Unrestricted tech can be challenging for the GM, especially at TL11 and TL12, due to the enormous range of possibilities and the array of resources it provides to adventurers –GURPS Ultra-Tech, “Unlimited Technology,” page 9
Once you’ve settled on your starting point,
your technological “concept stage,” it’s time to
move on to choosing what technology is available to us. I highly
recommend against using all possible technology, in part because of
the above quote, but also because it makes a setting very difficult
to differentiate, as most people will naturally gravitate towards
“the best” technologies they can find for a specific
thing. It’s also difficult because even if you manage to work
out all the implications of every technology in the Ultra-Tech book
for a given tech-level, your players will have a very difficult time
“getting into” your setting.
At its most conservative, science fiction invokes as few miracles as possible. - GURPS Space page 29
While we tend to think of sci-fi as about being
“exotic” and chock full of wondrous technologies
(“miracles,”) most effective sci-fi
limits the number of truly unusual technologies or truly strange
societal changes. Altered Carbon mostly
focuses on sleeving technology with almost everything else readily
recognizable by a modern audience; Asimov’s robot stories are
essentially set in the “modern” 1950s
but with intelligent robots.
Even when we have a host of technological advances, most of them are
stand-ins for readily recognizable technologies: Star Wars has
blasters and lightsabers and droids and hyperspace travel, but it’s
mostly just WW2 in space with mystical space samurai; Star Trek has
numerous, highly advanced technologies, but borrows heavily from the
naval traditions and American culture of the 1960s, and wields the
technology in a familiar fashion.
Every setting
element you add to your game has a “mental cost,” an
amount of effort necessary for your players to expend to “get”
the setting. It also has a “learning curve,” the speed
at which they must expend mental effort to learn everything. By
reducing complexity to just a few “miracles,” we can
reduce mental load and focus audience attention to only those
technologies that we care about. Similarly, if we “disguise”
technology in a familiar form, then our audience can wait to learn
more about them (a phaser is not a gun and can do a lot of things
that a gun cannot, but you can think of
it as a gun, and that’s helpful for getting up to speed on the
setting).
So it behooves us
when thinking about our setting to decide on what the general
feel of the game will be, and
then what technologies we want to highlight and explore. Any
technology that is not
a highlighted one should be
made as simple and intuitive as possible. We have several methods of
doing that. We can break these methods into broad categories:
Familiar technology, Advanced Technology, Standard Issue Sci-Fi
technology, and Miracle-Tech. These
methods are not choices of approach to take; think of them rather as
layers that build atop one another, like layering paint: first you
lay down your foundation, and then you more sparingly apply the more
unusual and distinct levels atop it as necessary.
The following
section will list appropriate
technologies for the
approach.
This is meant to be a sampling,
rather than an exhaustive list. I also don’t touch on weapon
or armor technology, not because you can’t treat it this way,
but because few campaigns do, and if yours does, you can simply apply
the same principles below.
Familiar Tech
Without advances in these areas, tomorrow’s people won’t be much different from today’s, except for the quality of their technological toys. This sort of background is popular in supers and science-fiction settings, especially those rooted in the 1960s-1970s. If combined with a hard science path, it may even be realistic! – GURPS Ultra-Tech, page 10, “Safe-Tech”
The simplest way to handle advanced technology is
to treat it as modern technology, “only better.” When
characters get up in the morning, they step into the Shower of the
Future, and then get into their Car of the Future, and then go to
their Work of the Future, and then if they get hurt, perhaps by a Gun
of the Future, they to go the Hospital of the Future, etc. The idea
here is that all technology is ultimately perfectly familiar, it has
simply been refined and made more efficient, effective, and has more
LEDs on it, plus an electric whine.
A lot of sci-fi fans might frown here, finding
this to be “boring,” but the point here is to establish a
baseline from which the players can springboard towards the
interesting things. You can think of this as the general,
uninteresting technologies of the setting. This is actually an
exceptionally common strategy in sci-fi of all stripes: most sci-fi
still depicts characters as driving cars, or wielding gun-shaped
weapons that they keep in holsters, or using computers to file their
reports (Foundation featured someone reading a newspaper before
putting tossing it into an atomic disintegrator bin). They may
feature really interesting
technologies, but those are grounded in a surprisingly familiar
world.
This isn’t even
unrealistic. We’ve been using essentially the same internal
combustion technology for over a hundred years for our cars; we may
well keep the “gun shape” not because our weapon
technology doesn’t change, but because it’s an ideal
ergonomic shape for weaponry. Sometimes, technology can only get
“so good” before it essentially stops improving;
alternatively, if humans do not substantially change in the future,
then the human condition itself can ensure that certain elements
remain the same into the future.
The core
proposition of Familiar Tech is that it offers no new
benefits to the user. It might be lighter, cheaper or more
efficient, but it is familiar (hence the name) to any modern
character. A setting with nothing
but this technology will feel like the modern world, albeit with more
wealth and nicer stuff. This has added benefits in addition to the
ease of player adjustment: it’s also easier on the GM, since he
knows precisely what the characters can do: the same things that
modern characters can do. There’s no need to worry about
things like “How does privacy work in this setting?” or
“How does one buy something?” or “Can you even
commit crimes in this setting?” because if it works in the
modern world, it works here.
Examples of this
technology can include (but is not limited to):
-
Computers (non-AI; UT 22)
-
Attache Case (UT 38)
-
Cable Jack (UT 42)
-
IR Communicator (UT 43)
-
Laser Communicator (UT 44)
-
Radio Communicator (UT 44)
-
Sonar Communicator (UT 44)
-
Encryption (UT46-47)
-
Translator Programs (UT 47)
-
Planetary networks (UT 49)
-
Datachips (UT 51)
-
Data Banks (UT 51)
-
Digital Cameras (any; UT 51)
-
Media Players (any; UT 51)
-
Night Vision Optics (UT 60)
-
Infrared Imaging Sensors (UT 60)
-
Hyperspectral Imaging Sensors (UT 61)
-
Hydrophone (UT 62)
-
Sound Detector (UT 69)
-
LADAR (not small; UT 64)
-
Multi-mode Radar (not small UT 64)
-
Sonar (not small; UT 65)
-
Portable Laboratories (UT 66)
-
Wristwatch Rad Counter (UT 67)
-
Meal Pack (UT 73)
-
Flashlights (UT 74)
-
Glow Stick (UT 74)
-
GPS (UT 74)
-
Inertial Navigation (UT 74)
-
Envirobag (UT 75)
-
Power Tools (UT 81)
-
Rope (UT 81)
-
Tool Kits (UT 82)
-
Fire Extinguisher (UT 87)
-
Factory Production Line or Robotic Line (UT 89-90)
-
Electronic Lockpick (UT 95)
-
Variable Lockpick (UT 96)
-
Disguise Kit (UT 97)
-
Keyboard Bug (UT 100)
-
Armored Doors (UT 1010)
-
Electronic Locks (UT 192)
-
Safes and Vaults (UT 102)
-
Biometric Sanner (UT 104)
-
Comm Tap (UT 105)
-
Homing Beacon (UT 105)
-
Laser Microphone (UT 105)
-
Surveillance Worm (UT 105)
-
RF Bug Detector (UT 106)
-
Cufftape (UT 10&)
-
Electronic Cuffs (UT 107)
-
Antitoxin Kit (UT 196)
-
Disposable Hypo (UT 197)
-
Disposable Test Kit (UT 197)
-
ESU (UT 197)
-
First Aid Kits (UT 198)
-
HyMRI (UT 198)
-
Pneumohypo (UT 199)
-
Physician's Equipment (UT 199)
-
Surgical Equipment (UT 199)
All of these
technologies exist in the modern world, though not all might be
immediately familiar to the GM or the players. The only real
difference with more advanced versions of these technologies is that
they offer a modest improvement in efficiency (a TL 12 physician can
deal with more people per day than a TL 8 physician; a TL 12 radio
has 10x range that a TL 9 radio has, but otherwise works the same).
Some technologies
are worth a very careful examination though. Computers, for example,
should not be allowed to have any additional capabilities beyond what
they have now (if you want them to remain “familiar tech”).
A TL 9 mobile device is the equivalent of a modern desktop PC (or a
vacuum tube driven mega computer) while a TL 9 desktop PC is
equivalent to a powerful modern server. At TL 10, a mobile device is
as powerful as a modern server while a desktop PC has the power of a
modern megacomputer. By TL 12, a small, handheld device has the
power of a modern megacomputer. These might sound like huge
advances, but I can absolutely imagine what it would be like to have
my desktop computer fit into my cellphone: it would game better and
browse faster, and I might reasonably run virtual machines on it, but
it would not be a life-changing upgrade. In fact, one might question
the need to even have
the equivalent of a megacomputer in a handheld phone if you’re
running
AI on it (modern examples of “AI” like siri typically run
on big servers and then communicate their information to your
handheld computers “thin client,” which means you can
access megacomputer “AI” on a phone already.
All a TL 12 device would let you do is carry a copy of a SIRI-like
technology in your pocket).
Medical
technology is often an issue as well, especially when one gets into
drugs. The best way to handle it, if you want it to remain simple
and familiar, is to treat it the way the generic GURPS book does:
physicians can heal X hitpoints per day, and they can “treat
problems.” If you get sick, they have appropriate medicines to
fix it, and you needn’t worry about anything else. I wouldn’t
even bother going through the drug list, but if you did, look at
Bio-Techs list of modern medicines and take examples of medicine that
look essentially the same, or simply make existing medicines a little
better. if something offers +1 to a particular HT roll, consider
improving it to add +1 per
additional TL,
so TL 12 penicillin
adds +7 to recover from infection rather than +3; alternatively, they
might remove or lessen side-effects: TL 12 aspirin
is just aspirin that you can never overdose on and that will never
make you sick.
Communication
technologies typically get smaller and smaller and with more and more
range, but otherwise work the same. Where a modern walkie-talkie,
similar to those used by cops, weights 0.5 lbs and has 5 mile range,
the TL equivalent might be a tiny thing that weighs 0.05 lbs and has
a 10 mile range, but both are vulnerable to electrical interference
and anyone on the same band can listen in on the conversation.
Basic
tools are especially interesting as they essentially never change;
it’s just that if you want to fix TL 12 technology, you need TL
12 tools, which happen to weigh and cost the same as TL 8 tools. So,
a TL 12 mechanic has a belt as filled with as many tools as a TL 8
mechanic.
Using
this approach alone
makes for a surprisingly approachable, if somewhat
boring, TL 12 setting.
Alternate Familiar Tech
I, Mark Phellius of the Independent Republic of New Samarkand, given the insult to my word and honor, demand satisfaction from Phi’kl’ataraph of the N’kan Empire by blood and blade. – Pyramid #3/55, Ultra-Tech Swashbuckling
One can look at the list above as “default
choices” for their setting, but just because it appears in the
list above doesn’t mean you have
to take it, or that all sci-fi settings must
use modern assumptions as their base. Many sci-fi settings
(especially space
opera) use other base assumptions: typical examples include WW2, the
age of piracy, or medieval Europe. The approach here is essentially
the same: take what are baseline technologies of that era and advance
them. If a technology does not exist in the baseline, then it does
not exist in the advanced version. You can think of them as TL X+Y,
with standard Familiar Tech as TL 8+X (so TL 12 standard familiar
tech is essentially TL 8+4)
For example, a TL 12
“Medieval Tech” would have TL 12 swords, TL 12 plate
armor, TL 12 Esoteric Medicine, with forest witches using TL 12
herbalism as their excuse for creating especially deadly poisons or
performance enhancing “potions.” If we accept the
spyglass as a “medieval technology,” then characters
might have exceptional optical devices with enormous amplification.
If we accept the premise of “beacon towers” as a means of
signaling, when we might have enormously powerful light towers that
can project their signal for intercontinental or interplanetary
distances. If we have compasses, we might accept inertial navigation
systems. But if we feel that computers are “out of place”
in a medieval setting, then we do not have computers in the setting,
of any stripe.
Weird Safe-Tech
Many technological items listed in GURPS books could potentially be biogadgets. Mostly, it’s just a matter of changing their description – a strength-enhancing exoskeleton could be formed of living bones and muscle, a respirator might be a living creature that you breathe through, and a bug detector could resemble a snail with big antennae that hisses when it senses electromagnetic emissions. – GURPS Bio-Tech, page 95, Bio-Gadgets
One reason to play in a sci-fi setting is to play
with unique “distancing mechanics.” We often want the
setting to feel different,
even if it doesn’t operate
different. For example, instead of going into a familiar hospital
with doctors and nurses, when Luke Skywalker is gravely injured, he
goes into a bacta tank and is watched over by medical droids. This
sort of approach can make your setting feel unfamiliar without
allowing player characters access to unfamiliar levels of resources.
It’s especially good for making an alien race feel alien
(perhaps humans and aliens have the same level
of technology, but humans use familiar metals and plastics to do
familiar things, while aliens use icky carapaces and weird crystals
to do familiar things).
GURPS Ultra-Tech is
chock full of interesting technologies that, at the end of the day,
fulfill a similar niche to other technologies, but are simply
substantially weirder. The essential element here is that it should
fill the same niches as technologies in the Familiar Tech, only
operating in an unfamiliar way. Examples include (but are not
limited to):
-
Cleaning Gel (UT 38)
-
Digital Shampoo (UT 38)
-
Bioplas Contact Lenses (UT 38)
-
Suitspray (especially Living Suitspray; UT 39)
-
Swarmwear (UT 40)
-
Clothing Belt (UT 40)
-
Scent Synthesizers (UT 52)
-
Sonic Projector (UT 52)
-
Chemsniffers (UT 61)
-
Sensor Gloves (UT 67)
-
Cleaning Swarm (UT 69)
-
Anti-grav Hammock (UT 70)
-
Firefly swarm (UT 74)
-
Smart Rope (UT 6)
-
Construction foam (UT 83)
-
Grav hammers (UT 84)
-
Gravitic Tools (UT 85)
-
Scent Masking (UT 100)
-
Security Swarm (UT 104)
-
Microbot Nanobug (UT 105)
-
Surveillance Swarm (UT 106)
-
Bughunter Swarm (UT 106)
-
Forensic Swarm (UT 107)
-
Paramedical Swarm (UT 201)
Psychotronics from
GURPS Psi-Tech and Bio-Gadgets (BT 95) can also work like this. For
example, instead of using radio, a psychic race might have
psychotronic crystals that electrokinetically turn sounds into
radiowaves, but it’s essentially the same as a radio, or
instead of having a wristwatch rad counter, one has a small blobby
creature that changes color in the presence of high radiation levels
(sort of a canary in a coal mine). A swarm-based race might not pull
out a forensics kit at a crime scene, but a forensic swarm, while
another civilization might strap on a sensor glove and start
carefully going over the entire scene with their “hands.”
The effects in all cases are the same. We might also consider using
alternate sorts of effects that closely mimic existing technology.
For example, instead of using radio waves, we use gravity-ripple
waves. This has the disadvantage in that interference with gravity
waves is totally different than interference with radio waves, but
the general principle is close enough that we might consider them the
same, especially if we adjust their ranges or weights to be the same.
Convenience Tech
Where Familiar-Tech pulls unimportant technologies
into the background, Convenience-Tech goes a step further and pulls
entire problems or setting elements out of the picture.
Convience-Tech is any technology that automatically solves a problem
so that we no longer have to worry about it. It’s an
especially popular element in a lot of cheap sci-fi, as it allows the
writers to hand-wave away problems that don’t interest them.
Why don’t we see characters in Star Wars or Star Trek swapping
out their ammunition, and why don’t they seem to worry about
logistic chains? Uh, because their power cells are like really good,
anyway, back to shooting people! Pew pew!
Convenience tech often has the capability to enact
major societal transformations. If you have a power cell that allows
your blaster an effectively unlimited number of shots, for example,
then you have the ultimate in energy portability! We could make
extremely small, lightweight battery systems, or extremely reliable
energy storage systems, making things like renewable energy far more
effective. The economics of such a world is potentially very
different. However, this is not the point of Convenience Tech. This
isn’t to say you can’t explore the implications of one of
these technologies, only that once you do, you’re no longer
using it as convenience tech,
and you should look at the Miracle Tech section below for discussions
of how to treat it.
We use
Convenience Tech to remove a potential problem, game-stopper, or
inconvenience that we don’t want to deal with for whatever
reason. The primary reason to do this is to focus attention on what
you really want your game to be about. For example, if we want to
have super-human androids in a police procedural to explore what it
means to be human, super science power cells might explain why it can
have super-human strength without running out of battery power in an
hour, but you might not want to have a similar convenience tech for
forensics, as that’s a major focus of the game. When choosing
convenience tech, think about the things you don’t
want the game to be about, and use technology to remove them from the
equation.
Examples of such
technology might include:
-
Super-science power-cells (UT 19)
-
Broadcast Power (UT 21)
-
Dedicated AI (UT 25)
-
Grooming Spray (UT 38)
-
Ultra-Tech Clothing Options (UT 38-39)
-
Universal Translator Program (UT 48)
-
Domestic Nanocleanser (UT 69) or Industrial Nanocleanser (UT 83)
-
Food Factory (UT 70) or Food Vats (UT 74)
-
Pressure Tent (UT 76)
-
Survival Watch (UT 77)
-
Air Tube (UT 77)
-
Gecko Adhesive (UT 83)
-
Morph Axe (UT 83)
-
Repair Nanopaste (UT 84)
-
Sonar Probe (UT 84)
-
Universal Tool (UT 85)
-
Any suitcase factory, but especially suitcase nanofac (UT 91)
-
EM Autograpnel (UT 96)
-
Gecko Gear (UT 96)
-
Document Fabricator (UT 96-97)
-
Programmable Wallet (UT 97)
-
Holopaper (UT 97)
-
Disguise Fabricator (UT 97)
-
Distortion Field/Distortion Chip (UT 99)
-
Programmable Camoflage (UT 99)
-
Remote Controlled Weapons (UT 102)
-
Surveillance Sensors (UT 104)
-
Nanobug (UT 105)
-
Multipsectral Bug Sweeper (UT 106)
-
Bug Stomper (UT 106)
-
Neural Veridicator (UT 107)
-
Automed (UT 196)
-
Bandage Spray (UT 197)
-
Biomonitor (UT 197)
-
Diagnostic Bed (UT 197)
-
Plasti-Skin (UT 198)
-
Pocket Medic (UT 200)
-
Medscanner (UT 200)
-
Neural Inhibitor (UT 201)
-
Regeneration Tank (UT 201)
-
Suitcase Doc (UT 201)
-
Regeneration Ray or Pocket Regenerator (Both UT 202)
-
Antirad (UT 205)
-
Hyperstim (UT 205)
-
Crediline (UT 205)
-
Ascepaline (UT 205)
-
Purge (UT 205)
-
Quickheal (UT 206)
Super-science
power-cells, cosmic power-cells and broadcast power all remove the
need to worry about tracking the duration of your gadgets: cosmic
power cells will never run out, broadcast power is never a problem so
long as characters remain within “range,” and
super-science power-cells do run out, but it takes them 5x as long,
which is the cut-off Action and other frameworks use for “basically
don’t worry about it anymore”). There are broader
implications with cosmic power cells and broadcast power to consider,
however. Cosmic power cells can power cosmic devices, which can
unbalance the game (unless, of course, you don’t include them)
and might imply a setting with a very different economy. Similarly,
broadcast power tethers most gadgets to broadcast stations. If you
don’t want this to be an issue, make those broadcast stations
broadly available (for example, the entire game takes place in
Neo-Chicago, and the power transmitter covers the whole city, and
terrorists never try to blow it up).
Medical Convenience
tech is a good way of removing downtime for injuries. It might be
especially useful in combat-oriented games where characters will
inevitably take damage, but we don’t want the players to really
worry about anything less than death, similar to how a typical
Dungeon Fantasy game works with healing potions and convenient
temples full of healing magic. Be careful with regeneration rays and
regeneration tanks as they can fix damage “caused by aging,”
which can substantially change the setting. You can, of course,
simply ignore or remove this effect (like Star Trek does).
Many of the
technologies allow a character to carry a whole host of technologies
with a single tool: multiscanners are all scanners in one; Universal
Tools and Morph Axes are an entire toolkit in a single catalog entry.
A disguise fabricator means you can have any disguise you want on
command. This often destroys the ability to “specialize,”
but ideally, if you use this sort of technology, you don’t want
specialists. A Star Trek Engineer with Engineering! might carry a
universal tool, so he can always fix any problem he comes across, as
opposed to grumbling that he left his electrician kit back in his
quarters.
Some of these
technologies will make certain elements of gameplay effectively
impossible. For example, if you have industrial nanocleanser, it may
make forensics virtually impossible, or at least completely different
from how it works in the present. If you want the chance of
characters “being caught,” then you shouldn’t
include a technology like this. The whole point of it is to allow
“convenient cover-ups.” However, in a black-ops game
where you want to explain why local law enforcement never finds alien
bodies of evidence of weird activity, then you can wave your hands
and say “Industrial nanocleanser!”
Standard Issue Sci-fi Tech
Sometimes considered a subgenre of its own, space opera is SF with the dials all cranked to 11. The scale is titanic; seldom are characters concerned with the fate of anything less than a whole planet. The range is usually vast. Psychological realism takes a back seat to battles of Ultimate Good against blackest Evil. Scientific realism is back there, too, cowering helplessly as physical laws are broken with contemptuous ease – GURPS Space page 9, Space Opera
Most RPG players have consumed a lifetime diet of
basic, mass-market sci-fi and are by now extremely familiar with
certain sci-fi tropes. The core concept behind familiar tech is to
keep technology on a level that the player will readily know, but the
same can easily be said of more unusual technologies that don’t
exist in the modern world, but do exist routinely in our fiction.
The most common example of this is FTL travel: we do not have it,
most people do not begin to understand the physical implications of
such travel, but if we limit our FTL to space opera versions of it,
everyone will intuitively grasp it, often grasping the finer points
of it (“Of course you can’t detect a ship in hyperspace,
it’s in a higher dimension!”). This gives us the
opportunity to include “unusual” technology without
actually placing additional mental costs on our players because these
technologies are not actually
unusual.
However, we must be
cautious when we approach such technologies. Most such mass-market
sci-fi media borrow their tropes from better sci-fi stories and fail
to grasp their deeper implications or simply include something out of
convenience without diving too deeply into what that technology might
really mean for the setting. Star Wars uses robots because they were
virtually ubiquitous in sci-fi at the time, but neglects any of the
major questions that those stories often posed; Star Trek included
teleporters because filming shuttles going up and down was too
expensive, and in so doing, introduced one of the most
philosophically provocative sci-fi technologies of all time, as well
as a potentially setting breaking technology, entirely by accident.
Stories can get way
with this sort of thing by simply ignoring the deeper implications
and perhaps distracting their audience from it. Few people who watch
Star Wars wonder why droids don’t rise up in rebellion, because
it’s not what our focus is on. However, RPGs lack this
potential protection as the “audience” interacts directly
with the world, so while the writers of Star Trek might simply ignore
a possible short-circuit of their story using teleportation
technology, a player almost certainly will not, especially if it
seems a particularly clever solution. It is here, thus, that most of
our problems arise: we wish to include something because it is “in
genre” but in so doing, we sow the seeds of our campaign’s
ruin.
We can get around
this a few ways. The first is through similar techniques that
mass-market media use, namely drawing attention towards more
interesting technologies or story elements. This works especially
well if you can get players on board with your chosen genre (and you
outline that genre well). Star Wars, for example, can succeed quite
well despite ignoring virtually everything that makes robots
interesting because robots aren’t
interesting to Star Wars, they’re just background elements that
remind you that you’re in a sci-fi setting. The second is to
strip potentially setting-corrosive implications from your
technology. If you change teleportation to be some sort of
“macro-scale quantum jump” using “reality softening
beacons,” you might side-step the issues of identity and you
might require that a “beacon” be present for
teleportation, which prevents randomly kidnapping people from enemy
ships.
Some examples of
typical technologies of this sort include:
-
FTL Travel
-
Fusion Generators (UT 20)
-
Antimatter Generators (UT 20)
-
Volitional AI (UT 28)
-
Holoventure (UT 40)
-
FTL Radios (UT 46)
-
Holoprojectors (UT 52)
-
Augmented Reality (UT 56)
-
Ultrascanner (UT 66)
-
Sonic Shower Head (UT 70)
-
Food Tablets (UT 73)
-
Hovercart (UT 75)
-
Invisibility Surface (UT 100)
-
Laser Fences (UT 101)
-
Neuronic Restraints (UT 108)
-
Hibernation Chamber (UT 198)
-
Nanostasis (UT 200)
Many of these are essentially harmless and can
easily be included in a game. Food Tablets verge on convenience
tech, as do Ultrascanners. Sonic Showerheads are essentially
cosmetic. Laser Fences will harm nothing, and may well be too
weak, as a sufficiently armored
character can simply walk through them.
Some of the
others have broader, but easily ignored implications. FTL Travel
should violate causality or require mind-boggling levels of exotic
matter and might still have weird causal effects, but most people, if
they even realize it, happily ignore it. This
is also true of FTL communication or some form or FTL sensor, all of
which mainly exist to shrink space to manageable levels. It might be
worth spending some time explaining why FTL doesn’t violate
physics, but I generally find, at best, you get a couple of
gold stars for effort from
physics students and nobody else notices.
Fusion generators
imply a vastly more
productive economy, but this is usually folded in with superior
industrial processes to explain why TL 10+ people have more money
than TL 8 people.
Some technology implies
other technologies. If you have holoprojectors, you might have other
forms of holotech, like holographic disguises, or the ability to
create holographid distractions. Think carefully about how you
present holograms and things like holographic controls. Low
resolution or “crackling” holograms, as seen in Star
Wars, will not “fool” anyone and are entirely cosmetic;
“realistic” holograms, like those seen in Star Trek, have
many, many uses and players will certainly use them.
Antimatter
Generators imply other antimatter devices, like antimatter explosives
and portable antimatter containers, and also raises the question of
where one gets such antimatter (hint: it’s probably not the
anti-matter mines of Rygel XVI). It also implies highly explosive
ships. You can get around this by suggesting that you have a means
of creating antimatter
but only in vast “generators,” or that anti-matter
(mostly likely created and stored in vast solar arrays which convert
energy into anti-matter via some high efficiency process) requires
very bulky containment and precise manipulation to get the most out
of the energy of it. Even so, be cautious with it, because most
players readily know that anti-matter is extraordinarily destructive
and will want to use it as a means of destruction.
Volitional AI
absolutely raises all sorts of sticky moral and philosophical
questions, but we often use it as a means of creating interesting
optional races. If your intent is to create “robots-as-people,”
use some form of “neural net” that makes the robot
distinct and something you cannot copy or back-up, and limit them to
IQ 10 (with some variation, perhaps, excused by the flexibility of
the neural net). If you want to avoid tackling “Robots as
slaves” or the “Robot revolution” make them a
separate “race” of independent beings. Someone may ask
who created them, in which case, it’s best to suggest that they
were created many centuries ago by a now extinct race. Taken
together, it allows robots to feel no different than any other race
(they have some distinct traits, but so do the space amazons, or the
shapeshifters of Rygel XVI)
While Teleporters are
exceptionally common in sci-fi (from Star Trek to FTL), I would be
very cautious in using them. Taken at face value, they also imply
disintegrators and replicators, which can be spectacularly
unbalancing and require deep thought on how to handle properly. The
first thing I would ask yourself is “Why can’t you use
shuttles and boarding pods,” and your answer will tell you a
great deal about your setting. If you must use them, add some kind
of “reality softening beacon” or “reality
stablizing screens” to prevent people from just teleporting
people off of ships and out into space or what have you.
Some technology
implies a lack of
other technology. This is especially true of hibernation chambers or
nanostasis. Plenty of reasons can exist for using them, but the most
common I see in sci-fi is to survive long, interstellar trips. If
you introduce the technology for this reason, do not also include FTL
unless that FTL is sufficiently slow and the distances sufficiently
long to make hibernation chambers useful. In all cases, you must
realize that hibernation chambers and their like primarily exist to
allow something to survive for very long periods of time, and this
creates disjointed narratives. Characters who go on 50 year journeys
will return to find a very changed world with everyone they knew
dead. Likewise, they make it plausible to find long lost ancestors
or heroes of a bygone age and revive them. While common in sci-fi,
tread cautiously here, though it should be noted that players
will rarely abuse this technology. The problem is more that it
implies things about
your setting that you might not realize.
Some technology,
like Ultrascanners and invisibility surfaces don’t
necessarily cause problems, but they may have implications on
gameplay mechanics. Invisibility surfaces (and chameleon suits)
create stealth systems that you typically need a good eye or ready
access to superior sensor technology to defeat, and ultrascanners can
create a mess of questions about how to evade their detection,
typically through super-science Deception jammers.
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