Cawnpore and Perseus are available in the Createspace eStore and on Amazon.com where, if you order a physical copy of the books, you get the ebook for free. They are also available as ebooks on every ereader out there.
6 September, 2012
23 April, 2014
23 April, 2014
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I finally getting around to responding to a reader’s question…
“Hey, Scott, why do you hate Fate so much?”
I don’t hate FATE, so much as I find some of the fast and loose aspects (See what I did there..?) can create a much higher level of complexity that is needed. I had the same issue with Marvel Heroic Roleplaying and Firefly from Margaret Weiss — which are essentially Fate with Cortex die schemes. The plehtora of assets, complications, etc. adding to dice pools can get a bit hard to manage. (Although it doesn’t reach the wheelbarrowful dumping of dice majesty of d6 Star Wars when a Stardestroyer opens up on you.) I also dislike the “damage” system of the rules. (I’m not a hit point guy, either.)
Speaking of dice: I hate the idea of the Fate dice, which is why the MWP stuff is a big more palatable for me. Similarly, I was okay with the positive/negative die mechanic of Chameleon Eclectic’s The Babylon Project, although I’ll admit it was also a crappy way of resolving chance. I’ve bought the Ubiquity Dice for Hollow Earth Expedition, but they aren’t needed; they simply make rolling dice pools (and Ubiquity does have a Shadowrun-esque love of dice pools) easier. You can play HEX with a bunch of coins, if you need to.
“But, Scott, you can do Fate die with a normal d6 — just assign positive, negative, and nought to the sides.” Well, there you go making sense. Away wi’ you!
The real issue isn’t Fate – they’re great pick-up game rules that can be tweaked any ol’ way you wish — it’s that I can’t seem to get a game that doesn’t have Fate trying to claw its way into the game mechanics. It’s like trying to escape OGL d20 junk in the early aughties.
“You like [enter game name]? you know you can get those rules in d20, right!?!” Scott: “Screw you, and get off my lawn!”
I’ve looked over a bunch of the new Fate and Fate-infected products that have been hitting the shelves over the next few months. There’s some really good stuff. I’ve been very complementary of Mindjammer – a game that really plays to the strengths of Fate – and Firefly — a Fate-ified Cortex product that makes good use of some of the Fate ideas, while retaining some of the flavor of old Cortex, but which, like the previous book, really shines for the writing, production values, and background material. I’m looking forward to Atomic Robo, but anticipate that’s going to get played using the MHR rules.
Addendum: This is also, apparently, the 1000th post for The Black Campbell!
23 April, 2014
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Despite a dickish Twitter exchange with one of the creators, I am still a firm Atomic Robo fan and have Comixology on the iPad set to let me know every time a new comic drops. So i was very happy to hear an RPG of the comic was coming, and despite the rules being FATE, I signed the group up for playtesting. We didn’t get to do as much as I hoped, thanks to folks leaving New Mexico or finding gainful employment that prevented them from playing, but it looks like the game is finally here.
You can now preorder Atomic Robo through Evil Hat’s website. Clickenze here to do so.
23 April, 2014
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I was having a look over the retro-clone Classified which repackages the old James Bond: 007 RPG very faithfully. It’s no secret I’ve been working on and off on a similar project for a few years — slowed and distracted by professional concerns and child care duties. As writing carried on two years ago, I realized that a redesign of a few of the rules were needed. That expanded into tearing the system apart and putting it back together. Here are a few of the points that I’ve been working from:
1) Less freakin’ math! Let’s face it – James Bond: 007 (hereafter JB:007) is a pretty simple setup for character creation…except for the math. No, it’s not GURPS or Champions, where you need to buy time on a supercomputer to build a character in less than a weekend, but the numbers are big enough for people to bone up if they’re working quickly and by hand. This has been rectified. Additionally, I’ve stripped off some of the extraneous stuff you had to buy.
2) Why the hell do Fields of Experience exist? Because no one wanted to buy those as skills in the initial design of JB:007. Fields of Experience have been given actual mechanical effects, and the same goes for Weaknesses. They help define your character, now.
3) Simplify and make consistent the rules. The different mechanics for gambling, seduction, torture, and other aspects of the game were cool in 1983. They’re a headache for GMs used to more streamlined games now. If you want to really capture the excitement of being at the green baize, have the players play baccarat, or whatever, against the GM or each other. Connected to that –
4) Lose the d6. Initiative is based on speed. If two characters have the same speed, roll a d10. Highest wins. There’s another initiative system in the works that might capture the action movie flavor better that I’m working on.
5) Speaking of — modern action movies have had a much different pacing since the 1980s, even Bond movies. Gone are the days of deliberative one shot from a .32 Walther kills a guy at 50 yards…Bond characters may not spray and pray the likes of Martin Riggs of John McClane, but they’ve a lot less ammo discipline in these days of high-capacity magazines. Combat rules are being tweaked to reflect this, and add in things like martial arts styles.
6) Hero points: Only on a 01? Nope. Hero point now look more like plot points/story points/style points of other game systems. You get them for playing to your weaknesses, for good roleplaying, for rolling QR1s, or making good suggestions for how failure might be interpreted.
7) A game’s corebook does not need to be 500 pages and full color to be good. I’m aiming to keep the book cheap, easy to read, and fast to get into playing. There will be a lot of background material on the modern espionage world, policing, etc., and the obligatory short adventure scenario. The goal is a book running about 200 pages.
The goal: Keep all the good stuff about JB:007, lose the bad, and bring these mechanics into the 21st Century.
22 April, 2014
Most game designers are very concerned with the notion of “balance” in the games they make. Systems that use a point-based creation mechanic for character creation often have levels of generation points that allow a player to customize their character, yet are all bought for the same “level” — being it novice or beginner, experienced/whatever, or expert/master, etc. In Dungeons & Dragons, characters used to start at 1st level and work their way up, but later iterations allowed for starting at higher levels…but you still had the same approximate range of abilities.
Until you hit the min/maxers and rules lawyers that can manipulate the system to build a character more effectively than other players. (I have a mathematician in the group right now who is an expert at this…)
The point to this notion of “balance” is “fairness”. Young players, players that use gaming to vicariously experience success or greatness, often don’t like the notion of having a player be weaker or stronger than others in a campaign. Everyone wants to be the hero, and balance is supposed to push the players toward a more ensemble model, where everyone is equally important to the game. It’s a nice ideal — and one that I subscribed to for a long time — but it’s not really achievable.
Problem, the first: All players are not created equal. Maybe your characters were all created for X number of points, but you have a rules lawyer that has made a character perfectly tailored to the sorts of adventures you will encounter, making them the “go to guy” all the time. It’s great for that player; they’re almost always now the center of attention. Even if, somehow, you managed to have characters that were all highly specialized and had their particular spotlight moments in a game session, some players are more passive, and others more active — one guy may spend all his time in his room inventing things, and only becomes a factor in play when the fight is on. Maybe a player is particularly clever at using a “weak” character to achieve greatness. Maybe one of them is just too funny to reign in and makes the game enjoyable. These players are going to capture most of the airtime.
Problem, the second: It’s not the way good storytelling works. In books, movies, and television — even with ensemble casts — there’s normally a lead or two that the stories focus on. For example, let’s take any of the Star Trek series from The Next Generation on…there’s an ensemble that sees the whole cast get some screen time, but normally, the focus is on one or two of the characters per episode, and often over the course of the series. Let’s look at The Lord of the Rings (books and movies) — Frodo is the main protagonist on the quest to destroy the Ring, with Sam as his sidekick, but arguably just as important. But Aragorn is the lead for the portions involving the return of the king and opposing the forces of Mordor. Frodo is in no way Aragorn’s equal (and arguably not up to that of Sam, either…) But he is the lead and the lead not need be the biggest bad ass of the bunch. Even Merri and Pippin are stuffed into the middle of great conflicts, and probably couldn’t resist a late-night mugging in any modern city. It’s not about being bad ass; the interesting part of characters is their weaknesses and how they overcome obstacles. Simply hacking your way through a problem like Schwarzenegger might have a certain appeal, but it’s not especially memorable after the first hundred kobolds, is it?
Problem, the third: Not everyone wants to be the bas ass. I have a player whose real interest is in the politics and social machinations in nearly every game we play. He often winds up being the politician, ship captain, leader because that’s the sort of thing he likes. Even when he had action star-type characters, he would often use other characters as proxies in fights. Some guys thrive on being the ass-kicker and trying to suss their way through a mystery is either boring or taxing…they like to sit and wait until it’s time to break the “in case of emergency” glass on their barbarian and let the carnage begin.
So what’s the point of attempting game balance, other than an attempt to preserve some sense of Harrison Bergeron-esque enforced equality? I’d submit none.
Here’s an idea — when in the planning stages of a campaign, there are a few things the GM and players can do to create engaging characters that are appropriate to the sorts of adventures in store for them. On the players’ side is arguably the harder job — letting go of the ego long enough to create characters that have a reason to be together, more than focusing solely on your cool concept.
Example 1: I had a player that had his high concept character — a Starfleet engineer who was super-talented, so that he didn’t have to play by the rules and regulations. Great idea, save for a few points: 1) everyone in friggin’ Starfleet is smart, educated, and competent, 2) the character’s purpose is to spotlight hog and create artificial conflict (specifically with the GM and the adventure itself, I suspect), 3) he’s got no logical reason to be there, other than to annoy everyone else at the table.
Example 2: In a short-lived Supernatural game, one of the players decided to play the overweight, stereotypical hacker/geek that ran a supernatural conspiracy website. He was the outsider of the group, but was useful (and played very amusingly) enough that he was essential in the investigation portions of the adventures, but was completely out of his element once they found the creature of the week. The spotlight then shifted to the other characters. They meshed, even with the built in conflict between the characters because they needed each other, and — after a few encounters – wanted to work together.
The first example was built to the same number of creation points as the other characters, but was specialized in away that, while it could have been highly useful, was mitigated by the assholish persona of the character. No one went to him for help. The players and characters hated the character in question.
The second example created highly memorable moments in the game that were fun enough that the other players gladly gave up their moment just to watch the hacker have his long-winded, hysterically-funny meltdowns. The characters might have hated the guys (and there was one in particular) but the players loved him. He fit. He was built for less points than the bad-ass exorcist priests that were the “leads” of the game.
A last example might bring this home: Most of the players in my last pulp game were built by the GM (me), based on character concepts the players had and I fleshed out to make work better. (This was more a function of my knowledge of the period and the manner of game I was planning.) They were all customized to play to the concept. The brick was a combat monster and utterly useless in other venues…yet was played with such joyful idiocy that he rapidly became our “Jack Burton” of the game — in the center of things, but clueless. The archeologist lead was built for more points and was talented in almost everything, but tended to use the first character to get the action bits done because a) it gave the other players stuff to do, and b) the player is risk aversive and uses the others as meat shields in almost every game.
It was the character of an 11 year old street urchin, however, that was the surprise. Built to be much less experienced, talented, and having a lot of the social and physical downsides to being a small Chinese girl in 1936 Shanghai, she was nevertheless highly effective outside of her niche of thief because of out-of-the-box thinking by the player as well as an obvious delight at playing a unique character. Everyone had their niche, got their airtime, but also frequently worked together in ways that were memorable and unexpected.
So…what’s your point?
Build to a character concept and their role in the game and to hell with stat and/or skill advancement (except where applicable to the story), and focus on how these characters interact.
For instance, our current Battlestar Galactica game saw characters generally built at “veteran” level — the median for stats and skills, then given assets and complications that made them unique. But the commander was built to a slightly higher level — somewhere between the veteran and seasoned veteran. It made sense for the commander to be more experienced and talented…his role of leader might put him in a position of power over the other characters, but also limits his ability to participate in some of the action. Unlike the captains of Star Trek, BSG captains (andreal military leaders) tend to have to stand powerlessly in their CIC while they listen to their subordinates succeed or fail based on their mission plan. One of the lead characters in the ensemble is a viper pilot. She’s great at flying and fighting in the cockpit. She’s also a gullible prat who acts before engaging brain. It’s appropriate to the character. She was built with less points than the commander, but her role is such she sees much more of the action. She’s just not in on the big decision-making…that’s not her role.
By building characters and playing them to the role and concept envisioned, you can craft a group that all work together and enjoy the story, even if one of the characters is more of a lead that others. I frequently see one of the players’ characters as the “lead”, with the others as the main supporting cast, and try to rotate that central role between the players per campaign. But if you play one game (looking at you Pathfinder folks!) for thirty years, rotate who is the lead in a particular adventure — maybe Bumbo the Barbarian was the lead in the last couple of sessions, seeking revenge on the man that killed his family and burned his childhood village, but for the next few, he’s helping his thief friend Sticky Fingers snatch a valuable McGuffin. He’s the sidekick for this one.
For players, this means giving up the spotlight and being the sidekick from time to time. For the GM, it means making sure everyone gets to be the hero every once in a while.
21 April, 2014
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One of the things about episodic television is the need to fill time. You can’t always be fighting monsters, or criminals, or aliens — sometimes you need to resolve certain character elements and hit that number of episodes for the season. In movies, holding the same level of energy or action can quickly become boring (for example, watch Quantum of Solace). The same thing can apply in your game — not enough variety in the flavor of your sessions can lead to action fatigue. How many dungeon crawls can you do? How often can you be walking to a f#$%ing volcano, or fighting the forces of evil.
Sometimes, you want to explore your character. What does he or she do in their down time? How are the handling the emotional strains of an adventurer’s life? — those friends or family lost, the setbacks, the victories..? How’s their love life? Every once in a while, taking a step back and letting the characters unwind, or address other kinds of challenges.
An obvious example of this sort of session is the entire, odious, soul-sucking second season of The Walking Dead. (Guys — the kid’s bloody dead. Get on the road.) There’s the boxing episode of Battlestar Galactica — great idea, middling execution. There’s the horrific, one of the characters is secretly a very talented rock star who gets the opportunity to perform at the talent show to benefit crippled kids. (Seriously — for a horror game, this could be a new terror unleashed!)
So if you’ve been kicking the crap out of monsters for a few months, maybe it’s time to sit around a campfire and talk about your feelings…
21 April, 2014
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I picked up a copy of Gale Force Nine’s Firefly: The Game board game a week ago. I’ve yet to play it with others, but there is a “solo” option that I tried out. The game is nicely made, with high production values. There’s a board loosely based on the Quantum Mechanix Map of the Verse, five Firefly-class miniature pieces, a Reaver vessel, and an Alliance Cruiser; there’s a collection of different game card decks — this seems to be a new trend in board games, having a dozen decks of cards for things.
Play is simple you take jobs from various contacts, try to do said assignments, and meet the requirements on a “story card” to win. Doing a quick trial as a solo, I found that the difficulty for some of the jobs require you not to just leap into misbehavin’ — but you want to get together a crew with the widest variety of skills you might need. There are some “short cuts” you can take — gear you need to pull off the job with ease (two words — “hacking rig”) or specific crew members. Resolving jobs has you roll a d6 — if you get Serenity, that counts as a six and you can roll again and add the amount.
It looks like it could be a lot of fun and the learning curve looks to be relatively low. The flavor of the show comes through very well in the game materials and play — Browncoats should love it. The game runs about $40 and I think it’s worth it, especially for Firefly fans. There are also a pair of card expansions for the game already available.