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mechanicalinertia · 3 years ago

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STMPD Recommends Bubblegum Crisis Fanfiction - Resources: The Licensed Bubblegum Crisis RPG Books

No. Not my own RPG. That's... in a state of transition. I broke a bunch of stuff in it and will probably need to get back to it someday to fix it. Not high on my priority list.

And no, not the Shadowrun Second Edition Partial Conversion drafted up by Neo No Armor Against Fate's Shawn Hagen. Apparently Shawn maintains that his RPG conversion is better, said he was able to dissect the combat easily on Usenet back in the day. And he might very well be right in terms of mechanics, except, oh, wait, probably not, because it's Shadowrun, amirite folks?

Thank you, thank you, thank you. I'll be here all week.

No, I don't claim to make any defenses for the BGC RPG as an RPG book, and I'll explain what I mean in a bit. I will, however, argue that these sterling little books, published in the two years before R. Talsorian went dormant for nearly two decades (cyberpunk 3.0 notwithstanding), are hands-down the best 'guides' to Crisis 2032 you could ever want. If you're writing fiction in 2032, and maybe you're pressed for ideas, I say give these three books, each shorter than the last, a read...

Which you can do electronically, for free, right here.

This is going to take awhile, isn't it? Well, yeah, we're talking a few hundred pages of small-font text and some really good settei (concept art) serving as the pictures, some of which saw no reproduction outside Japan at all. So, like the multi-part epic rant I've had brewing in my drafts folder for the past half a year, let's break it down into sections. We'll start with

DON'T ACTUALLY PLAY BUBBLEGUM CRISIS: MEGATOKYO 2033 THE ROLEPLAYING GAME: ARU PEE GEE NO DENSETSU

For context, and this is kind of an interesting story: R.Talsorian Games, the primary publisher behind the OGBGCRPG (OG for short) made its fame on two big product lines.

First there was wargame / RPG hybrid Mekton, pioneered by Mike Pondsmith back in the eighties as a mecha fighting game, in the halycon days when most anime watchers got fansubbed tapes from conventions or were watching rebranded Voltronesques on Saturday mornings. Anime fandom as we know it, or even knew it in the nineties, just did not exist, and here's Pondsmith drawing up a whole fucking wargame to do it. The most recent edition circa the nineties was Mekton Zeta, which also had the mecha-building sourcebook Mekton Zeta Plus.

The other was Cyberpunk 2013, released in 1988, which was essentially a street level adaptation of Mekton's mechanics (called 'Interlock' 'cause all the systems could, e-hem, interlock), that got a cool sourcebook or two (including one inspired by cyberpunk classic Hardwired that was written by the novel's author) before getting a second edition in like '89 or '90. That's Cyberpunk 2020 - that's what put R.TAL on the map, that's what I wrote a shitty fanfic crossing with BGC about (It wasn't hard to do), that's what became Cyberpunk 2077, and that's also what became Cyberpunk RED once R.Tal got money from CDPR to make a new edition.

With me so far? I bet you're thinking, Kyle, "gosh and golly gee wilikers so they put their anime system together with their cyberpunk system, because all those parts interlocked just like you said, and they made Bubblegum Crisis!"

And oh, my sweet summer child, how your eyes are shut.

Yeah... So, the OG is actually run on a system called Fuzion, which blends R.Tal's loose network of systems with that of the HERO System, which is... one of those really complicated universal systems that they say can build anything and everything, was designed with a variety of advantages and disadvantages for characters to use to represent their character, and isn't GURPS. No, it was made more for a superhero RPG, I guess?

Anyway, somehow the two companies met, decided to make a joint universal system for all their work going forward, and called it Fuzion. Many other licensed games used it for awhile, people made universal themed supplements for it, but it's not in wide use anymore as far as I know.

Why? Let me see if I can explain by way of picture.

Champions used 3d6. Interlock used a d10. The devs argued and argued and argued over which type the game should be balanced around, then gave the fuck up. Does that fill you with confidence, readers?

So there's this sort of... highly elaborate mishing and mashing of various elements of two very different systems such that neither comes out the better for wear. Here's R.Talsorian's Lifepath, a character-backstory generator where you roll dice to build a character (setting-agnostic, because they were trying to sell a universal system); then here's Champions's Perks and Complications, bought using those same precious campaign points you're using to buy civilian gear (but aren't your players playing as Knight Sabers? Who needs real shit to be marked when you're building hardsuits with separate points entirely?), and complications must be activated x amount of times a session even if it diverts from the fun of playing the game. And so on and so forth. Shit, even crossing Cyberpunk with Mekton doesn't always work, since blocks of damage from Mekton (Kills) scale unsteadily with the more dice-driven combat of CP. Worse still is that the mecha system and the hacking system are off in MZ+ and CP2020 respectively, so if you want to custom-build hardsuits beyond the small pool of tools you're given on the last fucking page of the book, or you want your Nene equivalent to do something useful, nyah-nyah, go buy more books.

And then I'm sure Shawn Hagen has plenty of reasons why the combat doesn't work, but we're not paying attention to him. Whatever. Let's talk about what does work, which is a mix of worldbuilding lore, stuff the R.Tal writers seemed to just sort of come up with, and a great gallery across all three books of Fucking Cool Mecha (especially BGC EX).

LORE IS SERIOUS BUSINESS FOLKS

I mean that earnestly. It's hard to get right, especially when said lore reflects upon the tone of the actual content, the plot, the franchise, whatever. But when telling stories with a licensed game, some degree of lore is, to my mind at least, incredibly mandatory. Maybe not so much for games where the story ought to be made up as one goes along (see RPG's like The Sprawl), but in the case of BGCrisis, an anime which at the time had a pretty loyal fanbase chomping at the bit for answers for their questions about the wider universe the Sabers operated in, R.TAL had to do a mix of cribbing from untranslated material, the B-Club special and all that, and making their own shit up without looking like they'd cribbed from their own work (CP2020) overmuch. The result is very uneven, but charmingly so. I almost want to say it feels more grounded than CP2020 or Shadowrun, but is that just because it's comparatively light on the ground? Perhaps. The mandatory universe timeline is one page, and focuses more on putting years to events that were already canon instead of adding extraneous stuff in.

Likewise with what the politics look like worldwide. We get a few paragraphs about how the U.S. is recovering (not collapsed as in CP2020), Japan is doing pretty good for itself as GENOM's puppet-state, Russia successfully integrated into the EU even if Eastern Europe didn't (See? Wacky shit like that can only be called charming), and China's one big North Korea (which I think is a holdover from the CP2020 Pacific Rim Sourcebook, where Deng was assassinated by Maoist radicals.) We get another dry bit about the idea of a zaibatsu lifted straight from CP2020's Corpbook 1, where Arasaka is discussed... newspapers are now faxed (look it was in BGC OVA 1 what do you want me to tell you)... on and on it goes.

I suppose I like the lore independent of the actual characters because of a few clever predictions. One is using all the cybernetics-gone-bad in AD Police Files to explain why nobody has them in the 2032 OVA, a link I sense wasn't really made concrete until this RPG. It's one of the most interesting interpretations of the source material and of cyberpunk tropes I've seen, you know, where all the splicing and dicing of the body turns out to be a fad and a failure, leaving those who bought into the trend left with butchered and failing bodies - in light of the crypto crash that seems to be dragging the stock market down back into recession / stagflation, that seems pretty classic capitalism.

The other is tied to Before And After, covering the impact of the cheap and now even more ubiquitous Boomers of Crash:

I mean, what can I say? I like predictions of the future that actually consider the effects of hyper-futuristic technology in that sort of way.

That's what a lot of the RPG's lore is at its best, basically working overtime to paper in the gaps left ignored by the series' creators. So we get a nuanced look into how ADAMA is different than similarly-sentient Boomers from the ADPF OVA; we get the Largo = Mason + Boomer Messiah explanation theory that the internet came up with just a year or two prior to the RPG's publishing; we get conspiracy theory proposals about whether or not GENOM undermined the cybernetics market to replace the enhanced with Boomers; we get to see the ADP go from hotshot riot suppression force able to slaughter undesirables en masse to actively disdained by GENOM; a weird consideration of how recognizing Boomer rights could still serve GENOM's agenda... on and on and on. It's such a mishmash of ideas, beautiful because of it.

Obviously no sane RPG player would ever give a rat's ass about any of this, but again, this was a product also marketed towards fans who just wanted a good worldbuilding book. I'm not saying you should take every part of the RPG's world into your own fanfiction, but you can take a great deal of it in and things will hold up.

POWER CREEP? YEAH, I'VE GOT THE POWER, CREEP!

The actual sourcebook sections of the sourcebooks are a) the characters, and b) the mecha. That's it, that's all. Civilian gear is almost an afterthought shoved into the front of the book like it didn't need to be there, cybernetics don't show up until Before and After. For although there is a section in the corebook proposing non-Saber campaigns players can run, they're essentially permutations of the already-existing types from CP2020: Corporates, mercenaries, medias, etc. And why, I ask you, would you run anything else but your own fanmade Saber team in your home city, overgrown and under threat? Shit, RTAL even went out of their way to put a few pages in EX, the last book in the series, highlighting player campaigns with online presences (Geocities, email addresses, etc.) and describing them in brief. Oh, to be a fly on the wall for the play sessions of the guys who did Mega-Gotham...

Anyway, back on topic. Both character pages and mecha pages get a great deal of settei transposed onto these pages, concept art ripped straight from Artmic's design docs and provided, again, more as a nerd resource than anything super useful. This especially comes into play in BGC: EX, where all the concept art and mecha are instead from everything that wasn't animated. Rejected concepts for hardsuits with wheels for feet; Boomer sketches only found in old hobby magazines; scribbles one of the Crash! mecha designers tried to get in that were apparently labeled 'problematic' (I guess he was a toy designer before all this?). I unironically love all this shit, even the beam cannons mounted on a hardsuit right where the boobplates are. Shit, my Discord profile pic is a non-Boomer mecha supposedly used by the JSDF, a 'Battlemover' whose origin I have no idea about, but which looks cool as hell. That's the kind of weirdo fan I am.

My point is that if you need to spice up your fiction, throwing 'new Boomer X' at the Sabers is one thing, giving the Sabers some power-up parts you dreamed up is another, but using the designs Artmic came up with before you did is more galaxy-brained than either. Shit, I should know, it was what Craig Reed did for the fanfics that I continued off of back in the day. And it's the same with these extraneous lore details that some rando RTAL staffer dreamed up a quarter-century ago, because they beg to have an entire fanfic made about any one of them. What happened to Jeena, folks? Inquiring minds want to know.

Anyway, that's it. That's all. Read through these and be a better fan because of it.

#stmpd reviews bgc fanfic #bubblegum crisis #fanfiction #fanfic rec

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frostedreviews · 5 years ago

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Bubblegum Crisis (1987-1991)

7.1/10

Synopsis: In the near future of 2033, four vigilante warriors called the Knight Sabers fight incredibly dangerous combat androids known as Boomers that occasionally terrorize the city. This short OVA series, although very interesting conceptually, falls disappointingly short in its writing.

Plot: Genom, a company which makes most of its money creating weaponized androids called Boomers, owns most of Tinsel City and has great control over its political world as well. Their Boomers, disguised as regular humans, roam the streets to do dirty work of silencing dissenters, stealing information, and expanding their overall reach. Of the eight episodes, 6 tell unconnected stories taking place in this universe, while episodes 5 and 6 share a story between them. Overall, there is little change or growth in individual characters or the conditions of Tinsel City at large.

Writing: The overall writing and pacing of this series varies somewhat. Each OVA is not uniform, with runtimes varying from roughly 26 minutes to 52. Thus, I would like to tackle this on a roughly episode by episode basis, but overall, emotional scenes fall flat, and plots in singular episodes as well as the overall series can get confusing. Episode 1 is a good setup, introducing us decently to most of the characters and providing us a proper look at the world. Later episodes, however, won’t offer as much direct information to the audience as to the setting. Episodes 2, 3, and 4 follow a relatively boring formula; there is an action sequence at the opening, some plot explaining it, and then another action sequence where the Knight Sabers wrap things up. Also relevant is that in episode 3, an executive involved with Genom is killed. This has essentially no long term ramifications. Episodes 5 and 6 offer a more involved plot, new characters who are better defined and easier to be invested in, and fantastic direction overall. The bad guy is dispatched, although may still be alive, and then... the last two episodes are relatively uninteresting again.

Visuals: The overall character and mecha designs of this show are fantastic. The Knight Sabers are all unique individuals, with generally very practical and cool robotic suits. They’re all also quite colorful, which I love seeing in media. The Boomers are generally ape-like, with forward set mouths and fangs. A lot of the fight sequences are quite cool, although the quality varies somewhat, with episodes 5 and 6 being the highlight. There are plenty of disappointments, though. In particular, the rendering of emotional scenes is usually lacking. Amplified by poor writing, the stakes seem to mean very little in this show. Not to mention, in early episodes, sometimes there’s no setting during close ups in fight scenes; only a black background.

Highlights: Episodes 5 and 6, telling a combined story and having higher quality overall, are simply the best episodes of the series. It suffers a few of the same writing problems, yes, but the direction makes the villains seem more powerful and insidious, there are fascinating implications of autonomous Boomers seeking revenge, and the action is fantastic.

Conclusion: Although Bubblegum Crisis would go on to receive a reboot and various spin offs, I felt that the original OVA series, even knowing it was cut short of what it was supposed to be, was just a waste of my time. The parts that are good aren’t enough to make it worthwhile.

#Bubblegum Crisis #OVA #Series #Review

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