Smokin’ Aces (2007)

Smokin’ Aces is a mess, but it’s a good mess.smokinaces20

The film is stylishly shot—reminiscent of Tony Scott and Guy Ritchie—filled with solid character actors in quirky roles and it’s chalk full of twists, surprises and impactful action sequences.

On the other hand, the plot is basically ‘It’s a mad, mad, mad, mad, world’ with hitmen, drugs, and sex instead of a whacky race. 9/10ths of Smokin’ Aces is little more than an alibi for the film’s primary clusterfuck. It’s violent, vulgar and overcomplicated, but it’s also a lot of fun.

The film’s premise is that one Buddy ‘Aces’ Israel (played to the hilt by Jermey Piven), a Las Vegas magician turned wannabe mobster, has not only opted to become state’s evidence, but managed to double cross Johnny Law and flee from his protectors as well. Lounging in the penthouse of a Lake Tahoe casino, Israel is praying for a longshot and indulging in a hedonistic bender.

A thing to keep in mind is that Buddy is the film’s Maguffin. And everyone wants Buddy.

The Mob’s placed a bounty on his head, attracting assassins ranging from a mysterious man of a thousand faces, to crazed ultra-violent white supremacists, to a pair of ice cold soul sisters and they’re all out to get Buddy before their peers do.

And then there are the forces of law and order. The FBI provides the film’s nominal protagonists in a pair of agents (played by Ryan Reynolds and Ray Liotta) who are out to collect Buddy before a bullet takes him. There’s also a group of low-life bounty hunters (featuring Ben Affleck) out to grab Buddy for jumping bail thrown in for good measure.

There’s also a cameo by Jason Bateman for good measure.

Although the FBI agents are kinda, sorta, the heroes of the piece, the film gives almost as much attention to the various and sundry oddballs who’ve been attracted to this big pay day. These characters and their competition to all achieve the same basic goal is the meat of the film. And once all the pieces are put in place, the film throws them into a blender and the audience gets to see the splatter filled aftermath.

It ain’t a deep film, and the ending seemed a little forced (kind of a desperate attempt to justify the caranage, I suppose), but it’s a lot of fun.

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Fan Expo 2010 Pitches!

threesixteen-carnage-cover

Fan Expo doesn’t hit Toronto until the end of August, but the good people at the Toronto Area Gamers group have started soliciting for RPG sessions and volunteers. I know it ain’t Gencon or Origins, but for a guy like me it is the closest thing to a gaming convention I’m likely to attend in the near future.

So needless to say, I keenly typed up two game pitches within an hour of getting the notification. This will be my third year running games at Fan Expo, and I know they are always happy to have GMs, yet I was still in an excited hurry to get the pitches written up and out.

I re-confirmed with my lovely and pregnant wife that it would be ok for me to disappear for a couple of days soon after Dweezil’s birth and rapidly embraced my inner hack.

The first game I’m planning to run is ‘The Rimward Campaign’ for 3:16: Carnage Amongst the Stars.

I love 3:16.

Tons of fun, simple to run and easy for new players to get into. Plus, I’ve learned that I only have time to adequately prepare for one big adventure session for a Con and 3:16 requires very little prep.

The second game I’m hoping to run is ‘Rotwang’s Heroes’ for FATE. In a

Good Old Rotwang

Good Old Rotwang

nutshell I’m thinking: ‘Steampunk Soldiers of Fortune seek a Big Score in a Retro Apocalypse.’

This one is going to be a stretch.

I was hankering for something post-apocalyptic and was bouncing around a couple of random ideas. Then I remembered the TAG organizer’s request that we try to tap into the Steampunk theme running through this year’s Fan Expo. So I had a vague flavor I was going for, but I wasn’t married to a system, setting or set-up. On the face of it: not so great.

And then I had a flash of inspiration! I’m going to lift the set-up of Kelly’s Heroes (coming soon to a ‘Stuff you Should Steal From’ entry) and drop it into a mashed-up ‘war to end all wars’ containing Martian Tripods, Clockwork Giants, hordes of ravenous Nosferatu, French Dirigibles and Prussian Automatons.

I just hope it will be as fun to run as it was to dream-up!

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Confessions Finale: The Scottish Game

So after droning on about Jr. High and an OSR pet peeve (and I generally like a lot of the OSR blogs out there), we’re nearly up to date.

Fast-forward at least ten years.

Ten years with a biggish gaming gap and a mish-mash of non-D&D campaigns. Some damn fine campaigns, if I do say so myself.

New city. New life. New gaming group.osric

We played a Mongoose Traveller Tramp Freighter campaign for about seven months and a Noble Houses Burning Wheel game for another six.

And then I got it in my head to play D&D. Break the curse. Go to the sources I like.

Well truthfully, I thought that if I ever ran old-school D&D again, I’d do it as the anti-World of Warcraft.

See, in the World of Warcraft, every bloody being in the game is an adventurer. You can’t get milk without killing 25 womprats or whatnot. Every Gnome Hunter can also be the Town Tailor.

In other words, in WoW, at least as I see it, being an adventurer isn’t exceptional, its conformist. The punks are the ones who never leave their farmstead.

I wanted to run the opposite.

A game where no one says ‘adventurer’ without spitting afterward to get the taste out of their mouths.

Where people say ‘a wizard did it’ in the same tone reserved for lawyers and politicians now.

A game where the towns folk try to lock up their daughters, overcharge the PCs for everything and, as soon as every last bit of their dungeon delved dollars have been spent, arrange for a mysterious hooded man to tell them of adventure two towns over in Shelbyville.

And to start with, it was fun.

I drew up a hex map and a dungeon using oodles of random tables.

My players rolled up a motley crew and we played.

The first few sessions were a blast; until I realized that they were still in that first dungeon I’d drawn up and that it was going to be a long time before they were done with it. With that epiphany, I started to get bored and dream of ‘The Next Game.’ Always the kiss of death.

And then the scheduling problems started. St. Patrick and Easter derailed the game; as did illness, allergies, and a great deal of personal drama. Until finally, last week, I proclaimed the game dead and had the few players who had made it begin to make Rogue Trader PCs.

D&D is my Macbeth.

No good can come of running it. The game is just cursed to crash.

D&D is Dead! Long Live Rogue Trader!

Although…since it does require so little DM prep, it might be the kind of thing I could run on weekends in addition to my current game someday… If I’m willing to risk a divorce, that is.

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Confessions of a Cursed DM Part 2

I’m starting the second part of my confession of a failed DM with a bit of a digression regarding on a take on D&Ds history I find fairly common in the OSR crowd.

Basically, its that D&D was tarnished silver by becoming too clean. And I

Doesn't look too squeaky clean to me

Doesn't look too squeaky clean to me

think it was as murky as it could be given the climate.

See, there’s a certain faction of OSR Grognards and aficionados that like to condemn Gygax and company for cleaning up TSR and D&D’s image during the so-called ‘Silver Age’ of D&D.

But the thing is, even in the early 90s there was still a bit of hysteria in the air when it came to D&D.  Maybe this was just out on the particular frontier of the bible belt where I grew up, but I suspect my experience was pretty common.

And keep in mind that this was after years of TSR carefully doing their best not to give anyone any ammunition that could be used against them.

Years.

I can only imagine the intense pressure TSR must of felt at the height of the D&D panic.

If it had been my company and my family’s livelihood on the line in the face of a full-blown moral panic, I should hope I’d be brave enough to stick to my guns and continue to put out the offending product, watered down art or not. I think that the good people at TSR should be saluted for their courage and not sneered at for selling out.

But that’s another aside.

The point is that D&D was still ‘the game’ in my  neck of the woods. Its forbidden allure and fantasy draw still worked its magic on my friends.

And while I enjoyed the nearly NPC-less dungeon crawl that a friend of mine’s elder brother perpetually ran, I always felt I could do something better. Something bigger. Something epic.

This was, of course, despite the fact that I hated epic fantasy and never managed to finish a single D&D tie-in novel or the Lord of the Rings, for that matter.

So every once in a while I’d borrow ‘The Books’ from one of my D&D-owning friends and secretly start to cobble together a campaign. Usually it was drenched in the half-baked plots I’d somehow picked up from my rare forays into Final Fantasy and mish-mash of concepts I’d picked up from comic books, anime, and old movies.

Falling Empires and Time Travel were staples, along with an Urgent Quest to defeat an Unbeatable Foe!

I know, sounds pretty lame now, but when I was thirteen, it seemed awesome.

Characters would get made, back-stories drawn up and adventures prepped. The first session would usually go ok and then…then things would fall apart. Rinse and repeat a few months or years down the line.

Sometimes I’d just lose interest. Or the semester would change or summer holidays would start or we’d suddenly be invited to parties with girls, beer and other substances. After that gaming just didn’t seem so important.

The main point is though, I just couldn’t get a D&D game off the ground and I wasn’t enough of a fantasy fan to make it happen.

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D&D is my Macbeth: A Confession

D&D is the one game I have never, ever been able to properly get off the ground or sustain.

This my attempt to blurt out why I think D&D is cursed.

C'mon, I was 12 when this came out!

C'mon, I was 12 when this came out!

Partially it’s my own flakiness. When I was a grade school student, full of beans, and playing in a long-running AD&D 2nd Edition Dungeon Crawl Game, I would occasionally try to start up my own D&D game.

Now starting up my own game was not an uncommon thing. These were the heady days of Jr. High and I was usually running at least two games as well as playing in the aforementioned D&D game. I ran great little games of Star Wars, Top Secret SI (in the FREElancers universe), Heroes Unlimited/TMNT/After the Bomb/General Palladium Mash-Up and just about anything else I could waste my part-time dishwasher dollars on.

For, the most part these went well and, if they didn’t always last long they did usually provide a great deal of fun while they lasted. D&D though.

This was early in the 2nd Edition.

I hear nightmarish tales of the bloated creature that would die a horrible death and I’m grateful that this wasn’t the 2nd Ed I knew. In retrospect, I guess its later fate isn’t too much of a surprise. I remember the brown, faux-leather, character class books. The first couple were interesting and well-loved, but by the time they hit the bards…

And oddly enough, at least in the rural Alberta town I grew up in, D&D still had a stigma.

D&D was heavy-metal, satanic, and poor. D&D probably smoked and hung out at the local arcade. Yet somehow, my folks were ok with me playing other games (or at least they were better with it). Still they, like the parents of several of my friends, drew the line at D&D (which I, like thousands of children of the 80s and early 90s, secretly played anyways).

Personally, this is one of the reasons I think some of the Grognard/OSR crowd are a bit off their rockers.

Next- I’ll explain my Slander.

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Stuff to Steal From: The Prisoner of Zenda

The Prisoner of Zenda has one of those set-ups that every GM should be quick to cannibalize.

Actually, there are two set-ups that quite gameable.

Coronations Gone Wild

Good? Bad? I'm the PC!

Good? Bad? I'm the PC!

It’s the eve of a new King’s coronation. His brooding, brutal and passed-over sibling would rather eat ashes than see their useless and soft-hearted playboy of a brother sit on the throne. Preferring abdication to outright murder, they plan to kidnap or incapacitate the King and, in the chaos following the King’s absence at his own coronation, seize the throne.

Truthfully, either the loyal supporters of the King or the Jealous Sibling could be solid patrons for any wandering adventurer-type parties. Whether they rescue the king or help the coup, one only need to have an equally capable group supporting the other faction to keep things interesting. For a real curve-ball, have the Sibling be their patron, execute the kidnapping, and then discover that the King’s supporters are happy to have a double crowned in his place, if only temporarily.

This is an easy plot to transplant to nearly any setting. Substitute ‘planet’ for ‘kingdom’ and you’re doing space opera, change it to ‘corporation’ and you’ve got yourself a cyberpunk or contemporary hook. For that matter, turn the king into a Prince and you’ve got yourself a Vampire plot.

Double Trouble

This hook is appropriate for any travelling PC group. In fact, I’m really hoping to run this in my upcoming Rogue

King for a Day? Why not Two?

King for a Day? Why not Two?

Trader game.

The set-up is simple: on their travels the PCs encounter a royal party, including the wastrel of a prince destined to be the king in the first scenario. Just as in Prisoner of Zenda, one of the PCs shares an ancestor with the Prince and is his spitting image. From here you can run the Coronation Gone Wrong scenario, but with the King’s supporters begging the PCs to help with the ruse…and the recovery of the King.

I do have two cautions though.

First, have the kidnapping occur off-stage and away from the PCs. Otherwise you might wind up in a situation where the PCs feel they are being forced to stand by and let the Sibling have their way.

Second, don’t get too attached to the PCs actually rescuing the King. Knowing my players, there’s always a good chance they might try to turn their ruse into a coup of their own…

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The Prisoner of Zenda (1937 and 1952)

This is one of those films you’ve seen even if you haven’t. Based on a novel by Anthony Hope, these two flicks are its best known adaptations. If you can handle black and white films and dig a little swash with your buckle, then I’d strongly suggest giving either version a view.

The plot is a variation on the Prince and Pauper. Travelling through the fictional kingdom of Ruritania Rudolf, an English commoner, accidentally crosses paths with its new king on the eve of his coronation. Rudolf discovers that the king is spoiled, drunk and virtually his identical twin. Due to a royal indiscretion, it seems that Rudolf and the king share the same great-great-grandfather and that the ‘Elphberg face’ crops up in Rudolf’s family from time to time.

Delighted at the coincidence, the king insists that Rudolf come to his hunting lodge so that they can celebrate in

Rudolf and Rupert, 1937

Rudolf and Rupert, 1937

appropriate style: with copious amounts of wine. Unfortunately for the king, his half-brother Michael has drugged a bottle of wine in the hopes of seizing power when the king is too ill to attend his own coronation. Fearing the cruelty of Michael’s reign, two of the king’s loyal servants convince Rudolf to impersonate the king and foil Black Duke Michael’s plan.

Needless to say, things don’t go according to plan.

The remainder of the film is chalk full of classic adventure: Rudolf romances the unsuspecting future Queen; matches wits and swords with the viperous mercenary Rupert of Hentzau; and intrigues with Antoinette de Mauban, Michael’s only love and the film’s femme fatale.

Now which version to watch?

The 1952 version stars Stewart Granger as the slightly wooden, but larger than life Rudolf (and as the king, of course). In general, the stunts are bigger, the Technicolor is gorgeous and James Mason positively preens as Rupert of Hentzau. It’s a great film, but it’s a bit stiff.

The 1937 version features Ronald Coleman in starring double role. Overall, I’d say Coleman is a better actor than Granger. What really pushes the ’37 version over the edge though, is the supporting cast: David Niven as the loyal and fun-loving Fritz; Madeleine Carroll as the radiant Princess Flavia; and Douglas Fairbanks Jr as the lovably psychotic Rupert. If you are one of those people who just can’t handle black and white film though, you might want to give this one a pass.

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Stuff to Steal From: God Told Me To (1976)

As I recently jotted, God Told Me To is a fine and funky little horror film worth checking out for its strangeness if nothing else.

And as with everything I like, I suggest it be plundered by GM’s for their own diabolical purposes!

So here are three things God Told Me To Steal!

1) Serene Cultists

Ok, I know these are a staple of just about every Lovecraftian monster hunting game out there, but God Told Me To executes it quite well. Each of Bernard Phillip’s devoted followers commits their atrocities with a smile upon their face. Each is totally contented when challenged as to why they committed their acts to simply repeat ‘god told me to’ and then expire. They aren’t sneaky, they aren’t creepy, they’re just filled with joy and totally at peace. That’s what makes them creepy.

2) Conflicted Disciples

Phillips’ wealthy apostles, on the other hand, form the inner circle of the cult. Unlike his other blissful followers, the apostles fear their master and certainly don’t seem to be true believers. They’re powerful though, and the implication is that Phillips needs them and that they fear Phillips. The fact that their Messiah can dominate their minds and force them to die in ways that would make Darth Vader hesitate only helps make their conflicted feelings more palpable.

3) The Evil is You

Ok, spoilers on.

In God Told Me To each step Peter Nichols takes towards unravelling the mystery of Bernard Phillips leads him to another question about himself. As Peter progresses, the parallels between his own birth and childhood and that of his quarry become more and more pronounced. Moreover, the final revelation of Phillips’ otherworldly nature inevitably leads to Peter realizing his own, hideous, true nature.

I have to caution using this one directly with a PC. Personally, I think its a great way to make a PC anxious about uncovering a mystery, particularly if they’ve chosen a ‘dark secret’ trait and are willing to trust you with it. On the other hand, forcing someone’s PC to turn out to be a Deep One or a mind-controlling, hermaphrodite alien hybrid without their consent isn’t cool.

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God Told Me To (Larry Cohen, 1976)

An off-beat, creepy and strange b-film, God Told Me Too is a low-rent supernatural detective film worth checking out.

How can you lose with a Poster like This?

How can you lose with a Poster like This?

On one level, it’s a gritty police procedural set in 70s New York at its ugliest.

On another, it strings together kooky alien astronaut theories, hermaphrodism, and bizarre cult killers into a suspenseful occult thriller.

In other words, it’s a film of stark contrasts in a washed out and dirty grey world.

The main contrast is between Cohen’s protagonist and antagonist. The hard-boiled Peter Nicolas and the barely seen Bernard Phillips.

Tony Lo Bianco plays Peter Nicholas. At first glance, Peter is a stereotypical 70s tough-guy cop. He’s middle-aged, working class and divorced. About the only thing that sets him apart from the usual cop character is his intense Catholic devotion, that is illustrated by his slinking out of his young lover’s bed to go to mass each day.

Richard Lynch plays Bernard Phillips the enigmatic cult messiah who is little more than a rumor for most of the film. Only visible at its climax, Phillips embodies everything that square society finds distasteful about hippies: he is long-haired, slender, almost hermaphroditic. He wanders around the filthy city penniless and barefoot. Moreover, anyone who listens to his subversive message instinctively knows he’s the son of god and obeys his every command.

God Told Me To is in no small way about the clash between these two characters. Told firmly from Peter’s perspective, the narrative shows Peter gazing a little too deeply into the abyss. Without spoiling anything, their conflict is pretty transformative and ultimately results in Peter becoming a character who is as disturbing as Phillips.

In other words, God Told Me To plays on the theme of becoming the thing you are hunting.

Alright, you might be saying, but how does this play out plot-wise?

The film opens with a sniper taking out random targets in downtown Manhattan. Another in a series of seemingly senseless killings in the film that Peter is obsessed with getting to the bottom of. The only obvious connection between the murders is that each spree ends with killer committing suicide after saying, with serene sincerity, ‘God Told Me To.’

Disturbed because of his religious principles–and because he’s just that kind of movie cop–Peter sets out to find the force behind these killings. This propels him into clashing with the golden haloed hippie messiah Phillips and a coterie of wealthy and devoted disciples. As the plot rolls on, Peter witnesses more and more acts of madness by Phillips’ thralls and digs deeper into a mystery involving religion, strange abductions, and, ultimately, his own identity.

By the end of the film, God Told Me To gleefully smashes together religion with science fiction, mind control with faith, and nature with nurture. The film doesn’t pretend to have any answers, but it sure makes a fun mess.

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