Hidden Treasures Of Science Fiction: Traveller!

Popular science fiction works tend to fall into two broad camps: Those that focus mostly on exploration stories, such as in Star Trek's various incarnations, which deal with venturing into the unknown. Then there are battle stories championed by Star Wars and its many imitators, which deal with conflicts and wars, either overt or covert, fought between various factions in a fantastic setting.

But there is a third, less often seen type of science fiction adventure, which the Traveller tabletop RPG champions so well: the scifi road trip.

Like most freeform tabletop RPGs, Traveller can encompass almost any type of story or activity within its setting. It all depends on tastes of the GM and players. But the game is set up almost always the same kind of overall structure: the player characters travel around in small, often beat-up starships, visiting planets within a gigantic interstellar civilization called the Imperium, with no nobler intention than earning a living and just seeing the sights.

They may be merchants, trying to stay one step ahead of the mortgage on their 30-year old merhcant trader. They may be enjoying retirement cruising around in one of the scout service's old surplus starships. They be ex-military bouncing from one mercenary contract to another. They may be scoundrels or refugees or agents fleeing their past. But no matter how you slice it, Traveller campaigns tend to feel like the far future equivalent of setting off on an open highway with a whole continent ahead of you. But instead of a beat-up chevrolet and untold miles of asphalt, you have a worn-down scout/courier starship and the thirty thousand star systems of Charted Space.

Traveller is definitely a working man's, middle-class, vision of science fiction. There is great emphasis in the game on just making a living, including an elaborate system on working out trade and money-making cargoes, and the like. Granted, the characters make a living in what to us seems a very exotic way, hopping from star system to star system, but they need not engage in anything loftier than the pursuit of the Imperial credit if they don't want to. The characters are also not great movers and shakers, and probably won't be determining the destiny of the galaxy. And they most likely won't be going anywhere that hasn't already been charted and explored at least cursorily by someone else. But its new to them and what happens along the way is important to the people that they meet. Like any good road trip, its about the experience and personal discovery, and that's what has always helped to make Traveller such a rewarding RPG to play.

The game has gone through many different revisions and updates since its introduction in 1977 by Game Designers' Workshop (GDW.) The original incarnation of the game, what's now called "classic" Traveller, ruled for the first ten years. It was set in the 57th century, when explored space was dominated by the 11,000-world Third Imperium and its surrounding states. In 1987 GDW updated both the game mechanics and the background, called MegaTraveller as the Imperium shattered into more than a dozen warring states after the assassination of the Emperor. In the early 90s, GDW introduced a new update, Traveller: The New Era, which took place seventy years later as interstellar civilization tried to recover from the apocalyptic war that ultimately resulted from the shattering of the Third Imperium.

Unfortunately, GDW suffered the fate of many game companies of that time as the RPG market imploded. The license was picked up by STEVE JACKSON GAMES and was released as GURPS Traveller, which took place in an 'alternate' timeline where the Third Imperium never disintegrated. The games' original designers tried to reboot the game on their own, with a version called Traveller 4 or more simply T4. There has also been a D20 version.

Today, Traveller lives on at MONGOOSE PUBLISHING and is backed by many of its original creators. The game's historical clock has been set back to the beginning year of Classic Traveller, with the future of its fictional universe wide open. Steve Jackson Games also continues to support its own version of the game.

One aspect of Traveller's game mechanics I always really enjoyed was its character creation. It was way ahead of its time in creating nuanced, interesting player characters, when most other games had PCs who were mostly collections of basic stats and an alignment.

InTraveller you don't just create a character, you create a career for him or her. After rolling base attributes, you 'enroll' him in a chosen job--soldier, starman, merchant, etc. Then you work the character through year by year, gaining skills, rank, and benefits. The more years your character goes through before mustering out, the more skilled he will be, but the older he will be as well, and may be subject to the dreaded aging rolls, that could decrease strength or endurance or such. Thus, most characters don't enter the game as snot-nosed young punks, but people in their thirties or forties (sometimes older) with a lot of life experience and stories already behind them that the GM and player can draw upon for inspiration in the game.

Another very cool aspect of the game, at least for a techno-nerd like me, is its vehicle and starship design systems. Its changed somewhat from version to version, but allows one to create almost any kind of customized, detailed vehicle for use within a campaign. One can design anything from a basic gas-powered motorcycle up through a 500,000-ton interstellar battleship. Many a fan website of the game is overflowing with such original designs.

The game's setting is one of the most highly detailed ever created, either for a science fiction setting or an RPG universe. In fact, in the late 80s, it purportedly surpassed both Star Trek and Star Wars in terms of sheer amount of written material created for it (of course in the years since both those franchises have catapulted ahead again.) Just check out the TRAVELLER WIKI to get a taste for its expansive universe.

The Third Imperium is a very wide and diverse place to explore, with a very classic space-opera feel to it. Humans and human variants dominate explored space, thanks to a mysterious race of 'Ancients' who trasported prehistoric humans from Earth to dozens of different worlds to use as slave labor (a plot point also used by the Stargate franchise years later.) In fact, two of these 'other' human races beat us Earthers into interstellar space by thousands of years.

There are also major non-human races, such as the Aslan, the Hivers, and the K'Kree; and hundreds of 'minor' races who never achieved interstellar flight on their own. In fact, one of Traveller's great strengths as far as its background goes is the amazing amount of detail and verisimilitude it gives its alien races. They all come across as believable.

But despite being a classic-type space opera, the game's setting is also very nuts-and-bolts when it comes to its technological details. The idea of detailed Tech Levels on OV originated with Traveller (but it also has been borrowed by many others as well since), and the Imperium is made up of a huge diversity of planets at different Tech Levels, from Rennaissance-level worlds, to those equivalent to modern day Earth, to worlds with Star Wars level tech or better. Each world is allowed to develop on its own and tend to its own affairs, as long as it pays at least token tribute to the Imperium. This technological diversity, along with the huge variations in physical conditions and culture and inhabitants, creates an amazing array of possible worlds that player characters can visit, pretty much ensuring that their interstellar road trip never need be boring.

Of course, not every aspect of the game is rave-worthy. Some compromises had to be made in order to keep it accessible to the average, non-science-savvy player. For example, the Imperium and its neighbors inhabit very three-dimensional space, but all the game's star systems are mapped out on two-dimensional hex grids. I also never really liked the game's use of psionics; when I ran a Traveller campaign years ago, it turned out to be the single most unbalancing element of it.

But even so, if you have a gaming group and are getting tired of endlessly bonking orcs and hoarding gold pieces, you may want to give the interstellar adventure of Traveller a try. Its well worth the time to seek out its source material, both old and new.

Hidden Treasures of Science Fiction: Scrapped Princess!

Is it possible to tell a good science fiction story relying mostly on high fantasy tropes--wizards, magic, knights, prophecies, and so on? There actually have been numerous attempts over the years, but most of them have fallen short or come across as merely clever contrivances. And I thought that's all such attempts could ever be.

That is, until Scrapped Princess, an anime TV series that ran on Japanese TV in 2003, which to my great surprise turned out to be an epic science fiction story 'disguised' as high fantasy. The series is based on number of light novels created by Ichiro Sakaki and boasts the same character designer who worked on Cowboy Bebop. It has received high praises by many reviewers both in Japan and in North America for its excellent story, music, and first-class production values, ending up on numerous 'Best of Anime' lists.

I admit I've become somewhat of a reborn anime fan in the last year. I used to be really into anime in the 90s, but my enthusiasm for it waned after it started becoming increasingly mainstream in the wake of Pokemon, and the need to divert my money at the time to more practical pursuits.

However, thanks to anime shows uploaded online by various sites and dedicated fans, I've been rediscovering a lot of really good anime, and have gotten somewhat back into the hobby. And I'm very glad I have; as a science fiction enthusiast, it has opened up a doorway into a great many good stories I would have never have otherwise discovered. In the past year, I've watched through the entire runs of Cowboy Bebop, Planetes, Last Exile, and most recently, Scrapped Princess.

The 24-epsiode story centers around 15-year-old Pacifica Casull, who at birth was prophecized to be the Poison That Would Destroy the World on her 16th birthday. So she was thrown off a cliff--literally 'scrapped'--as a newborn to make sure that never happened.

But as you can probably guess, she was saved at the last moment and secretly placed with a foster family, where she grew up unaware of her destiny. But just a few months shy of her fateful birthday, she was discovered and her foster parents killed by a murderous mob. She was forced to flee with her older brother and sister, and the story opens with them on the run from the powerful forces who want her dead at all costs--perhaps with justification.

Though the series begins seeming like any another high fantasy tale in the vein of Record of Lodoss War, it quickly becomes clear that this story is actually science fiction via Clark's Law (which states that any technology, sufficiently advanced, is indistinguishable from magic.) The 'magic' and 'spirits' and 'gods' of their world are all just forms of technology too advanced for them to understand. This may be a bit of a spoiler, but it was something made very plain by the sixth episode, and the rest of the series makes no attempt to disguise from the viewer that everything happening in the series is the result of highly advanced science.

As the world's backstory becomes revealed throughout the series, the reasons for why their world is set up the way it is begins making a lot of sense. It does get a bit convoluted in places, but all the pieces do end up fitting neatly into place by the end.

Scrapped Princess also surprised me in that it was about something we don't see a lot of in anime or in science fiction--brothers and sisters and the bonds siblings share. Pacifica's older adoptive brother and sister--Shannon, a gruff swordsman, and Raquel, a level-headed sorceress--aren't motivated by any hidden agendas or lofty goals. Very simply, they protect Pacifica because she's their beloved little sister, prophecy be damned.

They also honestly act like brothers and sisters too, arguing and trading barbs and sometimes even going against each other out of pique. Pacifica is bratty, Shannon is dour and critical, Raquel is the often exasperated peacemaker. But the strong bond they all share as a family never seems in doubt.

Pacifica comes from the Sailor Moon school of anime heroines. Often times she's whiny, self-absorbed, spoiled, and shallow, especially with her brother Shannon, with whom she often bickers. But beneath that seems a deeper core of compassion and determination which occasionally surfaces, showing the type of woman she would eventually become, if she survives. Throughout the series she struggles a lot emotionally with the fact that so many people are dying and suffering just because she exists, and wonders if maybe the world really would be better off she was 'scrapped.'

The series vacillates back and forth between lighter comedic moments and much more weighty issues. One moment they would be dealing with Soopy Kun (a goofy cartoonish dragon costume that one of the secondary characters ends up habitually wearing), the next they would be dealing with the ultimate fate of mankind and who may have to die for Pacifica to fulfill her destiny. Mostly it finds a good balance between them.

Scrapped Princess also turned out to be very West-friendly. It doesn't rely overly much on anime cliches or nuances of Japanese culture that can often confuse North American viewers new to the medium. There is a fair amount of cheesecake in some episodes and some very occasional but brief peek-a-boo nudity, mostly stemming from the Japanese predilection for frequent bathing. This, taken along with the violence, would probably rate the series at PG-13.

The complete series is available on DVD, which you can find HERE, among other places. Episodes are also available online.

Hidden Treasures Of Science Fiction: 2010!

I'm sure some people are going to look at the title to this entry and wonder why I'm plugging next year as a "Hidden Treasure." But 2010 is actually the 1984 sequel to the critically-acclaimed science fiction masterpiece 2001: A Space Odyssey.

In my opinion, 2010 has always been unfairly overshadowed by its predecessor. While not as ground-breaking as Stanley Kubrick's work, it is still one of the most solid and thought-provoking works of science fiction put to film. Its director, Peter Hyam, made the wise decision not to try and emulate Kubrick but instead to create his own vision of the future using Clarke's sequel story.

As the title may suggest, it is nine years after the ill fated Discovery mission to Jupiter, and what happened is shrouded in mystery. Doctor Heywood Floyd (Roy Schieder, in probably his best role after Jaws) is selected to put together the American contingent of a joint American/Russian mission to the giant planet to find out what happened. And by 'Russian', I mean 'Soviet'; remember the film was made in 1984 and no one expected at the time that the USSR wasn't going to be around in the 21st Century. But watching the film nowadays, its just easier, at least for myself, to simply think of them as Russians.

The Russian-built Leonov spends two years in transit to Jupiter. As the vessel approaches, Floyd and his fellow Americans are wakened from cryosleep when the derelict Discovery is spotted abandoned but undamaged in a decaying orbit around the Jovian moon Io. The vessel is boarded and reactivated, including a befuddled and amnesiac Hal 9000. Apparently the AI has no memory of turning against the crew, and seems at least for now to be back to his old mellow, non-homicidal self.

Then both ships turn toward what everyone really came to Jupiter for: the alien Monolith. But that is only the first of many mysteries that pile up for the crew in quick succession: chlorophyll-bearing life forms are spotted on Europa; a mysterious but growing dark spot appears on Jupiter; and what might or might not be Dave Bowman is spotted on the Discovery, telling of 'something wonderful' about to happen in a few days. But if the Leonov and the Discovery is still at Jupiter when this 'something wonderful' happens, everyone aboard will die. And, oh yeah, WWIII is about to break out on Earth.

The movie takes all those plot strings and ties them together in a tight, crisp, storytelling package, and what that 'something wonderful' is at the end of the film is indeed quite a jaw-dropper. Not in the mind-bending psychedelic sort of way in the first film, but in much more visceral demonstration of just how far above humanity the aliens are.

Discounting what the insanely advanced monolith makers do, the science and space flight shown in the film is very hard-science and realistic. I especially like how it was one of the first movies to really show just how soil-your-pants scary real space travel may be for future travelers. One example is with the Leonov's fiery aerobraking maneuver to insert itself into Jupiter orbit. When we first see the interplanetary vessel, it looks bold, blocky, and impressive. But as it screams through Jupiter's outer atmosphere behind inflatable shielding, it looks like little more than a glowing dust speck against the immense horizon of the gas giant. This is intercut with shots on board, as Dr. Floyd and unnamed (but very cute!) female Russian crewmember hold onto each other in mutual terror as the ship seems ready to shake apart, even though he can't speak Russian nor she English.

And let me as a scifi technophile wax for a bit about the Leonov, one of the most smartly-designed fictional spaceships I've seen. Most futuristic spaceships are designed more to be sleek eyecandy than anything else, but the Leonov looks like an interplanetary vessel that might actually fly some day. The designers' attention to detail is apparent, from the ship's large outrigger communication dish to the twin, counter-rotating crew sections.

Also well done is the resolution of what happened to HAL 9000, and the intelligent computer's ultimate fate. His breakdown in the first film is explained, and fears of a second episode is one of the many points of tension as the story builds toward a climax, especially after he starts talking to apparent ghosts.

Perhaps one disappointment in the film is that the aliens go from unknowable enigmas in 2001, to being merely mysterious and a bit creepy here. That's inevitable as their motivation and methods become clearer in this film. I'm not giving much away by saying that they seem interested in seeding the universe with life, and that humanity (which the first movie implied were helped toward sentience by the Monoliths) was just one of their many interests along these lines.

If all this sounds like your kind of movie, go HERE for a copy of the DVD. The real 2010 is almost upon us. How better to celebrate it than by exploring an alternate version, one of thrilling space exploration, terrifying discoveries, and extraterrestrial contact?

Just How OLD is the Flash?

I was watching Spider-Man 2 on TV recently, and thought back to the other superheroes I enjoyed when I was younger. One of my favorites was the Flash; specifically, the Wally West version.

But one thing always bothered me: Just how old was he?

I don't mean how long its been since the character was created (the first Flash comic appeared in 1940), or how old he physically appeared to be (Wally West, like most superheroes, was supposed to be perpetually in his mid-to-late 20s.) But rather: how much subjective time has he lived through?

The Flash's main power, of course, is speed. He can do everything and anything fast. He can react and think at speeds no human--or too many other superhumans, even Superman--can match. And therein lies the rub.

He lives through every single action he performs at superspeed. He has to, or else he could easily end up plastering himself all over a wall at half lightspeed. He's aware of every single step he takes as much as we are of ours, even if he can take a million such steps a second.

One of the most common feats he performed in the comics was running around the globe in a handful of second or less. That's 25,000 miles. Assuming one didn't get tired or had to stop to sleep, eat, or run to the latrine, how long would that take a normal person? At a breakneck running speed of 10 mph, that's 104 days. And the Flash lives through every step, even if to us it takes only a heartbeat. That's 3 1/2 months, subjectively. In some storylines, he does something similar dozens of times. He must burn through years of subjective time every time he fights a supervillain.

But that's just an average day at the office. What about some of his more extraordinary feats? In one story, he evacuated a threatened city of a quarter million single-handedly in a few seconds. How long would that take a single person? Assuming he could carry out one to two people per trip, that's something that could take years.

In another story, he had to tune every single radio on Earth to a certain frequency in a fraction of a second. Every single radio, in every country in every city, in every home and apartment and business and military base and ship and airplane in the world. Billions of individual units. If you had to do all that on foot, you're looking easily at a centuries-long project.

Now take all this, and combine all the adventures and battles he's had throughout his comic, plus guest appearances in other comics like JLA and such.

Now once again: Just how OLD is the Flash?

He's had to have lived through thousands, if not millions, of years of subjective time. Every time he uses his superspeed to battle a supervillain, he must be burning through lifetimes of subjective existence.

Given the nature of the world he lives in, where his best friends include a shapeshifting alien telepath and a magical greek goddess, the fact that he may be effectively immortal between ticks of the clock is not really an unbelievable development. But it does raise some rather disturbing possibilities.

For example, why hasn't he gone insane? He's not only millennia old subjectively, but he's lived through most of that time doing very repetitive tasks, like running or carrying things or turning radio knobs. It would be the next best thing to sensory deprivation, and would drive even the most resilient mind bonkers. Or maybe he has gone insane many, many times over the years, only he lives in such an accelerated timeframe that he was the only one who was ever aware of it.

Second, why does he bother with human relationships? Every time he went into battle, he'd be away from his loved ones for so long according to his own perceptions it would be difficult for emotional bonds to really persist. Other writers have pointed this out, but I think in the context of his millennia-long subjective existence I think it might be especially true: most of the time he lives in a world of very slow-moving statues. The periods where he can de-speed and spend normal time with his wife and friends would only be a minuscule fraction of his total subjective existence. Would they even seem real to him after a while?

Anyway, just something to think about next time you pick up a comic book.

Hidden Treasures Of Science Fiction: Planetes!

(I don't know why I keep putting exclamations after the titles for the 'hidden treasures', it just somehow seems appropriate.)

Planetes is a 2003 hard science fiction anime TV series that, like Cowboy Bebop before it, is quickly building up a substantial fanbase in North America mostly from sheer word of mouth about its quality. You don't even have to be an anime fan to like Planetes; its very West-friendly, features a broad cast of international characters, and like most great fiction, speaks to universal themes independent of cultural nuance.

The series begins in 2075, when an international treaty organization of space-capable nations (the US, Japan, Russia, and some European countries) have built up a substantial infrastructure both in orbit and on the Moon. The development of Helium-3 fusion, with Helium-3 mined from the Moon, has replaced the old oil economy and has led to a major financial boom among the treaty countries, allowing them to fully expand into space. Hundreds of thousands of people now live and work off-Earth.

But of course there's a downside; all that activity in space has produced a tremendous amount of debris; i.e., space junk. Today, in real life, orbital junk represents a potential hazard to space missions. Sixty plus years from now, its a primary ongoing danger to all orbital activity. So who gets the thankless job of cleaning it up?

The series focuses on a crew of these space-going garbagemen. Called 'Half Section' because they are constantly under-funded and undermanned, they go out in an outmoded shuttle and haul off rogue satellites, old space station sections, abandoned experiments, and much more for recycling.

The crew includes Hachi, the series' main character, who is a young, cynical Japanese EVA specialist. Tanabe, the female lead, is another young Japanese national and the idealistic rookie on her first day in the first episode. The pilot is American Fee Carmichael, a brash, loud chain smoker. System specialist Yuri Mihairokov rounds out the space crew, a stoic, soft-spoken Russian. There's also a small office staff, and they all get their moments to shine throughout the 26-episode run, but the focus is definitively on the crew of the garbage scow shuttle called Toybox.

Planetes shines above most other on-screen SF, both live-action and anime, Japanese or American, in two areas: depth of character and scientific accuracy. The series' great strength lies within its characters' stories and their interactions. As the series progresses, they come across as real and compelling, with both noble moments as well as petty. In other words, they act very human, and the viewer very easily can get caught up in their daily lives.

The series also gives us the most realistic representation of future space travel I've ever seen, and given all the research I've done on space tech for orbitalvector.com over the last several years, that's saying a lot. There's not a single scientific or technological gaffe that I could spot in the series. It is hard science fiction the way it should be, and reminded me in some ways of Allen Steele's Near Space series of novels, which also contemplated a very similar type of future in space. This technological accuracy greatly adds to the series' verisimilitude.

This isn't to say Planetes is perfect, however. The series' greatest weakness is its female lead, Tanabe, who is annoying in the extreme. This is especially true in the first handful of episodes where, as the rookie, the viewer is introduced to Half Section through her POV. There is nothing wrong with portraying a character as idealistic or foolish or reckless, but she takes all three to such a degree that its hard to believe the other characters would keep her around, especially after she deliberately endangers the crew more than once. In fact, of all the characters, it takes her almost until the series' very end to find any real depth. Fortunately, after the first three episodes or so, the series begins focusing less on her and much more on the its larger cast, and quickly becomes much more watchable. Planetes also relies too much on unlikely coincidences to move its plot along at times.

But if you can get past these gaffes, you're definitely in for a science fiction treat. Episodes 10, 11, ands 12 are the series highlight, in my opinion. Episode 10, focusing on Yuri's past, has an intense emotional gut-punch. Episode 11 features a wannabe space explorer from a third world country's humble program, and though he starts out as a kind of comedic character, one can't help but be moved by his underdog determination by the end. Epsiode 12 focuses on Fee and her bad habit of smoking, but her obsession turns out to be an unlikely salvation for everyone in orbit in the wake of a terrorist attack. The last third of the series focuses on a sprawling eight-episode storyline involving an expedition to Jupiter that Hachi tries to qualify for while also trying to deal with a personal crisis. This is in addition to the mounting terrorist plot to stop it. Planetes also has something very rare among not only anime, but just about all TV series as well--a pitch-perfect ending.

The complete series of Planetes is available on DVD, which you can find HERE and other outlets that sell anime products. Select episodes are also available for viewing online.

Hidden Treasures Of Science Fiction: 80s Microgames!

Ogre. Car Wars. Starfleet Battles. Warp War. Invasion of the Air Eaters.

If you were a strategy gamer in the 80s, you probably have fond memories of these and other microgames (also called pocket games.) They were first introduced in the late 70s, and lingered through the 90s in an ever shrinking niche market, but in the 1980s they hit the peak of their popularity.

At the time, videogames were primarily groups of colorful dots bouncing around on a CRT, and dodging gorilla-thrown barrels was about as complicated as gameplay got. If you wanted something more challenging and complex, you turned to tabletop strategy games like Advanced Squad Leader or Starship Troopers (yes, there was once a board game of it), but those could get pricey. Microgames emerged as an accessible and cheap alternative--often costing just $2 or $3, they could be learned fairly quickly, were fast paced and complex enough to allow a lot of different kinds of gameplay, and were small enough (often coming in a 4 x 7 inch package) to literally be carried around in one's pocket. What more could a scifi nerd want?

The games came with a rules booklet, a fold-out map often with a hex-grid on it to manage movement, and a cardboard sheet precut with unit counters. Dice were usually needed for play, but were only sometimes included, depending on the game. Some came in small boxes, others in clear mylar bags.

In middle school, me and my best friend at the time discovered these just as they were becoming popular, and played them regularly over the next few years. We eventually moved on to other distractions, like role-playing games, cars, and girls, but these games always left me with fond, fun memories.

The first, and arguably the best and most popular, of the microgames was OGRE, the last fully-expanded edition of which came out in 2000 from Steve Jackson Games. Heavily influenced by Keith Laumer's Bolo novels, the game centered around sentient AI super-tanks and the ragtag collection of military units, including hovercraft, missile tanks, and glassy-eyed suicidal infantry, that tried to stop them. Basically land-going battleships on treads, Ogres were the primary weapons in a 21st century dominated by warfare.

CAR WARS was another microgame that eventually went on to greater fame and fortune; the last major edition of the game was printed in 2002, but is still played by dedicated players. With a nod to the Mad Max film series, players take the role of a kitbashed armed vehicles in a post-apocalyptic world where 'autodueling' is society's most popular and dangerous sport. Half the fun of the game is tricking out your imaginary vehicle--which can include any type of car, motorcycle, truck, etc.--with machine guns, grenade launchers, armor, radar, and a huge laundry list of other neat combat options.

Also of significant note is STAR FLEET BATTLES, which simulated starship combat in the Star Trek universe, and which started out as a series of microgames from publisher Task Force Games. The game went through many editions and expansions, reaching its peak of popularity in the late 80s and mid 90s, spawning a few videogames as well.

But not every game had to be a monster success (at least in microgame terms) to be enjoyable. In fact, there were many lesser known titles that could provide hours of fun. I unfortunately did not have the opportunity to try all of them out, but of the ones I played personally, I can recommend:

WARP WAR: Inspired by the science fiction novels The Forever War by Joe Hadleman and The Mote In God's Eye by Niven and Pournelle, this game simulated a war between two interstellar cultures that spans centuries of time. To my knowledge, its was the first SF game of any type to incorporate technology upgrades into its game play, something that became integrated into almost every SF strategy videogame afterward, from Master of Orion to Starcraft to many others.

INVASION OF THE AIR EATERS: Aliens attack Earth, and they're trying to convert our atmosphere into one more suitable for themselves--one that is very poisonous to us poor homo sapiens. This game is fought over a hex-gridded map of Earth, and there's a 'ticking clock' of sorts, with an atmosphere gauge that shows how close to gasping, wheezing armageddon the human race is turn by turn. The Air Eaters start out with a very clear tactical advantage. However, those darned clever humans can learn from the aliens and advance their technology pretty quickly. Yet can they do it fast enough to turn the tide against the invaders?

HOT SPOT: Anyone who as a kid played 'the floor is molten lava!' would get a kick out of this game's premise. An oppressive government is extracting valuable minerals from a planet whose surface is mostly molten. You play rebels who try to seize these valuable mining platforms by moving in your military units on--get this--barely-controlled rafts of naked rock that float on the lava. And you have a ticking clock, as the 'rafts' melt down over time, squeezing your units onto an ever-smaller surface. Very unusual and fun concept.

Finally, don't let the title ATTACK OF THE MUTANTS fool you; its probably the very first Zombie Apocalypse game ever created. After a horrible nuclear attack, everyone in the area not vaporized has been transformed by all the radioactive goodness into green-skinned shambling horrors who hunger for human flesh. However, a trio of humans survive, along with a couple of cobbled together gunbots. Can they make it to safety before they're munched on?

And of course, there were a bunch of others. Many were simply good, and many others I never really got a chance to sample. Unfortunately, getting hold of these games nowadays can be difficult, as many of the original publishers are long since out of business, and those that do survive no longer actively support or print their microgames. Still, if you trawl hobby stores, online auctions sites, game cons, and other such outlets, you're bound to run into them occasionally. If so, snatch them up. They can give you a fun way to scratch your gaming itch for a few hours without having to stare endlessly at a glowing rectangle.

In closing, two sites with much more information on microgames are linked to below:

The Maverick's Classic Microgames Museum

The Microgame HQ

Hidden Treasures Of Science Fiction: The Dirty Pair!

This is the first of what I hope to be a semi-regular feature. These SF works aren't so much "hidden" as they either were once popular but have since fallen off the cultural radar, or never found the audience they very much deserved.

The Dirty Pair is one of the former. It started as a series of comical scifi novels created Haruka Takachiho that were adopted into manga and anime in Japan and later comic books in America. The Dirty Pair's heyday was in the late 80s and 90s, with the last major work featuring them coming out in 2002. Though still fondly remembered by many fans, they have faded somewhat into the pop culture background.

The stories center around Kei (the red-headed, bad girl tomboy) and Yuri (the sweet-mannered intellectual brunette) as they work for an interstellar peacekeeping agency tracking down criminals and foiling terrorist plots. Though officially code-named 'The Lovely Angels', they're much more widely (and notoriously) known as 'The Dirty Pair' because of the habit of their missions often ending in one cataclysm or another. Buildings, cities, colonies, and sometimes even whole planets are often left in smoking ruins in their wake. Though technically the disasters are never their direct fault, their very presence seems to precipitate destruction and chaos.

This tongue-in-cheek approach to action and ultraviolence, combined with the curvy Pair's ballistic-weave work bikinis, would probably be enough to ensure a decent amount of popularity. But surprisingly, though many of their stories can't really be called deep, they are often very smartly written and sharply plotted. Imagine the best of the James Bond movies set in a scifi future and recast with two scantily-clad female leads, and you'll have a decent starting point for Dirty Pair stories.

The best of the original Dirty Pair took the form of anime, through a TV series, a series of direct-to-video productions, and a theatrical film. Of these Affair On Nolandia and Flight 005 Conspiracy are the stand-out episodes in my opinion. Here's a decent collection including both of those, along with the so-so Eden Project

But something surprising happened to The Dirty Pair when they were licensed for American comics and fell into the hands of artist Adam Warren; they got even better.

The original Dirty Pair took most of its cues from traditional Space Opera stories, both from anime and manga as well as popular western versions. Adam Warren, with help for the initial stories by writer Toren Smith, evolved the series into a much more cyberpunk/transhuman direction, and coupled it with his uniquely dynamic anime artistic style, produced a uniquely entertaining property.

In Warren's version (which is officially licensed by the Japanese rights holder), The Dirty Pair become more than talented young women with big guns. They are now genetically-bred, cybernetically enhanced fighting machines wrapped up in deceptively curvaceous barely-adult bodies with big guns. Their personalities, looks, and usual modus operandi are still very much in keeping with their 'classic' japanese versions, but now with a newer, and often darker and more subversive, subtext.

For example, the Fatal But Not Serious storyline hints that the current Kei and Yuri may only be one of a series of Lovely Angels, not the first and not the last, and that when and if they die, they'll simply be replaced by cloned and memory-implanted copies. In another storyline (Run From The Future), the Pair both use and run afoul of drugs that can easily be used as an insidious form of mind control, one inducing an emotional break down and the other inducing near-religious euphoria.

Of this version, A Plague Of Angels, Fatal But Not Serious, and Run From The Future are probably the best. Go Here to find these and more in trade paperback form.

It should be noted that all versions of The Dirty Pair, despite the obvious cheesecake and violence, never really teeter into truly adult territory, as some people assume. There's a lot of curves and cleavage, but rarely any real nudity. Tons of flirty innuendo but no actual sex. Gunplay and explosions in abundance, but very little blood or gore. The Dirty Pair are perhaps demented fan-service fun distilled into its purist form--sexy, kinetic, and smart.