As discussed previously, this was the first review I posted to RPGNet. It was originally written for the Heavy Gear Mailing List and then reposted to RPGNet when Dream Pod 9 requested that HGML posters report their reviews at the site.

This, of course, also means that this is some of the earliest writing I ever did for a semi-professional audience. Be gentle in your judgments.

[ Warning: This review will contain spoilers of the adventure series contained in this product. If you are intending to play through the story told in this product you should stop reading now. ]

The Paxton Gambit, unsurprisingly, is another sterling DP9 product for their Heavy Gear line. The first 25 pages expand upon the information given on Peace River previously (in Into the Badlands and the Second Edition Heavy Gear rulebook). The next 32 pages are a campaign supplement, and the remaining 6 are Paxton Gear designs.

Peace River has been covered previously, so what’s there in terms of background is pretty scarce — you get some new info on the political situation as of 1935, details of the Badlands Quarter, some detailed maps, an overview of the POC structure, and a number of new NPCs (all of which are important in the campaign portion of the book).

The Paxton Gear designs are … well, they’re Gears. What do you want?

The campaign supplement is, however, the book’s strength, in my opinion. You get 27 pages of story material stretching over nearly 20 days and nine gaming sessions (your mileage may vary, of course). You also get a page of “Continuing Hooks” which tell you where to go next if you want to continue the campaign, and four pages of handouts for the players.

The main section of the campaign is separated into three acts, each containing three scenarios. Each scenario consists of “Milestones”, which detail each important scene or sequence for the players to engage in. They also contain “Complications and Continuing Hooks” — little extras unessential to the main plot, but which can be thrown in to add complexity to the sessions themselves or cause headaches down the line for the players.

The plot of the campaign is thus (these are the spoilers):

In the wake of the Oxford Agreement (see CoF) Emir Shirow of Basal can no longer rely on the CNCS or NLC to supply him with arms in his rebellion, leaving him with only one serious option: Paxton Arms. He dispatches his lover and ambassador Victorya Hiro to Peace River to negotiate the deal. However, he doesn’t have enough money to fund the project completely. Therefore, Hiro will also be secretly negotiating with the NLC in order to get the money to make the deal with Paxton Arms. Jacques Molay will be dispatching SRID operatives to break up the deal because he doesn’t like the Basal rebellion for personal reasons, but this also means that these operatives have a chance of uncovering the NLC deal, which will break the Oxford Agreement and bring down the SR’s wrath on Shirow. Added to this is the fact that the SRID typically deals with the Forzi in Peace River for this type of low-profile work, but the Forzi in Peace River are actually controlled by the BRF’s local leader Sund! ra Gabriel, and she would like nothing better than to screw this deal up herself and make things tough on Paxton Arms. And, of course, the Patriarch of the ESE has gotten wind of the deal and dispatched agents to eliminate the Basal forces involved in the deal. This is the point where the players enter.

The campaign is designed so that, with a minimal amount of work, the GM can sit down with his players and start playing. Indeed, if you’re particularly effective at off-the-cuff playing you could probably run the thing untouched once you’ve got the material down and copies made of the hand-outs. The scenario is also designed, however, to allow existing campaigns to intersect with the story with a bit more work involved. Clearly you can see with all these different groups coming together over one deal (CNCS and NLC, SRID, BRF, Paxton/Peace River security and executives, Basal Uprising, ESE, etc.) there are a multitude of different ways for a GM to get his players involved in the events of this story. But the campaign is designed around the idea that players will be assuming the roles of Peace Officers.

They are introduced into the action as honor guards to the arrival of the Basalite ambassadors, and are put under the temporary command of Colonel Lenaris. They are also introduced at this point to Helen Luka, a reporter in search of the big scoop. The next day they are put on surveillance of a group arriving on a cargo maglev line — clearly undercover. These are the NLC negotiators arriving.

>From this point on in they are drawn into a dizzying array of political events and placed under the direct command of Lenaris as they become the only agents he can trust in this matter. Early on in the campaign they eliminate the Patriarch’s force in Peace River and think they’re doing pretty well, until the depths of the BRF and SRID involvement is revealed.

By the time the dust clears it is fully possible for the players to have been instrumental in completely destroying the SRID and BRF presence in Basal, Sundra Gabriel will be dead, they will have saved all Peace River from a reactor meltdown, the deal will have gone off perfectly, and they will be trusted agents of both Lenaris and HEO DuBeau-Slovenski.

So are where are the weaknesses? Well, one of them is Helen Luka. She hangs around the players like a faithful dog during the first act, and then abruptly disappears from the campaign entirely. Considering she’s given a full page write-up I would expect her to be of slightly more importance in the campaign. Also odd is the complete lock-down on any communication or travel in or out of Peace River for nearly 24 hours during the course of the adventure. While I have no doubt — PR being an arcology and all — that this would be possible, the repercussions on a major export economy of this happening are never mentioned (not even in the “Continuing Hooks” section) in the book.

The latter is, perhaps, a matter of selective blindness and saying that the resolution “takes place off-stage”. The former is a major plot oversight, in my opinion, and should be resolved by any GM considering running this campaign.

However, despite those reservations I would say that the story is a strong one, and I think all GMs should consider picking the book up if their players would have any chance of intersecting with the events detailed therein, it will be well worth your while. It is also a good example of how to tie players into the larger events of Terra Nova without disrupting the main flow of the primary storyline (if you ignore the complete rout of BRF forces in Peace River, which is clearly a major plot point in the continuing saga of Terra Nova — the adventure could just as easily be completed without this type of major conclusion).

Style: 5 (Excellent!)
Substance: 4 (Meaty)

Author: Michael Butler and Guy-Francis Vella
Category: game
Company/Publisher: Dream Pod 9
Cost: $15.95
Page count: 64
ISBN: 1-896776-33-7
Originally Posted: 04/17/98.

Way back on July 4th, 2005, I launched the Alexandrian with the cleverly titled post “Welcome to the Alexandrian“. In that post, I talked about how I had become a freelance writer. The 100+ reviews I wrote for RPGNet played a major role in that story, but I wrapped up my post by saying: “But if you go to RPGNet today, you won’t find any of my reviews there. What happened? Well, that’s another story for another day.”

Then I didn’t really follow-up on that, largely because there were more interesting things to talk about.

But I’ve had people pinging me for awhile now wanting access to some of the content from my older reviews. And the original (and continuing) purpose of the Alexandrian is to archive my creative work. To that end, I’m going to start posting those old reviews in order to properly archive them away. Which means that “another day” has finally arrived.

THE REVIEWS

I posted my first review to RPGNet in the spring of 1998.

It was a review of The Paxton Gambit, a campaign supplement for the Heavy Gear roleplaying game, and it had originally been written for and posted to the Heavy Gear Mailing List. RPGNet had been around for a couple of years at that point, but the site was just beginning to get noticed by the larger RPG community. One of the people who noticed was Phillippe Boulle, who — at the time — was an editor at Dream Pod 9. He, in turn, posted a message to the Heavy Gear Mailing List asking that fans of the game go to RPGNet and post reviews of their favorite Dream Pod 9 products. When I saw Phillippe’s message, I took the review I had already written, popped over to RPGNet, and posted it.

That was a lot of fun and, to make a long story short, I kept doing it. In fact, over the next four years I would do it 165 times.

In those early days, the RPGNet community was heavily focused on the reviews: There was no general forum, but there was a discussion thread associated with each review. That meant that all of the discussion on the site was focused through whatever reviews had been posted in the last couple of weeks. It meant that the community was radically neophilic and intensely focused on RPGs.

It also meant that, if you were a successful reviewer, you were the genesis point for sprawling discussions that could go on for dozens or even hundreds of posts.

In retrospect, it’s pretty easy to recognize that RPGNet was actually serving as one of the pioneers in the newly-emerging blogosphere: Each review was effectively a blog post and the emergent community was blog-focused. At the time, it was just exciting. I’d been participating in online discussion groups since 1988 or ’89; but here I was actually finding an audience.

From ’98 through ’02, I was one of the top three or four reviewers on RPGNet. During this time period, the site went through several changes of ownership, one of which nearly destroyed the site before it was returned to Sandy Antunes (the founder). In 2001, it was then sold to Skotos Tech.

Throughout this time period I continued writing reviews. In May 2001, in fact, the site ran a “Justin Bacon Review Week” in which all of the reviews posted that week (20+ total) were written by me. That was pretty awesome and I felt very honored. Around this same time, I was asked by Sandy Antunes to help develop content for a D20 Nation website that he wanted to launch as a partner-site with RPGNet. (Unfortunately, those plans never came to fruition.)

The site was also changing, however.

Forum software had been installed at some point. This was almost certainly a good thing (the site would have probably died completely during the period when its owners weren’t updating the content if it hadn’t been for the forum), but it also meant that the character of the site was changing: The community was becoming forum-oriented instead of review-oriented.

(One memory from this time period in particular: The early forum software didn’t have any accounts. You just typed in your name and left your message. There was a period of a couple weeks where somebody was deliberately trolling the forums by posting incendiary posts under my name. It took me awhile to figure out what the heck was going on, and eventually the guy responsible confessed. I suspect this incident contributed significantly to the site updating to new forum software with registered accounts shortly thereafter.)

In mid-2002, I posted what was essentially my last review at RPGNet. (In mid-2004, I posted a review of A Game of Thrones. But it was a fluke.) Partly this was because professional work was chewing up more and more of my time. Partly it was because the RPG review community had completely fetishized the reviewing of typography and binding quality instead of actual content and gameplay. But largely it was because the audience for reviews at RPGNet had severely atrophied.

PARTING OF THE WAYS

I remained an active member of the RPGNet community, however, until 2004.

In October 2003, I was participating in a thread where somebody was voicing incredulity at the idea of someone owning more than a hundred RPGs, claiming that a hundred RPGs didn’t even exist. I pointed out that hundreds of free RPGs were available on the web; so you could own hundreds of RPGs without even spending a dollar. After a couple rounds of this, I compiled and typed up a very lengthy list of the free RPGs I owned and posted it. This took about 2-3 hours worth of effort.

This list prompted several pages worth of interesting discussion. Several days later, however, one of the forum moderators did a drive-by on the thread and deleted the entire post as “threadcrapping”. I was irate at having 2-3 hours of work eradicated and responded with, “Fuck You.”

In retrospect, I probably should have saved a local copy of the post. And I probably could have been more politic in my response to the atrociously poor moderation. But I wasn’t and I got hit with a 90-day ban for mouthing off to the incompetent moderator.

Several months later, after the ban had expired, I came back and found that I couldn’t log into my account. Reconstructing events after the fact, it appears that one of the moderators (probably a fellow operating under the name “Kuma”) had decided to change the password and e-mail address on my account in an effort to secretly turn a temporary ban into a permanent one. E-mails to RPGNet went unanswered, so I created a new account under the name “Justin A. Bacon” and continued posting.

In August or September of 2004, Kuma started trying to IP ban me from the forum. Since I was posting from a dynamic IP, this completely failed. (I wasn’t even aware he was doing it, since he’d posted his intentions in a thread I was no longer reading.) After several weeks of this, another moderator apparently got around to banning the “Justin A. Bacon” account for “avoiding a ban”. (This was, of course, completely untrue. For several years after this it was quite hilarious because the “Justin Bacon” account had still never been banned, although it looks like they finally got around to “fixing” that recently.)

I sent an e-mail to the site and was told to wait a couple of days for the issue to be resolved. After a week or so, it hadn’t been.

At this point I posted to Trouble Tickets asking for an explanation. None was forthcoming. It took several days and many other people posting to both the forum thread and e-mailing RPGNet before they finally got around to posting their explanation: They believed that I had posted at some point during my 90-day ban and were, therefore, permabanning me.

Did they have a link to that post? No.

Could they find a link to that post? No.

Was there any way to fix this issue? Yes. Within 1-2 days, they would confirm the existence or nonexistence of the post Kuma claimed it existed.

… only they didn’t do that. Instead they closed the thread so that no one could post to it.

A month and a half later, somebody else posted a thread asking: “Hey. What’s going on here?” The moderators still had no explanation.

During this time period, I was being contacted by others. Something was deeply, deeply rotten in the moderation team at RPGNet and I wasn’t the only one having problems.

I decided to raise the stakes: I publicly announced that if RPGNet didn’t want me as a member of the community, then I would pull my reviews.

The point was to raise the profile not only of my issues with the moderation team, but the general issues the community was having with the moderation team. I was hoping that it would force the new owners of the site to put their cards of the table and make it clear what sort of site RPGNet was going to be. In this I was successful, although not in the way that I had hoped: Still unable to produce the posts demonstrating that there was any justification whatsoever for my permabanning, the owners of the site instead permabanned me for daring to exercise my IP rights.

I shrugged and walked away. The RPGNet I had once fervently supported was obviously dead and gone.

POSTSCRIPT

I do remember quite vividly, though, my final e-mail exchange with the ownership. They wanted to give me “one last chance” to let them keep my reviews on the site. They wrote: “By removing them from RPGNet, you’re destroying the value of your reviews.”

This taught me an important lesson: When an organization believes that your work has value because they allow it to appear in their venue (rather than the reality, which is that the content is what gives a venue value) then you’re probably better off getting away from that organization as quickly as possible.

In the years since then, the situation at RPGNet has only worsened. The Tangency forums have become the tail wagging the dog. There are members of the moderation team who take great pride in the fact that they’ve never played an RPG. (This fact boggles my mind every time somebody mentions it.)

The site, which once made its name on the participation of major RPG professionals (priding itself as the “Inside Scoop on Gaming”), has become increasingly hostile to them. It’s becomes a popular past time for posters to bait professionals posting to the boards so that the professionals will get banned. At one point, this was coupled with a ludicrous policy of banning discussions of games written by people who had been banned.

A couple years ago a friend of mine told me he was being accused by RPGNet’s mods of being my sock-puppet because he included links to products I had written (and he had helped edit) in his .sig. Last year I had a complete stranger send me an e-mail saying that RPGNet’s mods were making the same accusations towards him.

I’m not sure what to tell either of them. I enjoy discussing and debating RPGs. It improves my games. It improves my writing.

But RPGNet? It’s a cesspool. And, sadly, it’s a cesspool that’s been created by the very mechanism which is supposed to be keeping the water clean.

In any case, that’s the nutshell version of my rollercoaster ride with RPGNet. Hopefully you found it at least mildly entertaining. But mostly it’s my way of introducing the reposting and archiving of the reviews I wrote for RPGNet “back in the day”. I’ll be starting later today and posting them semi-regularly until I’m done.

Babylon 5 is one of my favorite TV series. In the late-’90s, when the series was being rerun daily on TNT, I would set my VCR to record each new episode before leaving for my nightly shift at Hollywood Video. When I would get home, I would immediately head to the TV, rewind the tape, and watch the next episode. It was absolutely compelling television.

With that being said, I’ve found it very difficult to convince people to try to the show. The difficulty is that the first season is fairly dreadful. Unfortunately, the first season also establishes a lot of stuff that gets huge payoffs later on. B5’s ability to manage its meta-arc — setting up material that gets paid off years later — is one of the things that makes the show great. And so I’m always loathe to tell people to just “skip the 1st season”, because I think that actually does degrade the rest of the experience.

So what I used to tell people was, “Just try the first season. Its got some rough patches, but it’s worth it for the payoff. If you just can’t stomach it, then skip to the second season.”

But most of those people would hit the first season wall, bounce off, and not bother trying the second season. The result was like being stuck in the Kobyashi Maru when trying to get people to give this amazing show enough of a fair shake for it to blow them away.

To that end, I prepared a viewing guide for the first season. It worked for my wife, so I’m declaring it a complete and utter success.

• WATCH – Must watch to get essential arc developments. Some of these are mediocre, but it’ll be worth it for the pay-off. Trust me.
• SKIP – These are the episodes which will probably make your eyes bleed. For the love of god, don’t watch them.
• OPTIONAL – These episodes are decent or better. Some of them are very good.
• OPTIONAL (CLASS 1) – These episodes are recommended for arc reasons, but not required. Basically, there’s nothing essential here, but there may be a few minor developments that will heighten your appreciation of later material.

Some of the Optional and Skip episodes on the list below include some key exposition. This has been indicated with a note where appropriate.

So if you’ve bounced off Babylon 5 in the past — or know someone who has — give it another shot and let me know how it goes. (And, seriously, if the first season is completely intolerable give the second season a shot.)

EPISODE LIST

• The Gathering – WATCH
  
• Midnight on the Firing Line – WATCH
• Soul Hunter – Optional (Class 1)
• Born to the Purple – WATCH
• Infection – SKIP (1)
• The Parliament of Dreams – WATCH
• Mind War – WATCH
• The War Prayer – Optional (2)
• And the Sky Full of Stars – WATCH
• Deathwalker – Optional (Class 1)
• Believers – Optional
• Survivors – Optional (Class 1)
• By Any Means Necessary – Optional
• Signs and Portents – WATCH
• TKO – SKIP (3)
• Grail – Optional (4)
• Eyes – WATCH
• Legacies – WATCH
• A Voice in the Wilderness – WATCH
• A Voice in the Wilderness, Part 2 – WATCH
• Babylon Squared – WATCH
• The Quality of Mercy – WATCH
• Chrysalis – WATCH

NOTES

(1) – There is an organization known as Interplanetary Expeditions. They are reputedly a front organization for a bioweapons corporation.

(2) – Anti-alien sentiments on Earth are turning violent.

(3) The B-plot of this episode is good. If you’re feeling adventurous, skip any scene that doesn’t have Ivanova in it.

(4) There’s a ghetto called Down Below populated by Lurkers who came to the station looking for a better life and have fallen through the cracks.

I saw Conan the Barbarian a couple nights ago. Quick thoughts:

1. It’s a much better movie than its box office.
2. In fact, I’m comfortable saying that I think it’s a better movie than the Schwarznegger version from ’82.
3. It is not, however, a great movie. It may not even be a good one. But it’s not a bad one, either. It’s a fun flick: It doesn’t insult your intelligence. The plot makes sense. The action sequences are dynamic. The script doesn’t carry much of the load, but it gets out of the way and lets the actors carry the load for making us care about the characters and the SFX guys carry the load for getting us immersed into the world.
4. The biggest failing of the movie is the conclusion. It falls very flat and concentrates a lot of problems that were scattered throughout the rest of the film.
5. It’s literally wall-to-wall action. It’s pretty much ACTION-breath-ACTION-breath-ACTION-breath-ACTION for the duration. I’d like to say that the movie would be better if it was 10 minutes longer and took a minute or two to catch its breath, but that would really only be true if they brought somebody in to punch up the dialogue.
6. Momoa is a fantastic Conan.

The film has also forced me to revise my understanding of effective fight choreography. I used to break it down into basically two parts:

First, the choreography itself. Is it exciting? Clever? Compelling? Well-paced? The whole nine yards. Plenty of films, of course, don’t clear this basic hurdle.

Second, how the choreography is filmed. Effective cinematography will focus your attention, showcasing and even improving the choreography. But this is where a lot of films have recently been falling down: They get too tight on the action. They cut too rapidly between shots. And the result is that, regardless of how effective the choreography is, you cant see it. It’s as if someone filmed a drama by pumping up the soundtrack so that you can’t hear large chunks of the dialogue while panning away from the actor’s faces. Or like watching ballet in a strobe light performed behind a wall with some random holes punched in it.

Conan the Barbarian, however, manages to achieve both of these elements and yet still frequently fail. It’s forced me to add:

Three, conveying the geography of the scene.

This may really be just a subset of how the choreography is filmed. But I was really struck in Conan by how often I was completely enthralled by the actual, specific choreography of a given fight… only to be confused by how two simultaneous fights were relating to each other; or where the fight was in relationship to the person Conan was trying to save; and so forth.

A couple years ago, I reviewed the disastrously bad X-Men Origins: Wolverine. I concluded by saying that, unless they got Bryan Singer back, I wouldn’t be fooled into seeing another of these movies.

Executive Producer Bryan Singer

Story by Bryan Singer

… well played 20th Century Fox.

The previews also looked good, but I still waited for the reviews. And when the reviews came back positive (the film is currently reviewing better than Thor on Metacritic, and I thought Thor was a pretty good flick) I decided to take the risk.

And I’m really glad that I did.

Not only is X-Men: First Class better than X-Men Origins: Wolverine (a very low hurdle to clear), I think it may be the best X-Men movie they’ve made. It’s not perfect. But it is very, very good and I recommend checking it out. (Particularly if the only reason you’ve been holding back is because, like me, you were so bitterly disappointed by X3 and Wolverine.)

So, in my opinion, that’s two good comic book movies out of two so far this year. And I’ve got my fingers crossed for both Captain America (which looks great in the trailers) and Green Lantern (which will either be amazing or painful).

(Tangentially, I’ve seen a lot of industry “experts” claiming that X-Men: First Class is having a poor box office turn-out because Wolverine isn’t in it. Well… no. It’s having a poor box office turn-out because the last two movies in the franchise sucked and sucked hard. You can’t just bounce back from that. I think the only way they could have avoided a poor opening weekend for this movie would have been to get Bryan Singer back in the director’s chair and prominently advertise that fact. Frankly, I’m surprised they weren’t plastering Singer’s name all over the previews. I had to go digging to find out he was re-involved in the franchise. It would have sent a very clear “sorry about the last two films, please give us another chance” message to the audience.)