The King is Dead: vs. Rippers
I like the way Mina was promoted to leader of the Rippers in Resurrected |
Well, I write “versus,” but it’s the same kind of
“versus” we’re bound to see in Batman v. Superman: Dawn of Justice:
two heroes at cross purposes who really have a lot in common and end up
becoming best friends.
(Or something like that.)
I’ve read (and sort-of played) the original Rippers
and I was an eager backer of the Rippers Resurrected Kickstarter. I
love Rippers! I love Victorian horror and sci-fi. I love Rippers’
cinematic precedents: the Universal Monsters, Hammer Films’ horror classics,
even Stephen Sommers’ less-than-perfect Van Helsing. I love Rippers’
Anno Dracula/League of Extraordinary Gentlemen-style crossover
universe. I would happily write the Japan chapter for Frightful Expeditions.
(Lafacadio Hearn would make an awesome lodge
leader.)
The King is Dead certainly exists in a
dialogue with Rippers; I chose “cabal” as the name for player character parties
for a reason, after all. The basic premises are similar (secret societies
battling monsters) yet potently different (Rippers is about protecting
civilization from monsters in the shadows, TKiD is about heroes in the shadows
destroying a monstrous civilization), they’re both period pieces (though the
differences between the bawdy late 18th century and the prim late 19th century
are HUGE), and they both posit heroes capable of being as monstrous as their opponents
(though rippertech and the Dark Secret Hindrance are very different both
mechanically and tonally). Rippers and The King is Dead
occupy a similar psychological niche, but their differences outweigh the
similarities.
(Admittedly, I suggested a map of an English
country house as a reward for Rippers precisely because I wanted one
for The King is Dead.)
I’m still working through my copy of Rippers
Resurrected, but it looks like all of the differences intended between TKiD and
Rippers are still there. TKiD cabals are proactive, setting goals and
maneuvering to execute them in a manner more like heist film thieves than the
reactive defenders of horror and superhero movies. Rippers factions are still
more of a background element than the foregrounded goals and rivalries of the
TKiD secret societies. Rippers is still international, sweeping across nations
and continents, while The King is Dead is narrower in focus, a more intimate,
involved exploration of a nation in revolt. The huge thematic differences
between the two settings reveal themselves in dozens of subtle ways.
In other words, you’re still going to want to buy
The King is Dead.
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