Worst Contact
Worst Contact, Space Swabbie Games, 2014
Here's the setup: You are the crew of an interplanetary trading ship in the implausibly near future. Humanity has expanded across our solar system. You pushed the ship too hard on its trip through the asteroid belt, and a small impact left you off-course, floating slowly to your death in deep space, too low on fuel to ever make it back. You have enough food and air for months, maybe years, you just have to hope someone rescues you. And then this D'deridex-sized ship warps in near you and hails you, asking if you want a ride home with the first aliens anyone from Earth has ever encountered. You get to make first contact.
The catch: this game was heavily inspired by Redshirts (which was released a year or two before). Your ship is full of misfits and losers who would fit in well with The Lower Decks and the funnier parts of Firefly. Hilarity ensues.
Characters are primarily defined by their Profession and Motivations. Professions are what you'd expect: engineer, trader, commander, helm, explorer, scientist, security, plus a make-your-own system available that works nicely. Motivations are actually more locked down. You choose several from a set of 12, including things like "money", "fame", "entertainment", and "escape from the law". Those get ranked. You roll d10s based on Motivations and add bonuses from Professions. It's vaguely Silhouette-like, nothing new. Success chances are fairly high. You get more luck points by playing into your Motivations, so you'll have a lot of them, and they max out fairly quickly to encourage you to spend them.
The game's best mechanical innovation is the Mistake Spiral, where every failed roll looks like a success but puts a mistake (a written-down fact) on the table. Every mistake makes it more likely that another failed roll - especially one where you spend a Luck point - will cascade into a disaster, with badness proportional to the number of mistakes there were. Every failure after that point is a critical failure until the problem gets fixed, at which point you reset the spiral. I like that you all get to look competent until it all goes to hell. There are separate spirals for physical/mental rolls and social rolls.
Art is minimal, mostly starship renders on a level somewhat better than Babylon 5 but not fantastic. Setting details are mostly generated by random roll. There are 20 alien species described in brief detail. Your ship has one of 10 standard technical problems. The aliens have five words from this d100 table that they definitely do not understand the correct definition of. There's a d100 random-roll table to determine your weird cargo that will never be delivered. It's all small details. The game is mostly social, unless you get stuck in the chompers.
Worst Contact could be a one-shot, and is probably intended to be 2-4 sessions. There's no XP system. I feel like it still has a lot of potential for a 10-12 session campaign. Even after you deal with the actual contact with aliens, there's the matter of what happens when you get them back to civilization. I would totally play it, but I also have a soft spot for sci-fi games that commit to their premise.
Space Swabbie Games put out Worst Contact on USB stick, which has never worked out well. At least they open-licensed it, so if you get the PDF you're more than welcome to pass it around to others. Just watch out for the malware on the thumb drives.
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In theory i like the idea that rick is growing and developing as a person. In practice it ends up falling short though, because no one balances him out. rick is getting better while no one else is getting worse, and it causes the whole thing to end up feeling a bit stale. The biggest draw, at least for me, has always been rick and morty's shitty dynamic, but it barely exists anymore because rick has been so watered down.
The ideal solution is literally just to make morty into a bigger asshole. Essentially flipping the main characters' personalities would offer a wide variety of conflict into the show, and would also help keep it "fresh".
Instead it feels the writers are pretending that they can't possibly do anything with morty's character, that they have to keep him the same anxious idiot he was in season one. I've said this before, but it's incredibly frustrating to watch the show have no problem with expanding rick's character while struggling with keeping morty's heavily stagnated characterization consistent. Where rick has space to develop between multiple seasons, morty is constantly forced into one of two boxes (smart/stupid) depending on the episode.
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rewatching nuwho and i'm rlly.... why is human nature / family of blood just racist hit after racist hit after racist hit against martha . followed by a heavy dose of classist (+ misogynistic!!!!) behavior directed against her afterwards where the humans of 1913 england treat her like a weird alien from another world (the doctor in human form included!!!).
also, why do they have the doctor a) be actively bigoted and b) fall in love with a racist nurse who specifically speaks down to martha (someone who the doctor cares for). they create this "unassuming" white woman character and then have her be awful to martha but we're supposed to believe that she is kind and sympathetic worthy of being the human doctor's love interest, more than martha being treated as a human being. (and then that we should cry over her lost love/future in the end)
like why. genuinely why. what is the point .
also objectively what function does the nurse serve that martha jones could not have. she's even a medical student like !!!!!! going undercover as a nurse would not be that far off!! and plus, i'm not even a tenmartha shipper but it would fit more for the emotional arc of martha's character to get what she wanted all season in human nature / family of blood (the doctor falling in love with her!!! wish fulfillment !!!!!! ) only to realize the cruelty of what this would be like in reality if she were never to open the watch (despite her finally having what she "wants"), and finally understanding and having to give john smith up. it could've been a really tragic, but human moment (like a lot of other things in dw!).
then 10 and martha's relationship could actually be on some sort of equal footing. bc martha had a taste of what it would be liked to be loved by him (or someone similar to him, at least), and chose in the end to let it go. it would give her emotional closure, etc. and would show her choosing the /actual/ doctor (not human) and the friendship she has with him, rather than a lifetime with a human that she fell in love with who happens to look like him.
could've been a really cool moment of both character development and then bonding between the doctor and martha afterwards in their newfound partnership, so half of martha's character is no longer swallowed up by her pining for him.
but no. instead they go and hide in racistville and martha is a servant who experiences racism/misogyny/classism and microaggressions from white people + aliens over two episodes for nearly no reason .
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13 not being particularly speechy is not bad writing. You may not like it. But it is not inherently bad. She’d rather pull teeth than declare her feelings in such a dramatic way because A) it’d involve talking about herself to actual other people and she has an image she’s Very intent on keeping up, and furthermore, B) she has No confidence in who she is, let alone what she’s feeling, and she’s also in denial Of some of those feelings she is having, so she sure isn’t gonna be declaring these things out loud.
You don’t have to like it, but it ain’t bad. It makes perfect sense for her character. If she started speechifying her opinions and feelings all the time it’d entirely contradict with the story being told and her characterisation. She gets toothy and loud when she’s losing control and Angry. In thirteen, her getting that far is generally a negative character moment for her. She’s passionate in her negativity first and foremost, to the point it’s kind of ugly (love That) to people she’s angry at.
In terms of people she likes, she is also shown to be able to Talk to them respectfully, it’s awkward as shit and she’d rather not, but instead of festering till it bursts out she actually does Try and talk it out like actual people do because she’s aware it’s the decent thing to do to people she actually cares about. Not saying she’s good at it, but this is far better in terms of social skills And character growth for the character in general than the doctor just being somebody who goes for the dramatics all the time?
Not every Doctor dramatically makes speeches all the time. She’s very much like Two, imo.
Now i’m sure if 13 got a chance to rip the master a new one for how he treated Yaz in tpotd she would have, but in that episode Yaz was ripping the master a new one for how he treated 13 because Yaz Was The Doctor, there was no need for 13 to do it.
i do not like =/= this is bad
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Y'know, I started listening to The Magnus Archives because Julia Drawfee said she was listening but didn't start at the beginning cuz it was bad. Which meant I had to listen to the first episode, for morbid curiosity.
Personally I enjoyed the podcast from episode 1 but I understand the desire to skip filler eps so no hate to Julia or anyone else who didn't start at the beginning but...
Now that I'm on episode 121 I can't help but ask: if not the beginning where do people start? Squirm? After Prentiss? I'm so curious.
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where does one get started with lupin i’m curious
i will always recommend the movie Castle of Cagliostro (1979) directed by miyazaki because it is the best lupin media ever in my opinion. BUT. the problem with starting here. is that it's kind of like the magnum opus. which is insane to say because it's the 3rd lupin movie ever made but it's like. ok. it's super good but the lupin characters dont ever have that same amount of depth ever again and it's not really mentioned anywhere because there's no series continuity. it's kind of like a retrospective of the series that would take place near the end of a hypothetical timeline. but there isn't a timeline. no continuity. so Technically you could start anywhere with no issues as long as you know the very basic premise. once you know the main characters you're pretty much set for anything. with varying quality. and trust me it varies a lot. to the point where i don't easily recommend it LOL. um but aside from cagliostro hmm. i really like part 1 even though theres a lot of issues with it because like, it's definitely aged but there's a lot of depth (miyazaki also worked on part 1 lol) and you can see how people became so attatched to these characters. to me its a really good mix of ridiculously silly and seriousness and dread. ok and other than that. uhhh. hm. Fuma Conspiracy is a really good movie (and a shitty rip of it is currently on youtube hehe). oh and animation-wise i'd rec Lupin III: The First (yes the name makes it a pain in the ass to talk about) but the plot is not particularly good and also theres nazis in it. theyre the bad guys but jesus christ its a lot. also disclaimer pretty much everything i listed will have guns + violence and sexism. like Extreme Sexism. i hate this stupid series sometimes. a lot sometimes. cagliostro has the least sexist portrayal of fujiko my best friend fujiko the femme fatale and theres a section on the wikipedia about fans complaining about the lack of sexualization. to give you an idea of where this is at. theres always a ton of other shit going on in the movies n shit too so lmk if you'd like any specific tws for specific medias i listed.
TLDR:
• there's no continuity so all you need to know are the characters who are always being put into situations. MAIN CAST: Lupin III, Jigen, Goemon, Fujiko, and Zenigata. gentleman thief, gunman, samurai, femme fatale, and the detective trying to stop them all. they're all crazy. that's all u need to know. congrats you're set. that being said.
• Start with Castle of Cagliostro. (which is my fav but it's different from a lot of lupin media 💔)
• after that I'd go with Part 1 i guess. it sets up the characterizations extremely well but theres also Problems and Issues.
• Fuma Conspiracy. a solid movie 👍
• Lupin III: The First. amazing animation. plot leaves more to be desired. it follows the general plot beats of cagliostro though. still havent decided how to feel about that but WOW HES 3D!!!
• after this you can do whatever you want but watch out. i dont think ive watched anything else i could rec to a normal person.
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It’s hard for me to actually ANALYZE this, because it’s just right there. They put a book in front of us, ffs.
This is about characters leaving their stories, and the idea that once you leave your story, you have nowhere to go. That characters, having lived their entire lives in a world constructed specifically for them, can only tamp through a forest of darkness, ideas in a tangled lines of branches without having been made into anything at all. I think this is what it’s saying about loving parents, that we as authors ‘raise’ our characters to some extent, and whether we give them what they want, we give them what they need, narratively. And that is love. That is care.
Once a character escapes that, they lose the structure in which they were formed, and can’t find their way. This is why sequels are often horrible, and TV shows that go on too long.
Please note I have never seen this and am watching spoiler-free! Please don’t confirm, deny, or explain anything, even if it’s historical or cultural! Thank you!
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idk maybe it makes me a child or Someone With Shit Media Literacy, but i feel like when people discuss fictional events that were good or bad writing, they often look to general fiction tropes rather than what makes sense for the individual story? like, oh, well, this is a [genre] story, and in these, it's either X or Y, so it's going to be either X or Y. or: this character technically could count as a [character archetype], so obviously they only have one very predictable ending. what wonderful, emotionally moving writing!
and like. are we writing stories, or producing products that check off all the most common boxes on the Successful [Genre] Story list? this is not to say that you can never kill off your mentors/father figures, or that your protagonist should never fail miserably in this or that point of the story -- sometimes it really is the most fitting and sensible solution! sometimes leaving a character alive would undermine or muddle up the message, if there is one, or it would simply make it more difficult for the writer. and it's fine. but when your reason for this or that writing choice is not "because it makes the most sense" but rather "because that's what happens in other stories", it's, uh, not good writing at all. it's barely any writing, really!
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