I think Gilligan's Island helped inspire my Superhero Setting

 

I mentioned once or twice that my Futuristic supers/cyberpunk setting HAVEN was based in large part on the Pacific island techno nation described in Superhero 2044. But there are plenty of inspirations, and why I like it to be a pastiche of genres. Comics (both superhero and otherwise), cyberpunk, future noir, supernatural, etc. 

It may not be pretty, but I can't
stop displaying it..

But it's that weirdness magnet nature of it. A place of magic and intermittent gateways to and from other places. The kind of stuff that for centuries gave it a haunted reputation that kept pacific islanders or adjacent Asian countries from inhabiting it for extended periods. Which meant that the United States could colonize it with no shame.

Though many Karens and Darrens may disagree

There were two weirdness attracting locations in my childhood TV time that caught my attention. One was a show called Green Acres (existing in the same continuity with other hick shows produced by Paul Hennig such as Beverly Hillbillies and Petticoat Junction). 

Hennig with our favorite
 (and most feared) TV Granny 

Starring old timey character actors Eddie Albert and Eva Gabor. Two New York socialites move to a rural dump of a farm, and tons of surreal and fourth wall breaking things start to happen. The husband is baffled, and the wife is clueless (it kind of felt like everybody was in on a conspiracy to drive Mr. Douglas insane). I don't think there were ever aliens or anything, but clearly there were odd things going on in Hooterville. As I got older, I was convinced a cult was at play in the county. 

As an aside, when I eventually watched reruns post puberty,
I was convinced everybody was sleeping with Mrs. Douglas.
I had weird fantasies I guess😇

The other weird show was Gilligan's Island. And a strong case for weirdness magnet. That pacific island often seemed small in the distance shots. 

But in general, depending on the particular episode sometimes, it would have to be much bigger. The Gilligan fandom wiki describes it at between 200 to 400 square miles. That is between the sizes of San Francisco and Rhode Island. Fairly sizable. But like anything in that show it was changeable. Sometimes it just had a volcano. Sometimes it also had a mountain range. And though the castaways sometimes found washed up crates of supplies, it clearly had enough food sources to keep everybody healthy, and the Skipper plump. Freshwater sources, and even natural gas. But it seemed changeable. And maybe part of its magic was it actually changes sometimes. 

And totally a taboo place. It is large enough to surely have been able to support at least a small population. But was never settled, even though it has multiple nearby islands, presumedly smaller, that supported natives. Not just that, but secluded, often hostile tribes. By the 1960's there should not have been much of that in the pacific. So if Gilligan's Island is at least partially part of some extra dimensional space (like The Isle of Dread is in some later editions of DnD), some other nearby islands may be as well. Some of those natives also practice what seems like a form or Caribbean Voodoo. 

The island also has, at times, chimps, and even a gorilla. Not species native to the Pacific. One could say they were part of a ships cargo that got wrecked in the past. But maybe also interdimensional gateways. Also in one episode a spider the size of a dinner table, though of course that could be from radiation, but hey, still weird. 

It's kind of jacked up and crippled looking, so 
the radiation thing makes sense. 

In the past, I have had monsters on the island of my setting Haven and will likely in this campaign. For example, keeping with the Pacific supernatural themes, am planning to have the group have to face an evil, anti-colonial shaman controlling a giant animated totem. 

Kind of racist, maybe potentially?

So lots of other weirdness. A jungle boy shows up. An advanced robot. A surfer who somehow surfs in on a tsunami from Hawaii...which the wiki says is over 200 miles away. Yeah. There is something to this island. 

When a young Kurt Russell decided the acting
life was for him. Hubba hubba. 

When the stuntman in the suit decided
the acting life was for him. 

OK, yeah, so these poor chumps were stranded on a magical, maybe cursed island. It was sort of the Twin Peaks of the Pacific. As a kid I thought it was all pretty funny. As an adult, it makes me think. But I am a gamer so it damn will should. It's all about imagination. And the show and its elements sure tapped into it. 

I will admit, when I was a kid and was altering the Pacific island nation setting from Superhero 2044 into my own vision, Gilligan's Island was probably not always on my mind. But over those early campaigns and the ones well into adulthood (crossing three decades) it no doubt got mentioned. But I am sure my young mind was informed by its elements. Without the show, for me the Pacific would have been being a Southern Californian surfer growing up and being exposed to Pacific Island people and culture, and otherwise what I saw in old war movies. Not all that weird. 

But the touches of weirdness are not all Pacific Ocean in flavor. The worldwide crisis of WW3 around 40 years ago caused the biggest migration crisis in known history, and Haven has very diverse populations. Caribbean, Russian, Latin American, and others reside in Haven. And in certain enclaves in New America City. The southernmost part of the city, "The Bottoms," comes up against swamp land, and the beliefs of groups like Caribbeans and Creole bring some of the mystique in their history to the proceedings. Old Town and The Bottoms is steeped in a certain amount of mystery. Old buildings. Think the Bradbury Building in Bladerunner. 

One of the characters for sure keeps things Weird. He is Ra Ta, a little alien who flies around in a small UFO. His player is an 18-year-old with school and work, so he pops in for an hour or two here and there. So I just assume he comes in and out of a liminal space. He and the player are pretty funny, so I don't mind. 

But yeah, bottom line, I like my weirdness whatever the genre. And I get my inspiration wherever I find it. Just as it should be. YMMV.

Cheers

Three Decades of Comic Book Gaming

My history of running/playing Superhero games began pretty much at their inception. In the late 70’s I was a kid hanging around Aero Hobbies in Santa Monica, California on the weekends, and I had access to every cool new game that came out.

Superhero 2044, the first Superhero RPG, just fascinated me. My 14 year-old brain had some difficulty wrapping itself around some of the rules, and that may have been because they are rather sparse. Most of the crunch seemed to have gone into the rather unique (at the time) patrolling rules, which in a weird way seemed to be a replacement for role-play. When running campaigns for friends (who had previously only played D&D), I quickly ditched the patrolling rules (although they still seemed to be pretty good for solo or one-on-one play), and focused on making sense of the rest of the rules. Talk about rules-light, you barely knew what to do as far as coming up with powers. I cut my “winging it” teeth on this game.

In my Superhero 2044 days, I came up with my own game world for it, called “New Haven,” a last vestige American state that was the only U.S. area to survive nuclear Armageddon. It was my own version of 2044’s Shanter Island. I considered it sort of an all-encompassing Sci Fi setting, and often encouraged players to not just think of running a typical comic book hero, but feel free to come with any kind of Sci Fi character that can be hammered into a world where superheroes exist. My players came up with some incredible PC’s for this milieu over the years, and characters that might seem more in place in a D&D, Rifts, or Cyberpunk game were common. I think New Haven was the most open setting I ever ran, and I used it as my superhero game world over three decades and spanning 3 game rulesbooks (all that I mention here minus Supergame).

As the 70’s were coming to a close, I had the opportunity to play a couple of games at Aero that some folk were playtesting for future publication. I have bittersweet memories of these sessions. It was a young couple, Jay and Aimee, who had created the game. While Jay was gregarious and supportive of younger people in the play process, Aimee was kind of a wicked witch, arguing with him the whole way about this or that rule, and denying players this or that action. A couple of years later I had my own disastrous attempt to run this game at Aero for some of the older assholes, a group of condescending, smelly weirdoes who should not have been hanging around a store populated with kids. Although that experience (and Jay’s lack of support of my attempt, despite his presence), helped sour me on Supergame. I think I was so crushed by that experience that I threw the book in the trash that night. I have to admit that I wasn’t much of a fan of the crunch anyway, based unnecessarily on square roots. In all honesty, it was cool at that young age to know people who created a game. It did have the distinction of being the first game to offer a power-buy system.

I was contacted by Jay earlier this year. Obviously, after 30 years of his game being out of print, he was still watching for Supergame references online (how else would he have found my little blog? You can count Supergame references on the internet on one hand). I had written negatively about the game, and he was a bit upset at my calling his game a Superhero 2044 rip-off. That was probably a bit harsh, but he and Aimee’s efforts may have been better placed as a supplement to 2044’s sparse power rules, rather than force people to whip out a calculator for every little action. Aimee’s very amateurish “art” style did not help. I remember one of her friends seeing my scribble of my character and saying “You have nothing to worry about Aimee”. What a thing to say to a 15 year old kid. That gives you a good idea of the caliber of older people who populated that scene. Very discouraging to younger folk. Well, no artist other than me had to worry about Aimee’s laughable superhero work.

Not long after my Supergame experience, I tried my hand at a series of Villains and Vigilantes games for my friends (away from the negative older pricks of Aero), and we had big fun with these. V&V had random character power generation, which when combined with the suggestion that players play themselves with superpower was the source of gigantic hilarity.

But by the mid-80’s I had found Champions, and I never looked back. All the way up to the late 90’s, it was my game of choice, and I ran many awesome campaigns. Despite the big rules crunch (which I usually hate – at least no square rooting was involved), I managed to get many of my D&D regulars into the game, most of whom didn’t even read comic books! I think the sheer customizability of the game appealed to them in the same way it did to my math-challenged brain.

Around 1999 I ended my final campaign with a huge battle against an alien invasion, followed by a presidential election that involved characters in a variety of ways. The election ended with a black, female president getting elected.

I took several years off from gaming until late last year, but now that I am in the swing again, I sort of hanker to put some more effort into Champions and a new campaign in New Haven. As I ran it more or less in real time, it would be interesting to revisit that world after almost 10 years. I just need to convince my non-comic book reading D&D players that comic book settings are a gaming no-brainer.