Category Archives: Geek Movie Review
How do you get a Universal Pictures Monsters shared universe off the ground? By focusing on making one awesome story that stands on its own, but does so in a way that picks up threats from the most popular such movies in recent memory, is inclusive and modernized, and hints at a larger world without taking time away from the things important to your first film. Here’s my pitch:
It is 1950. In communist Romania, Alex O’Connell (early30s white, British, he/him) manages to gain permission for an archaeological team to catalog and record items being removed from an ancient abbey in the Carpathian Mountains prior to its demolition as part of a plan to build a massive road to access the Transylvanian Plain. The Romanian official warns Alex he is only doing this as a favor to Alex’s parents, who were allies during the War and in the troubled years afterward.
Alex brings the good news to Jonsey Johnson (early 30s, black, French/American dual citizen with links to Paris and Harlem), the head of expedition security, and Doctor Mary Jessica Van Helsing (early 30s, white, Dutch, she/her), the expedition’s leader. The three talk about the archaeological value of such a mission, as well as the political and regional dangers, and all three hint their parents raised them to be… cautious. Alex has a cat. Jonsey has a German shepherd. Mary has a fancy white rat. The three animals get along surprisingly well.
Meanwhile at the abbey, looters are holding local workers at gunpoint, forcing them to use their digging tools to break through the back of the abbey’s basement wall. The looters have an old map that claims the “Eyes of the Dragon” have been locked away in a secret chamber. The looters think these are gems.
But the Eyes of the Dragon actually refers to Dracula, who leaks out of a tomb under the Abby in a mist form when the wall is cracked, and one by one turns the looters and workers into his ghoul minions. Only one manages to flee out of the abbey, into the sunlight.
Alex, Jonsey, and Mary (and their expedition) reach the base camp at one end of the Carpathian pass, but find it abandoned. Both become very suspicious, and eventually find the survivor, who explains what he saw. Alex asks if there were hieroglyphics, or Chinese or Aztec symbols. Confused, the worker says no. Jonsey asks if there were vials, chemical agents, or signs of drugmaking. More confused, the worker says no. Mary asks if there were signs of dragons and inverted crosses. The survivor says there were… maybe. He wasn’t paying much attention.
The expedition decides to send the laborer back to the big city with half the expedition’s Romanian guards, to report the attack to the government. Alex, Joney, and Mary all three slip him letters to send to their respective parents, each without the others knowing.
That night, the base camp is attacked by ghouls. The main character’s pets all send up warnings, allowing Alex, Jonsey, and Mary to gear up with their respective monster hunting equipment. (Alex’s are in the false bottom of a steamer trunk. Jonsey’s are stashed in muscial instrument cases. Mary’s are secreted away in a hidden drawer of her traveling work desk.) During the fight, they run into each other, and realize they all have anti-monster experience.
Mary: “You’ve fought vampires before?”
Alex: “Vampires? Those are real?! No, mummies. Mostly, And one dragon.”
Jonsey: “Mummies are real? I’ve fought vampires and a dragons, yeah. Never a mummy.”
Mary: “Dragons? Like, fire-breathing flying lizards? Those are real?!”
Curious as to how his ghoul’s attack was repulsed, Dracula visits the camp the next day. He asks one of their team-members if he can enter the camp, and is told yes, causing Dracula to give a big smile. He goes up to Alex, Jonsey, and Mary, and asks if they were the ones to treat his pets so harshly the night before. Alex begins to draw down on Dracula, but Jonsey stops him, asking the vampire if he was invited into the camp. He affirms he was, and Jonsey rolls her eyes. Mary then tells Alex a vampire can’t attack them while he is their guest, and if he is attacked they’ll be cursed.
Alex notes he thought vampires couldn’t move about in daylight. Dracula asks where he got that idea, and Mary confirms it’s true for some vampires, but not Carpathians. Jonseynotes it doesn;t apply to a lot of Non-western bloodsuckers.
Dracula says he is unsurprised they were able to send his servants fleeing, because Alex reminds him of his most beloved servant and general. Almost as if the spirit of Dracula’s dear friend was reincarnated in Alex.
Mary asks Alex if he could be a reincarnation of Dracula’s beloved friend. Alex shrugs, and says it runs in the family. Jonsey, meanwhile, tells Mary she quits, and walks away. Alex is flustered Jonsey would quit NOW, but Jonsey points out her name is on the papers the Romainian government signed too, so she can set up her own camp if she wants to. Mary tells him not to worry, she trusts Jonsey.
Dracula suggests Alex leave the expedition and join him. Jonsey is seen getting people to take down her tent, and draws a line in the dirt, loudly telling Alex and Mary that anything on her side of the line is now HER camp, and screw them. Dracula seems amused, and begins to talk about how hard help is to get these days, when Mary distracts him by noting Dracula still has some scars from where he was injured last century, and wonders how long it took him to heal from that near-death. He is angered and suspicious, and asks her how she knows about his last conflict. She tells him her family name, and he looses some of his cool and nearly attacks her.
In the background, Jonsey has gotten all the expedition members to set her tent BACK up. Alex asks if she is leaving, or not, and she tells him if he has a question for her, he can come over where she is and ask her. Alex has his father’s confused-and-annoyed expression, but Mary grabs his arm and hauls him across the line Jonsey drew in the dirt. All the remaining expedition workers are around Jonsey’s tent. Dracula goes to follow, but stops up short at the line, as if hitting a barrier.
Jonsey says she didn’t invite him into HER camp. Alex grins, and he and Jonsey and Mary unload at Dracula, who is taken by surprise and flees.
The plot can proceed from there along pretty typical adventure/horror lines — Alex, Jonsey, and Mary decide Dracula is growing stronger by the day, and they can’t wait to stop him, so they go after him in the tomb complex. The three have different and complimentary skills, and make a good team. They hunt down Dracula and seem to destroy him, but when he “dies,” a gem that looks like a snake eye falls to the ground. Mary realizes this is one of the two legendary Eyes of the Dragon, relic of the Order of Dracul, and it’s how Dracula survived her grandfather’s assault in the late 1800s. Alex smashes it, and asks how many such gems there are. Mary says two, and three agree they need to find and destroy the other one.
Searching through in notes found in the camp of the Looters who released Dracula, they find that there were two places the Looters thought the Eyes of the Dragon might be. One was here. The other was Castle Frankenstein, and there is a map to a Lost Lab of Frankenstein’s, which might hold the secret location of his original Castle.
Castle Frankenstein then becomes the next movie. In that story, Alex, Jonsey, and Mary seek to find Castle Frankenstein, but find they are competing with a man who can become invisible, who apparently is part of an evil occult organization…. and a little mad. During the source of that movie, it’s revealed some of Doctor Frankenstein’s reagents for creating life came from a lost Black Lagoon, and Frankenstein had sent Igor on an expedition there to gather more materials just days before the villagers stormed his castle, which is why Igor wasn’t around when that happened. There’s no note saying if Igor ever came back…
As the Shared Universe expands, I can get Wolfman, the Phantom of the Opera, and even the Hunchback into this if the first few are successful. The original characters from The Mummy (1999) as occasional support characters. Like, if the Invisible Man’s formula turns out to need blood of an ifrit of the djinn, who are naturally invisible, one of the movies can include a backup appearance by Oded Fehr as Ardeth Bay. And, of course, we can bring in elements from Mary and (rightholders willing) Jonsey’s families as well.
Both heroes and villains expand their plans, form allies, and build toward the end of the first story arc, a final showdown with Dracula, Frankenstein’s Monster, and the Woflman. But even that is only the FIRST story arc…
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A group of very different women, who clearly have all survived horrifying and dangerous experiences, gather to deal with the evils they’re sure are lurking near the about-to-be-opened eponymous cabin.
And this time? They’re prepared.
Ideally this would be “The Expendables,” but with actresses who have survived horror and horror/action movies.
(For example, they all take out million-dollar life insurance policies, and name each other’s friends and families as beneficiaries. But not the group themselves — no one who is going to be at the Cabin is benefitting directly).
“Is that a chainsaw?”
“Yep. Top-handle 16-inch always-start Stihl, with custom grips and fuel gauge.”
“Did you get it from… yaknow?”
“Oh, heck no, he used a stupid-huge, heavy, rusty monstrosity. Bad for combat. I DID salvage some of the links from it’s chain, though.”
“So, you wear full body armor?”
“When hunting, with backup? Fuck yeah. NIJ-certified Level IV. You don’t?”
“No, I prefer stealth and mobility. I have a stab-resistant undersuit. Machete-resistant, too.”
“Tested it against power drills?”
“Haven’t had the opportunity.”
“All right, precheck. Defiled indigenous holy sites or burial grounds?”
“I mean, yes. But no more than anywhere else in this country. None of the surviving original local cultures have any specific warnings for us. I asked.”
“Not that the eco-groups I talked to are aware of.”
“Shipping and power records suggest no.”
“Three recorded massacres, roughly one per generation. Just rare enough for people to forget. Always on a solstice. Like the one coming up.”
“So, cult or supernatural evil.”
“Seems likely. I have silver, jade, white oak, mistletoe, holly, salt, and holy water — in Catholic, protestant, and Eastern Orthodox flavors. And some from a guy named Giles. Oh, and bullets. Lots of bullets.”
“Sounds good, let’s go.”
I specifically wanted a mashup title for this idea, but after expanding a bit I wondered if “Final Girls” would be a better choice. But, it turns out a movie by the title already exists and is just similar enough (it’s kind of Scream via Last Action Hero; an actress’s daughter and her friends get pulled into the actress’s horror movie, giving them a change to use their self-aware trope knowledge to defeat the killer) that I think it’s better not to risk confusion.
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Since there’s certainly no full published adventure support for the Really Weird West setting hack for the Starfinder Roleplaying Game, I thought it might be useful to both provide some adventure seeds, and provide a list of inspirational media. That said, a GM interested in running a Really Weird West campaign need not feel like every adventure needs to be custom-crafted from scratch. Most adventures appropriate to the Starfinder Roleplaying Game can be reskinned to run in Really Weird West (with space stations becoming port towns, starships becoming zepplins, hyperspace travel becoming riverboat or airship travel, other planets being other states and/or islands, and so on). Similarly, adapting adventures designed for related fantasy RPGs is easy by changing lost dungeons into lost mines or ancient civilization cities, and adding guns to most foes.
But if you do want to create your own adventures, or add introductions, side-quests, and major revisions to existing adventures, the adventure seeds below and inspirational media lists that follow should provide numerous appropriate jumping-off points.
1. You come across a dead, masked Texas Ranger, with a gunbelt full of silver bullets. He was clearly mauled by a giant wolf. This leads to an adventure tracking down a group of werewolf bandits.
2. A madman named Robur, operating in unincorporated territories, has nearly completed the Death Cloud, an airship with a rebuilt Martian heat ray so powerful it can destroy an entire city in a single shot. He’d see an entire army coming and wipe them out, but a small group might be able to sneak past his defenses and blow up the Death Cloud from within.
3. Someone has been stealing hegesistrati (a “hegesistratus” being a gearjack prosthetic), knocking out veterans of the War of the Worlds and ripping the most advanced gearjack technology from their bodies. At the same time, rumor is a new mad genius will sell you gearjack armor cheap…
4. A dragon is terrorizing the small town of Walnut Grove. It’s smart enough not to appear when the cavalry is around, and no one has found its lair, somewhere in the badlands…
5. The PC with the best pistol attack bonus receives a letter. The infamous killer and quickdraw artist Doc Valentine has heard people claim the PC is better with a pistol than valentine, and is coming to town on the noonday train tomorrow to call the PC out to a shootout.
6. The PCs order new gear from a major town, to arrive by train. The train is hit by bandits, and their gear stolen.
7. An unscrupulous lawyer has stolen the designs for a local ally genius’s rainmaking machine, which will save entire counties of farmers from a serious drought. He has a head start, but the PCs know he’ll be on a moving train for a specific leg of his journey, so if they can just rob the train and get the design back…
8. A young man in strange clothes claims to be a time traveler, and he needs to find his elder friend and repair his time machine before he does major damage to the timeline…
9. There’s a new addictive drug in the territory, premade black cigarettes called Coffin Nails. If the gang pushing it isn’t stopped, they may gain enough power to challenge the US government.
10. One Martian tripod, alone in the desert, is still active.
11. The Mole People are kidnapping singers, for some reason, and some of the singers that have taken are important high society folks that need to be rescued from their underground kingdom.
12. Someone has desecrated a Civil War battlefield, and the dead from both sides are rising up to punish the living until the desecration is made right.
13. There’s something in The Mist.
14. The lost city of El Dorado offers vast treasures… if you can survive the traps, guardian constructs, rival explorers, and Olmec lizardfolk who have taken over.
15. The Hatfields have turned to necromancy. The McCoys have turned to diabolry. Everyone else has turned and run.
(Though in fairness, I have been informed “We McCoys would never turn to diabolry. Unstable alchemical explosives, maybe. Ninjitsu, probably. Mentally unstable deities that are still good-natured even if they cause far more problems than they should, definitely. Gigantic robots that can flatten a town without noticing, oh you bet we will.”)
16. The Illuminati hid a vast treasure in a long-abandoned mine, and a series of obscure clues will allow the PCs to get to it before a cult that wishes to use it to summon an ancient, elder god.
17. It’s snowing in the desert, and only one person has the cold-weather gear everyone needs survive. And he’s selling it at a huge mark-up. And whenever he runs out, white wolves bring him more.
18. A mad military genius has built a rolling fortress, and plans to use it to destroy a group he dislikes, be that a native tribe, a pioneer town, or the PCs’ base of operation.
19. Characters with advanced melee combat skills are being kidnapped and forced to fight in a tournament of Bullfighters, who face off against minotaurs in a labyrinth arena.
20. A villager from a small, unarmed town begs the PCs to come protect them from bandits. The bandits number in the hundreds, and the villagers can only pay in food and a place to stay, but without the PCs help, the village will be driven to the brink of starvation.
Taking a broad view of “Weird West” as a setting to include any strongly-Western setting (even if located somewhere other than the American Old West) that adds elements of the supernatural, or advanced technology (steampunk or not), or visitors (from monsters to aliens to time travelers), there’s a lot of media that can act as inspirations to create your own adventures, characters, and themes. I’ve excluded things that transport Western plots and sensibilities into other settings (so no Adventures of the Galaxy Rangers or Dark Tower or Firefly, all of which might well also spark ideas), not because they are in any way inferior, but because they tend to be better known and I wanted to keep this list manageable.
It’s worth noting that while these are great sources of Weird West inspiration… that doesn’t mean they’re great as forms of entertainment. Many are quite good, but some are truly awful. That doesn’t mean they aren’t worth skimming through (or reading summaries of them) if you can’t sit through them the regular way, in order to get inspired to riff new ideas and characters and plots from the bad stories. Myself, I sometimes fin terrible books and movies are actually better sources of inspiration, as when they do something really dumb I find myself thinking “It would have been cooler if they’d done X,” and whatever X is, that’s my new, cool idea.
It’s also worth noting that nearly any western, fantasy, or cyberpunk plot can be easily adapted to a Really Wild West campaign. It’s easy to add some half-orcs to a bandit gang, have long-dead sorcerers wear black cowboy hats, and turn megacorporations into railways and cattle barons. If that doesn’t feel natural to you, try describing the driving force of a plot as generically as possible. The Fellowship of the Ring can simplify to “a local boy is convinced my a mysterious wanderer to take something dangerous to the big city for advice, then decides to throw it into a volcano which requires him and friends to pass through an abandoned mine, all while hunted by the original owner’s forces and elite generals.” One you have it reduced to that level, it’s easy to replace the local boy, mysterious wanderer, something dangerous, big city, and abandoned mine to seem more Weird Western. So if a pioneer has to take a Crimson Spike, which turns any railway into demon-summoning railroad line, to New Holt City where the Elven Preservation Society convinces him that to keep it from senator “Boss” Morghul he must take it through the old Brimstone Double-Y Mine to a volcano hidden in the Rockies… THAT’s Weird West.
Billy the Kid’s Old Timey Oddities, publisher Dark Horse Books
Black Jack Ketchum, publisher Image Comics
Bouncer: The One-Armed Gunslinger, publisher Humanoids, Inc.
East of West, publisher Image Comics
High Moon, publisher Super Genius
Iron West, publisher Image Comics
Jonah Hex, publisher DC Comics
The Justice Riders, publisher DC Comics
Kingaway West, publisher Dark Horse Books
Lazarus Lane (El Diablo), publisher DC Comics
Magic Wind, publisher Epicenter Comics (English language publisher)
Pretty Deadly, publisher Image Comics
The Sixth Gun, publisher Oni Press
Trailblazer, publisher Image Comics
Wynonna Earp, created by Beau Smith
Zagor, publisher Epicenter Comics (English language publisher)
Boilerplate: History’s Mechanical Marvel, author Paul Guinan
Boneshaker, author Cherie Priest
The Buntline Special and sequels, author Mike Resnick
Dead In The West, author Joe R Lansdale
Dead Man’s Hand, anthology, ed. by John Joseph Adams
Dead Man’s Hand: Five Tales of the Weird West, author Nancy Collins
The Dead Remember and other “Weird West” stories, author Robert E. Howard
Deadman’s Road, author Joe R Lansdale
Devil’s Tower and Devil’s Engine, author Mark Sumner.
The Encyclopedia Of Weird Westerns, author Paul Green
FRANK READE: Adventures in the Age of Invention, authors Paul Guinan and Anina Bennett
The Golgotha Series, author R.S. Belcher.
The Hexslinger Series, author Gemma Files
The Holmes-Dracula File (and related books), author Fred Saberhagen
Karen Memory, author Elizabeth Bear
Low Moon, anthology, ed. David A. Riley
“Mad Amos” stories, author Alan Dean Foster
A Road Paved In Iron, author Don Corcoran
The Shadow series, author Lila Bowen
Shadow on the Sun, author author Richard Matheson
Sherlock Holmes vs Dracula, by by Loren D. Estleman
Stagecoach Mary, author Jess Nevins
Straight Outta Tombstone, anthology, ed. By David Boop
The Sundowners Series, author James Swallow
Tales of the Far West short story collection, authors Gareth Skarka, Matt Forbeck, and others
Vermillion, author Molly Tanzer
Wax and Wayne series, author Brandon Sanderson
Zepplins West, author Joe R Lansdale
Deadlands Classic, published by Pinnacle Entertainment Group
Deadlands Reloaded, published by Pinnacle Entertainment Group
Devil’s Gulch, for BRP, published by Chaosium
Down Dark Trails, for Call of Cthulhu, published by Chaosium
Red Dead Redemption: Undead Nightmare, for Red Dead Redemption, published by Rockstar Games
Shadows of Brimstone, published by Flying Frog Games
Sixguns and Sorcery, for Castle Falkenstein, published by R. Talsorian
Werewolf: The Wild West, published by White Wolf Publishing
(Movies with no non-western elements are just marked “Western”)
Back to the Future Part III, directed by Robert Zemeckis
Billy the Kid vs Dracula, directed by William Beaudine
Blood Moon, directed by Jeremy Wooding
Blood Rayne II Deliverance, directed by William Beaudine
Bone Tomahawk, directed by S. Craig Zahler
Bunraku, directed by Guy Moshe
The Burrowers, directed by J.T. Petty
Cowboys & Aliens, directed by Jon Favreau
Curse of the Undead, directed by Edward Dein
Dead Man, directed by Jim Jarmusch
El Charro de las Calaveras, directed by Alfredo Salazar
El Dorado, directed by Howard Hawks (Western)
Fistful of Dollars, directed by Sergio Leone
From Dusk Til Dawn 3: The Hangman’s Daughter, directed by P.J. Pesce
Gallowwalkers, directed by Andrew Goth
Ghost Brigade aka The Killing Box, directed by George Hickenlooper
Ginger Snaps Back: The Beginning, directed by Grant Harvey
The Good the Bad the Weird, directed by Kim Jee-woon
High Planes Drifter, directed by Clint Eastwood
High Plains Invaders, directed by K. T. Donaldson
Jesse James Meets Frankenstein’s Daughter, directed by William Beaudine
Johnny Guitar, directed by Nicholas Ray
Jonah Hex, directed by Jimmy Hayward
The League of Extraordinary Gentlemen, directed by Stephen Norrington (but the comic’s much, much better)
The Magnificent Seven, directed by John Sturgis (1960) (Western)
The Magnificent Seven, directed by Antoine Fuqua (2016) (Western)
Ned Kelley, directed by Gregor Jordan
The Pale Door, directed by Aaron B. Koontz
Pale Rider, directed by Clint Eastwood
The Phantom Empire (1935 serial), directed by Otto Brower and Breezy Easton
Purgatory, directed by Uli Edel
Quigly Down Under, directed by Simon Wincer
Ravenous, directed by Antonia Bird
Red Sun, directed by Terence Young
Rio Bravo, directed by Howard Hawks (Western)
Rio Lobo, directed by Howard Hawks (Western)
The Seven Samurai co-written and directed by Akira Kurosawa
Shadow of the Vampire, directed by E. Elias Merhige
Silverado, co-written and directed by Lawrence Kasdan (Western)
Sukiyaki Western Django, directed by Takashi Miike
Tremors 4: The Legend Begins, directed by S.S. Wilson
Undead or Alive, directed by Glasgow Phillips
The Valley of Gwangi, directed by James O’Connolly
The War Wagon, directed by Burt Kennedy (Western)
The Warrior’s Way, directed by Sngmoo Lee
The White Buffalo, directed by J. Lee Thompson
Wild Wild West, directed by Barry Sonnenfeld
The Adventures of Brisco County, Jr., created by Jeffrey Boam and Carlton Cuse
Cliffhangers (‘The Secret Empire’ segments), created by Kenneth Johnson
Dracula miniseries, created by Steven Moffat and Mark Gatiss
Kung Fu (1972-1975), created by Herman Miller and Ed Spielman
The Lazarus Man, created by Dick Beebe, Colleen O’Dwyer, and Michael Ogiens
Legend, created by Bill Dial and Michael Piller
Penny Dreadful, created by John Logan
Wild West C.O.W.-Boys of Moo Mesa, created by Ryan Brown and Bob Carrau
The Wild Wild West, created by Michael Garrison
Wynonna Earp, (especially seasons 2-3) created by Emily Andras
And, of course, the really Wild West setting is an example of weird west, and it’s made available by the supports of my Patreon! If you’re a fan, please consider offering a few dollars a month for support!
I think one of the things that made the original Trilogy very successful (and makes everything sine much more divisive), is that the original somehow manages to be wildly different things to different viewers. And depending on what lens we view those movies through, we want very different things from one another for expansions or continuations of our version of Star Wars.
The Last Jedi was not a perfect film, but I enjoyed it very much.
It means that for the people who made it, they have narrowed down how they see the original films, and that’s fine. I can see what they see, and be really happy with it.
It also means that there are different movies in my head, which are the 8th movie for different Star Wars original trilogies that, realistically, may also have only ever existed in my head.
And I’m okay with that.
(For those who want to support my posting my thoughts on geekery when i have them, check out my Patreon.)
One of the things more industrialized settings sometimes do for an rpg campaign is open up new avenues of adventure. While there is nothing at all wrong with tuning an abandoned mall into a dungeon, or a wrecked spaceship into a haunted house, or treating an alien progenator as a dragon in its layer, sometimes it’s fun to play with new possibilities as well.
And if you have a setting with multiple homeworlds drawing together in a confederation with representative officials from different worlds, each with its own method of selecting said officials, that means politics.
While in some games PCs might actually be candidates, and some system of determining who wins an election might be useful as a subsystem, the idea of political action adventures can be introduced without going nearly that far. Much as you don’t need a subsystem on fighting epidemics in order to rush antidotes to a plague-ridden city and don’t need rules on the impact of an alpha predator on an ecology not designed for it to hunt down the bullette destroying a forest, you can do a lot with politics as a motivator without ever getting into voting, caucuses, poll taxes, or even issues.
As with many RPG-related adventure ideas, you can borrow heavily from fiction for inspiration. While these are by no means an exhaustive list of movies with politics-driven action plots, and it’s certainly not a commentary on the quality of any of these movies, they are things that a good GM should be able to easily borrow from to throw some political adventure into a modern or science-fiction campaign. All of these have at least some elements where it’s easy to envision PCs of any level getting involved, either accidentally, as catspaws, or as a politically appropriate measured response. While it might be important in some cases to downgrade the action from centering around a chief executive to simply a minor representative who’ll cast a decisive vote on something, the core ideas are still easily lifted.
And obviously, I leaned towards those movies with cool ideas and set-pieces over those with believable politics.
Air Force One
Bridge of Spies
Enemy of the State
Escape from New York
The Hunger Games tilogy
In the Line of Fire
The Manchurian Candidate
Olympus Has Fallen
The Pelican Brief
The Purge: Election Year
Speaking of Politics
Well only sort of. But politicians need supporters… and so do I! I have a Patreon, where I have set up pledge levels to explain how much you’ll actually be charged (within a few cents) even under Patreon’s weird new pricing scheme. Check it out!
This is a cinematic sci-fi timeline, and effort to create a rich history of advancing technology and the issues, heroes, and morality tales that lead to a moment rich for player character involvement. That moment might be at the end of this progression, or at any point along the way the GM finds interesting.
This isn’t an effort to actually jam all these differing stories into a single continuity, and I am not claiming RUNAWAY is actually the precursor to RoboCop. I am also aware that some of these do have official crossovers (half of then through Dark Horse comics), and I don’t care if I invalidate those either.
Nor am I trying to fit ever science-fiction movie in existence into a single reality. Just a specific subset I feel have some themes and throughlines in common that make for an interesting potential universe.
This is just a thought experiment, designed to place actual inspirations into slots where a pastiche of each *could* form a logical continuous timeline with just a little tweaking.
Each movie includes the year the movie was released, for clarity. No specific set time is suggested for when these movies should occur, but I assume the timeline runs roughly 200 years from 1970 to 2170. The timeline movies forward with each italicized breakdown of how the listed movies represent the events of that point in the timeline.
The Timeline (1970-2070)
Close Encounters of the Third Kind (1977)
The governments of the world come to accept that alien life is real and travelling the stars, but keep the information from the general public.
Crucial moments in the development of the world are impacted by a very small number of time travelers, resulting in multiple, overlapping alternate timelines, proof of some variant of the many-worlds interpretation of quantum mechanics.
The Fury (1978)
Perhaps as a step in evolution, perhaps as a response to the first cases of time travel and alien contact, verifiable psychic phenomenon begin to sporadically manifest. The governments of the world alternate between exploiting and just killing such talents, but needless to say thigns often go poorly.
Aliens continue to visit Earth in small numbers and without the public learning, but such visits are not always friendly.
As technology advances, the wealthy and powerful begin to realize it can be used to control the lower classes, to focus even more power in the hands of the few.
As society groans under the need to provide for an expanding population and worsening natural resources, autonomous robots become increasingly common in advanced societies. Something they go rouge, and must be put down. Sometimes an increasingly tech-savvy criminal class makes use of them.
Suspect Zero (2004)
The number of individuals with psychic powers grows, and organizations begin to form to deal with them exclusively.
A Clockwork Orange (1971)
Predator II (1990)
The pressure on society begins to lead to the collapse of institutions and social norms. As the middle class ceases to exist, the underclass becomes increasingly violent and hard to control. The tiny sliver of the wealthy and powerful, and their increasingly independent corporations, seek to control the masses through any means. This is a rich environment for a small number of alien visitors to exploit conditions for their own amusement or gain.
Red Lights (2012)
Slowly, the scientific community begins to publicly study psychic powers, though skepticism remains high.
Governments begin to collapse and corporations gain more power. This leads to efforts to have corporate-controlled paramilitary forces, and to use cybernetic technologies to enforce obedience on a soldier-servant class.
Event Horizon (1997)
The strain humanity is putting on Earth is clearly unsustainable. The oligarchs and mega-corporations experiment with ways to spread to other worlds, though their reckless willingness to attempt anything that might succeed leads to horrific failures.
Total Recall (1990)
Thanks to advanced in space travel, humanity begin to move to new worlds, though all still within the solar system.
Conquest of the Planet of the Apes (1972)
The need for cheap labor leads to attempts to uplift other simians. But if we made apes intelligent and independent enough to serve as slave labor, they are intelligent and independent enough to rebel. Such efforts are outlawed.
Solent Green (1973)
The world is in near collapse. The upper classes have literally fantasy worlds to play in with their nearly unlimited wealth, while everyone else fights for scraps and is distracted by death sports. Early cyborg technology begins to advance to primitive androids, though these require fairly regular maintenance and human-augmented control.
(If society does totally collapse, a new timeline forms here, with Damnation Alley, Mad Max, A Boy and His Dog, and so on, eventually reaching Thundarr. Our timeline doesn’t go that route.)
Minority Report (2002)
The existence of psychics is publicly accepted, and they begin to be integrated into the government and corporate efforts to control a growing population that is increasingly dissatisfied and dangerous.
Blade Runner (1982)
The total collapse of human civilization is prevented by creating autonomous androids to serve as the ultimate slave labor force, while humanity begins to truly move to the stars. But only those who are healthy and talented are chosen my megacorporations to be shipped off Earth, and it turns out intelligent and independent android slaves have many of the same issues intelligent and independent ape slaves did.
Silent Running (1972)
Robots begin to be replaced by androids in most tasks, though simpler robot technology is more stable. Though some governments have gone to the stars, it is the corporations who have the money and resources to push the boundary of the final frontier. What they find doesn’t always go well for the corporate employees who find it.
Blade Runner 2049
Back on Earth, things still boil (details left out as spoilers for the movie)
Colonization becomes standard, and most android behavior issues are solved. But as humanity’s sphere of influence spreads, so does its interactions with other alien life.
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I saw Blade Runner 2049 with some friends.
I think it does a wonderful job matching the style and world and storytelling style of Blade runner.
This despite doing some things I normally think of as terrible ideas for sequels. But in this case, they were good calls.
I also think it was full of thematic and philosophical nuggets that are more interesting in conjunction and contrast with the original than they would be alone, but going into detail would be spoilers, so I’m not doing that yet.
In any case, I’d be happy to watch Blade Runner 2079 when it’s released in 2052.
In preparation for seeing Blade Runner 2049, Lj and I opted to watch a version of the original.
I’d like to claim it inspired me to write a post about how the only innocent character isn’t the protagonist or antagonist, or thoughts on what we owe our inheritors, an essay on the value of a life lived for a single moment, or my analysis on why the universe itself cries throughout the entire film, or something classy like that.
But that just wouldn’t be me.
Instead you get:
Ten Mash-Ups I’d Watch But Have Never Heard Anyone Suggest
(and their advertising tag lines).
Blade Runner vs. Predator
Who hunts the hunter?
Robocop V – Chucky Cop
When the police are demonic dolls, who do you turn to for help?
Evil is changing.
Dungeons and Dagon
You are not high enough level.
Men in Black Mirror
Whatever’s going on, it’s weird and depressing.
Master Mustard, in the 11th century, with the lead pipe.
G.I Joe vs the Volcano
Amercia’s Best can Get the Job, but can they Do the Job?
Who You Gonna Feed After Midnight?
The Last Star Writer
A fanfiction forum is a test from an alien alliance to pick the one geek who can think of ideas awesome enough to save the galaxy.
Guardians of the Galaxy Quest
They’re going to need Guy’s leg.
The Fhtagn Four
Mr. Fhtagn. His mind can bend into any shape!
Invisible and Insane Woman. Out of Sight, Out of Mind.
Eldritch Thing. It’s Cthulhuing Time!
Human Torch. We set a guy on fire. He… doesn’t do much.
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This is a spoiler-free review.
Where I am Coming from: I have read, and enjoyed, the Dark Tower books, but I’m not invested in them, their characters, or the story elements. I have no primal need to see any of it in a specific form, so I can’t be disappointed the way I could be by Lensman or other formative stories of my life. To me the ideas are the best part of the Dark Tower, and I am most interesting in seeing those ideas on the screen, rather than any specific character or event.
My Reaction: I enjoyed this movie very much. I found it to be well written, well acted, and well directed. The ideas I am most interested in from the Dark Tower began to be presented (obviously you can’t fit all the neat ideas from a multi-book series into a single movie), and the movie developed some of its own neat stuff, which I think is important for an adaptation.
It also gave me tons of ideas for stories and game elements, which is also a big bonus for me with a movie. There were a very few Easter Eggs I noticed that I enjoyed.
The Audience’s Reaction: The crowd at the theater I was at seemed to like the movie a lot, and their was applause when it ended. On the one hand I was at a super-cheap 11am Saturday matinee (less than $6 tickets) so people might have lowered the bar, but on the other hand the sound cut out briefly a couple of times at the beginning so a lot of people began the experience annoyed.
Of the people around me, I heard one person who specified they loved the books, and one person who said they’d never read the books, and one person who said they normally hated Stephen King all mentioned they enjoyed it a lot. I didn’t hear anyone have anything negative to say, though obviously the majority of folks didn’t share any opinion at all where I would hear it.
My Entirely Anecdotal and Subjective Verdict: I thought this movie did a great job of a very difficult task, and I hope the plans to related tv series and sequels are carried out. Most of the changes made from the source material seemed to be to have been made for reasonable goals, even if I might have gone a different direction with them.
This is particularly good as a source or inspiration for certain kinds of RPG settings, though I can’t say what without adding a spoiler. If you watch the reviews, it should be clear.
In my binary digit-based rating system, it gets a thumbs up.
Kong: Skull Island was, for me, a delight. It knows it’s a giant monster movie with roots in grindhouse and pulp, and it isn’t embarrassed about that at all. But it also sees the benefit in things like characterization, story, pacing, and development.
I clapped with childhood glee, laughed, cried, and gasped. I am exactly the target audience for this.
In my binary digit-based review system, it gets a thumbs up.