binding. The type is very legible in 12-point Adobe Garamond. The interior art is all pencil drawn and of decent quality. I have seen better in other books, but it’s not bad. The margins are fairly large and the type is widely spaced. I did not notice any problems with proofreading.

On the contents. The inside covers are blank and navy blue in color. The first page contains the title, then there’s another page with title, author, and illustrator. The third page contains the copyright notice followed by a table of contents. There are seventeen chapters.

On page 9, the action starts. Harry Potter is a young boy who has been orphaned. This goes on for 17 pages, then we skip ahead a decade or so. Things proceed in a linear narrative from that point forward.

At the end of the book, there’s a couple pages detailing the type font and various other credits.

Overall, the novel was quite good. The format is a bit worn (young hero does heroic stuff), but there is a good mix of mystery and magic to offset this. It is supposed to be the first in a series of novels focused on Harry Potter, so the characters should see some much-needed development in the future.

I recommend this novel and await the next installment.

Tagline: Terra Nova, the colonial world in which the Heavy Gear game is set, is the best setting for a roleplaying game ever. Period. Life on Terra Nova is your key to that wonder.

I had a difficult time with this review. The back of mind kept getting plagued with the notion of marking down one or both of the scores for various shortcomings. Eventually, though, commonsense won out: This book may have a couple of problems, but that doesn’t change the fact that it’s one of the best sourcebooks you’ll ever buy.

So what were the problems?

Okay, first off Dream Pod 9 needs to seriously look into how their proofreading procedures are being carried out. This book was just plain sloppy. When I encountered two significant typos in an early discussion of what is probably the most signficant event in recent Terra Novan history I realized I was in trouble; it was a little like having “ROSEBUD” spelled wrong at the end of Citizen Kane. When I realized that they had actually succeeded in missing the insertion of italics (the editorial marks are still present in at least two locations)… well…

Second, I continue to hold reservations about their second edition products. One of the things which I really liked about the Heavy Gear product line was the fact that you picked up the rulebook and it gave you a baseline to the way the world was in TN 1932. Then you could pick up other sourcebooks (which were conveniently labelled with the date on the backcover) to supplement that baseline as you needed it, relying on the storyline books to advance the world for you. The second edition rulebook advanced the clock to TN 1934, effectively eliminating most of the first storyline book. This second edition of Life on Terra Nova advances the clock again, this time to TN 1935. I just don’t like it. Where I initially praised the Heavy Gear line of products for the clarity of its presentation and development, now there’s a muddle. The primary sourcebooks are set in TN 1934 and TN 1935 – but the regional sourcebooks published to date all take place before those dates. This taking a general survey course in physics which covers the cutting edge of development, but then spending the rest of your college career studying the Aristotelian worldview. Although there’s nothing you can do about the past, I’d encourage Dream Pod 9 to stop this here. I think I speak for all Heavy Gear fans when I say that we’d much rather have new stuff produced in a coherent and progressive order, rather than continually revamping the core products. The “baseline and expand” approach you’ve developed means you don’t have to do that the way most other systems do; and, in fact, if you do follow that course you end up making things worse.

Third, although many things have been expanded in this version of Life on Terra Nova (including a complete mini-sourcebook of the Port Arthur area), several things have also been excised. The new material is (of course) superb, but some of the nice touches of the original – particularly in the history section of the product (stuff that can never be effectively presented elsewhere) – are no longer there. The devil is in the details, and so is the strength of roleplaying settings. Particularly this one.

Fourth, although much has been added, much has ben changed, and some has been lost, there is some stuff which has been copied verbatim. Unfortunately not a lot of thought was apparently always put into this. For example, in the section on the city-state of Exeter the following passage appears in both the original Life on Terra Nova (set in TN 1932) and this new version (set in TN 1935): “Exeter’s most notable export is ‘Pride of Exeter’ brand premium ice cream. Numerous Pride of Exeter shops have opened up all around the CNCS over the past forty years. However, sales recently decreased after the Norlight Inquirer reported that Pride of Exeter brand ice cream was laced with mind-controlling substances. The ice cream’s manufacturer is currently suing the Norlight Inquiry for libel and lost sales.” Uh huh…. Apparently the definition of “recent” is different on Terra Nova.

These may all seem like nitpicks to you – and you’d be right. So why am I spending so much time commenting on them? Because Dream Pod 9 has set a very high standard for itself. And because there’s nothing else bad to say about this product. It’s fantastic.

The setting for the Heavy Gear game, primarily the planet Terra Nova, is possibly the best setting for a roleplaying game on the market today. Some other settings may come close – and some may even be its equal – but none exceed it. And Life on Terra Nova is the key to it all.

What makes this setting so special?

Well, for example: That small quote about Pride of Exeter brand ice cream mentioned above (however out of place it may be in this new product) is simply one minor example of all the important little details which Dream Pod 9 has carefully and consistently sprinkled across their work. This is a world where actual recipes are available for cooking with the indigenous life of the alien planet.

Next realize that the world they have developed is not composed of bland vanilla, it is an onion with layer upon layer which can peeled off. Most roleplaying settings can be reduced to a single feeling and style. Some (if you’re lucky) have a selection of styles, carefully separated across the map. Not Terra Nova. Here you have a planet broken into two hemispheres and a broad equatorial region. The equatorial region (the Badlands) is generally characterized as a sort of Wild West meets Arrakis, but within that broad characterization you have a myriad variety of unique communities – from the city composed of outcasts left behind when Earth’s invading forces retreated to the corporate arcology to small villages to raiders to wandering nomads.

In the southern hemisphere you have the Allied Southern Territories, a confederation composed of four leagues: the Southern Republic, Humanist Alliance, Mekong Dominion, and Eastern Sun Emirates. The Southern Republic is generally imperialistic and tending towards decadency – but within it there is the bureacuratic capital of Port Oasis, the rebellious city-state of Saragossa, the university city of Newton, and nearly a dozen others; each unique, each part of an integrated whole. The Humanist Alliance is a designed utopia, again ranging from carefully planned communities to a city completely beneath the surface of the earth. The Mekong Dominion is a corporate culture; the Eastern Sun Emirates are feudalistic and debauched.

In the northern hemisphere you have the Confederated Northern City-States: the Northern Lights Confederacy, the United Mercantile Federation, and the Western Froniter Protectorate. Again each is unique (from the religious orientation of the NLC to the industry focus of the UMF) and is composed of many different communities which are equally unique. Everything blends together into a synchronous whole, just like the real world is composed of disparate parts.

Each community is given a distinct architectural style and culture. Each government is formalized in a unique way – a way based on firm historical reasons. The people live and breath because you are given the details which make up their collective lives. Each city exists for a specific reason, not just because someone put some dots down on the map. The roads go places because the patterns of trade and industry say they should, not because someone needed to connect two towns with a line. The guys at Dream Pod 9 have done such a great job that you even accept the existence of mecha – because they’ve made the Gear technology believable and then proceeded to realistically integrate it into the society. Add to all of this a complex web of politics and intrigue and a developing meta-story that leaves you drooling in anticipation of the next release just so you can see where it’s all going.

What more can I say? You simply can’t find a better game setting. Period. If you don’t own this book you’re missing out big.

Style: 5
Substance: 5

Author: Philippe Boulle, Gene Marcil, Guy-Francis Vella, Marc-Alexandre Vezina
Company/Publisher: Dream Pod 9
Cost: $23.95
Page Count: 160
ISBN: 1-896776-40-X

Originally Posted: 1999/04/13

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

3:16 Carnage Amongst the Stars is a truly fascinating game which is also heartbreaking in its broken promise.

The game is set around a science fiction military force: Something of a cross between Starship Troopers, Aliens, and Warhammer 40k. To quote from the rulebook:

Their whole mission was to fight, and defeat, anything in the Universe that they could find. Alien civilizations, intelligences, and life of any kind were to be wiped out to protect the future safety of the people home on Terra. Threats were to be neutralized at their source.

Terra is a prosperous place. (…) Paradise is a reality. When the Council formed the Expeditionary Forces they found it easy to recruit. After all they offered a life of excitement and adventure. See the cosmos, travel and live life to the full. Don’t drop yourself in a suicide booth, serve your fellow Terrans by joining the Force.

I want to emphasize the stuff that this game gets right: It positively drips with atmosphere. Its simple mechanics work hard to reinforce that atmosphere and to encourage creative character development. It even includes strong procedural content generators to keep the game fresh and easy to prep. Even more impressively, the mechanics and content generators are structurally subtle: There is a “hidden” game that lies behind what appears, at first glance, to be a simplistic game of “blow up the aliens”. As that game emerges, 3:16 will naturally (and unexpectedly) grow in depth and detail. What the players choose to do with those revelations remains up to them.

I want to emphasize all this stuff, because I’m now going to talk almost exclusively about the fatal flaws that, ultimately, cripple the game.

SHALLOW EXPLORATION

A 3:16 campaign is broken down into planetary expeditions: For each alien planet, the GM is given a budget of threat tokens. These threat tokens are spent to create encounters.

Mechanically speaking, however, any encounter with fewer threat tokens than players seems completely anemic (not necessarily pointless, but certainly not any kind of credible threat). Assume that you nevertheless use three of these anemic encounters and then follow the rulebook’s guideline of having the final encounter on a planet use threat tokens equal to twice the number of players: The way the math works out, this means that you only get 6 encounters per planet, half of which will be speed bumps.

This pacing results in the game being a lot more shallow than the rulebook implies: If you create an interesting planet and an interesting alien, you basically have no time to actually explore the dramatic possibilities of either one.

NON-FIGHTING ABILITY

The core stats of the game are Fighting Ability and Non-Fighting Ability.

The character choosing to take a high NFA, however, is basically screwed. NFA is only used for three things:

(1) Dominance checks

(2) Changing range in combat

(3) Development rolls

Changing range is almost meaningless because you can also change your range with a successful FA check if you also beat the aliens. And because encounters don’t last that many rounds, it’s simply a suboptimal choice.

The other two options are slightly more useful, but don’t contribute kills. This causes two problems:

First, the NFA characters can’t compete with the FA characters for kills. Because advancement is primarily based on kills, this means that the FA characters keep getting better and better at kills… while the NFA characters keep lagging further and further behind. It’s like being stuck in a death spiral.

Second, the NFA characters have little narrative impact. While reading the rulebook I felt that NFA would give characters some out-of-combat spotlight time, but there’s no structure for that: Expeditions are based entirely around removing threat tokens, and the only way to remove a threat token is to rack up the kills.

At the most basic level, this just means that the game becomes uni-dimensional: Everybody specializes in FA; nobody specializes in NFA.

But it’s not that simple, because someone in the group needs to have a high NFA so that the group can score at least one success on Dominance checks. (Because if at least one player doesn’t succeed, the aliens will likely ambush them. During an ambush, every single PC takes 1 “kill”. After suffering 3-4 kills, on average, a PC will simply be dead. Healing during an expedition rarely happens, which means that if you can’t succeed on at least 50% of the dominance checks on a planet, the result is a TPK.)

This means that someone needs to fall on the NFA grenade and take one for the team, otherwise everybody gets fragged. This becomes the old “cleric conundrum”: Someone needs to pick this unfun chore because otherwise nobody has any fun.

CONCLUSION

The designer’s response to this is that, basically, mechanics don’t matter: If the GM includes all kinds of activities that have absolutely nothing to do with the game and have the PCs make NFA checks that don’t actually do anything, then somehow that non-mechanical pseudo-use of the mechanics will solve the mechanical shortcomings of the game.

Unfortunately, I just can’t agree. A broken game is a broken game, no matter how much you improvise around the broken mechanics.

A few untested thoughts on how some of these problems might be addressed:

LIMIT RANGE CHANGES: Make it so that the only way to change your range in combat is with an NFA check. Now characters at a sub-optimal range with their favored weapon have a more meaningful choice: Stay at their current range with the chance to remove a threat token (but taking fewer kills while doing so); or move to a better range while risking that other players will suck up the threat tokens or that the aliens will start landing frags.

MISSION OBJECTIVE TOKENS: MOTs are like threat tokens, but they can only be removed with NFA checks. They’re added to encounters to represent objectives (such as hacking a computer system or triaging injured troopers). Maybe have a number of MOTs per planet equal to the number of players.

(This is only a partial fix, however: I think it would be necessary to find a way to tie the MOTs into the advancement mechanic.)

FLEXIBLE NFA USE: Allow NFA checks to achieve kills and remove threat tokens. For example, in our session we had situations where NFA checks could have been used to commandeer the enemy’s holographic soldiers or to take control of an automated factory and turn it against the bugs. But there was never any mechanical advantage to doing so because it could never actually contribute to ending the encounter or racking up kills, so it never happened. (Double penalty: NFA sucks and awesome is discouraged.)