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Halloween Adventure seed

Blue Ghost

SOC-14 5K
Knight
This was inspired from the TTA "Great Space Battles". There's a bit of rail-roading here, so I ask forgiveness. I hope some of you find it entertaining or useful.


Regina, in the Regina Subsector, Spinward Marches
Starport Downport facility
Date; Hallow's Eve



You’ve taken on a small group of mid-passage passengers onto your Type-R, some mail and a smattering of assorted cargos headed for destinations beyond your offload point. None of the passengers are affiliated with one another and all seem ordinary citizens. You lift off from Regina without incident, your flight plan filed for some weeks before will take you across the subsector to Efate with stopovers along the way. Exchange of passengers, cargo, the usual stuff.



The transition to jump was after reaching safe distance was also routine. And jump itself was uneventful. It was exiting jump that things seemed odd. You couldn’t quite put your finger on it at first, but the familiar starfield had been replaced with a nebula that was highlighted at points by distant suns, but otherwise nearly black. And the central star for Roup wasn’t the expected yellow dwarf, but a spectacular red giant that seemed somewhat dim.



A misjump? You check the charts. The data shows a system called “Guardian”. Guardian? Where’s that? You attempt to correlate your last position with Guardian, but the Guardian on the charts is half way across the Imperium, and the names of the neighboring systems don’t match with anything you know nor ever heard of. Rubicon? Styx? Thasus? Dark Gate? Four Horsemen? The list of subsector names reads like a dark mythological list of places forbidden.



You try to read more data, but your ship’s computer returns “Update Required”. That’s when you approach a dim gray world with huge patches of dark gray clouds, some swirling over the spherical surface. EMF emissions are abundant, but for some reason you cannot contact anyone. There’s technology registering; beacons, navigational systems, and other municipal apparatus, much of it powered, but for all that the world seems exceptionally dark. As if no one turned on the lights.



That’s when the local ALS takes over, and your ship’s controls are locked out until you touch down. In the mean time you glide through some of the darkest skies ever. There is light everywhere, some of it even yellow or white, uncharacteristic from a red giant, but there it is. The shadows cast through the windows of the bridge and few other windows are harsh, black and sharp.



You check the ship’s communications suite. Again lots of RF and EMF emissions, but no traffic other than the data being exchanged between your ship’s computer and the starport of destination. You descend through dark thick white clouds, transcend through a darkening layer of gray to a dim visage of the world below. What sunlight reaches this elevation shows the dark grey nearly all black outline of a city. There’s a smattering of street lights, but nothing else.



Closer inspection as you descend further reveals shattered windows, deserted streets with the occasional hulk of a vehicle oddly parked onto the curb, some with windows smashed, others apparently crashed into poles or buildings.



Your resident hacker makes multiple attempts to regain control of the ship, but to no avail. Your Type-R eventually glides onto a runway, and taxis to a gate dimly lettered. The ship’s drives power down and refuse to re-ignite in spite of the powerplant working at full power. Both computer and engineer work in tandem to check relays and subsystems. Your computer expert says it’s obviously a Trojan screwing with the ship’s avionics and computer, but your engineering team says that it’s more probably a bad control card somewhere deep in the engineering section. They’ll need time to hunt it down.



Your pilot and navigator tell you that the transmitter and control point for the ship’s flight is located in the control tower some two miles across through the starport’s main corridor. Unwillingly you decide to divide the crew, half come with you to investigate the control tower, the other half stay here to trouble shoot the ship and keep the passengers calm. One passenger, a technologist of some renown (a kind of media celebrity) offers the his services and of his young assistant. You take them up on their offer, though somewhat reluctantly.



You take whatever gear you want or think you need, and enter the ship’s airlock anticipating something odd. The exterior door opens to a gantry that automatically locked onto your Type-R’s airlock port, and it lit only by the dim sunlight that’s made its way through the thick charcoal grey clouds. It’s like an abandoned building in an unused section of some forgotten city. No one. Some dust, a few scraps of paper, but you don’t recognize the strange lettering on wrapping for what might be candy or batteries or some other trivial product.



Further in you enter the mall like spacious main corridor of the starport which stretches left and right. Again, not black, but very dim. Your field computer says power is registering to your right, just over two miles, and some distance upwards in elevation. As you walk down the corridor you begin to notice gray body sized lumps here and there. They are in fact the bodies of the former occupants. Presumably human, though you’re not sure. If you want, you can take a moment or two to investigate, though to determine any cause of death will require more than your ship’s field medical kit.



Store fronts, ticket counters, lockers, unused people movers on one side with huge bay windows over looking the tarmac on the other. And that’s when it hits you, there aren’t any other starhips here. Your media personalities assistant briefly enters one of the dust covered stores. Mugs, postcards and other schlock adorn the racks and store shelves. You keep an eye on him, but then hear a piercing cry coming from outside … somewhere.



That’s when you hear another cry, this time very close by and very familiar and terrestrial. The expert calls for his assistant, runs into the store, looks around, sees nothing, then opens the door to the back room. The grim visage of the young man’s remains churns your stomach. And that’s when you see the clumps begin to stir. The skeletal remains push themselves to their feet and turn their empty socket gaze upon you. The shattering howl of a canine thunders through starport. You look off to your right, five-hundred meters tall some miles away you see the ghostly colossal form of a three-headed hound, each neck with a spiked collar. The middle head is tilted upwards baying at the sky with its horrible howl. The far right head bares its fangs and snarls. The head nearest barks, then with steely glowing red eyes glares at you and your party.



Actions?
 
Maybe what caused the disaster has released a hallucinogenic drug into the atmosphere? How long before the Away Team is affected and turns on the crew left on the ship. It could be it takes some time to affect you. The Away Team might not show the affects until the ship is back in Jump Space?
 
A lot of the concepts I had for this game and other writing venues was to expose the fraud of "horror" or people who like to scare people into coaxing them into fraud or just for the fun of it. This particular seed came from Stewart Cowley's "Great Space Battles". It's like the second or third story in the book. It might be a bacteria or some spore or fungus. Whether the landing party discovers the source or no is almost academic as per the story that inspired the seed. If it were old school Trek, then Kirk, Spock, and Scotty would have looked for a power source or some biochemical agent. Scotty; "You can't do tricks like that without power."

A lot of the television I grew up with was designed at exposing fraud; one of the awful Hanna Barbara cartoons like Scooby Doo or one of its HB imitators (reskinned characters, but with same story themes; i.e. Spirit of 1776 and so forth), Family Affair, Star Trek (when it was a military show), Time Tunnel, Dragnet, One Adam 12 and so forth. One or two shows catered to delusional people who believed in the myths created by people who had fraud on the mind; Nimoy in "In Search Of" and one or two similar TV shows and films. And I guess that's the kind of creative TV pool that I draw stories from.

Whether the hell hound was in fact the real Cerberus serving Ares or not I'll let people decide for themselves. Odds are it's either an illusion or some manifestation by some intelligence designed to drive fear into intruders, and this world and the Guardian subsector lays in ruins due to this threat. Yeah, I like that. It's better than the seed itself. ;)(y)

Which means the players may have a larger task at hand ... not only to get back to Imperial space, but to find out how the subsector got this way, and maybe tackle the threat with their Type-R, ACRs, Laser rifles and SNUB pistols. :D

*EDIT*
Post Script; Traveller deals with a lot of challenges to personalities in a security context; i.e. Research Station Gamma; do the players sympathize with the Chirpr and the plight of animals being experimented on, or do they run the little varmint into the local law enforcement authority? Personally I always try and tried in the past to make the stories more traditional explorative or more fantastic to keep the adventure interesting, which is why I prefer the proto-Traveller setting as per the first LBBs, TTB / BBB and Snapshot, as opposed to the OTU that was set in stone. But, I really do need to tidy up loose ends and move on.

Post Post Script; my family actually had some influence with both versions of Trek as I've discovered over the last few years. Original Trek, like Traveller, had security issues in mind, some of which dealt or stemmed from psychiatric issues from the bad guys. The Next Generation was designed as a family psychology show, and really took a nose dive, but young people seem to like it regardless. But there again the family psychology and medical angle was partially due to the family. Whatever.

Thanks for the reply.
 
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Original Trek, like Traveller, had security issues in mind, some of which dealt or stemmed from psychiatric issues from the bad guys.
Well ... Roddenberry was a police officer before he became a Hollywood writer, so the security issues angle makes a lot of sense given the creator's backstory.
 
I always enjoyed the Halloween issues of Challenge magazine, and the Halloween post here. I agree the Proto Traveller gives you much more room to expand your own universe. My favorite Sci-Fi has always been First Contact and Alien Artifacts stories and it's easy to put a horror spin on both.
 
I had no idea there were Halloween issues of Challenge. Cool :D(y)

I seriously did not know. There must have been some fun stuff published.
 
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