Category Archives: Microsetting

Short Order Heroes. 1. On The Clock.

Deputy Jensen Jackson was not particularly important. He knew that.

He was simply too young to be important. Or, at least, too young for someone from his social circles and economic circumstance to be important. That was fine. That was how the world worked.

But he did WORK for people who were important. Old Sheriff McCarter, of course, but “Mac” McCarter had stopped trying to elevate his own status, or those who worked for him, long before Deputy Jackson came along. Assuming, of course, he had ever made such efforts.

Deputy Jackson did assume that.

But Old Mac simply spent too much time hanging out with unimportant people to be a ticket to betterment. Oh, sure, being trusted by people on both side of the tracks — as well as townies, ranchers, drillers, hunters, natives, and even truckers — was useful when it came to policing. Deputy Jackson assumed that was why Mayor Gauge put up with Old Mac — he kept things quiet. And, it meant Mayor Gauge never had to worry about the sheriff looking to move into his job. Old Mac just ran in the wrong circles for that.

Mayor Bill Gauge very much ran in the right circles. When it came to being important in the town of Virtue, Oklahoma, Mayor Gauge defined the right circles.

So if the mayor called up and said “Jensen, my fellow… ” and it pleased Deputy Jackson that the mayor always called him ‘Jensen,’ “… I am having some folks over at the Boomer Barn, and I’d sure like if you were there to keep an eye on things.” Well then, Deputy Jackson would be there, keeping an eye on things.

He was not, in any formal sense, “on duty” when he stood near the mayor and his associates at the Boomer Barn. He was in uniform and thus, under Old Mac’s rules, couldn’t get a drink even though the Barn’s owner,  Amos Lauren, would happily have given the deputy a free glass like he did for Mayor Gauge and whoever was sitting with the mayor. At least, Deputy Jackson was sure Amos would slide him a liquor-by-the-wink (as Apache County was dry) if he was out of uniform while keeping an eye on things for the mayor.

It had never come up.

Mostly, he just stood a bit away from the bar, in his tan and brown uniform, with his belt and holster and badge, between most of the Boomer Bar’s main room, and the leathertop table in the back corner where Mayor Gauge talked to folks and got things done. It was unofficial, of course, but efficient. No rules of order, no minutes of each meeting, no snoops, no party officers, at least unless the mayor invited them.

The government, people in Virtue said, was in town hall. Solutions came from the leathertop.

The mayor normally told Deputy Jackson who to expect so he could wave them to the leathertop, as Jackson knew everyone in town and most everyone important in the county. If anyone not on the list wandered up, the deputy stared at them until they got skittish and wondered away. If they seemed important enough that the mayor might want to talk to them even if they weren’t on the list, Jackson cleared his throat to get the mayor’s attention.

That was keeping an eye on things.

As a result, Deputy Jackson was surprised when Peg Shaw walked into the Boomer Barn, wearing her waitressing uniform and apron, kicking red dust off her boots, and then marched straight toward him. He was even more surprised she had a big, white cloth sheath hanging from her apron, with a knife stuck in it. His surprise grew only slightly more when he realized she was carrying a shotgun.

Shotguns were more common in Virtue than 12-inch-long knives.

She wasn’t pointing the gun at anyone, and she seemed calm enough. And Peg had been a law-abiding citizen her entire life, 32 years in town. There were stories that her mother had been a bit nuts, had maybe used grandpa Shaw’s tractor to run over a whole heard of razorbacks in ’31, but whenever the question had come up Old Mac always said that was, after all, not illegal

And while Peg was mostly a waitress at the “Ranch 66” diner by the highway, she had been known to step up and cook if the regular staff got sick, or had to go help family who lost a home in a tornado. Her family were ranchers and butchers going way back, so it was no shock she could cook. And, he recalled, when he had seen her running the Ranch 66’s grill once, she had been sporting that same cloth sheath and knife.

So Deputy Jackson could envision some odd scenarios where she needed to run an errand over to the Boomer Barn, and just happened to have a foot-long knife and a shotgun when she did them. And, honestly, those scenarios seemed more likely than Peg Shaw meaning to harm anyone at the local dance and social hall, so he didn’t feel the need to grab his gun or yell orders.

When it was clear that she was headed toward the leathertop, he decided his plan was simply to stare at her until she went away. Whatever she thought she needed from the mayor or his guests, Peg Shaw clearly was not important enough to skip the list.

That plan worked fine, right up to the moment Peg walked up to him, and matched his gaze.

“Peg,” he said casually, to remind her that even though she was a few years his senior and they weren’t friends, he had the position to use her given name.

“Jensen,” she replied even more coolly. Deputy Jackson had no idea what that was supposed to remind him of, but he suddenly felt like he had in elementary school, when Mrs. Floyd has asked him what 11 times 13 was, and he hadn’t known, even though he was supposed to know by then.

Her gaze became uncomfortable. If she found his stare in any way disconcerting, she wasn’t showing any sign of it. His sureness in her unimportance wavered. She also, he realized, had a book under one arm. It was a ragged, uneven thing with what seemed to be magazine pages and newspaper clippings and loose typed pages, all stuck hodge-podge between it’s covers. There were tabbed pages as well, and he could just read three of them, with tabs marked “breakfast,” and “desserts” and “therianthropes.”

It was, of course, rude to stare at a woman for this long. And it would be rude to suggest she go back out, or that she shouldn’t be wandering around with a big knife and shotgun. That was the only reason Deputy Jackson turned away from her gaze and pointedly cleared his throat at Mayor Gauge.

The mayor looked up, annoyed. His eyes flickered at Jackson, and then over to Peg Shaw. And then, to the deputy’s shock, the mayor looked concerned.

“Peg Shaw. You on the clock?”

Jackson’s eyes bounced back and forth between the mayor and Peg, and he felt his jaw relax a bit.

Peg’s voice was still cool. “I am, mayor. I need a minute.”

“It’s not a great time, Peg.” The mayor waved at the five men sitting at the leathertop with him. The most important of those was Bruce Shane, one of the wealthiest ranchers in the tri-county area. While most of the other men present seems as perplexed as the deputy (though none of them had either the annoyance or disdain Jackson would have expected from such a circumstance), Shane’s expression was as grim and serious as the mayor’s.

“Sorry, mayor. It can’t wait. Not unless Mr. Shane thinks he has cattle to spare. There’s already a truck rig missing, and it’s got to be belly coolers…”

The mayor held up a hand, which forestalled Peg finishing the description of whatever couldn’t wait.

“Gentlemen,” the mayor’s voice was calm, “forgive me, but a civil servant’s first duty must be to his constituency. We can finish this discussion another time. Bruce, can you stay?”

Peg walked past Jackson without any further invitation, and all the men not named Bruce stood from their chairs around the leathertop, and walked away without any grumbling.

“Jensen?”

Deputy Jackson was, as always, thrilled the mayor called him by his last name, and even more thrilled to be included in anything important enough to interrupt the major’s normal plans. He almost started to walk toward the table.

“Go get Old Mac, will you? Let him know there’s a Shaw Problem, and that Peg is here.”

The deputy swung his leg, which had been about to carry him toward the leathertop, in an arc he was sure looked natural and intended as he began walking toward the door. He heard a thump behind him, and the rustling of pages.

Peg’s voice followed. “There are signs, which ‘Nan Micah made note of back in ’04 here on her rules for boiling poke salad…”

Jensen hurried a bit, to go get Old Mac.

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RPG Seed: Journeyfolk

This is the seed of an idea. The barest hint of a setting, a slight blush of a game mechanic.

The Setting

There are great and mighty heroes of the land, movers and shakers who can face down armies, raise mountains, and challenge the gods themselves.

These titans are busy. Perhaps they must oppose the forces of Khernobog. But for whatever reason, while these paragons can do any twenty things they wish, there are always 100 more things to do.

You have been apprenticed to one of these mighty beings for years, cleaning weapons and cooking meals and cleaning up after familiars. But now, you are a journeyfolk. You are trusted to actually take care of some minor things on your own, dealing with some of of the 100 problems your great and powerful patron doesn’t have time for so they are freed to tackle other issues.

And if one of these lesser problems kills you, that will prove it’s important enough to draw your patron’s direct attention.

The Rules

When you attempt something you might fail at, you make a roll. Every die that turns up as a 5 or more on that roll is a success. For typical things, one success means you have accomplished your task. Difficult things, or those actively opposed by others, might require 2 or more successes at once. Long, complex things might require many successes, earned over time.

Every turn, you get three action dice. These are normally d6s. (For our purposes these are colored green, though that’s not required by the rules). Anything you do on your turn must have at least one action die attached to it. If it’s something you can’t fail at (walk across the room), you just expend the die and take the action. If it’s an action you could fail, you roll the action die to see if you succeed.

You also have other dice, like Physcial dice (attribute dice are blue), Combat dice (skill dice are white), and Fire Spell dice (magic dice are red). These start at a d6 each. When you expend an action die to attempt something, you can add these dice if they are applicable.

You can keep adding dice to see if you succeed, until you roll a “1” on one or more dice, at which point you have to stop. However, you can only use each die you have one per turn, and every action must at least one action die attached to it.

You can spend experience points to buy up the value of your dice. Buying up skill dice is cheap (they only apply to a limited number of rolls), buying up attribute dice is more expensive (they apply to broad categories — in fact there may only be three attributes, like Mental, Physical, and Spiritual), and buying up action dice are extremely expensive (as they can apply to any action).

When you take damage, you have to degrade your dice. I’m not sure how yet. Maybe just your action dice degrade. They can go down to a d4, which can’t *succeed* at a task, but you can still expend those action dice to do things (you’ll just have to expend additional dice as well, if you are attempting a thing you could fail at).

Damage might be broken into categories, like physical (wounds), mental (confusion or insanity), social (reputation), and spiritual (possession, demoralization). If so, engaging in a public debate can’t result in physical damage (unless things escalate to violence), but might result in you taking damage to a Diplomacy or Mental Attribute die.

Your patron is also a die, but one you can only use out of combat, and which has a recharge time measured in days or weeks, rather than a turn. Need to talk your way past a guard? Invoke your patron’s name. Want a curse removed? get your patron to send you the materials needed to do so. Want to have a band of mercenaries guard a town? Ask your patron to pay for them.

The more often your patron helps journeyfolk like you, the fewer resources they can dedicate to help on each occasion. Your patron die begins at a d10, with a one week cooldown. You can move it up to a d12 with a month cooldown or a d20 with a season cooldown; or a d8 with a day cooldown.

This obviously isn’t a playable system yet, but it’s the nugget from which a game could be carved out.

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The Bottomless Tombs, Area 2

You can find the introduction, map, and index of the Bottomless Tombs here!

Area 2: The First Passage

Thirty feet down the shaft is the first passage, off the south wall. When the heroes are free to pay attention to it (likely after killing the centipedes in Area 1, though who knows how PCs will react to a vertical battle?), and assuming they have a light or can see in the dark, read or paraphrase the following.

An opening in the southern wall reveals a small space, no more than five feet wide and six feet tall. A 1-foot ledge sticks out into the shaft forming a narrow balcony that is part of that space’s floor. The opening is no more than a large hole in the shaft’s wall, with a broken door sitting in a stone frame 5 feet in. The floor is littered with bits of broken pottery, wood, and dirt, and the walls are stained by dark splashes of color.

More than one adventuring party has left a guard here over the years, and just left their refuse behind. The stains can be identified with a DC 10 Knowledge (dungeonering), or (nature) check to be a mix of water stains from when rain gets into the holw and old ichor, maybe from large vermin.

If more than one Small or Medium creature tries to fit within the space, they must squeeze.

The door was once fine preserved wood and brass, but has long since been smashed in and the brass fittings and hinges removed. A careful examination allows a DC 15 Perception check to realize the door was not designed to ever be opened once it was closed, and it had a trap built into the wall, though it is also long since gone.

The doorway leads to a 10-foot-long, 5-foot wide corridor, which ends in a portcullis. Read or paraphrase the following:

A portcullis blocks passage any further south. Made of rusted iron, it runs the width of the corridor, and its spiked bards set into small holes in the floor. It is covered in worn runs, and shows obvious signs of having been battered and hammered on, and one bar is bent outward toward you, making a space roughly the size of a cat. Just past the portcullis is a cross-corridor, running east and west. A lever, also of rusted iron, sits in the wall of that corridor, currently in the ‘down’ position. A rotting bag of sand is attached to the leaver by a frayed rope.

If you lift the leaver, the portcullis goes up. The last group of adventurers here tied a sandbag to the lever so it would be pulled down after they left. There’s no easy way to use a rope or similar flexible device to pull up on the lever from the north side of the portcullis.

The portcullis can be lifted by a DC 24 Strength check (so an 18 Strength character can do it by taking 20, though this is loud and time consuming). A Small creature can get through the bent-out bars with a DC 18 Escape Artist check, though failure results in 1 hp of damage from jagged edges. The portcullis has 8 hardness and 30 hp per bar, so a group could just hammer on it and hope to break open a bigger hole.

A DC 15 Disable Device check allows a character to find a way to trigger the lever, and a DC 15 Engineering check can be used to rig a staff or similar device to flip the lever u by using the crossbars on the portcullis as a leverage point, though this also requires a successful DC 15 Strength check.

Developments: The louder the PCs are, the more likely it is they draw out something from Area 3.

Design Philosophy: It’s a dungeon, so it should reward people ready for traps and mechanisms… but also not prevent groups without such preparation from getting to the fun part if they work at it. So this has lots of solutions, and is mostly about the players deciding how they want to handle such things.
It also establishes that doors here may have traps, which will matter later, with being a gotcha moment for players.

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The Bottomless Tombs, Area 1

We introduced the Bottomless tombs, and their map on Monday, and discussed the staging area around them yesterday.

So, it’s time to head down the shaft!

Area 1: Entering the Shaft [CR 1]

If the players closely examine the shaft before heading down, read or paraphrase the following.

The sides of the shaft are worked stone, but show signs of considerable wear. In a few places, smooth, though cracked, finishing stone still lines the walls but most of that has long-since chipped away. Most of the shaft is cracked stones, and in many cases these have large cracks, through which thick roots and vines grow to choke the shaft, tangled around the wreckage of worn logs and rope rigging from one or more some kind apparatuses that has fallen into the shaft in recent years.

If the PCs have darkvision, or a directional lightsource (such as a bullseye lantern), or wait until the sun is directly overhead, add the following.

It’s impossible to see more than 35-40 feet down the shaft, but a dark shadow just short of the limit of that range suggests a side passage extends off the southern wall of the shaft.

The first side passage is 30 feet down on the southern wall of the shaft. The only way to get to it, is to climb (or fly, but mostly 1st level characters can’t do that).

Hazards: The Climb DC for this section of the shaft is 10 if a PC just tries to climb along the roots and wreckage. If a rope is added (perhaps anchored to the iron ring in the staging area), the Climb DC drops to 5. Characters can take 10 on this check as long as nothing is attacking them. (Yeah… wait for it)

If a character fails a check by 5 or more, they fall. Luckily, the shaft of the Bottomless Tomb is so checked with roots and detritus, they eventually land on something able to hold their weight. When a character falls, roll 2d6 – 1d6. This value is both the damage they take, and the number of 5-foot squares they fall before landing on something. Most of the damage is from bouncing off roots or falling through rotted wood or frayed ropes. A character can fall 55 feet and only take 11 points of damage because they never build up much momentum.

If the value of the roll is 0 or less, the character is caught within 1 foot by something, and takes no damage.

Foes: There are house centipedes living in the cracks in the walls of the top of the shaft. they pretty well ignore ropes, rocks, or other things being thrown in (unless someone things to dangle meat on a rope, in which case they come out and swarm up the rope to get at the PCs), but once a creature is 20 feet down, they crawl out to attack any potential meal.

If you want to make their attack dramatic, read or paraphrase the following:

A noise like sand trickling over tight leather slowly fills the shaft. Movement rustles roots and ropes, beginning at one of the walls. A long centipede crawls out, more that a foot from it’s clicking mandibles to the end of its 100-legged body, the length of a halfling’s arm! Two more follow it, their heads swinging back and forth as the crawl along the sides and bottoms of the detritus choking the shaft and scuttle toward you!

Three centipedes attack when the first character gets down 20 feet. They have climb speeds, so they easily reach any point in the shaft. They attack any adjacent creature, or if none is adjacent the last creature to attack them.

They have cover from anyone more than 10 feet away, due to how clogged the shaft is.

Remember that despite their massive strength penalties, they do at least 1 hp on a successful attack.

Developments: After 1d4+1 rounds, three more house centipedes attack having been drawn by the sounds of combat.

Design Philosophy: There’s a lot going on with this encounter.

First, if you manage at least a +0 Climb bonus you can safely move around until the centipedes attack, and if you thought to have a rope anyone with at least a +4 (likely including anyone with a rank and a class skill and light armor) still can’t fail. this rewards more mobile characters even at 1st level.

Second, it’s a high-tension fight over a bottomless pit… carefully set up so if you fall you get caught before you go too far.

Third, anyone with even one point of DR can largely ignore the centipedes.

Fourth, it’s a 6-foe fight, which rarely happens until much higher level.

Fifth, the cover means melee characters in the shaft have a real advantage over ranged characters. This may not be true for most of their adventuring career, but it’s nice to start things off rewarding the nimble rogue on a rope with a dagger in one hand.

Sixth… poison. Not too serious, but anyone with bonuses to saves against poison gets to benefit from that immediately.

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The Bottomless Tombs, Staging Area

We introduced the Bottomless tombs, and their map, yesterday.

Now, it’s time to get to some adventure!

The Top of the Tomb

The first issue is reaching the shaft, and examine the areas around it before the PCs even think of climbing down the the shaft into the tomb and reaching the first side-passage. As the PCs reach the top of the tomb shaft, read or paraphrase the following:

The top of the shaft is a square hole in the ground, roughly 15-feet to a side. Dirt, sod, and bits of refuse are piled up around the hole, and the shaft itself is choked with long tree roots, clumps of matted grass, and a tangle or what seem to be old and broken woodwork and rope rigging. It doesn’t look particularly stable, but it does offer numerous handholds. Light doesn’t penetrate more than 40-50 feet into the shaft, but there is certainly no sign of a bottom to it within that range.

An iron ring, showing just some signs of rust, is looped through a large wooden stake driven into the ground 5 feet to the north of the hole. Not far from that sits a well-defined fire pit, ringed in stones and filled with a dense layer of cold ash and charcoal. Bits of cloth, broken glass, chipped whetstones, and strips of rawhide are scattered about, more than half-buried in the grass. Old woven grass mats are laying on the ground in a semicircle around the firepit.

The firepit, mats, and refuse are the remains of numerous camps adventurers have made here over the past several decades, thought the gnomes who came through a few weeks ago didn’t use any of it.

Hazards: The mats are long-since riddled with lice, and anyone who sleeps on one must make a DC 10 Fortitude save or be at -1 to all Dexterity ability and skill checks from itching until they are deloused with a DC 10 Craft (alchemy) or Heal check. A DC 10 Survival check reveals the mats are infested, and can use smoke from a fire in the firepit to cleanse them.

Treasure: One sunrod, three pitons, a cold iron dagger, and 2 cp can be found with careful examination of the old campsite and refuse around the shaft. Each can be found with it’s own DC 10 Perception check, and an additional item found in one attempt for ever 5 the check exceeds that base DC.

Developments: Animals and outlaws both check this area from time to time, looking for food or valuables. They don’t make any dedicated searches, so any effort to bury or conceal items is successful. however, if tents, or mules, or food stores are left unattended and unguarded at the old campsite, there is a 1-in-12 chance each day that either a wolf of a brigand comes along and raids obvious materials.

Design Philosophy: It’s not that common for 1st level characters to get much use out of Survival (especially in dungeon-focused games), or from searching areas that aren’t obviously dangerous but that detail-oriented adventurers should want to check out.

This also already gives characters a reason to be happy to have an animal companion or basic hireling. If anyone (or, within limits, anything) watches their stuff they can safely use the old campsite as a base of operations. Neither wolves nor brigands will risk fighting for trail rations or spare blankets, though a guard left behind can let PCs know that someone has been prowling around after a week or more of time watching.

Low-level characters also often don’t get much benefit out of resistance to disease, or the ability to make basic alchemy and Heal checks. Lice isn;t life-threatening, but that’s the point,. Characters can begin to learn ways in which the game world is dangerous without risking having am arm drop off or becoming a mummy.

Not yet, anyway…

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Pulp Powers: Prechometry

Exploring a concept of a psychic power I’ve never seen anyone use in  story or game before.

“Prechometry”

The ability to touch an object and gain impressions of noteworthy things that are going to happen to it in the future.

Especially useful variant is “image prechometry,” which allows you to touch a detailed picture of an object (such as a blueprint), and determine what major things would happen to it if actually existed.

In my “Diesel Pulp” just-for-fun setting, the Black Duchess of Crimea has a number of prechometrist stranniks, who allow her military to troubleshoot new designs without ever actually building or testing them. While this system is not perfect, it saves so much time and money as to give the Black Duchess a huge advantage.

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How The Biggest Ball of Twine in Minnesota Saved the World

Carson pulled the twine tight, again. She walked around the enormous almost-sphere of the material, again. She pulled a new skein of twine from her coat pocket, and tied it to the end of the twine coming off the twine-ball. Again.

this won’t work, mortal

The voice was much weaker than he had been when she’d started. Good. A few more hours, and even she wouldn’t hear it anymore.

She smiled, and she began tugging, wrapping, and walking around the twine. Again.

“It will, Svarmag, thank goodness. While you deigoth can only be bound by unique memorials, they don’t have to be hanging gardens, or colossi.” She patted the oversized string ball affectionately. “Just, you know, noteworthy.”

they built the sphinx itself to bind me

Carson smiled. “And then Napoleon’s troops screwed up and let you out, I know. Though let’s be honest, if you were stored in the nose, you probably aren’t why they built the sphinx. I’d bet there were dozens of you stored in there. You were just the lucky booger who escaped.

this is not fitting. it is not permanent. it is no…

Carson felt a grin tug at her face. Oh, it would take some planning. A foundation, dedicated to the cultural impact of the ball. A little money. Some websites.

But yes. Svarmag would be bound in twine, Forever.

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The Public Enemies: Inverted Jenny

Superheroes and pulp adventurers need nemeses who are just as colorful, interesting, and talented as the protagonists they oppose. Batman’s Rogue’s Gallery, the Flash’s Rogues, Spider-Man’s Sinister Six, Superman’s legions of foes, the Green Lantern’s Yellow Lanterns and so on, define those heroes as much as their powers and backstories do. So when running a supers RPG, GMs often want to create memorable foes to serve similar roles.

One way to do that is to do pastiche versions of classic villains. Another is to create new villains that draw on similar tropes, but aren’t 1-for-1 homages.

Since villains are often coolest if they have some collective noun (which doesn’t have to mean they work together… though sometimes they might), I have begun pondering a group of colorful foes ready to be the nemeses of nearly any hero.

I call them, the “Public Enemies.”

Inverted Jenny
The  master criminal known as Inverted Jenny is well-known to actually be Dr. Jennifer January, an expert in computational complexity theory who funded many philanthropic pursuits by working as a freelance postal and insurance investigator uncovering fraud. After she exposed a profitable money-laundering scheme being used by the Wolf’s Head, she was kidnapped and questioned by the villain Toxin under enhanced interrogation to see how much information she had turned over to the government. This treatment resulted in her developing dissociative identity disorder, apparently as an intentional side-effect of the psychotropic treatment she underwent.

The second identity that developed thought of herself as the opposite of everything Dr. Jennifer January believed in, and thus dubbed herself “Inverted Jenny.” Inverted Jenny is a genius planner obsessed with things that are the reverse of the norm, and stamps and stamp collecting. Though she has no superhuman powers, her ability to carefully plan, prepare for nearly any eventuality, adjust on the fly, and adapt to changing situations in clever and unexpected ways makes her a famously successful and dangerous foe. She is often very well funded, able to gather vast wealth in short periods of time through various forms of fraud, and happily spends that money to commit crimes that bring in much less value, but matches her personal aesthetic.

As Inverted Jenny she wears a domino mask (despite knowing her identity is public knowledge), and a high-quality pinstripe suit with a label pin of the famous Inverted Jenny stamp. She normally carries a handgun (often with specialty ammunition designed to deal with specific problems she has foreseen running into), a utility knife (generally concealed), a big ring (with the biplane from the famous stamp on it), and sometimes a cane (which has about a 50/50 change of having some special function, such as being a sword-cane, or a one-shot shotgun, or a cattle prod).

Inverted Jenny often works with a small club of all-women mercenary criminal specialists known as the Philatelists. These include Basel Dove (nonlethal munitions), Red Mercury (explosives), One-Cent Magenta (naval and underwater ops), Penny Black (disguise and infiltration), and Scinde Dawk (hand-to-hand combat). The Philatelists aren’t insane, and aren’t obsessed with stamps or inverted items. They were first assembled by Inverted jenny in an early, spectacularly successful, caper. While they were captured after they went their separate ways, their reputations were such that they were often freed and recruited by governments, master criminals, and of course Inverted Jenny herself. As a result, they use their stamp-based codenames, even when working independently or with groups with different motifs.

Two other Philatelists have sometimes been acknowledged, Penny Blue being a bodyguard often hired by Inverted Jenny, and Penny Red being a trainee of Penny Black (and possibly a younger relation) who operates independently as a bounty hunter and repossession expert on the gray side of the law.

Since Inverted Jenny is truly and genuinely insane, when captured she is generally confined and treated at the Segefield Sanatorium for the Criminally Insane. Of course, sometimes Dr. January’s personality is dominant, and at such times Inverted Jenny effectively does not exist. On numerous occasions, Dr. January has seemed to successfully and permanently suppress the Inverted Jenny personality, and managed to receive clearance to live in public, though always with regular monitoring and check-ins. Sadly, some treatments turned out to be only temporary, others couldn’t prevent a resurgence of Inverted Jenny if Dr. January was in extreme pain or danger, and in at least two cases what was a permanent fix was undone by some other villain who felt the need to recreate Inverted Jenny to access her planning expertise.

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Top Ten Geeky TV Series Pitches

A lot of shows got cancelled recently. That’s fine. Good, even. It’s part of the Entertainment Cycle of Life.

So, here are my top ten pitches for new Geeky TV series. Note that in many cases while I am pitching it, I’d be the WRONG person to write, direct, or produce these.

10. Nebula’s

It’s a single-room comedy… in space! Think of it as Cheers, but set at Quarks.

9. UnCivil

The US Civil War was about slavery. In a world where the heroes of the ancient world were real, and super-science and magic are just beginning to develop, this is the story of early mystery men (and women) operating during the civil war.

8. Lower Decks

The U.E.S. Topeka is the jewel of the United Earth fleet. On its upper decks negotiations decide the fate of systems, bluffs end wars, and strange creatures on contacted for the first time.

On its lower decks the sanitation systems have to be maintained, the quantum torpedoes polished, and the missing synthetics crate from storage 141 has to be found before the new official review. What goes on above deck 50 doesn’t make much difference down here.

Unless there’s a hull breach. Or a Krangin prisoner escapes. Or a visiting alien turns out to be accompanied by a vampiric slime that got into the air ducts.

Again.

7. Vigilance

A therapy group on loss decides they are tired of just mourning their dead. They have MMA fighters, engineers, paramedics, even a cop. No one of them could be a hero, but as a group? As a group they can forge one new figure to make a difference.

They can be Vigilance.

Foresee a fight? Then have one of the fighters wear the suit. Need to interrogate someone? Send the psychologist. Someone in the Vigilance suit gets hurt? Patch them up in secret at a member’s house, and send out someone else the next night.

No one has all the skills to be Vigilance. But between the twenty of them, they have this covered.

6. Lost City

Under Seattle is the famous and well known Seattle Underground.

Beneath that are the Tunnels and Cellars.

Beneath that is the Lost City. Things that have been lost, forgotten, or abandoned often end up in the Lost City. Atlantis may never have existed, but there are a few Atlanteans here. the Rat emperor is always lurking at the edges. And this is where the Sasquatch went when they were driven out of their native homes.

Debbie Darbaski’s little brother disappeared when they were children. Now a young adult she gets a letter from him, asking for help. In the Lost City.

5. Perri Hotter and the Arcane Adult Education Class

Look, not everyone in the Magic World can make it at the ivy-wand-league schools, like Warthogs, or Bullbrakes. Sometimes when you AREN’T the chosen one, your life takes an unexpected turn, and you best bet is Arcane Adult Education Class.

Of course that means if some villain DOES manage to encase all the major magic schools in dream ice, you and your evenings-and-online-classmates may the the only hope the Magic World has. And as the best-of-the-worst, everyone is looking to Perri Hotter, who was once mistaken for the Chosen One, to save the day!

Which doesn’t mean she can skip her day job, either. Saving the world doesn’t pay the bills.

4. Asmara

The year is 2100. Asmara is the major, mobile solar-system traveling space station controlled by the African Union. With unlimited solar power and self-sufficient hydroponics, it is beholden to no one, and on it cultures suppressed for millennia are having a Renaissance.

3. The Game Masters

As the world gets weirder, the governments of the world often need experts who can tell the difference between real satanic rituals, and circles taken from the Paladin Roleplaying Game. Combining esoteric knowledge, game theory, and a host of friends with weird hobbies. Han Kite, Robin Kaos, and Mike Selinker (as himself!) tackle the weird cases the more traditional agencies have thrown up their hands and given up on.

2. Ashmen

A group of US firefighters go to help with an out-of-control blaze in Europe, but are cut off and surrounded by flame. they take refuge in a root-encrusted cave, pass out, and when they wake up and come out, it’s the 9th century.

And the locals mistake them for “ashmen,” Dane raiders famous for their ash-wood ships.

They have what was on them at the time, and their collection of modern knowledge. Can they make a new life in the dim past? Can they even learn the language? And, once they befriend a local village, can they protect it from the REAL ashmen, who are coming to raid?

1. The Morrigan

Erin Gabanna always loved her grandmother, but is still shocked when she inherits everything upon her grandmother’s death. In a letter, her gran warns her that this includes the title of The Morrigan–Erin is now the harbinger of death, lady of crows and wolves, and a member of the unseelie court.

Erin will be drawn to death and war for the rest of her life, and will be hunted by the one-eyed Cuchulainn as her geas.

Erin’s grandmother hid her connection to death, but Erin is going to fight it. Or, at least, seek to bring justice to those deaths she is drawn to. In this she leans on her friends of college, which include a paramedic, a lawyer, and her best friend, a celebrity bodyguard.

The Morrigan is a murder-of-the week procedural, as Erin is supernaturally drawn to death but decides to solve these crimes on her own accord, with a running B-plot of supernatural politics with Maeb, Dagda, and other entities trying to draw Erin in as a young, inexperienced member of the court with a lot of enemies, and few allies.

Entertained by just the IDEA of these shows? Feel free to support me on Patreon!

(Want to pay me to actually work on these, or create more ideas for you? Leave me a note in the comments, or shoot me a line at owen.stephens@gmail.com!)

Alcoholism, Therapy, & Gaming

My father was an alcoholic. He went to rehab, once, in the 1990s and toward the end of that process we had ‘family week,’ where the whole family came in for group therapy and counseling. So the other members of my family and I went, and spent a week there. It was a bit like summer camp, but the activities were figuring out how badly screwed up you were and crying instead of archery and canoeing.

While there for family week, I met a young woman who had been badly abused. I did not get, and if I am honest did not at the time want, any details of what she had been through. She was there for her own addiction. I either never knew what she was addicted to, or I have long since forgotten. She wasn’t in any of the group or therapy sessions I was in with my father and family.

She saw some of my RPG books I had brought with me, and was fascinated by them. She understood the concept immediately but, faced with multiple books of hundreds of pages each for just a few games (I know I had Rolemaster with me, I may have also had some D&D and Champions), she claimed that she “wasn’t smart enough” to play RPGs.

I assured her she was. I promised I could show her how the concept worked and we could play a game, with just a few of sentences of explanation, and three sentences of rules. She agreed.

“Tell me about your character.”

She loved rabbits. She wanted to know if she could be a rabbit, I told her she could be anything she wanted. She decided she was an anthropomorphic rabbit scavenger in a post-apocalyptic world who hunted (and killed) carnivores, and defended herbivores.

I gave her a 3×5 index card.

“Write down one thing you are good at.”

She wrote down she was good at creeping.

“Write down one thing you’re bad at.”

She wrote she was bad at keeping calm.

“Write down one important thing you have.”

I had meant one object she possessed. She wrote she had ‘limitless determination.’ This game was for her. I was not about to tell her she’d done it wrong. Limitless determination it was.

“Write down one thing you want to accomplish.”

She wanted to find a safe place to bring orphan bunnies.

I gave her a penny.

“I’ll describe situations, and you tell me what you want your character to do. For anything you try you flip a coin – your action succeeds on heads and fails on tails. If you try something you are good at or have an important thing for you get to flip twice and succeed if either is heads, while if it’s the thing you are bad at you have to flip twice and get heads for both to succeed. That’s it.”

She asked if, since she was a rabbit, she could succeed on tails, and fail on heads. That seemed super-obvious, and I agreed.

And so the “Hares & Holocausts” game was born. Getting to flip twice and winning if either was tails was a bonus. Having to flip twice and winning only if both were tails was a trial.

We played 3-4 times over that week, mostly at lunch and once one morning after breakfast. I borrowed heavily from Gamma World, Rock & Rule, Watership Down, and Seven Samurai. Her character never got a name, and she didn’t seem to care. I thought of her as “The Rabbit Without a Name,” who wore a poncho, and assumed the setting used an Ennio Morricone soundtrack.

Each scene was clearly defined as casual or dangerous. Casual scenes had no consequences. In a dangerous scene, there were normally 3 chances for her to take an action. Actions weren’t blow-by blow things like “I stab a scorpion bandit,” but more like “I attack the bandits, trying to drive them back out of the mine shaft.” One successful action out of the three was a draw–she ended up neither better off nor worse at the end of the scene. Two successes was a win. Three was a BIG win, and she got some kind of permanent improvement.

Zero successes was a failure.

If she failed at a scene, she took a wound which meant she had to either give up one of her bonuses until she healed, or write down a new trial (which she got to pick) as a scar she kept until she succeeded at a task using that trial. I remember she choose a scar at least once,  getting a cut through her left eye so she got the trial “Bad at seeing things to my left.”

She picked up a katana, with a BIG win, which she got as a bonus she could use once per combat, because I wanted to introduce the idea of equipment. She also gained a psychic mind-stare with a BIG win, which let her try to take out a foe before a scene began, with no penalty if she failed.

She crossed The Waste, and found a mine shaft, which had evil scorpion bandits in it. Driving them away, the mine shaft lead her to a valley with a ruined town which had some bunny orphans in it. She saved them from a spider sweat-shop owner (who forced the bunny orphans to weave designer webs for uptown spiders), then went to find them a safe home. That took her to an old observatory on top of a nearby mountain, where she had to convince the ancient security AI (that controlled a robotic sphinx guard) to allow the orphan bunnies to live there. She hunted down and imprisoned a skunk airship pirate who made clouds the observatory couldn’t see through, and promised shed talk the orphan bunnies into become astronomers, and the AI agreed to let them stay and protect them.

Then she took the stench-airship, and flew off. She wanted to find, and defeat, the Uptown Spiders who received the designer webs. End of campaign.

I did not realize for weeks that she never killed anyone. Drove off, defeated, jailed, convinced to change sides, yes. Never death.

She really seemed into it, and told me she would introduce that game to friends of hers. She still didn’t think she could play a “real” RPG. I tried to convince her there were lots of games, like there were lots of books and lots of movies, and all she needed was one that was a good fit for her. I was not convinced “Hares & Holocausts” could be played seriously, thought I didn’t tell her that.

I’m skipping over a lot of the weird, awkward, difficult parts of this experience. I was making it up as I went along, and it was not as polished as this short write-up makes it sound, especially for the first game or two. There were moments I was uncomfortable. There was at least one time she burst into tears. I used some Rolemaster critical hit tables for narrative inspiration once, and that was a big mistake on numerous levels. The councilors insisted all games take place in one of the public areas, and only between 7am and 6pm. No one else played with us.

At the end of my week, I gave her my contact info. She was going to be there for at least a few weeks longer. I did not ask for, and she did not offer, her contact information. I never heard from her.

I think that’s the only complete, totally original RPG I have ever designed by myself.

My father stayed sober for 90 days, because one of the councilors at rehab told him he couldn’t — that it would be impossible. Through sheer iron will, my father took not a single sip of alcohol for three months. They were a good time to know him. Then, convinced this meant he wasn’t an alcoholic, he drank himself to death over the next few years.

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