Star Trek: Fleet Captains is an exploration and combat board game by WizKids.
Good Star Trek games are few and far between. That goes for both video games and board games. Part of the reason for this is that it's often difficult to capture the spirit of Star Trek when trying to adapt it into en existing game genre. This is why Trek-themed games end up turning into dull shooters or tactical combat games. Games about exploration or scientific discovery, or role-play are sadly uncommon in video game formats (which is what makes 1999's PC game Birth of the Federation stand out to me as an underrated Trek classic). Sure it was just a reskin of Master of Orion II, and it had lots of technical and A.I. flaws, but in a market dominated by cookie-cutter games like Star Trek: Armada, Elite Force, and Invasion, Birth of the Federation was a rare game in which "exploring strange new worlds" and "seeking out new life and new civilizations" was a primary game mechanic.
Board games and table-top games have maybe fared a bit better than video game adaptations. We have our Dungeons & Dragons-inspired role playing games, our tactical starship simulators, and then countless board game reskins (ranging from Monopoly to Settlers of Catan, and virtually everything in between). Most of these games are pretty old, but there's also a handful of newer Star Trek games that run the gamut. One such game is WizKids' Star Trek: Fleet Captains.
WizKids is probably best known for its Mage Knight and Hero Clix miniatures games based on fantasy, video game, and comic book characters. The bases for these figures include a rotating dial that allows the player to change the attributes of the character to one of several pre-set values. This can include altering their combat attack power, hit points, mana, or any other value that the specific game might require. Fleet Captains uses a similar clix system as the backbone of its starship management mechanics.
My first impressions upon opening the box was a bit disappointing. I'm not a big fan of the ship miniatures. They're fairly well-detailed and made out of a sturdy plastic and seem like they should stand up to a lot of play, but that's the only thing that I like about them. They take up a lot of space, making it difficult to cram more than two or three ships on any single hex. There seems to have been some effort made to scale the size of the Federation ships with one another, but it isn't consistent. Voyager, for example, is almost as large as the Enterprise E, but the Enterprise A and Reliant are noticeably smaller and appear decently-scaled against the Galaxy class Venture. Klingon ships, however, seem to have no effort put into trying to appropriately scale them. Birds of Prey and classic cruisers look huge compared to most Federation ships and to other Klingon ships. The Negh'var, despite being one of the largest ships in the game, just doesn't seem as massive and intimidating as it should be.
Despite the manual showing painted miniatures in its components list [LEFT],
the actual miniatures [RIGHT] are unpainted and not to-scale with one another.
The ships are also all are made of the same mono-chrome plastic and are un-painted (even though the instructions appear to show painted miniatures in the components list). These ships are different enough in design that it's really not hard to tell them apart, and so I see no reason why they couldn't have been painted (as opposed to being the same color for ease of recognition)... [More]
Star Trek: Enterprise is a very divisive topic among Trekkers / Trekkies. Personally, I'm not a big fan. It was a perfectly adequate space adventure TV show, but just never quite worked as hard science fiction for me, let alone as "Star Trek". There were certainly some stand-out good episodes. The haunted space station of "Dead Stop" and the mirror universe antics of "In a Mirror, Darkly" being among my favorites. The annoying thing is that the show made several mistakes at very fundamental levels before it even got off the ground. I could have lived with the show being a prequel, but the efforts to make the show seem both futuristic to the viewing audience, but also less advanced than the (then 40-year-old) original series put the show in an awkward juxtaposition with established series continuity. The hackneyed time travel meta-plot certainly didn't help.
"Juxtaposed" is an excellent way of describing Enterprise as a whole. It's a show that simultaneously seemed ashamed of its "Star Trek" name (remember, it premiered with the title "Enterprise", and "Star Trek" was only stapled back on in later seasons), while also indulging in needless - and sometimes cringe-worthy - fan service (such as the appearance of the Borg, Ferengi, and the entire episode "In A Mirror, Darkly"). It wanted to distance itself from established Trek tropes, but also brought back many of the same technologies, concepts, and character archetypes (simply renaming many of them). It set itself at the cusp of development of advanced science fiction technologies, but completely waffled when it came to telling hard science fiction stories about those technologies. It wanted to be simultaneously a prequel and a sequel via its contrived time travel premise. It was this lack of confidence and true vision that really killed this show.
The science of future technology
The show made the mistake of trying to present a Star Trek setting that was less technologically advanced, but still went ahead and gave the crew access to stand-ins for all the established trek technologies. They tried to make the Enterprise itself feel more like a contemporary submarine with its confined spaces, but it never really felt different. There was "hull polarization" instead of shields, and "phase cannons" instead of phasers. Different names, but same basic concepts that were used in exactly the same manner. The crew didn't start the show using more contemporary-seeming projectile weapons - not even a futuristic projectile weapon like a rail gun - before transitioning to purely energy-based weapons. The Enterprise didn't have to be equipped with any kind of futuristic chaffe in order to misdirect hostile targeting scanners, nor did it use point-defense to destroy incoming missiles.
"Phase pistols" and "polarized hull" were just lazy stand-ins for phasers and shields.
The only pieces of tech that the show really held off on (and were relevant to narrative) were the universal translator and transporters. The translator was rarely an issue since Hoshi was practically a Babel Fish. The transporter was there, but it was not trusted to reliably transport living things - even though it had been verified as safe by the beginning of the first episode and was successfully used in that episode. So for most of the show's run, the crew used shuttle craft for away missions, but the transporter was always there just waiting to act as a deus ex machina to get the crew out of a sticky situation (which, of course, happened on multiple occasions - including the premiere).
The fact that these technologies were already in place made the show feel too similar to other Trek series, even though it desperately wanted to feel distinct. But it also prevented the writers from exploring some of the more interesting issues inherent to the development of these technologies... [More]
There's a bit in X-Men: Apocalypse in which Cyclops, Jean Grey, Nightcrawler, and Jubilee are walking out of a theater after seeing Return of the Jedi. Cyclops and Jubilee are arguing about whether Empire was better than Star Wars, and Jean remarks that "we can all agree that the third one is always the worst". This, of course is a jab at X-Men 3: the Last Stand, which I'm sure we can all agree is still the worst of the X-Men movies. It's also the first one that Bryan Singer didn't direct. But what might - or might not - be lost on Singer and his writers is the little bit of irony that Apocalypse is also the third movie in a series: the prequel series that started with X-Men: First Class.
X-2 and Days of Future Past remain the standout excellent films in this particular franchise. I don't think that Apocalypse ever degrades quite to the train wreck that was The Last Stand - not even close. But it does fall victim to some of the same traps that The Last Stand fell into: namely that it perhaps tried to fit too many stories into one, and doesn't tell any one of them particularly well. Much like The Last Stand, this one even starts to fall on its face when it goes into "Dark Pheonix" territory. Thankfully, they avoided turning that into a major plot thread though...
Perhaps the clumsiest storyline here was the Four Horsemen themselves. As per the comics, Apocalypse must recruit four powerful mutants, amplify their powers, and then use them as his own personal bodyguards. Other than Magneto, these characters' introductions and development all had to be rushed through. It seems a bit ironic that in these movies, it always seems to be the characters that we're most familiar with who get the most set-up and exposition; while the new characters receive little-or-no explanation or development. I never really bought into these horsemen though, or why they would be willing to help this obvious villain. I get that he tricked some of them with promises that he would "save humanity from itself", and he earned some loyalty with others by healing them and making them stronger, and that he used Magneto's grief and anger to his advantage, but the moment his plans started shifting away from "destroying corrupt systems and governments" towards outright "destroy the world", I just couldn't believe that none of the others batted an eye! Was there some kind of mind control going on as well? But he doesn't have mind control powers; that's why he wants Professor X.
Aside from Magneto, The Four Horsemen felt undeveloped and lacking in motivation.
Maybe if the movie could have established that Apocalypse had somehow brainwashed them, then I'd be more willing to accept it... [More]
Earlier this year, it was announced that CBS will be creating a new Star Trek television series to celebrate the franchise's 50-year anniversary. Very little was known about the series except that it would be under the leadership of Bryan Fuller (a former Deep Space Nine staff writer), and that it would premiere on CBS's All-Access streaming service. As one of Fuller's first actions, he made a lot of Trek fans very excited by hiring Wrath of Khan and Undiscovered Country director Nicholas Meyer to be the chief writer of the new series. These happen to be my two favorite Star Trek movies (with Undiscovered Country getting better each time I see it).
A leaked poster for the new Star Trek series.
But the biggest questions were when would the series take place, and what would it be about. Many of the previous pitches for show ideas that I had read sounded terrible. Many sounded like really cheap fan-fiction concepts. Like the idea of a series about James Kirk's descendant becoming captain of a new Enterprise to save the Federation from an extra-galactic alien threat.
I avoided talking about the topic previously because I wanted to reserve judgement until something more concrete about the show was announced. Well now, something has, and it has me very excited. According to rumors, Fuller and Meyers are producing a seasonal anthology series similar to the popular American Horror Story. This means that each season would contain its own self-contained, independent storyline that could explore any time period, characters, locations, or concepts from the entire series' canon. I've been saying for years that Star Trek would be a great fit for an anthology series. The canon is large and expansive enough that focusing it on a singular time, place, and characters feels very restraining and limits the types of stories that can be told.
Of course, when I started pitching that idea to friends and anyone who would listen (don't know why I never blogged about it...), I hadn't conceived of a seasonal anthology. I was thinking more along the lines of a true anthology similar to The Twilight Zone or The Outer Limits. The problem that I was fully willing to point out was the difficulty in establishing compelling characters and relationships within the span of a single hour-long episode. I had, at the time, proposed to resolve this by occasionally re-visiting specific characters and events from specific episodes in order to further flesh out their plots. I had even suggested having a few independent story threads going simultaneously each season, and then maybe tying them together through a uniting theme, plot element, or some other relation. A seasonal anthology is an elegant and easy solution, and American Horror Story has been a fantastic model.
The first season will supposedly take place sometime after the events of The Undiscovered Country.
In addition, the first season is rumored to take place after the events of the The Undiscovered Country (during the gap between the original series movies and The Next Generation). There's a lot of material in that time period that is rife for exploration. The changing dynamics between the Federation and the Klingons could make for some good stories. First contact with the Cardassians occurs sometime during this period. And the end of hostilities with the Klingons meant that Starfleet finally had an opportunity to de-militarize and go back to performing the peaceful exploration that it was founded to do.
But that's not the end of it. The anthology nature of the series means that it won't be constrained to that time period. The following seasons could go anywhere. Subsequent seasons could take place entirely on alien worlds; could show us the formation of the Borg collective; could [finally] explore the Earth-Romulan wars that Enterprise teased but never actually got to; or it could go into the distant future of the series and show us the death of the Federation. Even more, there's nothing to say that an entire season couldn't take place within the mirror universe (like Enterprise's episode "In a Mirror, Darkly", but extended out to a full season); or, a season could even hypothetically take place in the new continuity created by J.J. Abrams.
An anthology could go anywhere and anywhen in the Star Trek canon - even an entire season in the mirror universe!
This new anthology series is one that truly could boldly go where no series has gone before, and it can boldly go anywhere! [More]
I finally got around to buying a modern phone, upgrading my Galaxy SII to a Galaxy S6 Note Edge. With the upgrade in tech, I've finally started trying out some of the free-to-play mobile games that are flooding the market. I had already played SimCity Buildit on my previous phone, but its poor performance and bugs held me back from bothering with any other games on that old SII. But now that I have a new phone, I wanted to try the Star Trek-themed game Trexels.
Star Trek games are few and far between, and good ones are virtually unheard of. Probably my favorite Star Trek game ever was the Windows 98 4x-strategy game Birth of the Federation, which was basically just a Trek reskin of Microprose's Master of Orion II. It wasn't the most technically proficient of games, and the A.I. blatantly cheated, but it was a game that captured the essence of Star Trek by being primarily about exploring the galaxy and colonizing new worlds. Most Trek games are content to just be reskins of shooters or space combat games, which always feels out of place. So Birth of the Federation, despite its obvious flaws, has always stood out to me as a game that really felt like one of the most appropriate uses of the Star Trek license for a video game.
Finally, a Star Trek game that's about exploring space, rather than just shooting things!
And that brings us to Trexels, a free-to-play mobile game that is about exploring space while developing the skills of your ragtag crew and completing the construction of your ship. Sounds like a Star Trek-worthy premise. At least it isn't a first-person shooter. You start the game with a mostly-empty ship and handful of crew members. Your task is to build infrastructure in the ship to allow you to acquire new crew and harvest resources (including "command point", "research", "power", and "dilithium").
To boldly grind...
Resources are harvested by assigning crew to work the relevant rooms, and then you wait some period of real time for the crew to complete the assignment so you can collect the resource. You spend your accumulated resources to build new rooms in the ship, train your crew to increase their ability points, and attempt missions. Completing missions rewards you with experience and ... more resources? So it's kind of circular: you spend resources to attempt mission, and then are rewarded with some of the resources that you spent.
Your crew harvests resources from specific rooms, and other rooms unlock abilities and power-ups.
You also gain general experience, which doesn't really do much other than to unlock new expansion slots for rooms in your ship. Virtually everything you do gives you experience, so you level up fairly quickly. I always have way more available expansion slots than I can possibly use due to the slow rate in which you acquire resources. Once you get past the very first few missions and room-construction, the game really starts to turn into a slow, slogging grind... [More]
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