A little out of sequence, but I’ve not done one of these in ages and this particular game has some relation to the bulk of what I’ve spent 2009 writing about on here.

You see, in everything but name, Teenagers From Outer Space is “Urusei Yatsura: The Role-playing Game”. I first picked it up around the time I was getting into anime, and I think I knew where its influences lay back then. Not that you’d have known it from the 2nd edition I found in a second hand book bin in Hull. That was printed in 1988 and had a cover that was more reminiscent of Galaxy High (coincidentally a show Japanese studio Telecom had worked on). I now see that the very first edition had had a more obviously anime inspired cover, so maybe it’s failure to set the world of fire led to this more traditional approach (interior art edges perhaps closer to Archie Comics house style than US Takahashi-clone).

But the actual contents were clearly inspired by Urusei Yatsura. The rules allowed you to play either humans or varying degrees of alien. Aliens had super powers such as flight, shooting electricity (Lum!), breathing fire (Ten!) and the like. Humans also had more powers like being incredibly endurable (Ataru), filthy rich (Mendou) or super strength (Shinobu).

Where the influence really shown through though was in the 20 mini-adventures, some of which you can see direct parallels with specific UY episodes, and in the some of the “goodies” (equipment) which included duplicating guns, mind swapping earmuffs and boy/girl guns.

In 1997, R Talsorian Games didn’t hide their anime influences under a bushel, and had released the Bubblegum Crisis, DBZ and Votoms games at this point. So they put Mekton Zeta and a re-release of TFOS under their ANimechaniX banner (inexplicable capitlisation RTG’s own).

This time the game had a firmly anime/manga aesthetic, drafting in US furry artists (that US furry/anime fandom connection raising it’s head again!) & Stratelibri (Italian gaming company) bods for the art (as well as a few left over bits of Scott Ruggles art from the 2nd edition). And it expressly mentioned anime in the actual text of the rulebook. Combined with extra material dealing with specifically Japanese bits and pieces, it finally felt like the product it always should have been.

So how does it play? Very well, if you like rules light, fast, silly games. Same basic mechanics as the bulk of RTG’s games (stat+skill+die roll vs. difficulty), but stripped down for speed. And unlike Cybergeneration (which I’ll get to later) I actually got my monies worth out of this game. The play style it lends itself to definitely fits more into my improv-tinged gaming ethos. The third edition may even be in my top ten favourite RPGs. We’ll see, if I ever get round to finishing this series of posts!

Possible bonus US RPG Scene/Anime Scene collision later tonight!

Related posts:

1. Cut It Open And See If It Swallowed Any Gems Part 4: Blood Bowl
2. Cut It Open And See If It Swallowed Any Gems Part Fifteen – Dungeonquest
3. Cut It Open And See If It Swallowed Any Gems Part 7: Stormbringer

And that was what the 1st edition of R. Talsorian Games’ Cyberpunk was. It came in a box with 2 six sided dice and two books. One which had the character generation, background and general rules. And the other was Friday Night Firefight, a standalone set of combat rules that Cyberpunk used. And it was quite the eye opener. Unlike other games I’d played this combat was short and nasty. Even more brutish than WFRP, which was always tempered by how hard it was to actually hit things. Here, hitting things was easy if you were close to the target. And getting hit by a bullet really hurt. And getting hit by lots killed you. This wasn’t a cinematic combat system, there was a definite sense that if your character got into a fight at any time, there was a chance you weren’t going to walk out.

And it felt very punk too (at least compared to later editions), the paper it was printed on was rough, the layout’s clear, but very ghetto in their design. The edge of the pages of my copy hadn’t been properly guillotined. It felt like a zine, especially compared to the slickness of a GW product or the strangely quaint TSR house style. It kicked off a trend for Cyberpunk-ish games, quickly being overshadowed by the luke-warm watered down Cyberpunk of FASA’s Shadowrun (ELVES? THEY AREN’T PUNK!), until the release of more professional Cyberpunk 2020, which is bone-fide classic tabletop RPG and was a deserved success (though it fell afoul of rule bloat through various supplements about 5-6 years into it’s life, which signified the end of it’s lifespan).

Now, I’ve never been a big fan of William Gibson, but I was a big fan of Repo Man and the sourcebook mentioned that as a cyberpunk film. And an article in Fantasia magazine argued that Cyberpunk was dead and that Repo Man was the only true cyberpunk film. And so my games tended to be influenced more by that film, the first Mad Max film and crime dramas than anything from Neuromancer. Indeed the world of the original Cyberpunk RPG was much closer to our own, than later editions which were closer to Gibson’s ouevre and more noticeably – Bubblegum Crisis (the book “Listen Up You Primitive Screwheads” admitted that the setting of Cyberpunk 2020 was animemetal, rather than cyberpunk. Good book btw, if you were to run Cyberpunk, that’s the one book you should get alongside the 2020 rulebook. My brief look at 3rd Edition gave me the impression of a poorly laid out, poorly illustrated Snow Crash influenced game. OK this long aside has finished, carry on).

R. Talsorian is still around today, but a shadow of it’s former self, in part due to the RPG market and in part due to head honcho Mike Pondsmith’s Xbox related job. I’ll get to some of their other games later on, as there’s some beauties in there.

Addendum: I also recall our teenage gaming group would on more than one occasion plan what we would do in the event of an apocalypse, and the ensuing collapse of civilization. This kind of thinking also made the dystopia of the Cyberpunk world appealing. I’d like to think this was because we’d grown up in the 80s and had seen things like the BBC’s adaptation of the Day of The Triffids at a young age. But I suspect it is just something all kids do at some point. After all Nostradamus, occult nonsense, being a goth, witchcraft and the like tend to popular among teenagers. Is thinking about doom and gloom entertaining at 14?

Related posts:

1. CIOASIISAG Part The Thirteenth – Judge Dredd RPG
2. CIOASIISAG Part 5: Dungeons & Dragons
3. CIOASIISAG Part 9 – Marvel Super Heroes