buzz said:In both Traveller's Far Trader campaign model and Firefly, you have an ensemble cast of characters who crew a merchant ship in a hardish-SF setting. Each "adventure" begins with their need to find work and haul cargo from planet A to planet B. Any profit they make then tends to get eaten up by maintenance costs, salaries, and the mortgage on their starship... which then starts the job-hunting cycle once again.
I'm not saying they're identical, but the parallels are pretty obvious, I think.
Sure, no Firefly RPG should be about the bean-counting. It's about the situations you fall into during the job-hunt. Of course, a lot of Traveller merchant campaigns are about this, too.
I think one of the big differences is that the 'Verse is set up so that you can't really go and carve out a place of your own with your money or otherwise gain real prestige. Improving your lot is possible in Traveller, but in the 'Verse? That's not possible without changing the setting. Plus, the 'Verse reflects the bizarre cognitive dissonance in popular culture about glorifying the Confederacy without acknowledging it's pining for one of the most despicable political movements in human history, and Traveller's topped by twee 1950s space opera conventions.
I'm not sure what point you're trying to make here. I was just making a comment on the game's mechanics. Fightin' Type is an Asset so good that there's no reason not to take it. The skill system is vague enough that the only specialties worth taking are ones specifically called out in the rulebook, which is mostly combat skills. Called shots are easy-peasy if you've taken the above skill advice, and are very effective. Ergo, it's great formula for success. Certainly a more useful option than putting points into Persuasion specialties.
Certainly, the same thing is true in The Riddle of Steel, for instance, but the fact that NPCs are also capable of killing you dead makes the advantage of Fightin' debatable. It's kind of like asking why anybody would stockpile conventional arms in the nuclear era. The answer is easy: People don't want to take their lives into their hands all the time.
OTOH, the power of Fightin' means that even though firefight MAD is there, you can also scale back NPCs in order to emulate what goes on in the movie. It's kind of significant, as it shows that Fightin' *is* common in the millieu -- so why not take it? It's no offense against the setting.
FYI, it's "Wash," not "Walsh."
I know; my typing hands don't.
I guess I'd want to know what specific system(s) you're talking about. I don't think that Nar-focus has to mean that a PC death can't be unexpected or meaningless. Something more detached like Universalils, sure. Taking your example of DitV, I could see a big conflict ending with fallout that the player describes as, "Wash... Wash dies," and the other players going "Woah!"
OMG! The thing that I defined as happening happened! What a frickin' shock! Er, no. There is no sense that personal agency -- even in the form of a fictitious identity -- is ever lost. It's just kicked up from character control to a meta-narrative. And that sucks.
Wash's death is the dirty, filthy, Sim interruption to the game that violates the Social Contract, Shared Imagination Space and lots of other Capitalized Terms. It's deprotagonization on the hoof and in a game, should probably involve some gnashing of teeth and taking a break -- and after that lack of surety and safety, people will remember it, because they actually *felt* something. They didn't just talk about pretend people feeling things or gushed about how terribly clever their interjection into the flow of events was.
Also, if we really want to stretch the game-analysis of the film, Serenity is essentially the wrap-up to Joss' campaign. One could easily imagine Wash's player taking the GM aside at some point and saying he'd like to see his PC get a cool death and leave the execution (no pun intended) to the GM.
Sure, but that's a technique that doesn't really require any particular system. But within a system, there are ways of going about it that can model genuine sentimental reactions, or not.
You make some general recommendations in your other post. Would you be able to give some examples of existing systems you think might be a good fit?
Unknown Armies strikes me as a good model. Combat is high risk and affects in-character play, and dice only get rolled for non-routine tasks, and maintain a high element of chance.