Rulebook the Cylons Were Created by Man

Total Page:16

File Type:pdf, Size:1020Kb

Rulebook the Cylons Were Created by Man RULEBOOK THE CYLONS WERE CREATED BY MAN. THEY EVOLVED. THEY REBELLED. After 4,571 days, the Cylon War ended with a sudden armistice. Peace lasted 40 years. But now the Cylons are back, as erce and combative as ever. They want to exterminate what remains of Mankind. And they have a plan. The Twelve Colonies are wasted and in ruins. But the Colonial Fleet is there, to face Cylon spaceships and protect what it is left of Mankind. 2 In this game, players take control of Rules explain how to handle a simple Colonial and Cylon spaceships and face dog ght, where the goal is eliminating each other in furious dog ghts and your opponents. daring missions. Once you’ve learned the basics of ying This Starter Set includes four and ghting with a spaceship, you can miniatures: two Colonial Vipers and then read the Complete Rules on page two Cylon Raiders, and all you need to 13 and experiment the other scenarios play with them. provided at the end of this booklet. They allow two to four players to You can add further details to the engage in a series of battles — from game by including some or all the heated dog ghts to dangerous Optional Rules on page 20 and using missions, with each player controlling Optional Features on page 24. These one or two spaceships. add special elements to the game, You can begin playing with the Quick from pilots’ abilities to the use of Start Rules on page 6. The Quick Start asteroid elds and planetoids. INDEX CONTENTS ......................................... 4 CHANGING DIRECTION ...................................17 SPECIAL CASES .............................................18 OVERLAPPING SPACESHIPS ...........................18 QUICK START RULES .................... 6 FIRING ..........................................................18 SETUP ............................................................6 MODIFIERS TO COMBAT .................................18 THE GAME TURN.........................................7 SPECIAL DAMAGE .........................................19 PLANNING ....................................................8 MOVEMENT ..................................................8 OPTIONAL RULES ......................... 20 FORWARD MOVEMENT ....................................9 AIMING .........................................................20 BACKWARD MOVEMENT ..................................9 ATTACK DECLARATION ...................................20 OVERBOOST ....................................................9 BLANK MANEUVER CARDS ............................20 SPECIAL CASES .............................................10 ROLLING DOUBLES ........................................20 FIRING ..........................................................10 FUEL .............................................................21 LINE OF SIGHT ...............................................10 TAILING .........................................................22 CHOOSING A TARGET .....................................11 THREE–DIMENSIONAL SPACE .........................22 DETERMINING RANGE....................................11 ELIMINATION OF A SPACESHIP .......................12 WINNING THE GAME ...............................12 OPTIONAL FEATURES ................. 24 ASTEROID FIELDS .....................................24 COMPLETE RULES .........................13 SPARSE ASTEROID FIELDS .............................24 DENSE ASTEROID FIELDS ...............................25 SETUP ..........................................................13 PLANETOIDS ..............................................26 GAME TURN ...............................................13 PILOTS .........................................................26 PLANNING ..................................................13 PILOT CARDS ................................................26 KINETIC ENERGY ...........................................14 PILOT TOKENS ...............................................27 ROTATION .....................................................14 LIMITATIONS OF NUGGETS AND ROOKIES ........27 MOVEMENT ................................................16 PILOT TALENTS AND FLAWS ..........................28 OVERBOOST ..................................................16 ROTATING THE SPACESHIP WHILE FASTER–THAN–LIGHT MOVEMENT .......30 MANEUVERING .............................................17 A LONG JOURNEY .....................................31 3 CONTENTS COLONIAL MK. II VIPER APOLLO’S MK. II VIPER CYLON RAIDER CYLON RAIDER COLONIAL MK. II VIPER COLONIAL MK. II VIPER CYLON RAIDER CYLON RAIDER SPACESHIP CARDS SPACESHIP CARDS SPACESHIP CARDS SPACESHIP CARDS VIPER MK. II VIPER MK. II RAIDER RAIDER MANEUVER DECK MANEUVER DECK MANEUVER DECK MANEUVER DECK ID ID TAGS MODEL BASES (4) STICKERS SIX–SIDED CONTROL PANELS (4) (16) AND LEVEL STANDS (16) (16) DICE (2) SPACESHIP, STAND, CONSOLE, AND SPACESHIP CARDS SPACESHIP AND CONSOLE, STAND, SPACESHIP, DAMAGE COUNTERS (40) COLLISION DAMAGE COUNTERS (16) COUNTERS COMBAT RULERS (2) RULERS 4 COLONIAL PILOT CARD CYLON PILOT CARDS (2) PILOT TOKENS (10) TALENT CARDS (31) FLAW CARDS (3) PILOT CARDS AND TOKENS SPACESHIP BASE LEVEL COUNTERS (4 SETS, TEMPLATES (4) FTL MARKERS (4) NUMBERED 1 TO 4) DRIFT RULERS (4) “DIFFICULT BLANK SHOOTING MANEUVER” USE MARKERS MARKERS MARKERS COUNTERS (4) (4) (4) (22) OTHER CARDBOARD COMPONENTS CARDBOARD OTHER ASTEROID FIELD TEMPLATES (4) THIS RULEBOOK SCENARIO BOOKLET PLANETOID TEMPLATES (4) BOOKLETS 5 QUICK START RULES SETUP Have each player take the maneuver deck Choose a at surface, with a minimum of cards with the name of their spaceship size of about 30”x30” (75x75 cm), to play on it. Discard the blank card (with a large on. A table, rug, or oor section will all star on the front) and the change direction work if the boundaries of the playing eld card (the one with the symbol): they are are clear. Use a larger area when playing used only when playing with Optional Rules with more than four spaceships, or if and Complete Rules, respectively. indicated by the scenario instructions. A Have each player take the base template tablecloth or gaming mat may be useful of his spaceship, its spaceship card, to give better stability to your gaming and a combat ruler, and keep them pieces. close at hand, near their control Read the Quick Start Rules. Then, panel. choose sides — one player is Last, take the damage Colonial, the other is Cylon. Before counters (blue color), playing your rst game, apply one and put them in an ID sticker to each spaceship base. opaque container, Have each player take a spaceship such as a large and set it upon its base (see gure cup or mug 1), inserting one or more level stands (or just place below it. them near the playing area, face SO Then, have each player take a control down in a pile). panel and insert the ID tag matching the ID sticker on its corresponding Finally, choose a base into the panel. g u r e 1 scenario to begin play. For the rst game, we recommend you play The Hand SAY of God scenario (page 5 of the Scenario “The players change, the Booklet). story remains the same.” — Leoben Conoy WE 6 ALL PLAYING WITH MORE THAN ONE SPACESHIP PER PLAYER MANEUVER CARDS If you play with two spaceships per player, the setup is the same for each spaceship you use. Each player must plan movement and keep track of damage separately for each of their spaceships. During the game, make sure to keep the components (for example, maneuver cards or damage counters) of different spaceships separated. PLAYING WITH MORE THAN TWO PLAYERS The game can also be played by more than two people. Before starting the game, divide the players into two teams — Colonial and Cylon, with the same number of spaceships in each team. Players in a team can freely communicate with each other. They can share plans and information with their teammates, either openly or secretly. Unless a scenario states otherwise, victory conditions and goals are for the entire team — not for individual players. THE GAME TURN In each game turn, players go through three steps. All players must complete Forward movement arrows each step (for example, planning), before starting the next one. 1. Plan their movement; Backward movement arrow 2. Execute their spaceship movement; 3. Fire their weapons. G–value After all ring is resolved, a new turn is started with a new planning phase. Kinetic energy SO (Complete Rules only) SPECIAL MANEUVER SYMBOLS Turn SAY Overboost Straight “So say we all!” Dif cult WE— William Adama ALL7 PLANNING “So the fate of the entire In this step, all players simultaneously human race depends upon my and secretly plan the movement of wild guess.” their spaceships. To plan each of your spaceships’ moves: — Gaius Baltar 1. Choose one card from your spaceship’s maneuver deck (or two cards, if one of them is an overboost, see below), Standing still: If you set to slider to , and place it face down next to that the spaceship will stand still. A maneuver spaceship’s control panel; card is planned anyway, to deceive the 2. Set the slider on the right side of the enemy, but the spaceship will not move. spaceship’s control panel to choose Backward movement: Some cards have its speed (see Speed Settings on the a backward movement arrow , allowing Control Panel box). the spaceship to move backward. The The control panel and chosen card (or speed slider must be set to if you want cards) are kept hidden until the start of the to use this arrow. movement step. Overboost: Overboost cards show a Forward movement: Each card has one symbol. When one of these cards or more forward
Recommended publications
  • Representations and Discourse of Torture in Post 9/11 Television: an Ideological Critique of 24 and Battlestar Galactica
    REPRESENTATIONS AND DISCOURSE OF TORTURE IN POST 9/11 TELEVISION: AN IDEOLOGICAL CRITIQUE OF 24 AND BATTLSTAR GALACTICA Michael J. Lewis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Committee: Jeffrey Brown, Advisor Becca Cragin ii ABSTRACT Jeffrey Brown Advisor Through their representations of torture, 24 and Battlestar Galactica build on a wider political discourse. Although 24 began production on its first season several months before the terrorist attacks, the show has become a contested space where opinions about the war on terror and related political and military adventures are played out. The producers of Battlestar Galactica similarly use the space of television to raise questions and problematize issues of war. Together, these two television shows reference a long history of discussion of what role torture should play not just in times of war but also in a liberal democracy. This project seeks to understand the multiple ways that ideological discourses have played themselves out through representations of torture in these television programs. This project begins with a critique of the popular discourse of torture as it portrayed in the popular news media. Using an ideological critique and theories of televisual realism, I argue that complex representations of torture work to both challenge and reify dominant and hegemonic ideas about what torture is and what it does. This project also leverages post-structural analysis and critical gender theory as a way of understanding exactly what ideological messages the programs’ producers are trying to articulate.
    [Show full text]
  • The Women of Battlestar Galactica and Their Roles : Then and Now
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2013 The women of Battlestar Galactica and their roles : then and now. Jesseca Schlei Cox 1988- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Cox, Jesseca Schlei 1988-, "The women of Battlestar Galactica and their roles : then and now." (2013). Electronic Theses and Dissertations. Paper 284. https://doi.org/10.18297/etd/284 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE WOMEN OF BATTLESTAR GALACTICA AND THEIR ROLES: THEN AND NOW By Jesseca Schleil Cox B.A., Bellarmine University, 2010 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degre:e of Master of Arts Department of Sociology University of Louisville Louisville, Kentucky May 2013 Copyright 2013 by Jesseca Schlei Cox All Rights Reserved The Women of Battlestar Galactica and Their Roles: Then and Now By Jesseca Schlei Cox B.A., Bellarmine University, 2010 Thesis Approved on April 11, 2013 by the following Thesis Committee: Gul Aldikacti Marshall, Thesis Director Cynthia Negrey Dawn Heinecken ii DEDICATION This thesis is dedicated to my mother and grandfather Tracy Wright Fritch and Bill Wright who instilled in me a love of science fiction and a love of questioning the world around me.
    [Show full text]
  • Prometheus Bound, Frankenstein and Battlestar Galactica William Blais
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 2009 A Hermeneutic Exploration of the Literature of Technology: Prometheus Bound, Frankenstein and Battlestar Galactica William Blais Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Blais, W. (2009). A Hermeneutic Exploration of the Literature of Technology: Prometheus Bound, Frankenstein and Battlestar Galactica (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/327 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. A HERMENEUTIC EXPLORATION OF THE LITERATURE OF TECHNOLOGY: PROMETHEUS BOUND, FRANKENSTEIN AND BATTLESTAR GALACTICA A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By William P. Blais December 2009 Copyright by William P. Blais 2009 A HERMENEUTIC EXPLORATION OF THE LITERATURE OF TECHNOLOGY: PROMETHEUS BOUND, FRANKENSTEIN AND BATTLESTAR GALACTICA By William P. Blais Approved November 17, 2009 ________________________________ ________________________________ Michael Sipiora, Ph.D. Eva Simms, Ph.D. Professor of Psychology Professor of Psychology (Committee Chair) (Committee Member) ________________________________ ________________________________ Stanton Marlan, Ph.D., ABPP Daniel Burston, Ph.D. Professor of Psychology Professor of Psychology (Committee Member) (Department Chair) ________________________________ Christopher M. Duncan, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts iii ABSTRACT A HERMENEUTIC EXPLORATION OF THE LITERATURE OF TECHNOLOGY: PROMETHEUS BOUND, FRANKENSTEIN AND BATTLESTAR GALACTICA By William P.
    [Show full text]
  • BATTLESTAR GALACTICA and PHILOSOPHY:Knowledge Here
    BATTLESTAR GALACTICA AND PHILOSOPHY The Blackwell Philosophy and PopCulture Series Series editor William Irwin A spoonful of sugar helps the medicine go down, and a healthy help- ing of popular culture clears the cobwebs from Kant. Philosophy has had a public relations problem for a few centuries now. This series aims to change that, showing that philosophy is relevant to your life—and not just for answering the big questions like “To be or not to be?” but for answering the little questions: “To watch or not to watch South Park?” Thinking deeply about TV, movies, and music doesn’t make you a “complete idiot.” In fact it might make you a philosopher, someone who believes the unexamined life is not worth living and the unexamined cartoon is not worth watching. Edited by Robert Arp Edited by William Irwin Edited by J. Jeremy Wisnewski Edited by Jason Holt Edited by Sharon M. Kaye Edited by Jennifer Hart Weed, Richard Davis, and Ronald Weed BATTLESTAR GALACTICA AND PHILOSOPHY:Knowledge Here Begins Out There Edited by Jason T. Eberl Forthcoming the office and philosophy: scenes from the unexamined life Edited by J. Jeremy Wisnewski BATTLESTAR GA LACTICA AND PHILOSOPHY KNOWLEDGE HERE BEGINS OUT THERE EDITED BY JASON T. EBERL © 2008 by Blackwell Publishing Ltd blackwell publishing 350 Main Street, Malden, MA 02148–5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Jason T. Eberl to be identified as the author of the editorial material in this work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988.
    [Show full text]
  • HOWELL-THESIS.Pdf (710.3Kb)
    Copyright by Charlotte Elizabeth Howell 2011 The Thesis Committee for Charlotte Elizabeth Howell Certifies that this is the approved version of the following thesis: Prophets in the Margins: Fantastic, Feminist Religion in Contemporary American Telefantasy APPROVED BY SUPERVISING COMMITTEE: Supervisor: Mary Celeste Kearney Michael Kackman Prophets in the Margins: Fantastic, Feminist Religion in Contemporary American Telefantasy by Charlotte Elizabeth Howell, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2011 Abstract Prophets in the Margins: Fantastic, Feminist Religion in Contemporary American Telefantasy Charlotte Elizabeth Howell, M.A. The University of Texas at Austin, 2011 Supervisor: Mary Celeste Kearney In this thesis, I will examine the connected representations of religion and gender in the context of contemporary American telefantasy (a term for science fiction, fantasy, and horror television genres) programs that include characters who experience fantastic visions that can be explained as originating from either divine or medically materialist origins. The fantastic mode, facilitated by telefantasy’s non-verisimilitudinous genre, presents these visions in a liminal space in which religious and gender representations can potentially subvert or challenge patriarchal and hegemonic representational norms. I analyze Battlestar Galactica (Sci-Fi 2003-2009), Eli Stone (ABC 2008-2009), and Wonderfalls (FOX 2004) for their formal presentation of visions, representations of visionary characters, and the religious representations that form the context for the visions and visionaries. I focus on visionary characters that are directly implicated by the television text as being potential prophets: Laura Roslin and Gaius Baltar on Battlestar Galactica, Eli Stone on Eli Stone, and Jaye Tyler on Wonderfalls.
    [Show full text]
  • Battlestar Galactica: Season Three Checklist
    Battlestar Galactica: Season Three Checklist Base Cards # Card Title [ ] 01 Title Card/Checklist [ ] 02 Title Card/Checklist [ ] 03 Title Card/Checklist [ ] 04 Occupation [ ] 05 Occupation [ ] 06 Occupation [ ] 07 Precipice [ ] 08 Precipice [ ] 09 Precipice [ ] 10 Exodus: Part 1 [ ] 11 Exodus: Part 1 [ ] 12 Exodus: Part 1 [ ] 13 Exodus: Part 2 [ ] 14 Exodus: Part 2 [ ] 15 Exodus: Part 2 [ ] 16 Collaborators [ ] 17 Collaborators [ ] 18 Collaborators [ ] 19 Torn [ ] 20 Torn [ ] 21 Torn [ ] 22 A Measure of Salvation [ ] 23 A Measure of Salvation [ ] 24 A Measure of Salvation [ ] 25 Hero [ ] 26 Hero [ ] 27 Hero [ ] 28 Unfinished Business [ ] 29 Unfinished Business [ ] 30 Unfinished Business [ ] 31 The Passage [ ] 32 The Passage [ ] 33 The Passage [ ] 34 The Eye of Jupiter [ ] 35 The Eye of Jupiter [ ] 36 The Eye of Jupiter [ ] 37 Rapture [ ] 38 Rapture [ ] 39 Rapture [ ] 40 Taking a Break from All Your Worries [ ] 41 Taking a Break from All Your Worries [ ] 42 Taking a Break from All Your Worries [ ] 43 The Woman King [ ] 44 The Woman King [ ] 45 The Woman King [ ] 46 A Day in the Life [ ] 47 A Day in the Life [ ] 48 A Day in the Life [ ] 49 Dirty Hands [ ] 50 Dirty Hands [ ] 51 Dirty Hands [ ] 52 Maelstrom [ ] 53 Maelstrom [ ] 54 Maelstrom [ ] 55 The Son Also Rises [ ] 56 The Son Also Rises [ ] 57 The Son Also Rises [ ] 58 Crossroads: Part 1 [ ] 59 Crossroads: Part 1 [ ] 60 Crossroads: Part 1 [ ] 61 Crossroads: Part 2 [ ] 62 Crossroads: Part 2 [ ] 63 Crossroads: Part 2 Significant Seven (1:8 Packs) # Card Title [ ] SS1 Brother Cavil [ ]
    [Show full text]
  • Battlestar Galactica
    Scope: An Online Journal of Film and Television Studies Issue 22 February 2012 Between Allegory and Seduction: Perceptual Modulation in Battlestar Galactica Enrica Picarelli, Leuphana University, Germany When Ronald Moore discussed the genesis of his remake of Battlestar Galactica (hereafter abbreviated to BSG), he acknowledged the radical impact of 9/11 on his creative vision. Bringing to the screen his competence as a political science major, Moore describes the show as a piece of informed docufiction about the war on terror (Moore, quoted in Bassom, 2005: 12). The show indeed offers a compelling conceptualization of the attacks that blurs the boundary between the spectacle of a fictional apocalypse and the reality of the war on terror, prompting scholarly examination to this day. This article investigates the relationship between BSG and the post-9/11 ecology of agitation in light of George Bush‟s strategy of collective perceptual management. While most readings focus on BSG as an allegory for the war on terror, I address the audiovisual strategies by which BSG appeals to the viewer‟s senses, mapping the emergence of a post-9/11 sensibility. In doing so, I argue that the show‟s relationship with post-9/11 reality rests in its power to address the audience‟s feelings. To this end, I look at BSG‟s aesthetics of crisis as operating as an affective vector, playing out in an informational system that provokes a bodily response in the audience through affective solicitation. As argued below, akin to the Bush administration‟s use of television as a form of perceptual modulation, BSG‟s relationship with the war on terror is rooted in an ability to express meaning and feeling, keeping a sensation of agitation alive throughout a four-season run.
    [Show full text]
  • Umeå University
    Umeå University This is an accepted version of a paper published in Extrapolation. This paper has been peer-reviewed but does not include the final publisher proof-corrections or journal pagination. Citation for the published paper: Leavenworth, V. (2012) "Utopia, Relationality and Ecology: Resurrecting the Natural in Battlestar Galactica" Extrapolation, 53(1): 61-81 URL: http://dx.doi.org/10.3828/extr.2012.5 Access to the published version may require subscription. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-54048 http://umu.diva-portal.org 1 Utopia, Relationality and Ecology: Resurrecting the Natural in Battlestar Galactica1 Van Leavenworth The re-imagined television series Battlestar Galactica features few natural environments and Earth is only a half-conceived idea in the human characters’ minds for the bulk of the narrative. However, in this article I examine how the dream of Earth supports belief in an ideological boundary between humans and Cylons and, simultaneously, how affective relationships between humans and humanoid Cylons increasingly function to subvert the foundation of this boundary. Within the context of these conflicts, which I examine from an ecological perspective, I demonstrate how the discovery of a utopian Earth resurrects an ideological distinction between organic humans and “artificial” Cylons. There are two interrelated conceits in the re-imagined television series Battlestar Galactica (BSG) that are the foundation for its popular and critical appeal. The first is the ongoing conflict between humanity and the Cylons that makes even mundane events implicitly a matter of surviving until a better future. The second is the series’ ambivalent presentation of the humanoid Cylons.
    [Show full text]
  • Gender Performance, Transgression and the Cyborg in Battlestar Galactica
    ARTS & HUMANITIES Gender Performance, Transgression and the Cyborg in Battlestar Galactica Kati McGinnis Department of Women’s Studies Feminist scholarship has had a contentious relationship with sci- ence fiction. As a genre sometimes marked by the hyper-sexual- ized scantily clad female other, or sometimes the site of female erasure and censure, science fiction seemingly has little positive portrayals of women. Operating within a larger context of popu- lar culture, the genre of SF undoubtedly plays out oppression; it, however, can provide spaces for resistance. In this paper, I will argue that science fiction as a genre has seemingly limitless pos- sibilities for social commentary and gender re-identification. By using Donna Haraway’s “A Cyborg Manifesto” as well as feminist visual scholarship as a lens, I set out to demonstrate how Batte- star Galactica is able to navigate between gender transgression and technology’s impact on gender, highlighting the possibility for a new female spectator. Gender, Science Fiction and the Spectator Battlestar Galactica as a work of science fiction (SF), a site of what I term as super-fiction, has the potential to liberate its subject material. Whereas all other fiction places its narrative in realistic contexts making its characters subject to the rules of the hegemonic patriarchy, science fiction teeters on the edge of the unknown and hyper-reality, potentially liberating its characters from the weight of patriarchal representation. The genre of science fiction even has the possibility of occupying a space beyond fiction, with unrealistic settings like outer space and fantastic characters like cyborgs who are constructed and must therefore perform traditional notions of gender and/or transgress them.
    [Show full text]
  • Lines of Succession and Rules for Combat
    lines of succession and Rules for Combat Lines of Succession During the “Distribute Title Cards” step of setup, the character who is highest in each title’s order of succession gains that title. When a title is lost during the game and is not taken by a specific player, it is given to the player (aside from the one who is losing the title) whos is able to hold the title and is highest in the title’s order of succession. The orders of succession below include all characters from all expansions. The CAG Title is only used with the Cylon Fleet option from Exodus. Admiral President CAG 1 Helena Cain 1 Laura Roslin 1 Lee “Apollo” Adama (Pilot) 2 William Adama 2 Gaius Baltar (Political Leader) 2 Kara “Starbuck” Thrace 3 Saul Tigh 3 Lee Adama (Political Leader) 3 Louanne “Kat” Katraine 4 Karl “Helo” Agathon (Military Leader) 4 Tom Zarek (Political Leader) 4 Karl “Helo” Agathon (Pilot) 5 Felix Gaeta 5 Romo Lampkin 5 Sharon “Boomer” Valerii 6 Louis Hoshi 6 Tory Foster 6 Brendan “Hot Dog” Costanza 7 Tom Zarek (Military Leader) 7 Ellen Tigh 7 Samuel T. Anders 8 Lee “Apollo” Adama (Pilot) 8 Lee “Apollo” Adama (Pilot) 8 Lee Adama (Political Leader) 9 Anastasia “Dee” Dualla 9 Tom Zarek (Military Leader) 9 Karl “Helo” Agathon (Military Leader) 10 Karl “Helo” Agathon (Pilot) 10 Felix Gaeta 10 William Adama 11 Kara “Starbuck” Thrace 11 William Adama 11 Helena Cain 12 Louanne “Kat” Katraine 12 Karl “Helo” Agathon (Military Leader) 12 Saul Tigh 13 Sharon “Boomer” Valerii 13 “Chief” Galen Tyrol 13 Felix Gaeta 14 Brendan “Hot Dog” Costanza 14 Gaius Baltar (Support) 14 Anastasia “Dee” Dualla 15 Samuel T.
    [Show full text]
  • Messiah Complexes in Battlestar Galactica
    TIME TO PLAY THE RELIGION CARD: MESSIAH COMPLEXES IN BATTLESTAR GALACTICA A Paper Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Carissa Noel Wolf In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Major Department: English Option: Composition November 2010 Fargo, North Dakota North Dakota State University Graduate School Title TIME TO PLAY THE RELIGION CARD: MESSIAH COMPLEXES IN BATTLESTAR GALACTICA By Carissa Noel Wolf The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of MASTER OF ARTS SUPERVISORY COMMITTEE: Miriam Mara, Ph.D. Chair Amy Rupiper Taggart, Ph.D. Verena Theile, Ph.D. Kevin Sedivec, Ph.D. Approved: November 10, 2011 Kevin Brooks, Ph.D. Date Department Chair ABSTRACT Wolf, Carissa Noel, M.A., Department of English, College of Arts, Humanities and Social Sciences, North Dakota State University, November 2010. Time to Play the Religion Card: Messiah Complexes in Battlestar Galactica. Major Professor: Dr. Miriam Mara. In 2003, Battlestar Galactica (BSG) was re-invented from its 1978 roots and updated to a post-apocalyptic narrative that reflects numerous issues in current American culture, including the influence of religious rhetoric in post-9/11 politics. As theorized by psychoanalyst Carl Jung, the fictions of a culture reveal the subconscious values and beliefs of that culture,1 and BSG has proven fertile ground for such investigations. Four major compilations of critical essays on BSG have been published to date, with some articles analyzing the post-9/11 politics and others on the use of religion in the narrative, but few examine these elements in conjunction with each other or how the characters use them.
    [Show full text]
  • Battlestar Galactica and the American Road Was, for Me, Improb- Able at Best and Wishful Thinking at Worst
    From the Instructor When Caroline first pitched her idea for this essay in my WR 150: “The American Road” class, she did it with a chuckle. Students had been asked to present three exhibit sources to the class that could be investigated for a semester-long research project, and her other two selections seemed much more “academic”; but she found that there was a lively scholarly debate surrounding something she was passionate about. Caroline’s keen sense of audience helped her synthesize sources and select evidence, and her dedi- cation to the revision process comes through the beautiful prose, making this essay a pleasure to read. — Gwen Kordonowy WR 150: The American Road 64 From the Writer The most common question that I received from my peers about this paper was “How did you think of that?” In the beginning, the connection between Battlestar Galactica and the American Road was, for me, improb- able at best and wishful thinking at worst. Despite my doubts, I decided to follow my gut feeling that there was something there to uncover. And although what I set out to prove and what I ended up proving are so wildly different that I cannot ascribe “evolution” as the means by which this occurred, my gut feeling was right. Beyond my initial worries, the process of crafting this paper was fraught with frustration, dead-ends, and panic, and was certainly a lesson in dedi- cation. A major problem that I faced during this process was that of scope. I had a huge task in front of me.
    [Show full text]