GUIDE TO BROOSER'S REVIEW RATING SYSTEM

Okay, I am about to review a book for GM's. I like reading books on adventure design for fantasy games, so I will start reviewing books for DM's on my blog.

My rating system was primarily designed for music, to which I been listening since childhood, but it can also apply to books, movies, and other stuff. The difference between the amount of stars is no merely quantitative, it is also qualitative, and here it is:

THIS SUCKS!!!!!!! (no stars)

This is really bad. I hate it! I will tell you exactly why in the body of the review.

A DM Book example of This Sucks!!! is the Cosmos Builder, Volume 7 of the Gygaxian Fantasy Worlds series. The reason that I dislike this book so much is that it covers no new ground beyond the Manual Of The Planes. With the name like Cosmos Builder I expect a modicum of modern theoretical physics and Cosmology, so that you can come up with something original, however, the author of this book is innocent of any Cosmology, and the purpose of his volume is to help you locate your setting within the AD&D Cosmology as described in the Manual Of The Planes.

NO STARS

Don't buy it!

Don't waste your money.

This record flat-lines.

Good music typically shows off talent, originality, technique, and this record is devoid of all three. It's nothing new. Others have done it better. In film this is not a remake, but derivative of a previous film.

In DM books, it offers nothing that I can use in my game. For an Example, consider any of the so-called Retro-Clones. Why bother with Labyrinth Lord, when I have the original D&D Books, Moldway red and blue boxes, etc.?

ONE STAR

Don't waste your money.

Buy the hit single instead.

Too often musicians and their producers pursue the riches via a hit single that gets all the production resources and scores high on the charts, the rest of the album comes as an afterthought, songs on it useless filler material.

In DM books, this text has but a single useful idea. It can be as simple as an original encounter table. An example of the ONE STAR DM writing is the original rulebook for the Top Secret TSR game. The only useful thing is a table which lists locations, where to set up encounters. This table lists various locales, which with some modificatiosn can be used in D&D.

TWO STARS

Body of Work, too bad it's lifeless.

Spark needed to breathe life into it.

There might be one or two good songs on record, but the work is consistent and the presence of an artist is felt. If the music itself was better, it would rate more stars. If you are a collector or a follower of this particular artist, this record might be worth more stars to you. 

In DM Books, the ideas are scarce, the writing is sparse, lists and tables substitute for prose, leaving you to figure out what to do with it, sort of like the OD&D original three books.

THREE STARS

A couple of great driving songs.

This is a good album worth having. There are more good songs on it than the one or two singles you can get separately. The rest of the album has merit, but not as good as the best songs on it.

This is typically amateurish DM writing. It is serviceable, but not academic, lacks depth or profound originality as far as the game mechanics are concerned. An example of the THREE STAR DM Writing are sections of the Gygax DMG and Moldway's BLue Book on Wilderness Design. The problem with that writing is that it fails conceptually to mirror the elegance of the Dungeon Adventure design with the Wilderness Adventure. Wilderness Survival Guide would fall here, because it does not introduce any new ideas for wilderness design. Unearthed Arcana can also fall under the THREE STAR rating.

FOUR STARS

Your friends will think it's cool!

You can listen to the whole album consistently, and it won't disappoint. Furthermore, if you play it for your friends, there will be no embarrassing songs on it.

In DM Books, this would be Five Stars, except for one thing, that keeps it from perfection. Dungeoneer's Survival Guide and the D&D 2.5 Players Option Combat and Tactics are examples of the FOUR STAR Books. Both books are well written and introduce a wealth of new ideas, however neither transcend the framework of the original AD&D concepts to create something new.

FIVE STARS

Your friends will think you are cool!

Transcendent spiritual stuff!

Profound personal meaning!

This has talent, originality, substance, meaning and depth. Granted, personal meaning is the height of subjectivity, but this work generally has to have great artistic merit to get through to me.

In DM Books, this is Synergy! This is writing that comes together! It combines good writing with new ideas and game mechanics comprehensibly explained using common everyday language.

The best example of 5 Star DM writing is the How To Design a Dungeon Adventure section in the DM's Section of the Moldway D&D Red Box Basic Set. Another example of a FIVE STAR Book is Gary Gygax's Oriental Adventure.

ALTERNATIVE HISTORIC PATHWAY FOR AD&D

RPG Pundit keeps hammering on the storygame movement how it is not the RPG's, because the DM lacks the creative authority, but the Narrativist environment was exactly the place, where D&D was developed. Role Playing was a free form improvisation, that occurred on the spur of the moment in table top miniatures wargaming, when a player wanted to get into the character of one of the miniatures on the table. Two players would play out scenes, in a recorded case one was a Prussian colonel, and the other an anarchist student spying behind the German lines, and they had a duel, which was resolved by the toss of a coin. The concept of a DM evolved later. Many of the wargamers were educated and knowledgeable intellectuals, who brought their knowledge into the spontaneous game design. For instance, what we know today as Encounter Tables, was previously used as Narrative Randomizers in the experimental literature of the American literary scene of the 1950's, where there was a fascination with a random story, which eventually spawned the choose your own adventure genre.

Once Gygax made the game his own, this kind of growth stopped. Had Gygax the wisdom of a higher being, he would have shared spoils of the creative process and brought the other gamers on board, if only for a focus group to keep developing the hobby. Today, the defunct Forge movement and the Storygame movement, over whose alleged demise there is much unhealthy gloating by RPGPundit, were the closest embodiment of the open forum improvisational tradition that brought us D&D.
This game did not evolve conceptually beyond that. Planned obsolescence became a part of the marketing strategy by the WOTC. The simple reason that good always triumphs is that evil can't see past itself, and WOTC stock is worth .025 cents per share today.

How could the D&D been marketed differently? The TSR/WOTC mindset was that you can sell six times as many books, if you market to munchkins as opposed to the DMs. Also, better DMs buy modules than roll their own. This is where the company that sells D&D went bankrupt, both morally and fiscally. You see, almost every player is a closet DM, who wants to build their own world. When you houserule or modify the rules of the game, you are world-building. How can you market creativity, you ask? Remember those guys, Da Vinci, the Cistine Chapel and Michelangelo. Those guys were the successful DMs of their days. You see, the painting was only a byproduct of their drive to KNOW the world and to ACCURATELY recreate it on the canvas. That is why Da Vinci was both an engineer and a naturalist, and also studied anatomy and was a combat veteran. He did this so that his paintings looked REAL. You paint a battle scene, you know how the weapons and armor works, how the wounded sound, you are painting from experience.

DM's are a variety of writers, and they too attempt to recreate the world in a fantasy form that has some essential truths in it. This is an outgrowth of a very essential sensory-neurological process in which all conscious beings engage, called the Environmental Recovery Problem - how a living organism creates a mental picture of the world it lives in so that it can function in it. The depth of this process is the reason why those wargamers in the Lake Geneva club and elsewhere put their most advanced knowledge into developing the mechanics of the new game. The world-building that the DM engages in, is really a form of philosophy, and had the TSR/WOTC become a published to the D&D hobby at THIS level, they would have still been in business as a published more successful than a game company that they are currently. Specifically, any DM is a story teller. How do you become a good story teller? How to model this and this process in the real world. Sociology? Psychology? Mathematics?

Hire experts to write material on these topics, in a language accessible to the layman? This is what COULD have happened, had the D&D stayed a game for the grad school intellectuals. The games that took place at the Lake Geneva club were at THAT level. By stripping out the context and the discourse in which these games were taking place, Gygax dumbed down the game significantly to begin with, and from gitgo, he was marketing D&D out of its context, but had he kept it relevant to the original crowd that developed it, the version of the future I envisioned would have been possible. Also, had Gygax engaged with the clubs to develop his company, the TSR would have been in much better shape than it was historically.

CHRISTMAS IN MIDLANDS

It was a cold and foggy day, the Yuletide in Midlands. Old Man Winter saw to it that no one was cheated despite the warm weather. It was a bad day for a country ride, and Greyhead mentioned in passing that he will give semi-private lessons to anyone, who bothered to show up at the fencing school. Everyone appeared at the first lesson, as if on cue. There were regular men at arms, who brought their buddies along to marvel at the legendary man. There were acquaintances from the Baron's Court, who dropped coin for a private lesson or two to refine their technique. A few uncouth princelings thronged with little sibs and followers, from Sele Baar and Sele Klawu mostly, actually Grey's favorite student or two among them.

Grey looked at the scene with some astonishment and barely concealed satisfaction, and ordered that the barn doors be thrown wide open, for people to take shelter from the rain. He also ordered his senior students to erect the tent roof nearby, so that everyone can shelter from the rain. Xadas led everyone in warm up exercise and someone brought a wagon load of firewood and started a bonfire to chase away the chill and the fog. Grey conferred with the senior students, and then started instructing each person individually, student or not, so long as they warmed up and wanted to learn. They could wait their turn inside the barn or under the awning, but Grey stayed out in  the fog and the drizzle, partly obscured by the fog from the onlookers. Maquisapa was off on the edge of the property, giving lessons in hunting and stealth technique.

To stay on the feet wearing weighed down training armor and swinging the heavy leaden training blade in the rain was more taxing, than Grey thought, but he managed to stay with it to his own great satisfaction. The day went quicker than he thought until the last student visitor gave him the best wishes and rode off into the evening. Satisfied, Grey walked slowly to his cottage, where the girls have spent the day preparing the holiday feast. His friends were waiting for him with a warm cup of mulled wine and he sat down and sipped it slowly,. before going upstairs to take off his armor and for a dry change of clothes. Xadas supervised the senior students as they took down the awning, and cleaned up after the day, and then joined the others in Grey's cottage.

Merry Christmas, everyone!

ON TYPES OF CHRONOTOPE FOUND IN ADVANCED DUNGEONS AND DRAGONS

An English Prof once told me - everyone falls in love with a particular critic, when they study literature, and I fell in love with M.M. Bakhtin. Bakhtin is an obscure academic, a contemporary of JRR Tolkien, but from the heart of Mordor. He was one of those eccentrics, who produced weird ideas in total obscurity; his field of knowledge was language and literature, philology, and his strange ideas turned out to have real power in our mundane world. Unlike Tolkien, who studied dead languages, Bakhtin studied the living language, or Speech. Specifically, he believed that there is a constant struggle between the narrative of those in power, and those who struggle against them. The High Speech versus Vulgar Speech, that is marginalized by those in power. His study of literature centered primarily on Satire, which in Europe tends to have bitter political roots. Had he lived in the land of Elves, he may have been totally ignored, but in the Stalinist Russia, powers that be deemed that his work is gibberish, but that he is ideologically not trustworthy, so they gave him a small prison sentence, and the exiled him to the middle of nowhere, where he taught literature for the next thirty or so years, his work not really banned, rather unrecognized in his own country.

It so happened, that his students became influential in their own careers. Some were granted access to the West. Some took Bakhtin's unpublished work, translated it into French, and it was published in France to a wide acclaim. Bakhtin got further recognition in the US in the 1960's, because the Black Panther movement discovered his writing in France, translated them into English, and used it to either train their people or shape their political message. Twenty or so years later I discovered him in English. He founded theory of modern literature. Back then in the 1950's he defined modern literature and fleshed out how it would differ from the classics. On my level, I was learning writing, and I was looking for ways to a more accurate, more realistic storytelling, and Bakhtin was IT.

He laid out a lot of concepts. One of the hardest one is the notion of Chronotope. When you are telling a story, in any narrative, there is a relationship between space and time. The Place and how time flows through it determines the flow of the storytelling itself. Bakhtin postulated that different genres of literature have different Chronotopes. Relying primarily on Ancient Greek literature, Bakhtin, postulated different ways that space and time flow are represented in the narrative. When I first learned of it, it was very hard to wrap my head around it, or find a practical application for it. I wrote a term paper on it, got an A, but looking at it now, I missed the mark. Coming back to it now, I realize that Chronotopes are more obvious in role playing, where they can help the GM better run their games.

If you play D&D, you already know Chronotopes - Dungeon Crawl, Sitting in the Tavern before the adventure, Hex Crawl. For the purposes of the game, AD&D and other role playing games impose a scale on both the space in time. Space is represented in terms of the map scale and time is subdivided into varieties of Turns, Melee Rounds, and Combat segments. At each scale is a unique form of play. A good GM is able to freely switch the focus of the game session and change the mode of the gameplay as players move through an adventure. Problems occur, when a DM is stuck in a particular mode, because they are not familiar enough to be comfortable running other modes of play. Thus, we might have a Mega Dungeon crawl, because the DM does not know how to design a wilderness adventure, or we may have an encounter a day hex-crawl, because the DM does not know how to design a true sandbox campaign setting. I seen a group of D&D players with their DM totally miss the experience of playing Traveler, because they ran it in the D&D style site-based adventure mode, that got nowhere. The DM played the Chronotope that he was most familiar with.

Having said that, let's look at some of the Chronotopes presented in the Gygax's DMG: There is Combat Chronotope, broken into 1 minute Rounds, with a detailed step-by step procedure. Six second Combat Segments are used to determine initiative and who goes when. Then there is a Dungeon Exploration Chronotope, broken down into 10 Minute Turns, where players explore the Dungeons, and look for traps, secret doors, and treasure. Then there is a Wilderness Travel Chromotope, broken into Days, with chances of getting lost and checks for combat encounters between the once and several times per day, based on terreain. Finally, there are sub chronotopes for psychic combat, combat in the air and on the sea. Wilderness Survival Guide adds survival of the outdoors to the aforementioned Wilderness Travel chronotope. Of course, Gygax was writing before the advent of the Node-based and Event-based adventure design, and the D&D game was taken by its desgners in tbe direction of the linear railroad adventure story arcs, with WOTC reducing the game to a version of a pencil and paper Diablo with dice, simplifying down to the Room/Encounter Chronotope, omitting the task of getting there.

On my part, I have evolved several other Midlands Chronotopes of my own: Wilderness Crawl - Time reduced to hours, players navigating a topographic map in tactical mode pursuing an enemy. Boat Journey - players spending about a week of game time sailing down a river, no combat, extensive role play interaction between PC's and NPC's.

The practical implication of the Chronotope for the GM is in preparing for play. Think about what your players will be doing during the game session - Are they traveling? Are they adventuring? Are they between adventures taking care of business? What is the ground that your players will cover - are they traveling within the County? Are they moving between the locations in the town? Will they soend their whole time at a King's reception or at a tournament? Also consider the type of the Encounters that will move your adventure forward. Leave a chance for combat/confrontation, even if none should occur. Figure out how long the events covered by the game session will take, and also figure in the travel times between the common locations, if the players will be shuttling between them talking care of business. Knowing all this will give you and idea of what kind of turns to use dring the game sessions, for by breaking down the time into discrete turns, you are pacing your narrative and regulating the flow of time for a vivid and an interesting game, for instead of saying "you rode for one day, roll for an encounter", players actually RODE for one day and experienced your world.

SOCIOLOGY OF D&D PLAY

There is a scientific article published in a peer review Sociology magazine, which idealistically stated that role-playing games are exercises in communal story creating. That’s nice, but it is of no use to anyone trying to become a better DM or to start a new D&D group from scratch.

Based on my experience, D&D is a group activity that people can engage in, if they have time on their hands. That’s obvious, but what I am saying here, is that you have a group of friends first, and then they can choose to play D&D, or some other fantasy role-playing game, or they might as well choose to play ping-pong, Scrabble, or Poker. Almost every D&D group with excellent game play involved pre-existing groups of friends with deep social ties outside the gaming hobby.

There is a common notion, that if you are a gamer, you can join a D&D group and play. That is true, for years, most hobby shops provided bulletin boards for players and games to seek each other out. There were good games and mostly there were mediocre ones. Even back then, there were DMs trying to make money off gaming, and they didn’t run good games. One of the effects of hobby shop advertising were public games, where a meeting room at a library or school was secured, and a dozen or so people showed up to play. Those games were agonizingly slow. In one I had to wait twenty minutes to say what my character was doing on the particular turn – moving forward down a dark tunnel in a conga line of the other player characters, my sword ready to strike and looking intently side to side. Sometimes smaller groups broke off from a larger one to play at someone’s house. When I started playing again 15 or so years later, again, I ran into a public game, it was just as slow, except this time it occurred to me that this was an investigative committee work in  reverse. During a committee, the incident is combed over minute by minute, until it is understood what happened. In a D&D game with a large  number of players, minutes are spent to work out what happens in the imaginary world in a few seconds of tactical time.

Another thing affecting the quality of the D&D game is that each player brings in his or her motivation to the table. One would assume, that players are there to play D&D and get into the story portrayed by the DM. That is not the case. That is not the case to an extent, that when players actually get into the DM’s story, start paying attention and work together, it is called players’ Agency. Too often there are games with little or no active players participation or initiative. There is also DMs incompetence, which limits player initiative.

If you are trying to start your own D&D game from scratch, it is precisely the reason mentioned above, that you need to be mindful of the team building and group dynamics. You would be naïve to assume a DM’s contract with the players – DM’s runs the story and players will participate in it. All kinds of political behaviors and pressures will come to bear to derail your story and rip your group apart. For that reason, once you recruited a bunch of strangers to play D&D, you must transform them into an informal group of friends, if you want to keep them showing up regularly and playing for months and years to come. With notable exceptions, D&D tends to be a sheltered suburban male phenomenon with the traditional conservatism of the middle class suburbanites. Shock them out of their comfy little world, and they will be loath to play in your game. Social differences will rip your group apart, if you entertain them. I had a situation where my yuppie players tried to network and leave my working class blue collar players outside. Be wary of the consumerist attitude of the players, who claim to be coming to play in your game, but not to visit you or hang out with you personally. Watch out for that person, who will insist on bringing his or her own food with them to the game. If they aren’t willing to bring food for everyone to share, and if they aren’t willing to break bread with you, then they won’t make friends with you. Their behavior is egotistical, and you need to be aware of it. If you are a grown up, you have spent a lot of time and effort to put your game together, you want to run your adventure and what you don’t need is one or more egoists in your midst, the ones, for whom the game will be an exercise in dominance for themselves and unnecessary stress for you. Watch out for signs of passive aggression. If they can’t hang out with you and others, and if they have other social agenda besides participating in your game, get rid of them.

HOW I DISCOVERED D&D

I was lucky enough to play in a spontaneous LRPG when I was a kid in second grade. It was pretend on steroids. We would either climb under the table and pretend that it was the bridge of a starship, or, we would run around with toy pistols and pretend to be spies and officers in WW1.

Here is the thing - it was an RPG without a GM, or rather the group consensus was the GM. The game started out with each player introducing their character. Say, I am a German counter intelligence officer. See the nice Luger (pistol, toy) I got? I execute spies with it - like this. A mock execution of the imaginary enemy. OK, cool. Everyone would do a round of introductions. Then you build on it by adding more stories about the character. Basically we would walk around pretending to be characters talking about themselves as they walk. Sometimes there would be spontaneous interchanges in character. Two cardinal rules were (and this is where this went into the LRPG territory) was that 1) you did not copy another's story or try to one up another tale and (2) you can not contradict what you claimed about your character previously. The game usually involved someone throwing out a crisis, and the rest trying to solve it. The starship is flying into Yellow Fog! If a ship goes into Yellow Fog, everyone on the ship dies!

I first encountered D&D when we moved to New York City and I was going to the seventh grade. I went to the IS 145 Joseph Pulitzer Intermediary School, and it had a temporary classroom building abutting the playground. The year was 1979, and the wall facing the playground was decorated with a mural depicting dragons. There was a Green Dragon, a Red Dragon, a Blue Dragon, and a Black Dragon running the corrugated metal wall for the entire length of the temporary classroom building. There were mountains, lakes, and pine forests in the background, and a gray silhouette of a castle in the background. The image was evocative. It captured awe, mystery, and the unknown in my soul. On one corner it simply said: Dungeons and Dragons.

I stumbled upon a hobby shop a little while later. There was an article in the paper about D&D being possibly involved in a man’s suicide. I went in the shop and asked about the game. There was a grizzly bearded man and a skinny kid with a pockmarked face working in the store. The kid showed me Moldway’s red and blue boxed sets, the basic and the expert sets of the game. Sometime later I saved my allowances, bought the red box set, and brought it home. It took me an hour and a half to roll up my first character. I rolled 3d6 in order and it was a Magic User. I didn’t understand most of the book. It took me two years and advice from a kid in High School to figure out how to use the percentile dice and how to figure out weapon damage. He also showed me the hard cover books of the Advanced Dungeons and Dragons fist edition, and I was hooked for life.

MAPPING THE ADVENTURE TERRAIN

Before the US Army came up with the concept of the Social Terrain, David Cook and Harold Johnson at TSR designed a board game in 1981, called Escape From New York. It was based on an awesome John Carpenter film of the same name. The game was fast paced, exceptionally well designed, and featured a revolutionary board design. The genius of the game was that all game play and game mechanic folded into telling a story. The weakness of the game was that the story mirrored the movie, and did not go beyond it. In other words, no event was possible other than what happened in the film. Survival was difficult, movie outcome hard to achieve. Too bad, same design was not applied to any other game, this was a one-shot deal, and a classic, the way the first edition of the Dungeon! was.

But the revolutionary part of interest to us was the way the game board was mapped. The board was Manhattan, New York, but it was represented in an original way, using the four-color scheme reminiscent of the Four Color Theorem in Mathematics, but having nothing to do with it. The color of the space on which the playing piece landed on the game board, denoted the type of the environment that went beyond mere geography or topography. There were Red, Green, White, and Orange spaces. Red spaces were urban jungle, Green and White were urban Open Spaces (Green being parks and White, open lots), and Orange were the Cultural Centers, the only places where the players can uncover vital clues. What you encountered, also depended on what color space you landed, the Red being the home of the most dangerous encounters. Similar kind of color coding was used in the early Sim City PC game, where the Industrial Zones were Yellow, Commercial Zones were Blue, and Residential Zones were Green.

This was an amazing concept to me, when I figured it out, and when I built my post-apocalyptic fantasy world setting for the Aftermath! rules, there was a vacuum, and I picked up on the concept. A brief digression here. TSR under Gygax came up with a number of pencil and paper role-playing games to cover all movie and literary genres with role playing rule sets. They published Boot Hill for the Wild West, Top Secret for espionage, Star Frontiers for space, to compete with Traveler, and Gamma World, for the post nuclear apocalypse. The biggest problem with the TSR brand was that game play was patterned on the D&D model. This may have worked for medieval fantasy setting, but it strained credibility, when applied to modern world. In Top Secret, you had your Thief, your Hit Man, and your Investigator, complete with advancement levels. The game was released at the height of the Cold War, but the authors were woefully ignorant of the real world politics and history to come up with something remotely useful for modeling the cold war. Boot Hill was an awesome game, but it suffered from lack of support and did not have a sourcebook to make the game playable beyond combat. Combat rules were accurate in terms of mortality and chances of survival, if you got hit, but the game was too lethal and characters did not survive long, when it was played as a war game. Traveler was too abstract, but Star Frontiers was just too corny for me, and I never picked it up. By far, Gamma World was TSR's most unique and original offering beside D&D.

I liked Gamma World a lot, but then discovered the Aftermath! and Twilight 2000, when they first came out. These games offered a vision, drastically different from TSR. The Aftermath! let create a post apocalyptic world, like something out of the Dawn of the Dead or Warday! novel of the DefCon4 movie, which I am guessing is the iconic Aftermath! movie the way Sword and the Sorcerer is a truly iconic D&D film, since it features a Lich and a workable concept of an underground labyrinth. Anyway, Aftermath! came out in 1981, and its play foreshadowed the moods of the Walking Dead 30 years before it was released.

And so, I was into Aftermath! Two things that the game forced me to look at were geography and urban design, because I was fascinated by ruins and urban decay, and I needed to be able to read the urban landscape, before I can create a post-apocalyptic sandbox for the players. Escape From New York! fascinated me for the same reasons, and I stumbled on color coding the adventure terrain. My post apocalyptic world had everything and the kitchen sink thrown into it. There was a nuclear war, there was a major pandemic (turned out not far fetched at all, as they were planning to use germ warfare in conjunction with nuking), there was a religious movement, that sparked a post-nuke religious war. On top of it, there was a contact with aliens, alien technological artifacts, and a zombie like apocalypse in the big cities. It was a hell of a place, where humanity was holding on to dear life by the skin of its teeth. My sandbox had seven colors: GREEN was traditional wilderness. WHITE was deserted suburban areas; Roads, motels, convenience stores, suburban developments. RED was urban decay. Ruins of big cities, with tall buildings and multi-story residential houses. ORANGE was cultural centers, communities where survivors lived, traded, etc. YELLOW were uninhabitable areas contaminated with radiation, germs, and chemical weapons. Stuff that could kill you and which required protective clothing. BLUE was water. Some survivors used it as a barrier and lived on large ships and small islands. BLACK were areas of alien contamination. Not so much gamma world style mutants, though there were fields of mutant grass, but the hazards of truly alien technology and pollution, that can both kill, and can be extremely valuable to the military and other scientists. Alien technology mostly smooth, indestructible, and inert, but if activated, extremely dangerous due to things like emitted radiation and gravitational field distortion.