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each other. Why waste time on something everyone either knows or takes for granted? This lends a familiar, proven feel to the setting. Unless it’s a unique feature of their personality, intended to confuse or set them apart, player characters should have little need for technical complexities or technobabble. As long as the character understands the purpose and end result of the tech, it’s time to move on.
m a n a G i n G T e C h n o l o Gy
As discussed, the Battlestar Galactica universe is much more about people surviving a dark and gritty reality than gleaming starships gliding around the galaxy. Still, technology is an important tool for Game Masters. At key moments, it can provide an incentive, introduce a mystery, or cause problems.
Other chapters present the state of technology at a point in time—in the middle of the fleet’s desperate flight from the Cylons. Clearly, it would benefit the fleet to advance its capabilities in some manner, perhaps quicker course calculations or more powerful FTL drives. Resources might be devoted to that cause and many tests run to gather data or verify an improvement. The chase for an advantage could be a powerful driver, but make sure that the advancement does not shatter the nature of the game setting. Also remember that Cylons evolve as well. Perhaps a Cylon advance demands a massive and quickly accomplished Colonial development project to defend against the enemy’s new capabilities.
An unknown technology or one with an unknown origin should spark a mystery. What is it? How did it get there? Can it be deactivated or must it be destroyed? Can it be harnessed to advance Colonial interests? Could it be a trap set by
the Cylons? Given their history, and Cylon mastery of the subject, new tech is always suspect. The mystery tech could be a hoax; especially if it easily sates deeply held desires. How would the colonists feel about an amazing new tech that helps locate Earth?
At a most basic level, life and the survival of the fleet is bound up in technology. Failure of any critical system could expose the fleet to Cylon attacks or endanger the health of the refugees. A simple malfunction can put characters in life-threatening positions. Technology does not need to be new or different to be the basis of a compelling storyline.
Game Mastering Tips
This whole chapter is about good Game Mastering.
A piece of that is definitely preparation, but that’s been covered already. There’s also the spontaneous or in-session aspect. This section focuses on that, offering suggestions for addressing more short-term concerns.
P a C i n G
The BSG universe supports many different paces, from moment-to-moment danger and escape to calm conversation that advances character development.
Pacing is most effective when mixed, a slow build of tension, then a relief of that tension through action.
Playing with pacing allows you to tailor the campaign to the player’s tastes. If the gang loves space combat and wants to battle Cylon raiders every session, make sure there’s plenty of that. If they prefer to explore their characters reacting and struggling in terrible times, lean that way. Don’t go overboard on any one pace. Don’t want the players to get jaded. Most
Using Music to Set the Mood
Every role playing game benefits from the right soundtrack at the right time. Theme music and songs transport players into a scene, establishing the mood quickly. There’s a reason TV shows and movies have soundtrack; it’s an effective way to enhance the storytelling experience. Consider starting each session by playing the main theme from BSG (or even the main theme from the original BSG) if that will catch your player’s interest better.
Soundtracks from each season of Battlestar Galactica are available, but don’t feel limited to that show.
Other soundtracks work well for the genre. Soundtracks aren’t the only way to go though. Any kind of music can work depending on the scene being played.
Two things to keep in mind with music. First, keep it relatively low. You don’t want to overwhelm the players, and hinder communication at the gaming table. Second, don’t let it be distracting. The easiest approach is to put on the CD and let it play. That may leave you with inappropriate music during certain scenes however. Picking certain music to play at certain times works better, but might leave you scrambling
around for the right tune. Setting up an always-appropriate play list for general play, and keeping some special pieces for louder and tenser scenes is ideal. That’s also a bit more work.
Game Master
groups naturally gravitate toward a mix with regular excitement or action. Creating that mix is up to you.
Most of the time, action comes by surprise, like an ambush. Combat, intrigue, politics, environment crises can all strike rapidly and without warning. The shock and immediacy of danger get your attention damn fast.
An action scene is just as good when it’s anticipated; that often tells a better story. The waiting increases the tension. In a military example, work your way up the ladder of tension by starting with a small event, perhaps detecting a Cylon raider far away from the fleet. The fleet is alerted, but it takes time to get everyone ready to jump. Maybe the ships were in the middle of refueling operations or gathering resources.
More Cylons appear and must be held off until the fleet can jump. Finally, the Vipers have to steer their way back to Galactica for emergency landings, all the while avoiding incoming fire. There you have it: a classic action series with plenty of tension.
As anyone in the service can tell you, war gets damn boring for long periods. Between battles or on-duty shifts, characters can blow off steam or deal with interpersonal issues. Love triangles, rivals, ambition, and mysteries can be cultivated during these down times.
Scenes that simply let the players enjoy their characters without much pressure also change the pace. Perhaps a Triad game in the pilot’s lounge, a visit to a “bar,” a friendly game of Pyramid, or hanging out with other survivors.
As you pace individual sessions, consider the over-arcing plot line. Revelations in the middle of critical, life-and-death situations can be powerful. No time to mess about exploring or asking questions at that point. Players have to accept the new intel and roll with it. Suspicions can be pursued later, during down time. Small clues in the news and events of the fleet should be introduced fairly regularly so they get hints of what’s happening around them. During the course of several sessions, incidents small and large reveal the larger arc. The pace of plot arc developments depends on how long you intend the campaign to last in real time and how often your group plays. Even so, keep things flexible. Get a sense from your players whether things are moving along fast enough. If not, move the timetable up.
d e v e l o P i n G y o u r o w n s T y l e
Game Mastering is unique to each person who attempts it. Some enjoy a game rife with humor;
others prefer to set a serious tone at the table. One GM
is more comfortable with action sequences, running things by the rules, using a lot of different game mechanics. Another focuses more on descriptions, role playing, and storyline. He uses formal rules much less often. It’s all good. Just got to find your own comfort zone.
To help setting the mood, take some time before the game to write out notes for an opening speech. This helps rein in talkative, unfocused gamers by making it clear when the game play starts. You could re-cap the previous events to make sure each player remembers the salient points. You might also adjust minor things from the last session if things are threatening to spin out of control.
If you’ve run or played role playing games before, don’t hesitate to leverage that history. Think about the aspects that you most enjoyed, and adopt or adapt them for your game. Consider the things that Game Master did to make the game so enjoyable. What techniques did they use in presenting information, NPCs, settings, or plot points?
Everyone finds their own style and hones it over time. Don’t be afraid to try new things and stretch yourself. If it doesn’t work, that’s fine. Try something different next time. It’s also part of the fun.
s h a r e , b u T d i r e C T
Game groups vary, but mostly it’s a group of friends gathering for several hours of play. Each person at the table comes with different personal knowledge, areas of expertise, personalities, and strengths. For example, one of your players might be a doctor or EMT. They could describe medical procedures or the effects of wounds and trauma fairly well. Don’t be afraid to take advantage of that knowledge, trusting the player to present it fairly and impartially and not skewed for the benefit of their character. Drawing on many people’s expertise strengthens a campaign.
If you don’t have time to create all the details you want, extend an invitation to your players to help out.
They can bring people and places to life that you later weave into the campaign. It’s easiest to start with the player characters directly. Who are their three best friends? Where do they prefer to spend their off hours?
Who and what were the most important influences on their lives. This helps you do your job, while also encouraging the players to invest in the campaign.
There is a line though. Be ready to exert your control of the game world if players take too many liberties with their contributions, or if they begin to conflict with your plot lines. Only you know the specifics of your storyline. Your presentation of the game world reality must take
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precedence. You know what the NPCs know, what plots are unfolding, and what underlying meanings must be preserved. Don’t stand stubbornly behind a decision that turns out to be wrong in hindsight, and be sure to rein in a players like a laundry list undercuts dramatic impact. It breaks the mood and leaves the NPC pretty forgettable.
Try your hand at adopting their accent and speaking for them, incorporating gestures, and looking your players in the eye as you speak. This grabs their attention and immerses them in the game. Nothing more engaging than confronting someone eye to eye.
Take advantages of the opportunities to do some role playing yourself. Leading by example encourages your players to speak in character and enjoy a more in-depth experience. Don’t sweat it if you aren’t an actor or voice impressionist. The attempt usually sets the mood well enough.
Try to show as much as tell. Draw out a map to illustrate a trip, write out a letter with clues in it, locate appropriate character pictures, grab a prop or two, demonstrate how a NPC moves. These visual components give the players important information, making the game more rich and more real.
d i s r u P T i v e P l a y e r s
Role playing games are freeform at times. They depend heavily on the interplay between you and the players, and between players. That brings the good and the bad. You may run a situation where one player causes problems for everyone else. You’re lucky if you don’t get a frak-up in your squad. Just as there are a myriad of play styles, there are lots of way to be disruptive. Draw on your social experiences to address them. If one approach doesn’t work, try another. Here are some suggestions.
Inappropriate: An inappropriate role player breaks social rules by overusing obscenities, insulting other players, or otherwise making others uncomfortable or distracted. Address this right away. Stop the action and ask the disruptive player to talk to you one-on-one. Explain your expectations and how their behavior
is making it hard for the others to enjoy the game.
Often people don’t realize they are offending and can make adjustments. Give them a chance to clean up their act. If they don’t, don’t invite
them back to play. If they don’t like playing under your rules, they may decide on their own not to come back. Either way, it’s better to proceed without them than to push forward with a dispirited or antagonistic group.
In more complicated situations, the inappropriate player is egged on or joined by others.
Again, pause the game and address the situation. Do it in the context of the group however so everyone can air their point of view. Accept that the group just may not work. Best to separate, keeping those who get along, and leaving the others to start their own game or entertain themselves in another activity.
Selfish Play: A selfish player demands the spotlight too often. His player character may have been created with restricted skills or specialized abilities. As such, the character is only “fun” to play in limited circumstances. Instead of players sharing the limelight, the selfish player demands that his character take the lead in everything. In some case, the player isn’t aware of his actions. A simple request to share the lead, or a one-on-one conversation, should sort that out. If it continues, and if it wrecks the other players’ enjoyment, you may have to ask him to step out. Shared storytelling requires the cooperation of all.
Out-of-Game Humor: Every group jokes, laughs, and brings up funny quotes during play. That’s part of any social gathering. If the humor goes on too long, or constantly breaks the momentum, it detracts from the game. Since humor is infectious, best address this problem at the table, with everyone present. You can’t ban jokes entirely (who would want to?), but the players should support the mood of the game by keeping the humor under control, and the out-of-game conversations for another time.
Out-of-Game Situations: Role players take on different roles and different problems, that’s the power of the game. At times, however, a player can’t let go of out-of-game problems or situations. The PC begins to act more like the player and that might strain the group dynamics. Two players who are romantically attached might have their characters favor each other, even if the settings and background don’t support that positive relationship. Another two might have strong personality conflicts outside of the game; their characters are constantly and inappropriately hostile.
These are difficult problems, but they must be raised with the group. If the players aren’t sympathetic to the problems they are creating (breaking the mood, annoying the other players, detracting from the plot), the group membership might need to change. Better
Game Master
that than pushing on, trying to ignore the mounting frustration.
C h a r a C T e r d e a T h
Death is never far away in Battlestar Galactica; that’s part and parcel of a dark setting. Still, the random or meaningless death of a well-crafted player character isn’t drama, and it certainly isn’t entertaining. If he must, a PC should go in a blaze of heroic sacrifice or as the consequence of revealing hidden betrayal. He should not die because he chose to go left instead of right, or worse still, because he failed in a minor task.
Life is precious; death must be worthy of it.
So what if something does go wrong, and a PC winds up in the wrong place at the wrong time? The first line of defense is Plot Points. Use them to alter the circumstances just enough to avoid death. That doesn’t mean they escape unscathed; serious consequences could result. If Plot Points are unavailable, consider assigning the PC a new Complication as the cost of survival. Physical deformity make sense—the loss of an eye, for instance. If the player buys into it, and is
comfortable role playing the result, lingering mental anguish can also be imposed.
Be creative in explaining these near-death experiences. A pilot whose Viper is scragged in a dogfight doesn’t save his ship with Plot Points.
He ejects just before the explosion. Not out of the woods yet though. He’s now floating in space with a limited amount of oxygen. Hope his tracking beacon is still working. Resistance fighters cornered by overwhelming forces are taken prisoner rather than killed, putting them into a whole other world of trouble. If the body is not observed in death, that leaves more possibilities for “something else” to have happened. Maybe the injured/unconscious person was captured by Cylons for their own dark purposes.
Possibly as a last resort, whip out the Cylon solution.
The PC was a machine and has just been reborn on a resurrection ship.
If you can work it into the plotline, have a substitute die in place of the threatened character. The deceased should be close to the PC, or be someone important to the campaign. Adding insult to injury, some evidence might point to the player character as the cause of the