How a Traveller 2300 serial be handled?

[colinfit20]

Was wondering if anyone had considered how a Traveller 2300 series could be handled?

Would you rather it be an animated series, an actual play podcast, you tube video of an actual game, a film or a live action series?

What kind of plot would you like to see handled in such a series?

Would you read a comic serial of such a series?

Maybe include some background detail in the back like the stats for crew, the ship or even the locations they visit?

What's your view on this?

 

[ManOfGrey]

The First Invasion.

The most successful 2300AD campaign I ever ran was the first invasion of the Kafer at Aurore in 2298. Without trying to sound too self-congratulatory, I did feel this idea lent itself for serialization. You had the same characters, from episode to episode, who were put into this situation, having to fight for survival against an unknown and intractable enemy, while cut off from the rest of humanity. Obviously this is a situation that would not resolve itself for months, perhaps years. Which, in a broad sense, is not unlike the situation in Battlestar Galactica.

The reason I bring this up, is that I feel this is a far more “believable” situation for a group of characters to find themselves, in order to always have an adventure from week to week. They are in a situation they can’t get out of. This is in comparison to a group of “troubleshooters” who one week solve an adventure, and next week go on to tackle another. Followed by another…and another…and another…

In the first example, you have an overall story arc. In the second example, you don’t necessarily.

Plus, we had the additional “hook” of the Kafer, and the persistent questions of how, and why, they acted the way they did, what did they want, and how you might communicate with them to find out.

Which is why, even as we were running through it, years ago, I felt our campaign would have made a good TV series, with one caveat – I’m not sure an audience could miss an episode and keep up with the story arc. As it happened, each scenario built upon the one before it. If you saw the first “episode” about the crew living on a space station, missed the third “episode” about how and why they abandoned the space station, and tuned in to see them living on the planet, you might be taken aback. Like the new Battlestar Galactica, a “what happened last week” intro would be necessary.

Like most, our individual scenarios ran 3-4 hours, which I think would be enough material to squeeze a 50 minute teleplay out of each of them. I have begun to blog about it. Everyone is welcome to read our adventures for themselves, and determine if I need to retain an agent. (Rest assured, I haven’t quit my day job.)

 

[colinfit20]

How would a T2300 series be handled?

So how would you start it all off?

Would you use your characters back story as a means of establishing the setting or have them come together as the conflict began?

Maybe use the Star Wars rpg habit of an opening crawl or better yet and introductory beginning having a ship's crew detect the presence of an incoming ship and then work from there?

Who would be the main cast especially if you're using that campaign you mentioned?

The Navy character survives the destruction of their vessel managing to jettison down to the world as it comes under orbital fire?

The Scout is on shore leave and has to evacuate whoever they can to the outskirts where their ship is currently hidden?

The Merchant who just wants to get off world ends up stumbling along until his/her contacts and resources can help?

The Agent whose aware there's more going on and needs to get a message out?

The Mayor's aide who ends up being the de facto leader of the planet after the main city is bombarded from orbit... does she flee off world or establish a means to resist the invaders?

How did you handle this or how did it work out?

 

[aramis]

most of my 2300 games started on a colony. It just happens that the PC's are all at the same colony - for various reasons - and then the Kafer invade.

 

[mike wightman]

I got so bored of the kafer war arc - the 2300 setting had so much more to offer.
The mysterious alien artifact in Nyotekundo, the Bayern mission, countering the provolutionists, even the stab at adding Cyberpunk (these days I would twist that into transhumanism and link it with provolutionists and the pentapod).

My favourite T2300 campaign was a cyberpunk crossover that merged the Deathwatch Program adventure with Near Orbit.

So my vote would be for a techno-thriller/deep space exploration type adventure series.

 

[whartung]

The PCs happen to be in Franks eating breakfast, cuz Franks has the best breakfast in town.

Then the guy runs in carrying a case. "Help! They're following me!"

Then the gunmen arrive….

 

[aramis]

I got so bored of the kafer war arc - the 2300 setting had so much more to offer.
The mysterious alien artifact in Nyotekundo, the Bayern mission, countering the provolutionists, even the stab at adding Cyberpunk (these days I would twist that into transhumanism and link it with provolutionists and the pentapod).

If they had actually DONE anything with any of those throw-away hooks...

 

[mike wightman]

If they had actually DONE anything with any of those throw-away hooks...

If they had developed them they would have had Transhuman Space about a decade before SJGs
One of the intro adventures was a provolutionist plot, and then nothing much more

 

[Condottiere]

Space 2323, the television Ceres.

 

[ManOfGrey]

Consider a story arc.

So how would you start it all off?

Would you use your characters back story as a means of establishing the setting or have them come together as the conflict began?

How did you handle this or how did it work out?

Wow. I appreciate the question, but the answer may turn into an essay. And for that, I apologize in advance. (In fact, this may be only "part one" of that essay…)

First of all, the original question that began this thread was concerned about how to address an ongoing serial. My suggestion about how to write a planned, serialized set of stories, is best handled though a pre-determined story arc. And I felt the invasion of the Kafer at Aurore fit that criterion perfectly. As the “writer,” I knew from the background information given in 2300AD the date the Kafer attacked the planet, that Earth would eventually counter-attack, would eventually drive the Kafer starships from orbit, and strand thousands of Kafer on the planet “behind enemy lines.” All the player characters had to do was hold out long enough for relief forces to drive off the threat they faced, whether the players knew that or not.

Could you plan a story arc for the Bayren supplement, for example? Absolutely! It’s just you would have to do most of the work. GDW didn’t do much of the heavy lifting in Bayren. There are a few story ideas in Bayren, which is about a deep space exploration vessel dedicated to finding its way to the Seven Sisters star grouping, and its adventures in route and once they arrive. But there were only three “adventures,” (I believe,) in the supplement. Could you write more? Certainly.

But what I feel is essential for a story arc, which makes for a compelling series, is you have to be working towards an ending you have already previously determined.

A couple of TV series are excellent examples of a story arc reaching a climax. Both Babylon 5 and the new Battlestar Galactica were both envisioned, at their inception, to end at a climax. Once the heroes defeated the “shadows” in Babylon 5, and once the Battlestar Galactica reached Earth, their stories were essentially over. (Babylon 5’s spin-off sequel only had a dozen episodes, and Battlestar Galactica’s prequel was cancelled after only one season.)

I felt the “first invasion” of Aurore supplied that ultimate ending – humanity would eventually counter-attack, and relieve the colony. I’m not sure Bayren, as written, did. After they reach the Seven Sisters, is that it? Is that the climax of the story arc? To me, that seemed anticlimactic.

The original question was asking advice on how to handle a serialized story. My suggestion is to create a story arc with a clear beginning and ending. I feel this served me well, because I knew, (and the players easily inferred,) there was a goal to work towards, regardless of how long it might take to achieve. And when you eventually reach that conclusion, the payoff is tremendous.

 

[ManOfGrey]

Would you use your characters back story as a means of establishing the setting?

Would you use your characters back story as a means of establishing the setting or have them come together as the conflict began?

Frankly, over the years, I have used both your suggestions to establish a setting. Both certainly work. But for this setting, in particular, I wanted the characters all in the same place when the war broke out. So I asked the players to make characters with the idea they would be the crew of an old rickety Ukrainian space station, with a French "guest," a scientist doing research using their equipment. There were several reasons for this.

First, I didn't want them on the actual "planet" of Aurore when the Kafer attacked. (Aurore is actually a large moon that has been colonized which is in orbit around a super gas giant named Tithonus.) I made it a point for the space station to be orbiting the opposite side of Tithonus than Aurore, so their space station was "hidden" from the main armada. Kafer scouts did come and harass them, but they certainly weren't overwhelmed by thousands of Kafer troops landing on the outskirts of town. They could see, and hear over the radio, the commotion of the war on Aurore. But they were somewhat removed from it initially. I felt this gave them a chance to get their bearings after the initial invasion, and to be able to surgically implant themselves anywhere they wanted to once food became an issue on the station.

And, second, the idea of having several technicians, and a scientist, working together gave a great mix of skills I felt would be handy for them to possess. One of the players spent some time trying to figure out the Kafer's technology, while the scientist character would concentrate on their physiology. And between all of them, they could fix just about any piece of equipment you could name. Combat was important, I suppose. But they were far more successful programing drop ships, and using laser beams to send false signals to throw the Kafer off their trail.

Now having said all that, that is certainly not the only way to create a compelling story. All of your character ideas above would certainly be just as exciting. I'm not sure how easy it would be to bring such a diverse group of people together in a story, but that doesn't make it impossible. With a little imagination, I'm sure some kind of thread could bring them together in order to face a common enemy.

 

[whartung]

I made it a point for the space station to be orbiting the opposite side of Tithonus than Aurore, so their space station was "hidden" from the main armada. Kafer scouts did come and harass them, but they certainly weren't overwhelmed by thousands of Kafer troops landing on the outskirts of town.

Really?

I would think the Kafers would wipe the orbits clean of anything posing a threat or aiding in tactical intelligence while they had supremacy before setting a foot down on the planet.

Doesn't really change your story. The invasion can begin and your players can notice that the fleet is turning its eyes on the station, so that shuttle planet side is looking less risky which each passing hour. That way they can set down someplace that wasn't instantly overrun.

 

[aramis]

Really?

I would think the Kafers would wipe the orbits clean of anything posing a threat or aiding in tactical intelligence while they had supremacy before setting a foot down on the planet.

Doesn't really change your story. The invasion can begin and your players can notice that the fleet is turning its eyes on the station, so that shuttle planet side is looking less risky which each passing hour. That way they can set down someplace that wasn't instantly overrun.

Kafer are dumb as a box of rocks until the adrenaline analogue is pumping. They simply don't think ahead well at all.

 

[mike wightman]

Kafer starships are crewed by the much smarter Kafer that have survived long enough for their basic intelligence to be raised.

PERMANENT KAFER
lNTEL LIGENCE
One of the most fascinating
aspects of Kafer dual
intelligence is the fact that
repeated stimulations result
in a permanent increase in
an individual Kafer’s intelligence.
Any one increase is
very small, but measurable.
In the course of many years,
Kafers who survive numerous
campaigns and face
death, danger, or pain frequently
can become as intelligent
as typical humans.
Much of the modern
course of Kafer exploration
and warfare has been set by
experienced Kafer veterans
who are intelligent enough to
plan long-term operations.
Kafer starship crews are
made up entirely of the
equivalent of human NCOs
and are veterans with 20 or
more years experience.

 

[epicenter00]

Was wondering if anyone had considered how a Traveller 2300 series could be handled?

Would you rather it be an animated series, an actual play podcast, you tube video of an actual game, a film or a live action series?

What kind of plot would you like to see handled in such a series?

Would you read a comic serial of such a series?

Maybe include some background detail in the back like the stats for crew, the ship or even the locations they visit?

What's your view on this?

All the formats you describe have their strengths and weaknesses and so I think the presentation would be different for all of them. The important point of introducing a new work to people is that it has to grab their attention and keep it. There's a cliche that if you can't suck someone in with the first sentence of a novel, you lose them completely.

There's also a cliche that everytime you use a mathematical formula, you lose half of your audience, so you want to make sure 2300 fails, you could have the first scene be Jerome's Law, a mathematical formula that made Stutterwarp possible.

For instance, if I were doing a film or a tv series, I'd definitely avoid an opening crawl: You simply can't describe the world of 2300 that easily simply because it is sort of "mundane" in some ways. I'd also avoid some sort of lame "location" computer screen overlay on the first scene like "COLONIE ZWEI" or something. It doesn't mean anything to the viewer who doesn't know a thing about 2300. Unlike podcasts or tabletop, you can also freely focus on a single character.

One of the strengths of 2300 is that it bears a lot of superficial similarities to our 20th/21st century. You can use this similarity to "fast forward" a viewer effortlessly. For instance, a young adult Caucasian male (or female) wakes up to a pretty familiar morning alarm (beep beep beep) in a very familiar bed, four walls in the room, half-seen posters of what could be movie posters on the wall, a shelf of books on the wall. Perhaps there's even an aquarium in the room. The blinds are drawn but it's still dark outside. The character turns on a TV and the host on the screen talks about "Welcome to the TANSTAAFL Farm Report, I'm Joe Stevens...in today's news..." or something - the viewer isn't going to know what TANSTAAFL is, it might be a company or something else - but we've already begun to deviate from the 21st century. While the host drones on the background with half-heard news items including "contact being lost with Station Arcture" the main character does a number of things that are still pretty familiar, like he washes his face, starts to brush his teeth. Then he goes over to his bedroom window and opens the blinds. Instead of a familiar starscape, we'd see the pale image of gas giant Tithonus filling up about half of the sky over false dawn landscape. It'd be a major "Toto, we're not in Kansas anymore" moment, but more importantly, the youth would not be surprised or amazed, immediately establishing that this alien sky is boring and routine to him. At that point, the news stream would establish the date: "... as it's differential storm caused by Tithonus' heating and not a solar storm, it is expected to be mild. That concludes the weather report for Monday, July 5, 2298."

A scene switch, outside, showing the youth, now dressed, and it becoming dawn, would show the teenager saying something like, "Yeah, I'll check Number Four before going to school. Tell grandpa he can stay in bed!" and he'd go out and check one of the robotic tractors out in the field, taking out a slender computer and tapping on the holographic screen. Only then would there be a loud "bang" in the sky as something flaming streaks across it at high speed. Then a distant (but huge) explosion. The youth would turn and start back towards the house, only for the tractor he was working on to suddenly explode, followed shortly afterwards by the hammering of some sort guns and some sort of aircraft (2300 geeks would instantly recognize it as a Hotel-class Kafer fighter). The air would be filled with re-entry pods, poofing out curiously familiar parachutes. None of them would land in the field, but one would land on the other side of the house. As the youth breaks into a run, we'd immediately start hearing the rapid-fire of some sort of military weapon, then screams. The youth would hesitate as a deathly silence falls once more. Then hesitatingly would walk into his house. We'd never see the Kafer. Instead we'd hear and half-glimpse all kinds of things as his world shatters - more explosions outside. Cows being gunned down by some unseen force. He'd see his grandfather dead in the kitchen. Then something would get knocked over in the house, he'd go to look and --

We could cut some to some present from this flashback. I think it'd be much more effective than a scroll or any kind of Dune-esque introduction which is only going to put viewers to sleep.