Monday, May 25, 2009

[The Miniatures Corner] Blitzkrieg Commander

Des's family was in town for her Master's graduation ceremonies, so that of course meant a game with her dad Frank was in order. I let the guest decide and he opted for WWII action, so I got to bust out my Odessa Campaign 20mm minis and dive in to Blitzkrieg Commander for the first time!

I was never really in doubt about BKC as a system, and I was not let down. If anything, the game exceeded my expectations. (I'll probably be picking up Future War Commander at some point to finally have some rules to go with my Reaper mechs and Pendraken soldiers.) Despite the fact that it was the first time I'd played the game at all, and that I'd only had time to give the rulebook a cursory glance to refresh my memory--having read through it maybe two or three years ago, then put it on the shelf--the game went smoothly and total time from set-up to clean-up was only about three-and-a-half hours.

My miniatures collection is focused around the Romanian slog towards Odessa in the summer and fall of 1941. I took the Romanians, Frank took the Russians. To keep things simple, we played an Encounter scenario. I snapped some shots at about the mid-point of the game (sorry about the poor lighting conditions, as usual--one of these days I'll get some proper flood lights...):

I continue to be more than happy with my Hexon II tiles. I'm finding that I'll probably need some more slope pieces, but other than that I have more than enough hexes to make for an infinite variety of set-ups. At any rate, here we see how the fighting was shaping up, centering around a small village; those Post-It tags indicate occupied buildings. We managed to divide the village in half by the end of the game.

I tested out the Flanking rules to great success--you can see my R-35s "charging" in (with all of their 10cm move) on the left, sending a unit of dismounted Cossacks falling back in a desperate delaying action.

A close-up shot of the village. Those are Paper Terrain houses. I have the whole "South Russian Village" set, so eventually those'll be mounted on bases to represent Built-Up Areas and there will even be a nifty little Church! I'm also going to come up with some house rules to determine when to go from the "intact" to the "ruined" state (dropping the Hit number by one in the process). Probably something along the lines of how Space Marine used to do it.

Now, this being our first-ever BKC game, along with the fact that I hadn't had a chance to properly review the rules, guaranteed there were a couple boo-boos. Such is the learning process. I effectively forgot about the Initiative phase by the time it would have mattered in the game, but this was balanced out by the fact that we didn't clear Hits in the End Phase. So I think the deadliness of the game was about the same as what it would be normally, but I'll have to play another game, just to make sure. Dang! ;)

Next up I'm going to make some fields and defensive improvements like trenches and wire sections. I'm also going to buy some micro dice in two colors to represent hits and suppressed hits, but I'm also quite happy with the fact that there's very little for me to do. After years of prep work, waiting, painting, and so forth, it's a great relief to finally be able to play something!

ETA: I forgot to mention that the highlight of the game was probably when I sent my unit of Combat Engineers dashing across the no-man's land of the village common (with three successive move orders!) to close assault the Soviet T-26. Thanks to their flamethrower, the Engineers drove the tank back, but were in turn wiped out when the house full of Naval Infantry across the way opened up on them. Posthumous medals for bravery all around!

In all seriousness, though, that sequence was a great example of how much fun BKC's unit activation system is. I was really sweating those last couple order rolls, hoping my Engineers wouldn't find themselves caught out in the open, exposed to fire from three different directions!

Wednesday, May 20, 2009

[Rifts:2112] Magic

It took a while to get here, but here we are. The last anticipated major post in my Rifts:2112 series. I'll definitely keep throwing out ideas as they occur to me, but I feel like with technology, the major players, a rough overview of world geography, and now magic, I've got all I need to start doing conversion work.

So on to magic.

Let's start by looking at this Ramon Perez piece. I didn't post it with my Perez retrospective because I was saving it specifically for this post. Like much of Perez's work, this is a perfect summation of how I want things, in this case magic, in Rifts:2112 to look and feel. As you'll recall, one of the major elements I'm integrating into my world is the Cthulhu Mythos. I love how Perez's spell-casters generally have this look about them like they're as much alien as human; you get the feeling some of them actually need those wicked helmets just to stay alive!

(Before we go any further, perhaps a note on how I'm approaching Lovecraftian magic and the Mythos in general is in order. The Trail of Cthulhu RPG introduces the concept of Mythos campaigns existing along a continuum running from Purist to Pulpy. In case it hasn't been blindingly obvious, I'm on the Pulpy side of the continuum, to put it mildly. If the continuum was on a scale of 1-10, with 10 being Pulpier Than Organic Orange Juice...well, you know. So I apologize in advance to all the Lovecraft purists out there, but I'm about to commodify Mythos magic. If I didn't, I'd just be treading old ground anyway, since I think Geoffrey McKinney's Carcosa did a great job of taking a purist approach to the Mythos in a fantasy setting.)

After reading through the highly-recommended Mythos Magic monograph, I now have a firm grip on how I want to systematize magic in the world of Rifts:2112. As I've written before, I'm largely jettisoning the various magical traditions put forth for the world of Rifts as written. This includes making the eponymous "rifts" actually "Gates"--although, for the sake of brand recognition and the fact that it's a cool word, I'm still having most non-spell-casters refer to Gates as Rifts. Originally, this included jettisoning ley lines entirely, making Gates independent entities. I've since come back around, although I'm still not totally bringing back ley lines as they were presented in the original world.

I jettisoned ley lines because I've always found them rather cumbersome in practice. Palladium has never produced a satisfactory map of Earth's ley lines, which wouldn't be so much of an issue except for the fact that several rather central character classes have the ability to fly, communicate, or even teleport themselves along ley lines! At that point it becomes pretty important to know where ley lines are and other such details, which always put a bit of the burden on a GM's (my) shoulders.

That's just nit-picking, really though. The main thing I didn't like about ley lines was how they were implemented, as these rather undtidy chicken scratches that started and stopped at random. No thanks. The one image of ley lines I've always found totally arresting is the old color piece Kevin Long did for the original Main Book, the image of the dark side of Earth criss-crossed by the "most powerful" ley lines. So in my world, the most powerful ley lines are the only ley lines.





The ley line network that appeared after the Cataclysm is an ancient artefact of a long-forgotten civilization. Most scholars believe it was constructed by the Atlanteans as a means of regulating magical energy between the most potent and powerful of the ancient Gates, like some sort of magical power grid. Whoever constructed it, and for whatever purpose, when the stars shifted and magic left Earth for a time, the network, along with its Gates, "powered down."

(And a note to clarify, Gates can still be opened, or can open on their own, pretty much anywhere--the ley lines merely connect the most powerful and peristent Gates.)

Newly reactivated, the ley lines serve as powerful batteries of energy; the Gates that reopened at their nexus points are some of the largest and most powerful: the Calgary Rift (#8 on the map) is one example. Atlantis gated in through nexus point 19, and Cthulhu's sunken city of R'lyeh, now christened the Island Kingdom of Mu, rose up under nexus point 47. I'll probably go through those maps at some point in the future and figure out what's going on with each of those points. (Edit: thanks for doing my work for me Internet!)

From a game system perspective, I intend to leave the rules for using ley lines (drawing Power and so forth) as written, even though BRP magic tends to use fewer Power Points that Palladium's. This creates a pretty compelling incentive to travel to ley lines and nexus points on propitious dates--the ability to siphon dozens or hundreds of Power Points has truly epic implications for BRP magic, a concept I like very much.

On to magic systems, then. There are three main ones, all based on the magic described in Call of Cthulhu and its supplements. There are also four "minor" systems, called minor not for their power level, but for the fact that they're not as widespread globally, for various reasons.

The Major Magic Systems: Evocation, Enchantment, and Invocation

As outlined in Mythos Magic, Mythos-based sorcery can be broken down into four systems: Evocation, Invocation, Enchantment, and Divination. I'm largely ignoring Divination, as I feel it's not really "in character" for the world, although of course there would be various traveling fortune tellers and mysterious hermit-augurs. The other three comprise the three most commonly encountered spell-casters in the world:
  • Those who rely primarily on on Evocation (aka Summon/Bind spells) are referred to as Summoners or Shifters. This sort usually knows the Gate spell as well, all the better for realizing their interdimensional aspirations.
  • Those who deal primarily with Invocation (aka Contact spells) are commonly called Shamans. Mythos Magic actually has a whole chapter expanding the role and powers of the Shaman, and I'll be taking full advantage of that. To my mind, the Shaman is probably the most common and widely-distributed spell-caster of all, from the village witch doctor who uses his good relations with the local spirits to ensure a healthy harvest and even healthier children to the mad High Priests of Mu, dancing about Great Cthulhu's throne far away on that sanity-blasting Isle.
  • Those who prefer to use magic to further their own ends rather than treating with gods use Enchantment magice (aka everything else in the Grimoire). Enchantment magic, despite its threats to sanity, can be used for good ends as well as ill, thanks to Atlantean contributions to magical practice and theory (more on that below).
The Minor Magic Systems: Rune Magic, Techno-Wizardry, Alchemy, and Necromancy

The Atlanteans were once masters of a magical lore inherited from the Elder Races after the fall of the Serpent Men. Atlantean sorcerers--liking their sanity very much, thank you--devised ways of mitigating the inimical nature of pure Magic. Creating the ley line network was quite possibly one of these methods. Two others were developing the concept of Gnosis and creating their own magic, Rune Magic.
  • Rune Magic is the magic of symbols, which can either be carved into objects, written down, or scribed in skin. From a game system perspective, I'll be using the Rune Magic system outlined in the Elric! supplement, The Bronze Grimoire.
  • Gnosis is a concept introduced in Mythos Magic. In essence, it is a meditative practice (that can vary from caster to caster and spell to spell) in which the spell-caster enters a highly focused state, one which allows them to disconnect from the magical effects they are generating. In game terms, Gnosis serves as a mitigator of Sanity loss due to magic. As with D&D-style magic, however, Gnosis is fragile and can be interrupted. A wizard knocked out of Gnosis stands the very real risk of suddenly feeling all that SAN loss he had previously been avoiding. Love it!
Techno-wizardry actually grew out of early experiments with Gnosis among human spell-casters after the Cataclysm. It was found that it was possible to duplicate the effects of Gnosis using electric generators, batteries, and an array of Frankensteinian equipment. From there, groups and lone innovators began to develop and refine their own approach to magic, infusing machines and tools with the raw stuff of the Arcane, creating a wholly new style of magic in the process. Obviously, Techo-Wizardry shows great potential, but it is also a tremendous threat to the already well-entrenched sorcerous Powrs That Be...not to mention to the virulently anti-magic Coalition. This mistrust and repression, combined with the snail-slow dissemination of information that plagues the post-Cataclysm world, has kept Techno-Wizardry largely confined to the Americas, and even then it's not terribly common in the great centers of power. Techno-Wizards revel in their outlaw rebel status, and many adopt the mannerisms of wizardly rock stars (just look at that Techno-Wizard's cocky expression in the Perez illo above), purposely tweaking the collective nose of the Magical Establishment.
  • Techno-Wizards use the Sorcery Power and spell list as presented in the Basic Roleplaying Core Book; their devices are constructed and used as per the Sorcerous Items rules on p.240.
Although Techno-Wizardry is all but unknown in Europe, a similar role is filled by Alchemists. Starting in the Kingdom of Tarnow, alchemy rapidly spread to Germany and the other outposts of civilization, particularly after the first Philosopher's Stone was created. Not only could the Stones transmute base metals into gold (which actually devalued gold considerably, leading to the proliferation of the "gold piece" as Europe's main bit of hard currency), but it was found that the Stone could make iron and steel as tough and resilient as the most advanced ceramite armors. Since it's considerably easier and cheaper to produce old-fashioned plate and chain armor and transmute the metal using an available Philosopher's Stone, most warriors in Europe--when they're not clanking around in their Dampfritter Power Armor--can be found suited up like knights of old.
  • In effect, the transmuted armor no longer functions as Ancient but as Advanced, therefore giving it full armor protection against Advanced weapons.
  • More alchemical effects can be found in this handy download.
Lastly, there is Necromancy, relatively rare in the Americas but a scourge in Europe and especially Africa. The Blood Druids of Europe are inveterate Necromancers (when they're not busy Evoking horrible monstrosities from Beyond--including, quite possibly, the "gargoyles" who constantly menace the New German Republic) and have helped give magic in general a bad name in the NGR and elsewhere.
  • Mythos Magic, again, gives a great overview of Necromancy from a Lovecraftian perspective. I might also pad the system out using the Necromancy rules described in The Bronze Grimoire.
And that's about it. Other systems of magic or magical side effects, from ley line phasing and communication (representing a character who has decoded the keys to the ancient ley line network) to species-specific magic (like Cloud Magic) can be easily represened using the Super Powers system from BRP.

Post-script: As should be obvious by now, the Mythos Magic monograph was indispensible in helping me fill in the corners of magic in Rifts:2112. I highly recommend it to anyone who is interested in using CoC/Lovecraftian magic in their games, whether canonically or not-so-much. Unfortunately, at this point it seems to only be available in dead tree edition. Hopefully Chaosium will make it available as a PDF at some point in the future.

Basic Roleplaying is copyright ©1981, 1983, 1992, 1993, 1995, 1998, 1999, 2001, 2004, 2008 by Chaosium Inc.; all rights reserved. Basic Roleplaying® is the registered trademark of Chaosium Inc. All Basic Roleplaying material referred to in this post is copywright Chaosium Inc.

Rifts®, The Rifter®, RECON®, Splicers®, Palladium Books®, Phase World®, The Palladium Fantasy Role-Playing Game®, Megaverse®, Nightbane®, The Mechanoids®, The Mechanoid Invasion®, Coalition Wars® and After the Bomb® are Registered Trademarks of Palladium Books Inc. Heroes Unlimited, Beyond the Supernatural, and other published book titles, names, slogans and likenesses are trademarks of Palladium Books Inc. and Kevin Siembieda.

All art is copywright its respective artist.

Tuesday, May 19, 2009

[Rifts:2112] Art Post IV

This will be the last of my art posts for the time being. Instead of focusing on particular artists as in the last two, this will be more of a general miscellany and roundup, analogous to my first art post.

OK, this is just about the perfect Lovecraftian Rifts image. If I produce a little document for my personal use, this will absolutely be the cover!


Although a bit out of period--note the clipper ship about to get swallowed--this is another monster I'll be adapting.

A still from Ghost in the Shell. My vision of Rifts Japan is straight out of 80s & 90s anime like Ghost, Akira, and even Tank Police.


A couple stills from a wonderfully cheesy 80s science-fantasy film. I forget the name, but once I remember it I'll be tracking it down for inspiration. I mean, just check out this villain:

Even he can't believe how awesome he is!

Lastly, a few pieces from the original Rifts rulebook. Aside from Perez, these are the sorts of pieces I'm drawing upon and re-emphasizing.

Kevin Long's Dead Boys are, to me, all-time classics. The "re-design" after Palladium dumped Long has, to put it mildly, never sat well with me. Classic Dead Boys all the way in my campaign!

This might be my favorite Kevin Long illo from the old Main Book. Nicely sums up the pure undiluted awesome of the setting.

One of the forgotten gems from the old Main Book is the work of Larry MacDougall. The man clearly saw the setting for its true post-apocalyptic self, and for that I salute him.

So that's it for art for now.

Next up: a post summarizing how I'm going to adapt and change Magic in the world of Rifts:2112, once I finish reading the excellent monograph, Mythos Magic (highly recommended for any Call of Cthulhu players out there, BTW).

And after that...I don't know. It's getting to the point where I feel like I've gotten most of my "broad stroke" ideas down and it's time to sit down with a few books and start making lists and doing conversions. And unfortunately, dear reader, that's not really something I'm at liberty to share. I'll probably end up sharing general progress notes, ideas, etc. For example, right now I'm trying to decide how best to approach dragons, both as foes and as PCs. I found a pretty decent dragon work-up over on BRP Central...but then I'm also considering adapting dragons from the d20 SRD, since I've always liked d20 dragon age progressions. We'll see.

Basic Roleplaying is copyright ©1981, 1983, 1992, 1993, 1995, 1998, 1999, 2001, 2004, 2008 by Chaosium Inc.; all rights reserved. Basic Roleplaying® is the registered trademark of Chaosium Inc. All Basic Roleplaying material referred to in this post is copywright Chaosium Inc.

Rifts®, The Rifter®, RECON®, Splicers®, Palladium Books®, Phase World®, The Palladium Fantasy Role-Playing Game®, Megaverse®, Nightbane®, The Mechanoids®, The Mechanoid Invasion®, Coalition Wars® and After the Bomb® are Registered Trademarks of Palladium Books Inc. Heroes Unlimited, Beyond the Supernatural, and other published book titles, names, slogans and likenesses are trademarks of Palladium Books Inc. and Kevin Siembieda.

All art is copywright its respective artist.

[Rifts:2112] Art Post III

I recently became aware of the work of Zdzisław Beksiński and I immediately became a fan. His work is a perfect evocation, as opposed to a direct inspiration in the case of the other art I've posted, of the feel I'm going for. In particular, it evokes an idea I picked up from an entry in the Rifts Adventure Guide, that the reality of alien worlds is slowly leaking through various Gates and changing the physical and metaphysical laws of reality in the areas around them.




The image below, incidentally, is exactly how I envision a stable Gate.




Basic Roleplaying is copyright ©1981, 1983, 1992, 1993, 1995, 1998, 1999, 2001, 2004, 2008 by Chaosium Inc.; all rights reserved. Basic Roleplaying® is the registered trademark of Chaosium Inc. All Basic Roleplaying material referred to in this post is copywright Chaosium Inc.

Rifts®, The Rifter®, RECON®, Splicers®, Palladium Books®, Phase World®, The Palladium Fantasy Role-Playing Game®, Megaverse®, Nightbane®, The Mechanoids®, The Mechanoid Invasion®, Coalition Wars® and After the Bomb® are Registered Trademarks of Palladium Books Inc. Heroes Unlimited, Beyond the Supernatural, and other published book titles, names, slogans and likenesses are trademarks of Palladium Books Inc. and Kevin Siembieda.

All art is copywright its respective artist.

Monday, May 18, 2009

[Rifts:2112] Art Post II

Since my last brainstorming-art post was such a success, I thought I'd do a few more.

First up, we have the one Rifts artist whose art, despite his strange fetish for tribal tattoos, I'm really keyed in on in terms of inspiration for the vibe I'm going for: Ramon Perez. Veteran Rifts players will recognize these from various World Books and such, but I'm looking at these images on their own merits. These are folks, aliens, monsters, and scenes I can imagine occuring in the Chi-Town 'Burbs, the Colorado Baronies, wherever.


Perez's vision of sorcerers and spellcasters fits in perfectly with the Lovecraftian-style magic I'll be implementing in Rifts:2112.
I love the patchwork nature of this guy's outfit. Very Mad Max.
An iconic City Rat if I ever saw one.
Perez's take on the classic (and very Lovecraftian) Black Faerie.
I think I've found my archetypal Techno-Wizard.
These speeders from New West are probably my favorite Rifts vehicle.
Perez's use of partial pieces of armor is visually compelling, and put the final nail in the coffin of any compunction I may have had of maintaining the RAW approach of full suits of armor being the only survivable option for Rifts characters.
That runic tattoo didn't inspire me to adapt Elric!'s rune magic system, but it didn't hurt either.
Another fantastic wizard.
This is pretty much how I imagine most factories and facilities operating in the post-Cataclysm world.
One of the things that made Warlords of Russia such an inspiration was Perez's mechs. To my mind, most mechs around the world should have this industrial, patchwork aspect.
And I don't think this sort of imagery should be strictly limited to the New West either.
The first Rifts campaign I ever ran featured an Atlantean Undead Slayer. This would have been his portrait if the art had existed at the time.
Amidst all my Mad Maxing and Lovecraftiness, sometimes it's important to remember that any take on Rifts, no matter how heterodox, can benefit from freaky, sky-surfing aliens.

I'll leave off with some great little character vignettes (one of which snuck in from a Rifter Beyond the Supernatural article--shh!). These would all make terrific PCs or NPCs and nicely sum up my vision of the imagery I want to focus on and evoke.


(Incidentally, check out those chemical slug-throwers she's armed with; this is why I want a preponderance of 'em--they just look cool!)
Basic Roleplaying is copyright ©1981, 1983, 1992, 1993, 1995, 1998, 1999, 2001, 2004, 2008 by Chaosium Inc.; all rights reserved. Basic Roleplaying® is the registered trademark of Chaosium Inc. All Basic Roleplaying material referred to in this post is copywright Chaosium Inc.

Rifts®, The Rifter®, RECON®, Splicers®, Palladium Books®, Phase World®, The Palladium Fantasy Role-Playing Game®, Megaverse®, Nightbane®, The Mechanoids®, The Mechanoid Invasion®, Coalition Wars® and After the Bomb® are Registered Trademarks of Palladium Books Inc. Heroes Unlimited, Beyond the Supernatural, and other published book titles, names, slogans and likenesses are trademarks of Palladium Books Inc. and Kevin Siembieda.

All art is copywright its respective artist.

Sunday, May 17, 2009

[Rifts:2112] Europe

Okay, here we go with my long-delayed post on Europe.

I've been giving this a lot of thought, actually, because Eurpope is probably the one area of my take on the worlds of Rifts that will see the most changes setting-wise. In short, I think the ball was really dropped with the "Old World" setting books--England, Africa, Triax & the NGR. The latter book, in particular, was a huge disappointment for me when it came out, and largely marked the end of my fanboyish purchase of whatever Rifts book came out, sight unseen.

My problems with Triax & the NGR, in setting terms, were severalfold. I'll address them here briefly if only to give some context to the changes I've made with my own version of the world. 

One of the problems I had with the concept of Triax, as first introduced back in Sourcebook One, was of it being this international arms dealer. That just made zero sense to me; here we have a post-apocalyptic world inundated by monsters, magic, interdimensional storms, and alien technology, and a country, the New German Republic, literally besieged on nearly all sides by hostile enemies. Yet somehow, with these sub-stratospheric planes, they have the resources and means to transport weapons and giant robots to markets overseas. It's not a concept I'd be likely to keep if I was running Rifts RAW, and it's definitely out the window with my more explicitly post-apocalyptic take on the setting. I do, however, like the idea of itinerant weapons dealers, so I'm going to keep the "Triax" brand name, but meld it with Naruni Enterprises. In effect, Triax is the brand name Naruni sells their weapons under, like how Nissan used to sell their cars as Datsuns in the states. The Triax-brand goods in Sourcebook One will be manufactured by the Naruni and the Naruni-brand goods in Mercenaries will be sold under the Triax brand.

The second problem I had with Triax and with the NGR in general is that it seemed like basically a clone of the Coalition: a techno-centric bastion of humanity, fighting the good fight against inimically monstrous forces. Even worse, the NGR lacked the Coalition's delicious little moral conundrum of "what price humanity?" In effect, it was sort of like a Munchkin's Coalition--all of the cool stuff with none of the moral angst.

The third problem I had with the books was the lack of proper European flavo(u)r in the books. Some of the other worldbooks managed to capture the flavor of their respective regions, if perhaps a bit cartoonily at times (::cough::New West::cough::). But from the cover of Triax featuring a robot with "NGR" (as opposed to "NDR"--how "New German Republic" would be rendered in German) stenciled on its front, there's a definite lack of Eurocentrism. Again, we're back to the "Coalition Lite" syndrome. My goal is to have my Rifts:2112 Europe to drip with its own distinctive flavor.

I'm certainly not knocking the "cool stuff" factor of the NGR sourcebook, and I intend to keep most if not all of it. I'm just shifting it over to Japan, which, let's face it, should be the home of giant robots and tons of cool mechs.

So where does that leave the New German Republic, and the rest of Europe for that matter? Let's take a look at the map I worked up in the same style as my North America map.



As you can see, I've kept political boundaries largely the same as in the world as-written. Coastlines are, of course, different due to my increased level of sea-level rise. The British Isles are moreso islands than ever, including the risen land of Lyonesse. The most changes I made, politically, are in the lands outside the core NGR/Gargoyle/Brodkil regions. But let's go through the various place names before getting into specificities.

Avalon is what I'm taking from Rifts England--the conceit of a returned Arthurian kingdom. However, I'm also taking advantage of the fact that Mutants in Avalon is available in PDF (finally!) and running with that. So my Camelot Reborn is populated with mutant animals; I've always liked the imagery of medieval animals. It's a call-back to actual manuscript illuminations, and recalls modern works such as Redwall and Mouse Guard, of which I'm an enthusiastic, if casual, fan.

Lyonesse is the center of the returned Fae realms (as opposed to Scotland, as in Rifts England).

Ys is actually Brittany, turned into an island by the rising waters. I'm envisioning that as a sort of half-Fae, half-human land, menaced by the necromantic Blood Druids of the mainlands, almost a faerie tale kingdom. Great setting for a bog-standard fantasy campaign.


The rest of the British Archipelago I'm envisioning a sort of Sea Gypsy setting, mainly inspired by one of the pictures from my initial idea post. I love the double-decker bus being used as an ad-hoc tram/gondola. I'm picturing the survivors fleeing to the sea to get the hell away from lands now swarming with mutant knights and malicious fae, living off the ocean using water power and steam (more on steam tech shortly).

A good homeland for itinerant adventurers, perhaps.

I've mentioned the Blood Druids, and I'll talk more about them in my post on Magic. Suffice for now to say that they're necromancers and summoners and tend to give magic a bad name inside of the NGR, much like the Federation of Magic does for the Coalition.

Vasconia, Langedoc, and Burgundy are independant feudal kingdoms, slightly more advanced and structured than the Sea Gypsies and residents of Ys, but not quite as much as the NGR. Vasconia is the Basque nation, happily independent and insular. The other two are polyglot gatherings pulled together by survival.

Italy is home to a series of Dwarven Citadels built atop the peninsula's many hilltops, in the manner of old Renaissance city-states. Aside from the areas around Tolkeen in North America, I want Europe to be the center of traditional fantasy-type races. I like dwarves, so they're getting lots of space. It's not marked on the map, but I'm also envisioning a smattering of citadels and strongholds in Norway and elsewhere; I'm picturing Bergen as a sort of dwarf-human trading post.

I'm picturing for the Ogre Kingdoms of Bulgaria a more-or-less straight lift of the Ogre Kingdoms from the Warhammer Fantasy world, one of the relatively recent Game Workshop ideas I really dig, particularly the Leadbelchers. Fits in really well with my sort of steampunk-fantasy vibe I'm feeling for Europe.

If I recall, Vampire kingdoms in Romania are canonical, and I'll happily port that over no questions asked. And the same goes for the Russian Warlords, one of the Rifts worldbooks that I feel got things right on take one for the most part.

Now to the bigger polities.

The "monster empires" are largely unchanged, particularly the Brodkil Empire. For BRP purposes, I'll be using Orcs for Brodkil stats. I really have no problems or issues with the Brodkil as a species, society, or bad-guy empire. Nor do I have a problem with the Gargoyle Empire, although, in keeping with my amping up of Lovecraftian elements, I'm thinking that "Gargoyles" will be more of a term applied by human enemies to describe something wholly alien...


I'll use Star-spawn in various sizes to represnt the different types of Gargoyle described in Triax. I will, however, be dropping most of the "gear" that the Gargoyles use. The Brodkil are the tech-junkies. The Gargoyles should be alien and magical, perhaps occassional allies with the Blood Druids and themselves worshippers of Great Cthulhu and other Things.

And at last we come to the New German Republic.

As I wrote about in my technology post, I see the NGR being a much more steampunk or clockpunk setting as opposed to North America's more cyberpunk/dieselpunkish vibe. I'm picturing the NGR as a loose coalition of city-states and independent baronies, fortified strongpoints that support each other in holding the line against Gargoyles and Brodkil but remain extremely protective of their autonomy. In effect, I see the NGR as a return to the model of the Holy Roman Empire, which is why I've marked the major cities of the NGR as "Imperial Cities"--they are the primary electors of the NGR's legislative body, which in turn directs national defense and levies war taxes.

Germany, like the rest of Europe, was scoured by the Cataclysm, reducing most of its major cities to ruin and rubble and temporarily casting its people into nearly Neolithic living standards. Due mostly to blind luck, Germany was largely spared being overrun initially by Creatures from Beyond. Building on half-remembered scientific knowledge and ad-hoc technology salvaged from the pre-Cataclysm ruins, the people of the NGR have managed to improvise a semblance of technological sophistication, using mostly steam power and alchemy in place of electricity and nuclear power.

I'll write more about alchemy in my post on Magic, but in Europe alchemy occupies much the same status as techno-wizardry does in North America, although it's more widely accepted by the Powers That Be than T-W is. As for steam power, steam turbines are used to generate electricity, and a small network of steam locomotives connects cities across the NGR. But what we're concerned with here, I'm sure you'll agree, is steam-powered mechs!

Although I'm jettisoning most of the Triax mechs, I'm not arguing with the idea that to fight alien Gargoyles and rampaging Brodkil, some serious armor is needed. I'm picturing the biggest mechs in the NGR being equivalent to the Black Knight--modified a bit to be more steam-punky, of course.

(Thinking about weapons systems, I'm picturing an even stronger emphasis on chemical slug-throwers--using depleted-uranium rounds, as per the canonical setting--and mini-missiles than we'd see in the vanguard of North American systems. What energy weapons there are would be mostly primitive plasma guns, reverse-engineered from alien technology.)

The vast majority of power armor in the NGR is smaller in scale, effectively throwbacks to medieval armor that provide a measure of protection and strength but retain mobility and the means for the user to utilize a weapon of their choice, usually a missile launcher, rail gun, or chain gun firing D-U rounds. The suits are even called Dampfritter, or steam knights. My visual inspiration comes from the uneven yet visually stunning Steamboy anime.


I'm lifting that tank, too, and calling it the Dampfspinner, or "steam spider".

One thing I liked about the NGR cities as written is that they've been self-consciously built to emulate the classic European town architecture of old. In my version, only the city cores have that look. The outlying areas and the lower levels of the high-rise, high population districts are much more crowded and dirty (see the pic with the locomotive above or the City of Lost Children stills in my Technology post).

I'll do some more thinking on the political and social makeup of the NGR, so there might be a further post on that subject in the future.

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