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I really like the Cube trilogy (Cube, Cube2: Hypercube, Cube Zero) for minimum-budget suspense and storytelling. Not that it goes on anyone's top 5 list, but it has a proper arc. The first movie is directing genius for shooting everything on one set. The third movie is a clever callback. But...

The one in front might be breaking trail (snow, underbrush). That requires rotating people to spread the fatigue.

Almost all maps I see are set in the Northern Hemisphere, either explicitly or by assumption. Cold lands are on top, hot lands are on the bottom, unless the map is big enough to straddle the equator.

This is such a strange suggestion that I have to think about how it would work. The players are six color-coded cardinals, none of whom wants to be pope. They are searching for evidence that someone else is secretly strictly orthodox and deserving. "Behold! Cardinal Albus concealed his...

I think it worked well until their concept forced a cast change in Season 4.

Buck Rogers had a great sandbox of adventures in the solar system and good interplay between Buck and Wilma. In the second season, they diluted both of those elements by venturing into deep space plus adding Hawk and a stupid robot.

What struck me is that conflict among the main characters was built into the show from the beginning. The previous series didn't have that, other than minor personal friction. This was no longer Roddenberry's utopian vision.

I'm familiar with the red/purple/black/blue/gold rating system, but not this. Could you define your terms in the OP?

Thank you for schooling me. I used a bad reference rather than actually looking it up.

Font. Font of Moonlight, please.

The desktop interface is better than the phone interface. A phone doesn't have enough width to display all of the columns, so you have to know to swipe left or right to see what you want.

The Long Beach/Los Angeles port complex has some partial automation. Other West Coast ports do not, as far as I know. Ports on the Asian rim of the Pacific are much more automated.

I did this in 4e; a STR/INT fighter where intelligence could be used for AC. Multiclassed wizard, with a wizard paragon class. FIghters marked every target they attacked in that edition, and bulk marking with fireball was very efficient. ...None of which carries over to 5e. As has been said...

A setting should be seeded with sources of conflict, and not all conflict is open combat.

Still being played in the Los Angeles area by me and others, though not at Caltech. It started as original D&D, was immediately house-ruled, and grew into its own thing.

First, I would stretch out the suspense. The box can't be opened, the inscription can't be interpreted, etc. Eventually, I would either (1) tie it in to a character background or (2) introduce the grateful and powerful patron who reclaims the item and spurs the next phase of the campaign.

This is a regional thing, or perhaps not charging is a regional thing. All of the West Coast conventions that I know of only charge for the badge. I assume that the badge cost is less when there is a per-seat cost for each game.

If you take the Stargate approach, then you have a land invasion from one planet to another, and you don't have to twist your brain around the idea of dropships. The gates are defended, of course, but maybe the first thing through is EMP grenades or smoke & chaff that make the situation feasible...

One of the king's advisors is blue. Why? I am reminded of the blue demons in Etruscan art.

This approach feels much like Thundarr the Barbarian, whose adventures clearly took place in our world after some big radioactive catastrophe.