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wilsch

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  1. Because discriminating Star Wars fanatics needed the same plot to have repeated 50 times, and not just a dozen or so. Two points to remember: one, Star Wars is strongest in the here and now, as its history is a backdrop; two, it's like not real, and we can individually make it whatever we want. And definitely not get huffy over it.
  2. wilsch

    Old School Star Wars

    That addition threw me a bit. Not too much, but it's a plot device whose necessity could be debated a bit. But, a good point, and the hyperspace dialog gets to something I've been thinking about: Star Wars could benefit from fan-recognized and clarified "tellings" or versions that allow discrepancies to coexist in a way that respects the essence of the setting but with more flexibility than Canon/Legends and far less controversy than Disney's gauntlet with opinionated fans. I mean, it's not from Lucas' lips to God's ear anymore. You'd have your Old School, your Jedi Dynasties from print, your Galactic Opera of the Prequels — that kind of thing.
  3. wilsch

    Old School Star Wars

    Holonet's Star Wars, but not old school Star Wars; more late-80s-WEG-y EU-y Prequel-y. As much as I don't like a No True Scotsman defense, in this thread I think I'm allowed to make one.
  4. wilsch

    Old School Star Wars

    Yep, and he also checks up on Veers during the assault on Hoth, although both of are still localized transmissions -- be it orbital or intra/interplanetary. I'm might've misread Archlyte's post but I inferred a signal being sent across light years without significant need for relay. "Send to #rebels in my address book, 4L-3XA."
  5. wilsch

    Old School Star Wars

    Speaking of, my one quibble with the finals scenes was Tantive IV peeling out of the cruiser like a getaway car. In the same screen time, a smaller ship could've jumped out in the direction of a nebula subtly established earlier; cut to it dropping to sublight in a place clearly on the other side, and then docking with a waiting CR90. No convoluted concept (corvette hiding in a cruiser, wha?) or friction with Leia's denials in ANH. But anyway. Regarding the Scarif transmission, I figure range is the limiter. OT generally portrays scanners as radar and comms as radio; you need to be the Emperor to make a long-distance call, and even then it's low bandwidth. Since I only dabble in EU, my guess is it crept up to Internet equivalents, which do weaken the setting.
  6. I guess, I'd always assumed Mothma had been in protective exile as far as any extent to which she associated with the Rebellion. If we're talking about myriad non-film sources, then it's a matter of Star Wars being fiction and fiction writers being human, and occasionally not as good as they should be. ISB and COMPNOR make sense; it's the random contradictions that are outliers. And, again, since it's modern mythology that's increasingly democratized/crowdsourced by the internet/gaming/media, we ourselves can define or re-define if an author or editor overlooks something big. Edit: And dang it, Archlyte, we're wearing the same dress!
  7. wilsch

    Ideas needed - Abandoned Station

    Two thoughts. 1. Abandonment: organizations aren't static; especially ones that don't write charters. A pirate outfit would have 20 reasons to fall apart and it members split, especially with a facility to maintain. 2. Ideas: give more than a few of your hazards rewards/motivations. Like, stick treasures behind the proverbial swinging axes. Too much danger and players might get practical and stop exploring or even leave.
  8. wilsch

    Legally claiming a pirate ship

    BoSS, I'd say, is easy to do away with if and when a group finds that its odd Spacing Guild/ComStar identity clashes with OT Star Wars themes. It's entirely off-screen unless I'm missing some reference in the cartoons, and doesn't contribute much beyond some ubiquitous monolith of power that diverts attention from Jedi and the Empire, and makes it really hard to boost a ride. (Did it originate with WEG or Del Ray?) At any rate, I think Sithlord's plot ideas are way cooler than "you can't because of shadowy licensors who see all!" ☺️
  9. wilsch

    Old School Star Wars

    Vivid picture. ☺️ I'll admit that I consider Star Trek the place for relations and tensions between species or, I guess, existential meaning in being alien. No matter how strange, Star Wars races are just guys in rubber masks to me. In that sense, like the true multiculturalism you'd see in a Western.
  10. wilsch

    Old School Star Wars

    Good list. On anachronisms: most of the galaxy, especially the Rim, should feel like the Middle East, Africa, South America or Asia in the 1930s. Direct rule through familial/tribal power distribution, limited outlets for speech, tradition and renown instead of popular culture or Westernized fame. On over-explaining: keep adding places, people, aliens and droids while resisting the urge to connect everything or give a nondescript entity some astonishing cosmic significance. Names: George Lucas was a genius with this. Take something mundane; change or add or subtract a letter. Or see if it works in plain sight. Only get exotic if the word is from or sounds like something in reality.
  11. wilsch

    How to run a betrayal

    One other thing: when betrayal occurs, make the situation complex enough that players have agency. If it looks like doomsday but you've factored in the party's potential to mitigate some things, players are a lot more likely to buy in.
  12. wilsch

    How to run a betrayal

    Betrayal is something with pretty starkly inverse appreciation from GMs and players. It can be pulled off, but I'd throw out the general caution not to take it lightly, as it can easily come across as GM fiat -- or worse, predictable GM fiat, like you've been rubbing your hands for this moment more than one generated by the players' actions. The betrayer needs to evoke emotion of some kind, which you understand with your two mentions of it; if players don't care, scrap the idea for that NPC. I'll take a different perspective and recommend that you need players to be able to look back and see the path to the act, however subtle. Arbitrary character shifts are cheap. Plus, in my experience, you don't need a light-to-dark reveal. I ran an indirect betrayal in which the party stumbled on the group hit of an outfit they liked by an outfit they didn't like, and an amoral but calculating/gladhanding employer of theirs. The hitters' leader went from rival to villain, while the party waited several sessions to meet with the employer, even after I'd telegraphed that the hit was just business and no enmity existed between them and him. So, yeah: guide this one in like a runway landing, making adjustments as you go. Find out what gets your players going and work from that.
  13. wilsch

    Plot hooks for a player

    High risk, posing as a priest -- was a chaplain in somebody's little war to get into the thick of things, a la Hemingway?
  14. Man, half the country hasn't even faced the winter storm and people are already showing cabin fever. Sometimes you've got to disappoint players who are using Saturday Morning Cartoon Logic, but often you don't have a good reason not to let action-adventure loops and simplifications take over.
  15. Absolutely. I've used auction repossession to loyalty as a narrative device a couple of times in my game. And for what it's worth, post-industrial totalitarian regimes -- particularly the other sides in WWII and the Cold War -- have tended to be exacting record keepers.
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