Yes, Have Some

Ghostbusters again? So soon?

Well yes! We have an update on the new animated streaming series and I got to run a one-shot of my homebrew/kitbashed Ghostbusters AD for some very special friends last week. What better reasons do I need? 

Ghostbusters: Night Shift

New information and some concept visuals for next year's animated streaming series Ghostbusters: Night Shift were unveiled by Ghost Corps, Sony Entertainment, and Netflix at the annual Annecy International Animation Film Festival and here's what we know: 

The story takes place in New York City in 1994, five years after the events of Ghostbusters II. A new supernatural menace arises and a group of scrappy, young New Yorkers find themselves in the middle of the madness. Some aspects I find particularly interesting are the Proton Packs being cobbled together, the Terror Dog Puppy, and their vehicle, the Ecto-94.

Check out the details here and here. More info keeps trickling out and GB fans are all over the scant data we have, so expect further in-depth analysis coming in the next fews days [and beyond]. 

While I find some of the creative choices a bit peculiar, I am intrigued. I like some of the character ideas and how they get their equipment, as well as the descriptions of the few paranormal entities mentioned. They sound honestly scary and while the creative team has assured us that the series is most definitely a comedy, I'm personally happy to hear the ghosts will be appropriately spooky.

I've got a positive feeling about this so far. It's not exactly what I was hoping for but its premise is interesting enough to peek my curiousity. I am also just happy to see the franchise expanding. Ghostbusters has always been a universe ripe for expansion, as evidenced by the Real Ghostbusters animated series, the original West End Games RPG, and of course the various Ghostbusters Fan Clubs. 

Speaking of which, check out WhoYouGonnaCall.Org for a listing of over 320 Ghostbusters Franchises worldwide. It isn't complete however, as I noticed none of the Japanese franchises are listed. Very likely the site covers the greater connected Ghostbusters fan community and the Japanese, for example, don't connect with the American groups all that often.

On the subject of Japanese Ghostbusters fans...

My friend Yasa, whom Barking Alien readers may remember from our games of Goblin Slayer, Meteor City - Star Rainy Days, and his running of our co-designed adventure for Ghostbusters: Tokyo Ghost Research, has been in California for two weeks visiting relatives. His first time in the USA in many years as I understand it.

With the two of us being in more reasonably related time zones, it seemed a shame to waste the opportunity to play something together [over Discord]. We actually got in two games, the latter of which was Ghostbusters AD - my homebrew/kitbash of West End's original, InSpectres, and the ALIEN RPG by Free League. 

We had four players with myself as GM and set the game in Yasa's hometown of Chiba City in Chiba Prefecture, Japan. Everyone had a blast and I'll probably do a full write-up of it in the near future. 

This definitely won't be my last Ghostbusters post this Summer.

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31 Questions For Barking Alien - Phase II - Question 10

Its 1974. Everyone is Kung-Fu Fighting. Everyone! Especially Kelvin Green, largely thanks to Question #10.

Have you encountered a system that fits Feng Shui better than Feng Shui does? How would you handle Hong Kong style action movies in a role-playing game?

Here's where my knowledge of and experience with Japanese TRPGs is both a boon and a burden simultaneously. Yes, I definitely know of some games that I feel handle Asian Action Movie Martial Arts and Gun-Fu in a cooler way than Feng Shui but they are not available outside of Japan.

The first one that comes to mind is Burning Spirits, a game that to my knowledge was printed up in one or more articles of the Japanese gaming periodical 'RPG Magazine'. I played it only once at an Anime Convention in 1994 but man-oh-man, it left a major impression on me. I loved it! A better version of White Wolf's Street Fighter game, it played like a simplier, faster Ars Magica (kind of), both easier and more evocative of the genre than Feng Shui.

Characters have a few Attributes, one of which is Speed. Your Speed determines how many Actions you can take in a Round (defined very differently from the traditional D&D meaning) and how quickly you.can get off said Actions (which effects not just initiative but whether you can defend against your opponents Attacks). Battles begin with each PC and named NPC taking a Stance that influences your approach to the fight; an Attack Stance adds to your Attack rolls and Damage throughout the engagement, while a Defense Stance makes you harder to hit and reduces the Damage you take from successful Attacks against you. This was really awesome because you could go into a fight with a Defense Stance but take an aggressive approach to your Attacks if you wanted to.

Martial Arts moves are built out of Attacks (like Punch, Kick, Hold, Throw) or Defenses (Block, Deflect, Redirect, and at least one other) and Techniques. This last category defines how the Attack or Defense is executed. Examples include Force to cause extra damage by spending two Actions at once, Position to change where you are located in the bout, or Rapid to get multiple hits in a single Attack or block a flurry of blows. Styles can be added to your moves to give additional modifiers or effects to your Action. 

My character in the game I played was a big, Native American bruiser type with wrestling moves. Among his best was an Attack Stance Hold Attack that used the Clutch Technique to ensure my opponent couldn't move. What did that look like? Basically it's a mighty Bear Hug that lifts the other combatant off the ground. By combining it with one of the three Wrestling Styles I could then slam the enemy to the ground or with a different Wrestling Style, throw the other fighter across the battle area. I mostly used the throwing version and called it 'Bear Hugs and Throws the Great Salmon'! The other version was 'Bear Hugs and Hits the Great Salmon Against a Rock'. lol

My friend's character had this 'Leaping Dragon Punch' that would knock an opponent 10 spaces away, dividing that distance between vertical and horizontal movement. He hit a bad guy up 1 space and back 9 spaces, sending the thug flying out of a window. Another time he punched a crook 7 spaces up and 3 spaces back so he would hit his head on the ceiling and then go backward into a chandelier. 

It was such a cool game. Sadly, I don't have that issue of RPG Magazine and I was never able to get an English translation of the rules. In fact, its almost like the game never existed. I can't find information on it anywhere, including my various Japanese contacts. Very sad panda. 

The other game I really like, which is available in English (unofficial fan translation) through Scribd I believe, is SATASUPE (Saturday Night Special), which I've spoken about before on the blog. It leans more towards the Gun-Fu, over-the-top Crime Thriller side of Hong Kong and Japanese Action Films. Think Chow Yun Fat in Hard Boiled instead of Bruce Lee in Enter The Dragon. That said, the game has a number of supplements that expand the game to include Street Fighter Martial Artists, Kill Bill/John Wick type Assassins, and other elements that fit right in with the Feng Shui vibe.

This RPG is a little on the crunchie side but not overly complex. The added material fits in well with both the mechanics and setting already established. Overall, if you want to include everything Feng Shui includes and not just the classic Hong Kong/Chinese Martial Arts movies, SATASUPE would make a really good choice.

There are others, also Japanese, that I can think of but they're not truly in the vein of Feng Shui. 

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Cutthroat Planet

The Tabletop Roleplaying Game hobby has had more than a few tales of 'Games-That-Never-Were'. Games that were designed, developed, and sometimes even announced but for one reason or another didn't come to pass. Essentially, we're talking RPG vaporware. 

Japan's TRPG market isn't immune to this phenomena. Of particular note in this category is a game I've been obsessed with for many years; Cutthroat Planet. 

Cutthroat Planet is, or would have been, a Retro-Futurisc Space Opera TRPG focused on the PCs as heroic Space Pirates in a galaxy ruled by an evil empire. The idea is reminiscent of Space Pirate Captain Harlock, with the pirates as rebels against a tyrannical imperium.

The game, and its failure to materialize, has quite an interesting history.  

The game was the brainchild of Hayami Rasenjin, a prolific artist and writer who has worked in the fields of Manga, Anime, and Japanese TTRPGs for over three decades. Rasejin is a fan and advocate of Roleplaying Playing Games himself and has done a great many illustrations for the Japanese TRPG industry over the years. His works include being the main artist on SATASUPE, the 'Asian Punk' RPG that remains a favorite in Japan and of yours truly.

Honestly, I'm a big fan of Rasenjin and have been since before I really knew his name. I would see his artwork in various Japanese Roleplaying Games and Roleplaying Game related magazines and eventually started following him on Social Media. During my search for more projects he'd worked on, I came across the subject of this post, Cutthroat Planet.

Sometime around 2001, Hayami Rasejin came up with an idea for a Tabletop Roleplaying Game in which the players are freedom fighting Space Pirates flying between Earth and 'The Second Solar System' preying upon the unjust and overly bureacratic Terran Empire. Set in a Retro-Future Space Opera universe inspired by Flash Gordon and early Science Fiction Anime and Manga, the game had a wonderful setting but no rules.

He eventually tried using a few different systems, even testing them out at Sci-Fi and Gaming conventions but he wasn't satisfied with any of them. One magazine article suggested the game was going to be released as using the rules of SATASUPE, which I personally think would have been awesome. In the end, Rasenjin just couldn't find or create a set of mechanics that he felt were right for the idea and so it went on the backburner.

An RPG Convention program from November of 2001

featuring a listing for a Cutthroat Planet playtest.

Special Guest Greg Stafford of Glorantha and Pendragon fame!

Fast forward to sometime in late 2003 or early 2004 and the game design studio known as Adventure Planning Bureau had come up with a new system they planned on using for an upcoming project but no setting had yet been developed. Designer Toichiro Kawashima had created Saikoro (Dice) Fiction and Rasejin, who was familiar with APB, met with him to discuss applying Dice Fiction to his Cutthroat Planet idea.

After writing began on the Cutthroat Planet game, a second Dice Fiction game went into development, Neighborhood Fairy Tale RPG Peek-a-Boo, sometimes referred to by the nickname Peek-a-Boo Horror (another game I really love). Peek-a-Boo was written and created by Toichiro Kawashima himself, with the help of illustrator (and later Kawashima's wife) Nagomi Ochiai, and the staff of APB.  For unclear reasons, Cutthroat Planet was delayed, while Peek-a-Boo continued on at a solid pace.

When Peek-a-Boo was complete, Advanced Planning Bureau decided to release it first and it did very well. Eventually, the popularity of it lead other creators and designers to contact Kawashima and APB about using Dice Fiction for their ideas, creating a sort of 'universal system' and making APB the biggest of the smaller design studios.The company and its system now supports over a two dozen titles, including InSane, Kill Death Business, and Uncle Gap.

By late 2006, after announcements and magazine articles indicating Cutthroat Planet was scheduled for a June 30th release, the following statement was sent out by Adventure Planning Bureau to retailers:

(Translated from Japanese)

Thank you very much for your support.

We have announced that the release of 'Cutthroat Planet', which was scheduled for June 30th,
has been postponed.

We sincerely apologize for any inconvenience this may have caused.

The official release date has not yet been decided, but we are aiming for an early next year release.

The game itself is currently being produced under the direction of designer Hayami Rasenjin
but we are currently in the final stages of adjustment to further enhance the game's quality and are therefore unable to release it.

Repeated announcements of release delays have led to rumors from various quarters that the
game may not be released after all but we are making every effort to ensure that as many users as possible can enjoy this wonderful title.

We apologize for any concern and inconvenience this may cause and we ask that you please wait a little longer.

We will contact you as soon as the release date is finalized.

If you have any questions or concerns, please feel free to contact us.

We would like to once again apologize for any inconvenience caused.

We look forward to your continued support.

June 26, 2006
Kokusai Tsushinsha Co., Ltd.

An issue of the Japanese TRPG magazine R.P.G. Gamer had an article on the game in the Vol. 4, October 25th 2007 issue accompanied by Rasenjin's art. I am unable to find any further references to the game. Well...sort of...

A Japanese gamer blog that has what has to be the best name for a blog ever, 'Only The Dice Are Honest: Possibly the most pointless TRPG blog in Japan', posted a congratulations on the release of Cutthroat Planet finally coming out in 2010, only to reveal that it was an April Fools joke on the blogger's part. 

So what went wrong?

Sadly, I can find no official confirmation of what happened to this project, though some clues to its failure to launch can be found in the blog entries of various APB personnel and Rasejin himself over the years. 

It would seem that other projects drew Hayami Rasejin's attention away from his writing and overseeing Cutthroat Planet, including his work as a Design Assistant and Consultant in the Anime industry. Higher paying work and more immediate turnaround meant these sorts of professional gigs took precedent over his personal passion project. 

In addition, his popularity as a Manga writer and artist blossomed and he would later do quite well in the medium with a series called 'A Galactic Journey Worthy of a Baron', many elements of which seem to have been influenced by ideas he had originally created for Cutthroat Planet. 

A Galactic Journey Worthy of a Baron, By Hayami Rasenjin. Volume 1

Finally, while not said out right, I get the impression that Rasenjin wasn't entirely happy with the Dice Fiction system version of the game. Blog posts by those who followed the project through the early days and convention playtests mention his use of D20s in some versions, D10s in others, and I get the impression he never found the mechanics that quite matched his vision. I've been there so I get that. 

I lament that this TRPG never truly happened in a way that fans of Rasenjin, Science Fiction Space Opera, and Roleplaying Games had hoped it would. It is a path not taken and a missed opportunity that could have been an excellent addition to any collection of Japanese TRPGs.

 

Later Days,

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Blurry VISIONS

Star Wars: Visions is perhaps my all time favorite production to have come out of the 'Disney Era' of the franchise, even when not every entry is an absolute banger. This is because they experiment, take chances, do things differently, and don't worry about the $@^%ing canon. 

The newest iteration, Volume 3, is no different and yet it kind of is.

Having watched each of the episodes at least twice now, here are my thoughts...

WARNING: SPOILERS INCOMING

Switch all power to front deflector shields!

Star Wars: Visions Volume 3 returns to Japan for nine short form film/episodes that are not directly linked to each other, though all are set in the Star Wars universe of course. In fact, although adherence to canon isn't a major factor, this time out the series seems to feel the most traditionally 'Star Wars-y' so far. You've got familiar aliens, droids, X-Wings, and other bits and bobs that just say 'this is Star Wars' loud and clear.

One unique feature this time out is that we have several sequels to installments first seen in Volume 1. The Duel, The Ninth Jedi, and The Village Bridge all get continuations. This is great to see but it highlights one of the weaknesses of this Volume.

Volume 3 feels less fresh and new. With perhaps two exceptions, most of the entries this time around are not experimental, they're not taking chances, and they're really not doing things all that special or unique. This doesn't mean there aren't some really great pieces here but it feels safer, more packaged, and more what you might expect from 'Star Wars by Anime Artists'. 

I also feel that overall the music wasn't particularly great. Maybe it's my computer but on more than half of the episodes the music is too quiet, too low in volume (even after adjusting it), and generally comes off as something I either didn't notice at all or found just audible enough to be distracting at times. Your light years may very. I am not much of a music guy these days.

My final criticism is that while most of the entries are very good and I liked them, with none that I would consider truly bad in any way, it's equally true that none are so grand, so ground-breakingly amazing that I can say I've found my new favorite. They're all just really good, though some still better than others.

What follows are my opinions on each and what elements stand out to me for whatever reason. I am always looking at media through a Gamemaster's eye, so there may be some gamer talk but for the most part I'll save the RPG discussions for a separate post.

Title: The Duel: Payback (8.5/10)

Studio: Kamikaze Douga/ANIMA

Director: Takanobu Mizuno

Writer: Jumpei Mizusaki[

The first short film in the first volume of Visions was The Duel and I scored the original a 10 out of 10. It was incredible. It still is. It looked unlike anything we'd seen before, especially in the context of Star Wars - black and white with pops of strategically placed color, a rough, sketchy, almost unfinished illustration style, a familiar universe reinterperted as Feudal Era Japan, and a main character who was both the hero and a villain. 

Here we revisit that same world and as such, while possibly the best of the bunch this time out as well, it isn't something completely unexpected. It's more of the same, though the 'same' is really excellent. The new characters, the set pieces, and the fleshing out of the Ronin were welcome additions. Great imagery continues in the tradition of the first.

The music in this one was probably some of the best too, though at lot of it was derived from the films (particularly the Prequels I think). 

Title: The Song of Four Wings (8/10)

Studio: Project Studio Q

Director: Hiroyasu Kobayashi

Writer: Yoji Enokido

I'm just going to put this out there right up front; I really liked this one! I say it that way because I've looked about the internet and a lot of reviewers see this one as 'nothing special'. It seems a good number of Star Wars Youtubers didn't find The Song of Four Wings to be anything to write home to Coruscant about. 

I get that. At least I can see why some might feel that way but for me it was really fun. First, it was very Star Wars. It had a heroic Princess with a cool Astromech Droid riding a classic looking Speeder Bike across an Ice Planet to save a cute little alien from Snowtroopers and AT-ATs. C'mon! If you're a Star Wars fan, what is there not to love about that?

Simultaneously, it's VERY Japanese. Very Anime and Manga. It combines Star Wars with three major tropes of Japanese media culture; Mecha, Magical Girls, and Origami. No story with transforming Walkers, a plucky girl's droid becoming an X-Wing battle suit, a Force Sensitive, big-eyed furbunny, and traditinal Japanese paper cutting art could be anything less than awesome. 

The music here should have been better. It's OK but missing something. Crane's personal tune is kinda neat but since music is actually an element of the character, I would think Project Studio Q would've made it stand out a little more. The background music is likewise a bit lackluster. None of it sucks but none of it soars either.

It's probably a 7.5 episode but its an 8 to me. Perhaps not the best of the entries but definitely a personal favorite of mine.

Title: The Ninth Jedi: Child of Hope (7.5/10)

Studio: Production IG

Director/Writer: Naoyoshi Shiotani

This was a good episode of a typical Anime Action Show but a slightly weak entry in not only the Star Wars: Visions series but as an installment of The Ninth Jedi as well.

One of my favorites from the original Visions Volume 1, the first incarnation of 'The Ninth Jedi' had an interesting take on the Star Wars setting, charming characters, and a very cool story twist. This one...doesn't have those things. The droid Teto that they introduce is very cute and cool but there is no twist and very little that advances the world-building of this far future(?) version of the familiar galaxy far, far away. It was both well done and somewhat disappointing.

Also the starship designs were...strange. I think they were going for a more futuristic Star Wars aesthetic but instead it looked more like knock-off Star Trek. As an Anime fan I expected a little more from Production IG.

Title: The Bounty Hunters (7/10)

Studio: WIT Studio

Director: Junichi Yamamoto

Writer: Hiroshi Seko

This is a tough one. I liked The Bounty Hunters but it wasn't all that much to speak of. A predictable story. Pretty standard villain. Good art if a little simple and solid enough animation. Like The Song of Four Wings, this one isn't shaking anyone to their core but damn if it wasn't fun. I liked the main character but thought the split personality droid was a really cool and clever idea and his look was neat. Additionally, I thought this was one of the few episodes this volume to feature cool ship designs. 

Title: Yuko's Treasure (7.5/10)

Studio: Kinema Citrus Co. 

Director: Junichi Yamamoto

Writer: Hiroshi Seko

Another very fun entry with a strong 1970s to early 1980s Anime feel. There was an era in Japanese Manga and Anime that saw stories of this type all the time. Classics like Doraemon, Dr. Slump, Magical Princess Minky Momo, and others feature many of the tropes you see in this episode: really young protagonists, a cute looking but surprisingly tough 'Pet' Robot, over-the-top masked villains and their goofy minions, and running gags like the one where the monster and villains repeatedly fall down a hole. Like Pokemon's Team Rocket blasting off to become a twinkle in the sky at the end of each episode of that show. 

This one was not only fun but I could definitely see this being an easy entry point into the Star Wars universe for many elementry school age children. While a tad silly and having a very child friendly art style, even adults can get a chuckle from this one and feel the timeless charm fused into it.

The ship shown at the end is pretty adorable and quite Star Wars appropriate so it gets a thumbs up. 

Title: The Lost Ones (8/10)

Studio: Kinema Citrus Co.

Director: Hitoshi Haga

Writer: Hitoshi Haga and Takahito Oonish

In Star Wars: Visions Volume 1 we got The Village Bridge, a very pretty episode with an intriguing setting and a character I really wanted to see more of, the female Jedi known only as 'F'. The Lost Ones sees her return, facing off against a cataclysm that drove people off their world and the return of her former master now turned to the Dark Side of The Force.

I liked this one, quite a bit, but I felt it had some of the same flaws as its predecessor. There is a story about a planet and its people as their was in The Village Bride but just like in that previous episode, it doesn't connect directly to F or her facing off against her ex-mentor. I mean, the two stories cross over each other and there are characters that connect the two during the episode but it just feels like she could have been anywhere else and the story might have progressed the same way. 

The Jedi Master turned Sith (maybe an Inquisitor?) and their ship comes looking for F, not the planet, the people, or anything else. So why tell us all about the plight of these folks? Again, its not that the two plots are completely disconnected but they're not intrinsically related either. 

I really like F. I'm not even sure why. There is just something about her. Cool design, a real survivor, and a good person at heart. I hope we see another outing of hers that deals more directly with what she does to survive in the Rebellion Era and how true she stays to herself.

Music good. Nothing especially stand out-ish but good. 

Title: The Smuggler (8/10)

Studio: Studio Trigger

Director/Writer: Masahiko Otsuka

A big fan of Studio Trigger I was hoping I'd like this one and I very much did. This one felt like a group of Player Characters doing the initial mission that forms their party. A smooth mix of classic Star Wars and modern Anime/Manga ideas the results in just the kind of short I imagine would result from a Star Wars Visions project.

The Smuggler appeals to me for the same reason The Bounty Hunters and The Song of Four Wings does. Nothing groundbreaking but a fine example of what you can do when you cross pollenate Japanese Anime tropes with those of Star Wars. 

The ships here are very Anime but they do reveal some Star Wars DNA in them, especially the bounty hunter fighters that show shades of TIE fighter on what is otherwise a 1990s Japanese Animation design. On the flipside, the Landspeeder in the episode is spot on Star Wars. 

Title: The Bird of Paradise (7.5/10)

Studio: Polygon Pictures

Director: Tadahiro Yoshihira

Writer: Tadahiro Yoshihira and Makoto Uezu

This one. Hmm. This one is tough to review.

Absolutely beautiful looking art, excellent animation, and a story that is quite intriguing thanks to the blending of Japanese spiritual beliefs with the Force. It makes for an atypical approach to the traditional Jedi vs Sith stories we're accustomed to. 

I can't emphasize enough that the visuals are just stunning. I was particularly fond of the Sith characters' design and the look of the Dark Side version of the main character. Unfortunately...

The drawbacks to this entry that prevent me from fully enjoying it are two fold: First, the female protagonist is quite pathetic and whiny for a good portion of the episode. The change toward a stronger and more positive attitude is very subtle at first, which could be a testament to good storytelling, but because I'd already grown to dislike her it was hard to me to notice or appreciate it. Second, we don't get to spend much time on each of the days of her journey of self-reflection and discovery. As a result and as noted before, the change from her being weak and bratty to being more centered seems abrupt, though it wasn't meant to. 

The episode also has a less than satisfying ending in my opinion. We never return to the battle that starts the story rolling and have not idea what became of the main character's Master, the Sith adversary, or her really cool droid, Daruma. We never get to see our heroine face the enemy after her 'rebirth' so we are told what she learned but don't see it in action. 

The music here, it works. It fits and does what it needs to do.

Title: BLACK (6.5/10)

Studio: David Production

Director/Writer: Shinya Ohira

If any of the shorts could be legitimately called disappointing it would be BLACK. 

Hailed as a masterpiece when it was shown at the Annecy International Animation Film Festival in France back in June, the buzz around this one was intense. A very different take on not only Star Wars but what could be done in animation, supposedly paired with a righteous jazz score reminiscent of Cowboy Beboy made it one of the most anticipated pieces in Vision Volume 3.

Problem is...it just doesn't work. At least not for me.

The imagery is chaotic, designed to show the madness of an Imperial Stormtrooper going through some sort of psychotic PSD episode. A very intriguing idea but one that becomes tiresome to watch as it runs on too long without any sort of narrative. I watched it twice but the second time I was more often listening to it than watching it. My eyes got tired of the random visual noise. 

The music, which I expected to really like as a fan of this kind of Jazz and of Cowboy Beboy, was sorely lacking. The vast majority of the episode's run you can barely hear it. The rest of the time it doesn't quite match with what is going on in the animation. The visuals and the score seem almost at odds instead of complimenting each other. 

It was cool that they went for it with this one, that they tried to do something really different but in the end it is definitely the short I enjoyed the least.

As you can see, not a single one of these was rated a 9 out of 10, let alone a 10/10. The guy who is a huge Star Wars and Anime fan didn't gush about how awesome any one of the entries were. Cool? Sure. Well done? Mostly yes. Amazing! Well, that's going a little far. 

If you haven't watched Star Wars: Visions Volume 3 yet and for some odd reason read this first, I would go with the advice of Major Partagaz from Andor and 'Calibrate your enthusiasm' before checking it out. 

That doesn't mean it was great to have another volume of VISIONS or that it didn't inspire some Star Wars TRPG ideas. I am still extremely excited for the upcoming The Ninth Jedi ongoing series and hopeful for a potential Volume 4. 

フォースとともにあらんことを

Fōsu to tomo ni aran koto wo

May The Force Be With You

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Solo Ghostbusting - 'Computer Glitch' - Part I

Scenario I, Session 1:

Phase 1: Introduction / Opening

Fumiko Magari was sitting at her desk, randomly scrolling through a dating app on her phone wondering why she was scrolling through a dating app on her phone. She was weird by Japanese standards and (kind of) proud of it. She wasn’t going to meet anyone on this thing. She turned to look at her co-worker and friend Michio Tsumura who seemed to have a new girlfriend every few months. He was asleep at his desk with an unfinished report on his computer screen. 

The door to the Boss’s office opens quickly to reveal the ‘The Old Man’, Mr. Kori Koarishi, standing there with his customary frown. As those in the office turn to see what’s up, Koarishi nods at Miss Aya Nakamura in General Affairs and motions her into his office with a sharp movement of his nose. Nakamura enters without a word and a few moments later exits holding a folder. She walks between the desks of Fumiko and Michio and reveals that that she has a Project for them.

  

“Ghostbusters: Ningyotoshi Ghost Research has gotten a call from Hiroshi Taniguchi, the Head Network Engineer with Seijitsu Soryūshon (Sincere Solutions). Several members of his department, including himself, were experiencing computer issues with no discernible source or explanation. Eventually, a couple of them saw a Desktop Computer, complete with Tower, Screen, Keyboard, and Mouse, moving on its own about the office. When pursued the Computer ran away and seemed to disappear. He finished with ‘Please help Ghostbusters! We have numerous projects and sales reports due’!”

Happy to have some action (really anything constructive to do), Magari and Tsumura suit up. As they enter the Gear Locker room, each takes a Proton Pack with a Neutrona Wand, a Ghost Trap, and a Walkie-Talkie. Additionally, Fumiko takes Ecto-goggles. As they enter the garage, Kenji Boudreux tosses Michio the keys to the Ecto-NT 1 (a 1985 Toyota Land Cruiser).  Michio adjusts the seat and mirror and then reaches for the siren but Fumiko gets to it first and sticks her tongue out at him, then smiles wide. Michio smirks and shakes his head as they drive off to their destination.  

Miss Nakamura calls them while they’re enroute to let them know she will be their Manager on this Project if they need anything from headquarters/the home office. 

Project #1: 

Project Name: Computer Glitch

Number of employees required: 3 people

Number of phases: 3

Recommended skills: None

Client: Hiroshi Taniguchi, Network Engineer Manager at Sincere Solutions

Ghost: Class V Animated Phantom Tsukumogami – Computer Spirit

Phase 2: Investigation

The team of two arrives at the office building and head upstairs to the 5th floor (really the 4th, an unlucky number in Japan). Upon stepping off the elevator they are able to locate Mr. Taniguchi easily as he was hiding…I mean waiting for their arrival. “Thank goodness you’re here!”, shouted Mr. Taniguchi, a lot louder than was necessary. Yes, there was noise in the background – yelps and gasps from employees, falling chairs and coffee cups, etc. – but he was no more than a few feet in front of the Ghostbusters. 

Michio started to ask for the current details about the situation but Mr. Taniguchi shouted, “Excuse me? Speak up please! The ruckus caused by this…whatever it is is very loud!”. 

Fumiko exchanged glances with Michio and then leaned in close to him and whispered, “I’m thinking something made a loud noise near his head. He might be temporarily hard of hearing until he…”, but before she could finish the client stamped his foot and pointed at her with a frustrated face and finger.

Fumiko makes a Task Roll using her Brains to figure out why Taniguchi appears hard of hearing. She gets a Success with Trouble, taking 1 point of Mental Damage and 1 point of Environmental Damage. She is embarrassed and thinks she might be reflecting poorly on her company. 

“I said PLEASE SPEAK UP! Don’t whisper. Whispering is obviously the opposite of speaking up. My goodness, I thought you all were professionals! I…”

Michio stood up straight, puffed out his chest, and moved quickly into Taniguchi‘s ‘personal space’. Tsumura put on a frown and a furrowed brow and his message was quite clear. Mr. Taniquchi backed up, took a deep breath, and apologized. “Terribly sorry young lady. I think I’m having trouble hearing, I am at my wits end with this…situation…and again, my apologies.” 

Fumiko gave a polite bow. “Completely understandable!,” she shouted, actually catching Michio off guard and startling others in the area. “My fault entirely. I should have realized I was being impolite. Can you tell us exactly what’s going on?”

Taniguchi proceeds to describe what began as a normal if busy day but one which changed dramatically just after lunch/midday. Various computers in the office started having issues, including not saving work, sudden shutdowns, going onto naughty sites of their own accord, and other strange activities. As the issues spread, Taniguchi and some of his best people checked the servers, ran diagnostic programs, and even investigated the buildings electrical systems. Nothing seemed wrong and the problems made no sense. 

Finally, someone in the main offices screamed and a small, almost robot-like figure appeared. It seemed to be made up of computer hardware from an older model desktop. It began running around and as it passed people’s desks even more network issues and IT problems erupted. Taniguchi and others tried to catch it but it made a Laptop on someone’s desk explode and then disappeared in the chaos. 

Fumiko asked how the ‘Computer Boy’ blew up the laptop. While no one knew exactly, someone nearby said she saw it press a button on the laptop’s keyboard before the item exploded. “We should take a look at the remains of that device”, said Michio. Fumiko agreed. 

Mr. Taniguchi escorted the Ghostbusters duo through the office as concerned company personnel looked on. He brought them to the desk of a young woman named Arai Hotaru who stood beside her chair looking very frightened. A charred, open laptop sat on the burnt surface of the desk, bits of metal and plastic scattered across the area like confetti. Taniguchi introduced Miss Hotaru to the pair of Paranormal Investigators and Michio noted she had some minor burns, cuts, and her hair was all frizzy. 

“Are you alright Miss Hotaru?”, asked Michio in a purposely slow, warm manner, with a calm and kind tone. The woman blinked and looked up at him as if she had just that moment noticed that anyone was there. 

Miss Hotaru said in a quite and shaky voice, “I moved away from the laptop as soon as I heard it sizzle and smelled smoke but …I feel hot and there’s a tingle…”. She trailed off unable to focus. Tsumura placed one of his large hands on her shoulder and gave her a reassuring look. He nodded to Magari with a particular expression she knew quite well. 

Using her cellphone, Fumiko called the Fire Department and explained the situation*. She followed that with a quick call in to Nakamura back at the GB: NGR office to fill her in on the information they had so far, which wasn’t a lot. Nakamura let her know that as Project Manager she can coordinate with the Paramedics at the local hospital and can send back-up Field Operatives if needed. Magari nodded (even though Aya couldn’t see her) and let Nakamura know they hadn’t yet encountered the entity, so don’t send reinforcements just yet. Fumiko recommended Aya keep them on stand-by. 

*Fumiko calls the Fire Department and not an Ambulance or Paramedics. Why? Well, in Japan it is the Fire Department that handles transporting injured people to medical facilities. They are trained with basic Paramedic skills. Once at a hospital or emergency clinic, full Paramedics respond to the patients and get them to doctors and nurses in the facility as necessary.

Michio and Mr. Taniguchi helped Miss Hotaru get around her desk and Taniguchi walked her towards the elevators. Tsumura grimaced, narrowed his eyes, and looked about the place as if he could simply sense the entity they were searching for. Thing is…he could. He had always had this knack for feeling the presence of spirits and the supernatural. Here…

Michio makes a Task Roll using his Spirit Perception Skill. I made the Difficulty Number 8, Slightly Difficult, as I wanted this first entity to be hard to locate. Why? Something to explore later. I rolled a 6. Instead of a Success with Trouble I decided that Michio straight up fails in his attempt.

When this happens, the character takes 1 Point of Damage, in this case Mental, and also gains 1 Point of Overtime. He can now activate his Overwork Skill once by spending the point of Overtime. Going to save that for later.

Tsumura let out a sigh. Nothing. He almost felt like there was some sort of 'background noise' making it really difficult to sense this thing. He turned, hoping to locate Magari and continue with their investigation of the premises only to virtually slam right into her. "Eh?! Fumiko, were you right there the whole time?”

For her part Fumiko was standing barely a foot in front of him, almost on her tippy-toes, grinning widely, and holding the burnt laptop to her chest with both hands. “I think I’ve figured something out!” 

I decided to have Fumiko’s ‘Player’ ask the following question(s):

1) Can I determine what caused the laptop’s battery to explode and is there any connection between this cause and the other issues Sincere Solutions have been experiencing due to this entity. 

Hmm. I’ll use an alternative system here. To answer the first half, ‘Can I determine what caused the battery to explode…’, I rolled a D100 (Two 10-sided dice read High/Low) and consulted the chart ‘Ask The Gamemaster’ in the One-Page Mythic GM Emulator. I’ll expend a use of her Super Search Technique Skill to accomplish this. 

I rolled a 40 against the Difficulty Level of ‘50/50 or Unknown’. This results in a Yes! Cool. 

For the second part, ‘is there any connection between this and the other issues Sincere Solutions have been experiencing?’, I roll again on the same chart, this time applying Fumiko’s Office Chair Detective Skill. The roll is 17 – Yes again! OK. So, what is that connection?

I got it!

“Electricity! That’s the key! After a thorough analysis of the damaged laptop I discovered that the battery had been overloaded. Other evidence pointed towards an electrical surge as the cause. Then I thought about the other issues the employees have experienced and wondered, ‘If the electricity going into the other computers…um…hiccupped…wouldn’t that cause the computer to do strange things like fail to save documents, shut down suddenly, etc.?’”

Michio considered this. It all made sense though he would be the first to admit he was no computer specialist. On the other hand, Fumiko was and so he had faith she was on to something. He nodded and said, “OK, let’s go with your theory.  So the entity can control electricity or at least it can transfer it into technology to cause glitches…or worse”, he said motioning toward the ruined laptop. “How do we stop it? Ground it? How do we do that?”

Fumiko’s big grin shrank, then faded even further as she spoke, “I’m not sure actually. Thing is…Mr. Taniguchi reported that he and several other people had seen what appeared to be an old computer walking around looking somewhat like a person. This would indicate a spirit possessed item or an item that’s developed a spirit. Like a…um…”

“A Tsukumogami”, said Tsumura. He then waited for his friend to continue.

“Right! A Tsukumogami! Wait…don’t those take a really long time to form? I mean, there isn’t going to be a hundred year old computer in this place.” Michio nodded to confirm as she put her index finger on her chin. Then she snapped her fingers and her eyes brightened, “What if its pretty old, a classic model, and someone has been turning it on and using it off and on. Suddenly, for whatever reason, they’ve stopped and the spirit is upset?”

“If someone were really attached to it, their feelings might have accelerated the formation of the spirit within. That could be. Hmmm.” Michio trailed off, a lot of questions still running through his head. 

Suddenly, a loud, grating noise blared through out the offices. It was awful! The Ghostbusters tried to cover their ears – Difficulty 7. Michio, using Physical Skill rolls a 7. Just made it. Fumiko using Brains rolls -holy smokes – a 7 as well! 

Can either member of our team recognize the sound? Difficulty ‘50/50 or Unknown’ for Michio and Likely for Fumiko. Percentile Rolls. 16 for Michio and 44 for Fumiko making it a Yes for both of them!

“A dial-up modem?!?” exclaimed Magari.

“Make it stop!!!” shouted Tsumura.

 

To be continued...

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Barking Alien

A key factor in my enjoyment of this exercise in Solo Gaming is the speed at which it moves, which is basically 'as fast as I want it to'.

 
I've mentioned in the past that my old games progressed really quickly compared to the ones I've run over the past decade or so. This is largely do to playing the majority of my games online and the limitations of the medium.

That isn't the only reason though. Now I apologize as I get a little ranty. 

It's also the fact I have been gaming with players unaccustomed to my rapid fire approach; most people didn't grow up gaming at the breakneck pace I find 'normal'.

I get it, it takes time to process what the GM has said, ask questions to get a clear idea of situation the PCs are in, and to define the details of the scene's setting and environment, etc.

I don't have to do any of that when I'm gaming Solo. If I randomly roll up that there's a 'Large Crowd', thats 'Gawking' at something in the 'Fish Market District',, I know EXACTLY what that looks like. I can instantly see it in my head.

I can further dispense with the [usually] unimportant questions most players will ask at that moment like 'how far away are we from the crowd', 'are there any fisherman or sailors there?', or 'what kind of fish do I see?'.

Since the answer to these types of questions is always the same, 'What does that $^#&ing matter?!?', I can get right to having my characters actually do something. This is how it always worked with my Grade School, High School, College, and New Jersey crowd but these days people seem to need everything spelled out to commit to a course of action. Honestly, it's weird.

Obviously that's not the case when playing solo.

Solo Ghostbusting 101

I've started my Solo Tabletop Roleplaying Game journey and I am [surprisingly] really enjoying it! The game in question?

Ghostbusters: Ningyotoshi Ghost Research is a Solo TRPG campaign by me for me! I'm using the Japanese indie RPG 'Tokyo Ghost Research' with some modifications for my own Ghostbusters adapted setting and the fact that its a Solo game.

The campaign follows the paranormal investigation and elimination cases, called 'Projects', of a Ghostbusters franchise in the (fictional) Japanese Coastal City of Ningyotoshi (Mermaid City). The main characters are a pair of Ghostbusters field operatives named Michio Tsumura (Male - 32) and Fumiko Magari (Female - 28).

Michio Tsumura (whose first name means 'Man on a Journey' and his last name 'Harbor Village') is a 32 year old, single Male who was born and raised in Ningyotoshi. He went to high school locally and university in Kyoto, majoring in History and Folklore Studies.

Prior to joining the Ghostbusters he mostly did odd jobs for neighbors and other local residents. All the while he read and learned as much as he could about Japanese Mythology in general and Ningyotoshi legends in particular. Eventually he applied for the Ghostbusters in an attempt to both further his knowledge and put it to practical use.

Michio is in the Sales Department because of his ability to get along with both the living and the dead. His knowledge of local legends and ghosts in general allows him to negotiate with paranormal beings instead of having to always blast and trap them.

Tsumura has a kind of 'sixth sense', an ability to detect supernatural entities that he's had all his life. It is part of the reason for his interest in the paranormal.

Michio is a big fellow, not especially tall (though above average for a native Japanese male)  but he's got a lot of muscle. He can be charming and warm like a large teddy bear but also gruff and intimidating. He knows this and uses it to his advantage when dealing with other people. Good looking in a rough way, many think of him as a 'ladies man' but that's not really true per say.

He is well known and liked throughout the city from his odd job days and just has a lot of female friends. He dates but its mostly just looking to enjoy the company.

'Sure I know a lot of woman and yeah, its fun to go out and do something but it isn't serious or deep. It's not like my friendship with Fumiko. I mean, the two of us can get into some really wild conversations and man, is she smart. And her hair...I really like how she colors it just 'cause she wants to and it makes her happy and...what? Get outta here! Me and Fumiko? Nah, man...I'm..ya'know I'm just sayin."

Fumiko Magari (whose first name means 'Intellectual' and whose last name means 'A Twist or Distortion')  is a 28 year old single Female who was born in Ningyotoshi but travelled across Japan with her family due to her father's job.

She is incredibly smart and understands the physics and metaphysics of the Ghostbusters technology and science. She attended the Fukui University of Technology while also taking classes at two other colleges online. After graduating she immediately applied to the Ghostbusters in order to get her hands on devices like the Proton Pack, Ghost Trap, and the Ghost Light (an item unique to the Tokyo Ghost Research game that I love. It's a Flashlight that emits charged particles similar to the Proton Thrower and Trap which cause invisible supernatural entities to appear visible within its beam).

She serves in the Investigations Department of Ningyotoshi Ghost Research as her analytical mind makes her an excellent detective.

Fumiko is scientifically and technically brilliant but a bit socially awkward. She gets excited very quickly and can't hide it. She wants to be herself but gets embarrassed when people see her as different and not adhering to Japan's social norms. She gets along well with her co-workers (most of whom would also be thought of as weird by most of Japanese society) but doesn't have a lot of outside friends. She sometimes hangs out with the Unconventionals, a community of artists, writers, and musicans who live in the Northeastern area of the city along the river.

A romantic at heart, Magari would really like to meet someone special but because of her outside-the-box thinking, her failure to prioritize Japan's usual social practices, and her job, she finds it hard to meet anyone compatible.

"How does Michio do it? I mean, sure he's kind of good looking and physically fit...and he's interesting...even sort of cute when he's talking about his interests...but...WHAT AM I SAYING?! Deep breaths Fumiko. I should probably go...modify a nuclear accelerator. That always calms my nerves."

The current supporting cast consists of:

Aya Nakamura (first name means 'Colorful' or 'Beautiful', last name means 'Middle Village') is the Project Manager for most of our Ghostbusters: NGR heroes' outings. Her abilities fall under the Career Type/Department of General Affairs. She is very good at coordinating a group's efforts, cutting through red-tape, and controlling who knows what information (so she can spin screw-ups to look better to the press and bureaucrats).

She always wears something colorful but odd, such as a business blazer made from blue flower pattern kimono material or a brightly hued plaid skirt.

Kenji Boudreaux - last name pronounced Bo-du-ru by the Japanese - is a second generation mixed ethnicity Ningytoshi native (for various reasons, Ningyotoshi has more foreign and mixed ethnicity residents than most Japanese cities its size. A follow up post will go into detail on the city itself). He is a back-up Field Operative Ghostbuster as well as being in charge of the team's vehicle. (His first name means 'Strong or Healthy Second Son'. His last name, of French Creole origin, means 'Leader of the Group'. He's basically the outfit's Second-in-Command after the boss).

Finally...The Boss! You randomly roll up the Boss in Tokyo Ghost Research and I was quite inspired by what I got. Here's Kōri Koarashi.

Boss: Kōri Koarashi (whose name means 'Cold Little Storm')

Position: Nearing Retirement Age

Appearance/Impression: Age Unknown

Nature: Nothing is said. Rarely speaks. 

Bad Habits: Cold Gags – Dark sense of humor.

Another native of Ningyotoshi who lived in Tokyo in his college years. Koarashi was one of the first Ghostbusters in Japan, having served for over two decades with GB: Tokyo Ghost Research. While generally said to be 'near retirement age', no one is certain how old he actually is.

The Boss rarely speaks, preferring to communicate through grunts and motioning with his head. When on rare occasion he does say something, its often a dark joke of dubious appropriateness.

I have a lot of thoughts about this whole endeavor but I'll start with this epiphany...In a Solo TRPG you are in the role of Player. The Gamemaster role is 'automated'.

I know this seems rather obvious to most people but it took a while for this to sink in for me. My brain defaults to thinking like a GM; to thinking that I AM a GM. This is why it was so difficult for me to grasp not just the idea of Solo gaming but also why one would even like doing it. 

Once I was able to let go (sort of - keep reading) of trying to be fully the GM and fully the Player at the same time, I had a lot more fun with the exercise. Focusing on the Player role and letting the Game System, Tables, and Dice be the referee is what makes the whole thing work. That said...

As noted, I am a Gamemaster at heart. If I wasn't going to get involved with creating the game's narrative and actively world-building, I'd probably get bored with the whole process pretty quickly. So, what I've decided to do is roll randomly for many of the key elements of the game and then generate a story, a setting, and the encounters myself using those prompts. Essentially this how all Solo RPGs function, I understand that. What I'm trying to do is add a bit more from my head than from random generation. 

If Solo TRPGs typically have the Dice and Mechanics handling 75% of the Gamemastering duties and you filling in the remaining 25%, my approach is more 60/40. These aren't real or exacting numbers but just a way of helping to visualize how I'm looking at it. 

I have a ton of other thoughts and ideas about this in addition to a recap of my first session. I hope to run my second session tomorrow (I've been busy OK! Sheesh). Before I go though, I want to share a table I made that I am really proud of. This is my custom 'Ghostbusters: Tokyo Ghost Research Japanese Ghost Generator'.

For this campaign, I start most scenarios by getting a Client using one of several online NPC generators (such as this one for example: Chaotic Shiny Modern Character Generator) and then going to a different site to give the character a Japanese Name. I do a little research on the names I find interesting and alter them if needed to get one I like that has the meaning I'm looking for. 

Next, I use the table above to create the Ghost haunting the Client. As you can see, you roll 1D10 four times, or just 4D10 I suppose, and put together the results. The first three categories are clearly from the Ghostbusters franchise and the same CDI identifiers I use in my other homebrew/kit Ghostbusters game. The last column adds a Japanese Yokai Type - a spirit/ghost/monster from Japanese folklore - to the mix to give The Call an appropriate local feel. 

The best thing about this is that it can result in some very unique or at least unusual Japanese supernatural entities. An Oni for example is a powerful Ogre-like demon but what if you're dealing with a Class II Terminal Mist Oni? This is an Oni that can barely manifest itself. It can be made to shuffle off back to the ghostly realm (Terminal) but what will make it do that? If you don't do that, will it get stronger and eventually fully form? So many possibilities!

Let's do one right now to show you what I'm talking about. We start with a Client. 

Interesting. A Photographer. OK, getting an idea immediately but before I'll get to that I need to give him a Japanese name. Let's see...

After several attempts I saw a couple of names that I liked but decided to combine two in order to make:

Hibiki Fushimiya (Hibiki means 'Echo' and Fushimiya means 'Hidden Shrine'). Hmm. A photo is like a visual echo, no?

OK, now let's roll 4D10 using an Online Dice Roller. 

What have we here? A Class IV Repeating Phantasm Mōryō.

A Mōryō is a supernatural wilderness being connected to mountains, forests, and most especially water, usually streams and rivers. This Yokai is generally viewed as a nature spirit but also as an eater of the dead, consuming corpses like a ghoul. While it might 'live' near a riverbank or waterfall, it can often be found skulking around graveyards looking for a meal. 

So combining this result with the Client I can generate the Project or Scenario for an adventure. 

Project Name: Picturing The Dead

Number of employees required: 2-3 people

Number of Phases: 4

Recommended skills: Any

Client: Hibiki Fushimiya, Freelance Photographer

Ghost: Class IV Repeating Phantasm Mōryō.

While doing some Wildlife Photography near a forest stream East of the city, a young man named Hibiki Fushimiya saw something strange and accidentally caught it on camera, though it is difficult to clearly make out what it is. 

That was a week ago and every since (Random Rolls on Various Tables) Hibiki has since seen strange lights, ghostly figures, and heard distant voices at random wherever he goes. Returning to the site of stream he found parts of a dead body in the water. It looked very old (long since deceased) and like it had been chewed or gnawed on by some very large animal. 

Taking pictures of the scene, Fushimiya once again caught a bizarre image in a photo, a monstrous being reflected on the surface of the water. He called Ghostbusters: Ningyotoshi Ghost Research (Random Motivation Roll: Lust? Huh. The Lust result matches the 'Favorite Sin' entry on his NPC info. Got It!) and specifically asks for Fumiko Magari for help as he has seen her on TV and Social Media and has a crush on her.

How will she react? Will Michio get jealous? Why is this creature now haunting this poor guy?

That, as they say, is the adventure! 

Well, that's all for now but as noted there's a lot more where this came from*.

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Barking Alien

*That would be my head.