Overall, The Expanse is better at hard sci-fi than many shows but even here there is a good deal of “handwavium” involved. Scott Manley on YouTube has made one of the better explanations so far:
My personal gaming experience has shown the same conflict between hard and popular sci-fi. I have bounced between hard (realistic?) sci-fi and more cinematic portrayals. Here is a list of a few games in my collection and how they looked at space combat:
Triplanetary (2018) – Kickstarter delivery expected in July 2018 (a month ahead of schedule); vector movement around the Solar System
Finding the right balance between popular sci-fi and hard sci-fi gaming is tricky. For myself, games like Star Fleet Battlesand its derivatives are fun because of the theme since when playing these games I am choosing theme over mechanics. Some of the more hard sci-fi games are fun with a bit or realism thrown in (like Mayday) but some go too far (Squadron Strike: Traveller) where the fun has a hard time overcoming the difficulty of rules and play.
The upside of all this is that the gaming scene is broad enough that either preference, cinematic or vector, can be accommodated. It’s a matter of choice, and the game industry is healthy enough to give us that choice. Even if I am choosing not to play.
Hattip to @TableTopBill who commented on my tweet with the title of this post.
All things considered, I can see that I have become pickier over the years when it comes to space battle games. I first started out with Star Fleet Battles. Beyond the fact it is closely related to the Star Trek IP, the real “theme” in SFB is taken from the ever-famous quote from the series, “Scotty, I need more power!” In SFB everything is about Energy Allocation. This theme carries over to the new generation game, Federation Commander.
From a game mechanics standpoint, Talon corrects many issues I have with older games. It does not implement vector movement (though I happen to love vector-movement games) and instead goes for a more cinematic approach. It still has power considerations, but the use of the Power Curve makes it much easier to manage and avoids “accountants in space.” But as much as I love the game, I just cannot get into the setting. Ships move no more than a speed of 6 each turn, and combat is at ranges of 4 hexes or less. I just don’t get that grandiose feeling of giant starship battles in space. In part this may also be driven by the limited counter mix out of the box. The scenarios themselves also seem wrong, with major battles defending the Earth having only six units per side – a factor driven by the few counters included. When putting it all together I get a sense of cognitive dissonance; a game that works so well mechanically just seems wrong thematically.
GMT Games is offering Talon 1000on their P500 program. The draw for me is that it will include over 130 new ships. Given a greater fleet size, or at least a wider variety of ships, maybe the game will be more “thematically correct.” The danger, I fear, is that adding too many more ships will take the great mechanics of the game and overload it. This forces me to turn to the scenarios, and with 1000 new scenarios I would hope to find some interesting ones in there.
Talon, my Game of the Week, once again shows me how much I have changed as a gamer. I find it hard to enjoy a mechanically complex game like Star Fleet Battles, but need a good theme to keep my interest. Talon shows promise, but it has yet to meet its full potential.
The TalonPlay Book has a Tutorial scenario so that seems like a good place to start. If I can get a chance with the RockyMountainNavy boys, we might try Scenario 1 – War is Upon Us during the week. The scenario looks to be a good learning game with few ships on two evenly-matched sides duking it out. If all goes well, Scenario 3 – The First Fleet Engagement looks like a good Game Night event.
To be fair, I actually have another fleet combat game in my collection. Full Thrust(Ground Zero Games) and the very similar Power Projection: Fleet (BITS UK) are probably my favorite sci-fi fleet combat games. FT is a generic set of rules whereas PP:F is tailored for the Traveller RPG universe. The problem is that both are miniatures games and I never made that investment (although with modern desktop publishing software and home printers it is possible to make custom counters and tokens).
I am also very happy to get Talon to the table in part because another sci-fi combat game I bought in 2016 has yet to arrive. I made the mistake of backing Squadron Strike: Travellerby Ken Burnside and Ad Astra Games on Kickstarter. Allegedly, the miniatures for the game started shipping late February, but for backers like me who didn’t buy minis and am waiting for my boxed set it appears that all I am going to get is a beta-version of the pdf. All of which makes me look forward to Talon that much more because its a lot easier to have fun with a game when its actually on your table and not vaporware!
I actually didn’t remember much of The Babylon Project and never actually played it with a group. I do remember thinking the combat system was “complicated.” I recently took the time to reread the rules. In doing so, I now have to reconsider the game and give it more credit than I had previously.
In terms of production values, the book was ahead of its times. Full-color pages make it rich looking, even if some of the art is of marginal quality (a mix of photos from the series and artwork inspired by the same). Today people would scream for a low-ink version for print-at-home.
I remember not liking character generation. Of course, I had grown up on Classic Traveller making many of the concepts in The Babylon Project seem foreign. Character generation in The Babylon Project uses a combination storytelling and point-buy approach and is done in three phases. In the first phase, the player uses storytelling aspects to create a character concept and basic history. This in turn leads to adjusting the 13 attributes that define your character. Attributes are rated 1-9 with each race having a typical attribute value. Players can adjust the typical attributes based on the concept and background but for every attribute raised another has to be lowered. The second phase – childhood – has the player answer another set of questions which guide picking Learned Skills and Characteristics (an early version of the Savage Worlds or Cortex System advantages/hindrances). This same process is repeated in a third phase – adulthood – which again gains Learned Skills and more (or changed) Characteristics. This system was very much NOT what I had grown up with in Traveller or my other RPGs of this time like FASA’s Star Trek: The Roleplaying Game or the first edition of Prime Directive. At the time, I think it was just too different for me to be comfortable; now I see it for what it is – a well thought out, guided, lifepath character generation system.
The adventure and campaign system focuses less on episodic events than on creation of a story arc. The Babylon Projectcertainly tries to match the grand, sweeping, epic feel of the series. The mechanic used is the Story Chart which the Gamemaster uses to loosely chart out the path of the campaign. The Story Chart uses four basic symbols to lay out an adventure:
Non-exclusive Chapters: Events which do not directly relate to other events in the story; can be worked into story almost any point to uncover key pieces of information, encounter non-critical NPCs, or experience important scenes.
Exclusive Chapters: Events which the characters must experience and can only happen once; these change the nature of the story and cannot be revisited or reversed.
Independent Chapters: Not critical to the overall puzzle, but may help.
Information: The flow between chapters that lead from one to another.
Like character generation, I think at the time I viewed this (again) as too different to understand. Today, I can see the designer’s intent and zeal to get closer to the grand, sweeping, epic feel of Babylon 5. Unfortunately, even today I don’t often see a similar approach in other games that could use it like Star Wars Saga Edition or even Battlestar Galactica.
The core Game Mechanic is actually very simple. Players compare Attribute+Skill and Specialty+/- Modifiers +/- a Random Modifier against a Task Difficulty set by the GM. To use the examples from the book:
Jessica is attempting to bypass the reactor control circuitry. The bypass isn’t particularly difficult, but Jessica is working by flashlight in zero-G. Dana specifies that Jessica will take the necessary time to make sure the job is done right. Taking all of those factors into consideration, the GM decides that the task is Difficult, which gives it a Difficulty Number of 11. Jessica’s Intelligence is 5; her skill in Engineering: Electrical is 3; and her Specialty in Electrical Applications adds another 2 – all totaling to an Ability of 10. Her GM decides that no additional penalties or bonuses apply. (The Babylon Project, p. 90)
The Random Modifier is created by taking two die (a green positive and red negative) and rolling. Look at the lowest number. That die is now the modifier – positive if the green die and negative if the red. This makes the Random Modified range from +5 to -5. To continue using the example from the rule book:
Dana rolls the dice. Her Negative Die result is 5, with a Positive Die result of 2. Thus, her Random Modifier is +2. (The Babylon Project, p. 91)
The degree of success or failure is also a consideration. As the example continues:
Jessica’s Ability in her attempt to bypass the reactor control circuitry is 10. Adding the Random Modifier of +2 just rolled by Dana gets a total Result of 12. That’s 1 over the Difficulty of 11 set by the GM – a Marginal Success. The GM tells Dana that Jessica’s bypass has fixed the problem, but that it won’t hold up for long, and not at all if the reactor is run at over half its rated power output. Thus, her success in the task resolution fixes the problem, but the GM interprets its marginal nature as a limitation on engine power and fortitude. (The Babylon Project, p. 91)
Given my close acquaintance with Classic Traveller and the definite lack of a clearly defined task system – much less an emphasis on degrees of success – it is not surprising I didn’t immediately embrace the simple task mechanic in The Babylon Project.
Combat comes in two forms, Close and Ranged, and is played in phases of two-seconds each meaning the player character gets a single action. Players make an attacker roll versus a defender roll. An important combat consideration is aim point; there is a default aim point and if the attacker wants to (or must) aim elsewhere there is a modifier. The degree of success determines how close to the aim point the hit occurs and the level of damage. Combat then moves to Immediate Effects. This table determines if the hit results in immediate death, stun, or impairment. Given the Damage Ratings of the weapons and not-so-great armor this means combat in The Babylon Project is very dangerous! Once combat is over, then Final Effects are dealt with, to include the extent of injuries and wounds. Like all of The Babylon Project, there is a heavy emphasis on the storytelling effect of the injury. Again this is nothing like Classic Traveller yet today I can see the design effect the designer was reaching for – speedy combat using the simple core mechanic with detailed wounds and healing latter. I think the designer achieved what he was trying to do with combat.
The Babylon Project also uses Fortune Points, this games version of Bennies or Plot Points. Each player starts a session with five Fortune Points. Fortune Points can be used to improve a task roll, save your life in combat, and attempt a task that the player normally could not attempt. This game mechanism is not found in Classic Traveller and a the time I think I saw it as too cinematic or “space opera” for my hard sci-fi taste. Today, I take for granted the use of Plot Points or Bennies or like mechanisms as a useful tool for players to exercise narrative control on the game instead of leaving it in the sole hands of the GM. I have also grown to appreciate the cinematic benefits of Plot Points as I have moved (a bit) away from hard sci-fi rules mechanics.
The last page of The Babylon Projectrulebook is a one-page GM Reference Sheet. Literally everything needed to run the game is on this one page. Really…everything! How did they ever expect to sell a GM screen? In fact they did – it was one of the items I also picked up in my bulk buy – and used three panels. The left panel has Attributes and Skills (a useful reminder of the entire list available) as well as Martial Arts Maneuvers (rules added in the Earthforce Sourcebook supplement). The right panel is a Weapons and Armor table – again useful but not absolutely essential. The center panel is a colorful, slightly reformatted version of the original GM Reference Guide.
It would also be negligent of me not to mention that one of the reasons I originally got The Babylon Projectwas for the space combat system. Introduced in Earthforce Sourcebook, the space combat system was developed by Jon Tuffley and based on his successful Full Thrustminiatures system. This approach to incorporating popular, known, miniatures space combat rules and an RPG was later repeated by the Traveller community with the publication of Power Projection: Fleet.
Rereading The Babylon Project has opened my eyes to just how much of a gem this game really is. Compared to the more recent Mongoose Traveller Universe of Babylon 5, which I reviewed in 2011, the earlier The Babylon Project is more appropriate to the source and setting. Since the 1997 publication of the game, I have also matured as an RPG player and am more comfortable with the narrative/storytelling and cinematic aspects of the rules. I can now see where The Babylon Project is much like the early Cortex System (Serenity and Battlestar Galactica RPGs) or Savage Worlds– game systems I really love and enjoy playing. I think I will work on a story arc for The Babylon Project and see what happens….
After reading this article I think it is easy to say that Chris would probably agree that starship combat games that use vector movement (such as Mayday, Power Projection: Fleet, Full Thrust, etc.) are far more realistic than ones that don’t. The article also explains why it was so easy to base Star Wars: X-Wing off the Wings of Warseries (WWI and WWII) and make it appear “cinematically correct.”
Good comments for designers of science fiction games to keep in mind.
–Based on “Decisive Battles – Disaster at Mason” in Travellers Aide #9:Fighting Ships of the Solomani (QLI-RPGRealms, 2009)–
Situation: During the Solomani Rim War, a Solomani Task Force under Commodore Tiajama opens Rear Admiral Wolfe’s famous Diaspora Sector offensive with a strike at Mason. Task Force Tiajama, comprised of a CarrierRon (7th – The Hokkaido Samurai), a FleetRon (21st – The Aoster Grenadier Guards) and a PatRon (2x SolSec picket ships) will approach Mason from rimward. The attack is an operational diversion designed to draw Imperial Navy elements rimward and away from Wolfe’s main axis of attack.
Location: Mason (Diaspora 2226), date 86-990
Solomani Operational Situation: Two picket ships enter the system first, followed by the 21st FleetRon and 30 minutes later the CarrierRon. Upon arrival, Commodore Tiajama receives frantic communications from the Recon Frigates warning of heavy enemy activity in the outer system. Communications with the frigates is lost after reports they are under attack by fighters. System scans reveal an Imperial CruRon is nearby.
Solomani Tactical Situation: The Imperial CruRon is closing fast with lead elements just 5 light-seconds away (20 MU). Due to the short time since arrival in system, no fighters have been launched. Commodore Tiajama has a Fleet Tactics Skill of 2, making the maximumTask Force Size=4. Commodore Tiajama can arrange his ships as he sees fit. Lead elements of the Task Force start 20 MU from the lead elements of the Imperial Player. Each Task Force must have at least one ship within 10 MU of a ship of another Task Force.
1x Midway-class Fighter Carrier (“Hokkaido”), 1x Minsk-class Heavy Cruiser, 1x Madrid-class Light Cruiser, 4x Tau Ceti-class Destroyers
Solomani Victory Conditions: Destroy more points of enemy shipping than you lose and disengage successfully.
Imperial Operational Situation: War is coming. Your CruRon has finished refueling at Mason and was proceeding out-system to jump to next destination. A light monitor stationed in the system is accompanying you for fleet maneuver familiarization training. System scans detected two SolSec recon frigates jumping into the system. Immediately, fighters from a nearby base were dispatched. A short time later, scans revealed jump arrival signatures of at least a dozen ships with more escorts. It doesn’t take a jump scientist to figure out the Solomani’s have attacked.
Imperial Tactical Situation: The lead elements of the Solomani strike fleet are 5 light-seconds away (20 MU). The CruRon commander has a Fleet Tactics Skill of 1 making the Task Force size limit 3.Lead elements of the Task Force start 20 MU from the lead elements of the Solomani Player. Each Task Force must have at least one ship within 10 MU of a ship of another Task Force.
8x Effendi-class Heavy Cruisers, 1x Seydlitz-class Light Monitor
Imperial Victory Conditions: Destroy more enemy points in combat that you lose before withdrawing from combat.
Historical Outcome: SolSec spies were unable to relay the presence of the Imperial CruRon to Solmani commanders in time. Faced with no chance to break off or jump, Tiajama quickly formed up his two squadrons. As the battle was joined, the Imperial cruisers concentrated their fire on Tiajama’s two Zeus-class Battlecruisers. A direct hit from a spinal mount vaporized one Zeus, while the other Zeus was pounded severely. With fuel tanks shattered, jump drive destroyed, dampers and meson screen disabled, spinal mount destroyed and heavy bay damage the Battlecruiser fell out of the battle line, trailing debris. Both Solomani Battlecruisers returned fire at the same time, both hitting with their heavy meson spinal mounts. One Effendi was hit amidships, shattering its fuel tanks, disabling its jump and maneuver drives and wiping out its computers. The other Zeus delivered a devastating strike on another Effendi, destroying its bridge and computer system, with explosions raging through the ship until it too fell out of the battle line. Tiajama’s flagship scored a spinal mount hit on another Effendi, disabling its jump drive and destroying its fuel tanks and maneuver drive. But another Effendi scored a direct spinal mount hit on Tiajama’s flagship which disabled the spinal mount. Multiple hits from the Effendi’s particle accelerator bays raked the Yamamoto’s surface, wiping out many bay weapons, rupturing its fuel tanks and disabling its maneuver drive. The flagship was a sitting duck. Tiajama’s Minsk-class Heavy Cruiser was hit by an Effendi, holing its fuel tanks and hitting its spinal mount, making it combat ineffective. The Madrid-class Light Cruiser was attacked by another Effendi, destroying its maneuver drives, its fuel tanks and much of its weaponry. A lowly Texas-class Light Cruiser managed to make 13 hits on another Imperial cruiser, slowing it but not stopping the slaughter. Within 50 minutes Tiajama retreated into deep space. Three Imperial cruisers out of 8 had been destroyed or abandoned due to massive damage, but the Solomani lost both Battlecruisers, Tiajama’s flagship, a Heavy Cruiser, a Light Cruiser and several destroyers. The Fighter Carrier had barely deployed its fighters when the order was given to retreat. The Imperial CruRon declined to pursue and rescued survivors from their battered ships. By the time they regrouped to hunt down the rest of the intruding ships they had jumped out of system back into Solomani territory. Despite heavy losses, Tiajama’s feint succeeded by diverting a powerful unit from the real battles yet to come deep in Imperial rear areas.
Open Game License v 1.0 Copyright 2000, Wizards of the Coast, Inc.
System Reference Document, Copyright 2000, Wizards of the Coast, Inc.; Authors Jonathan Tweet, Monte Cook, Skip Williams, based on original material by E. Gary Gygax and Dave Arneson.
T20 – The Traveller’s Handbook Copyright 2002, QuikLink Interactive, Inc. Traveller is a trademark of Far Future Enterprises and is used under license