Roleplaying Games

Today’s prompt was map. There’s the obvious way to go with this: do you use maps in your games? but I think I’m going to combine this word with one of the alternate prompts — plan.

For a long time, and I suspect like many young GMs in the brightly colored, British New Wave and rockabilly infused, “crap, nuclear war could kill us any day” past of the 1980s, my adventures were mostly one offs. Kill the monster, get the treasure. We ran a lot of James Bond: 007, so I ran them like movies, each discrete, with a bit of character growth accounted for between them, but little overlap. Characters were much the same — archetypes like D&D and Top Secret would give you: fighter, ranger, assassin, analyst, or whatever. Characters defined by their cool car or gun, and maybe a flaw thrown in to make them interesting. You weren’t think about character arcs, and much of the time you weren’t filling backstory. Hell, most of the movies of the period the backstory was something like “I’m a cop from New York who got invited to the party by mistake”, or “obtainer of rare antiquities”.

For me, the move into serial stories came about five or six years into gaming, and was mostly influenced (I suspect) by a move away from episodic TV toward shows that might be mostly stand-alone episodes, but stanrted to experiment with ongiong story arcs. (The first I really remember for this was Hill Street Blues…) I got into comics about that time, and similarly there were ongoing storylines mixed with one-offs. This was the period of Miller/Mazzuccelli’s Davedevil, Claremont on X-Men, and good indie stuff like Grendel. (It’s no coincidence that most of the stuff cribbed for the Marvel and DC movies pulls from this period — the film makers are of a similar age, but also it was a damned good period for comics and storytelling.) I still mostly made stuff up as i went, but would sort of organically grow toward an end point.

The first time I mapped out a campaign was for The Babylon Project campaign i was running in the late ’90s. the game group was into Babylon 5 and I built the campaign to be a side campaign of the Shadow War. The characters were rarely directly involved in the events of the show, but I strung their adventures around it, filling in the spaces between the main events. It ran well and gave the characters the chance to be real heroes whose actions made those of the TV show characters possible. This point also coincided with the writing of my first two novels, so the skills developed in one endeavor crossed over to the other. Characters started getting backstories that might be vague and open to tweaking, but some were quite detailed.

After that, I went back to my old build stand-alone adventures and string them together in long stories on the fly. However, I got talked into running a five-year long Star Trek game. I watched all the TNG/DS9 period stuff (save Voyager, which just did not hook me) then decided on mapping out a campaign with the main themes (post-war politics, the issues of an economy where no one had to work, artificial intelligence) and started building key moments/episodes that would have to happen. I was much more intrigued by the Deep Space 9 series than Next Generation, and liked the story arc approach they used. For the first time, I built the stories as “seasons” — with a mid-season and finale “mission” that would push the story and work on the character’s motivations. Characters, this time, were more fleshed out with more detailed backstories — things that are often left out like family members, best friends, hobbies, etc. The game ran well and progressed mostly in the directions i hoped it would go. In the end, the campaign finally fizzled out after five good years and an interest in other games coming out.

The next major game to get planned out was Battlestar Galactica (noting a trend here…), and I used all of the tricks i learned from the Trek game — seasons, mid-season and finales, story arcs that were a season long, and having a finish to the whole thing. There were certain major points on the way — the Cylon attack, Kobol, I used the thrown out “the Blaze” idea from the Kobol episodes for a bad guy, finding not a map on Kobol but one of the Lords to help them, a final battle with the blaze, finding Earth. The game gained and lost quite a few players over that period, but after many deviation and turns in the narrative, in the end, it finished the way I had hoped.

Characters are another element of the story that can be hand-waved — no one really had much of a backstory for James Kirk, or Indiana Jones, or Thomas Magnum; just a few tossed off lines. Or you can build a character obsessively (I find the aspiring actors and writers in a game group do this most often.) down to their favorite foods and what they were doing last week. These maps give you the character’s past and maybe their present self, but having an idea of their goals, weaknesses, and aspirations can give players a map to not just how they might react, but what kind of adventures they might seek out. Discussing this with the GM gives them material to plan encounters to help you explore those elements of the character. The more you plan out the character and their hoped for future, the less wiggle room you have to tailor the character as they grow, and also there’s the possibility of not seeing your character go in the direction you expected — after all, there are other players pursuing their agendas, and there’s the GM, who has planning out this great scenario for you that — in all likelihood — you and the others will destroy on your way to the end of the game night.

I realized that most of the time, when I’m doing the RPG a Day blog, I tend to focus on GMing. It’s the role I’m thrust into most of the time — I can whip together adventures pretty quickly, so I usually wind up being the Johnny on the Spot. I’m goign to try and apply some of these posts more to playing this year.

It’s that time again! Time to celebrate our hobby with a bunch of vlogs, blogs, and other media. I’m not much on the vlogging, so here we go. The first prompt was SCENARIO. I decided to go literal with this prompt, so let’s talk about scenarios — adventures, modules, scenarios, whatever you want to call them.

Adventure “modules” have been around since the early days of D&D. A lot of folks don’t have the time to work up their own adventures, so having a packaged story with bad guys and maps, etc. is a great help. It’s also how my company, Black Campbell Entertainment, got started. I had a ton of stuff I had written up for my Hollow Earth Expedition game, and with Jeff Combos’ blessing, we started throwing out modules…scenarios…for people to use.

It’s funny, in some ways, that adventure modules (even in our city sourcebooks for the 1930s have them) have become part of my side gig. I never use them. That’s not true; I never used to use them, but lately, the quality and length of the adventures for some of the new games have allowed me to save time jumping people into a new game without me having to do all the foundational work. Even when I use them, they’re rarely in the form they were published. The GM has to adapt the adventure’s plot line, the timing and beats of the scenes, and the characters to suit his or her game group’s personalities and interests.

So here’s a few I did use recently. The group has been playing Alien by Free League out of Sweden, and Lex Arcana by Quality out of Italy. Both were games that i had a few ideas of where i wanted to go, but no clue of how I wanted to launch. As a result, I wound up using Andrew Gaska’s excellent Chariots of the Gods scenario, but with some tweaking. Mostly, this consisted of dropping the Montero subplot, and sticking much more tightly to an exploration/ rescue vibe. The players knew they were playing in an Alien game so they were much more cautious than some might be, which let to reduced change of infection from the Engineers’ “black goo” on the hulk, Cronus, which they were investigating. Once things finally went awry, they worked well together, and managed to keep the death toll down to one particular character vs. the monster; the rest died after the scenario ended when the sleeper android offed them — but they weren’t told that. Satisfied with the first run, the group was wiling to give it another go, so I went with a short campaign in which another ship is sent out to recover Cronus for Lasalle Bionational, which was jumped the Weyland-Yutani sponsored mission from the published scenario. The McGuffin — Cronus — had landed on a nearby world due to damage from the published adventure and decades of floating through space. I used the published adventure as a pilot, to jump start a new campaign with characters designed for or by the players.

I didn’t do this for Lex Arcana. We have been playing a D&D campaign set in an alternate Roman Empire that was originally low magic but has been increasingly more classic fantasy as the “old gods” return. I was more interested in Lex Arcana as a resource for that campaign, but reading the rules, I was intrigued. One of my players is a fan of Roman military history and the other I met while we were doing our graduate work — he in late antiquity, the period the game takes place in. instead of using a module to jumpstart the Lex Arcana game, I banged up a short mystery about a haunting in a small Raetian town to get the characters together, then used the published scenario Beyond the Limes to move them into a place where they could face the enemies of the empire.

Another scenario I used was The Minoan Affair quickstart for the game The Troubleshooters — a new RPG that Kickstarted last year, is currently being distributed by Modiphius, and which should have the physical books showing up soon. This game was based on the 1960/70s Franco-Belgian adventure comics, like Tintin and the like. I backed it on a whim, but i tried it out with the wife and daughter, and they loved it. It was a spur of the moment “Let’s game!” moment and I needed something fast — the perfect thing for using a module.

There are other scenarios I’ve bought over the years, but more to mine them for ideas — Odyssey of the Dragonlords for D&D 5e (and excellent Greek-styled campaign!), Ghosts of the Saltmarsh, for Tales from the Loop the Our Friends the Machines and Out of Time compilations. I’ve got everything published for Space: 1889 — but again, I never used these modules for the scenario, but for the material they had that could be cribbed for my own ideas.

This time, I’m going to try and get my blog posts for RPGaDay knocked out before August. Inevitably, work at the school and college overtakes me and I don’t get all of the post out that i want, so I’m going to use some of the downtime in the summer to knock this stuff out. Here’s the subjects for this year’s event. I like that they purposefully gave us related alternate prompts this year. Sometimes, it’s hard to come up with something off a single word.

I wanted to use a few more of the bells and whistles (not that there are many) in Broken Compass in the next adventure I ran for my daughter. In this second scenario, her character, Ellie Calhoun, the 18 year old Texan pilot who left her home under a cloudy past, is helping her boss “Cleopatra” Lythgoe, the Bahama Queen with her last rum run from Nassau to Alice Town in Bimini on her schooner. It’s all legal and above board in the Bahamas, but rumors have been flying about the Americans putting pressure on the Bahamian government to hand her over.

In the first scene, she learns from another pilot that Avi Loenstein — the Brooklyn gangster that has recently relocated to Ft. Lauderdale, has been talking a lot of guff about moving in on Cleo. She related the story to the boss over a few hands a baccarat, at which point she stated that the “jinx” had caught up with her. She was wealthy enough and it was time to pack it in before the mob or the feds finally got her.

Later, at her hotel, Ellie was approached by Moses — one of Avi’s goons — who tried to convince her to sell Cleo out by giving the course and time of the run. He left her his hotel room on a matchbox so she could give him her answer. Instead, she let Cleo know and was sent with one of the other henchmen of the Bahama Queen, “Jimmie”, a local man, to set him straight. This led directly to a fight scene, which allowed us to run our first fight with a privileged henchmen. He was rated a critical danger and required three successes to drop him. The fight was quick, and while she didn’t knock him out, other basic successes led to Ellie and Jimmie being able to secure him. They rolled him up in the bedcovers, snuck him out to the waiting Cadillac and took him to the boat for questioning.

While he was tied up in the fiorelocker of the boat, Moses was able to cut his binds with a knife they had missed and he was able to throw himself overboard and disappear into the night. Cleo decided to get the schooner moving and head out.

The next major scene involved navigating to Alice Town, driving the boat, and spotting a seaplane approaching. Avi’s people had found them! There was a trio of dangers to overcome at this point — avoiding the strafing run by the passenger in the plane, who opened up on the boat with a BAR .30. i rated this a critical danger and Ellie scored two basic successes. She used one to push Cleo below, took off a point of the three luck points from the attack, and took a “bleeding” feeling. The second test was to outrun the speedboat that had been led in by the plane, another critical due to the difference in speeds. The last was to avoid the speedboat coming alongside and grappling. Both rolls were failed and the bad guys — two goons I rated a critical threat, and Moses — boarded the schooner.

Ellie handled the initial threat with a burst from her Chicago Typewriter and scored a extreme success; they got mowed down and her Tommy was dry! Moses attacked her with a hatchet, but she rolled a critical success, blasting off her 1911 .38 Super but he had managed to catch her hand and the shot missed (but took one of his luck points and I gave him a disadvantage for his ruptured eardrum.) They wrestled at the rail of the boat and he got another critical success with an added basic. She fired the gun again but missed, however, she plented her knee in his groin and disarmed him. On the next test, she got a critical and basic success again. She decided to throw him over the side of the boat where he was quickly left behind in the open ocean. She and the crew cut the speedboat loose and left if and the dead bodies, as well.

They got to Alice Town, where they offloaded the goods. While cleaning up in her hotel room, Ellie was interrupted by Avi Loenstein and a couple of mooks. She was able to scare them off with her .38 Super, rolling four of a kind. She then complained to the hotel owner and local big-wig, Sir James Guthrie, of the assault and he had them thrown out. Later, she was pulled aside by Guthrie — Cleo has set her up with a few of his friends so that she is out of the line of the feds and mob, with a 2nd class ticket to Gibraltar, and the Fairchild 71 she’s been flying for Cleo as a goodbye present.

We wrapped up with her heading to Gibraltar to link up with a buddy of Gthrie’s from the Great War, a member of the Foreign Volunteer Force, a group of mercenaries known as the “Sky Rats”. (For more on the Sky Rats, see Black Campbell’s Sky Pirates of the Mediterranean. )

While we are waiting to get our pool back into action for the summer, I needed something to do to keep my daughter busy, so I ran her a quick one-shot in Broken Compass, an RPG system by Two Little Mice out of Italy, that i had backed on Kickstarter. They did well with their first two campaigns — the first being the original game and “Golden Age” (1930s pulp) setting, and their second the Jolly Roger (pirates) and Voyages Extraordinaire (steampunk/Victorian sic-fi). The game system has been reviewed by me before, and our first run at it with the gaming group left us thinking it was an excellent lightweight set of rules that works better than Ubiquity or Fate for pulp settings. (Although it’s hard as the GM to get used to not rolling dice…)

The kiddo built a “gunslinger pilot”, so I tried to think of a quick game without digging into some of the Black Campbell stuff I’d already published. I wound up running a game set in early 1926, with her character — a Texan girl of 18 who had run away/had to run away for legal reasons. She had somehow wound up in Bimini, where she had been working as a speedboat and seaplane pilot for Gertrude Lythgoe, sometimes known as “Cleo” or “Cleopatra” for her exotic looks — the so-called “Bahama Queen” of the rum-runners. The adventure was designed to be a quick run, maybe two hours, for a solo character but could be easily buffed up.

Following a night of drinking and jazz music (put on some 1926 hits at this point for atmosphere) at the Port Alice Hotel in Alice Town, Bimini — Cleo, the Bahama Queen gets into an argument with an arrogant gangster in from “Fort Liquordale” (Lauderdale), who is trying to worm his way into the rum trade. Along the way, he insults her and the character — a “slip of a girl” and bets them his crew can get a ton (about twenty cases) of booze into Lauderdale before they can do the same in the plane. The boat can offload on the shoreline, but the seaplane (a new Fairchild 71 — yes, I know it’s a bit early for that particular bird to be out) has to have a more stable landing poinbt and it’s not inconspicuous, so they’ll be landing at a spot inland in the wood on a canal, about ten miles inland…just to make it fair. They load up at the same time in Alice Town in the morning, race the 45 miles (55 for the plane) to Florida and drop to the waiting crews, then return to Bimini. First back wins. To make this more fair if using this idea, you might have both use speedboats.

This led to a series of challenges, usually grouped in threes, at most, in Broken Compass: the first stand-alone challenge was a leadership to get the dock crew to load the plane properly. If failed, they’ll immediately need a successful critical pilot test not to crash; they will then need to set down on the water and balance the load properly with a pilot or observation test. If they need to rebalance, this will give the boat a 15 minute head start. Once in the air, they need to 1) do a basic navigation test to the drop zone using survival or observation, 2) a basic (or critical) if they had to land pilot test to fly there and arrive about the same time as the boat — roughly 50 minutes after they left Bimini, and an critical alertness to notice something new and dangerous — the Coast Guard makred Voight UO-1 seaplane (which had just been picked up and was radio-equipped) that will spot them and report back. Once over Florida, it’s a critical pilot test to put down in the canal where a truck and two man crew is waiting to offload the booze. To do it quickly, requires a critical stunt or leadership test and will take about 15 minutes (the boat crew can chuck the booze into the shoreline for their crew and it only takes 5 minutes.)

The next challenge/danger is the arrival of the T-Men warned by the Coast Guard — two cars of feds! It’s a basic alertness or observation to spot them and have time to respond by launching or shooting up their cars. (My daughter’s choice…she loves her Tommy gun!) A critical shoot to take out the lead automobile will leave the T-Men in the cars having to bail out on the small dirt road and run to the dock. This gives the plane crew time to get into the plane and take off, or to get into a shootout with the feds. To escape into the plane and launch, 1) a critical stunt test not to get shot up by the trigger-happy Treasury men, then 2) a critical pilot to get out of the area without the plane getting shot up. (And possibly an alert or observation to note if they were hit.)

By this time, the speedboat’s got a 15 minutes headstart, again, and they have to dodge the Coasties in the UO-1 and get out of US airspace. A critical pilot gets them out over the Atlantic and a critical observation or survival gets them back first.

If the characters do this adventure using a boat, there’s more opportunity for action with their offloading being interrupted not just by T-Men, but a Coast Guard “6-bit boats” or 75-foot cutter. Then, it can be a series of challenges like 1 critical stunt test to get the hooch over the side fast enough, then 2) a critical pilot to escape the cutter and get into the open sea, then another critical pilot test to beat them to the 12 mile limit, before having the race the other boat (if still in play). If they are caught by the Coast Guard, they can resist a 6-man crew as a 2 critical-level enemies.

We were again impressed with the speed and ease of play using Broken Compass, and I’ll have a nother play report for the daughter’s second adventure.

After months of waiting, the Colonial Marines Operations Manual has dropped for Free League’s Alien RPG. I got my PDF in the other week and intended to scope the gear assuming that was going to be the real meat of the book. While it’s good and adds a plethora of hardware — vehicles, vehicular-mounted weapons, small arms, spacecraft — it’s the world-building that really makes this worth a look. Andrew Gaska has really fleshed out the Xenoverse, with new history, material on colonies, new templates for marine characters, and gear.

Is it worth the price? Yes, and resoundingly so. If you’re running Alien, buy it.

Here was another Kickstarter that caught my eye last year (gah! it was an expensive year for me with Kickstarter last year!): The Troubleshooters, a Swedish game based on the old Franco-Belgian style of comics from the 1960s/70s. Think Tintin, and you’re on the right track; this is set in the Jet Age, when tourism became a think and much of these comics revolved around traveling the world for adventure (similar to the I,Spy series or James Bond movies…). The artwork was superb (I like it when I can identify gear in RPG art!) and caught the style of the comics, so I backed the project. After some delays caused by an injury sustained by the main writer/artist, the PDF dropped a week or so ago.

That gave me the opportunity to kick the tires on this games system with the wife and kiddo this weekend. It got a solid thumbs up from both of them, and I found it worked well to help the story along with only a few hiccups that were mostly the first play session blues of getting used to the system. We ran the quickstart adventure they dropped last year The Minoan Affair — a quick “save the friend and stop the dastardly smugglers” one-shot.

The basic mechanics: Troubleshooters uses a percentage test. You roll for a challenge and have to roll under your score in a skill like Agility or Drive. If you succeed and get “doubles” (say a 33 on a skill of 45) you also get good karma — this lends benefits to other test, etc. Likewise, a double on a fail is bas karma — your gun jams, and so on. You have certain abilities that allow you to use the game currency — story points — to either flip the roll (a 73 becomes a 37 for 2 story points, but if you have “Born Behind the Wheel” than allows the flip with a single point) and complications that give you story points when they affect you. Your health/damage is tracked with Vitality and is usually somewhere in the 4-6 range. You get hurt and lose enough to hit Vitality 0 and you’re “out cold.” You don’t die in this game unless its story appropriate, you do something really stupid, or you trade the Vitality hit for a “wounded” or mortal peril” tag — that puts you in danger of death, but keeps you in the action for longer.

The system also has an advantage/disadvantage system using “pips”. A +2 pip means that if you get a 1 or 2 on the ones die, you succeed, no matter the tens, and vice-versa for disadvantages. It’s a bit odd but works well. There’s also a tweak to allow you to use a +/- 5% per pip. We found the pip system worked fast and well. Karma, your signature item (be it a car, or a gun, or whatever), and more difficult tests give you an advantage or disadvantage rating, usually +/- 2 or 5. It sounds confusing when you’re reading it, I found, but played very well.

Combat is simple opposed tests, the character’s appropriate skill vs. the bad guys, who tend to have generalized skills like “basic” or “boxing” or even “bam! biff! whop!” to match the style of sound effect for their fighting. Challenges can be met with the appropriate skill, or sometimes a related one — agility or endurance for running away from a threat, for instance. There are also extended challenges that require multiple tests together (and often can be done by different members of the cast): looking for the island where the hostages are could take a Vehicles test to get there, a search to find them, an investigations to navigate properly…

Character creation: You get a group of templates you can tweak, otherwise you can put together your own with a set number of skills you can assign a percentage number to, pick a couple of appropriate abilities and complications, give the character a name and a look, and figure out how the characters net to allow them to get straight to it. It’s easy and fast. You get a signature item — like the pre-generated race car driver character’s Lancia Stratos, that give you benefits.

The game has it’s own comic universe set in the 1960s. Cool is definitely a factor here: the clothes, the cars, the look of the comics of that period will enhance the play. The stories are French comic styled — there’s danger and villains, but the gunplay is kept to a minimum, and characters are expected to punch or outsmart their way out of trouble. There’s the global bad guy organization, a la SPECTRE or CHAOS — in this case, the Octopus. In reality, the “Octopus” has been a name for various organized crime syndicates from the Cammora to a Bulgaria gang, and it was even the imagery used for the early capitalist trusts. SPECTRE in the James Bond books and movies used the Octopus as its symbol, linking it intentionally to these shadowy “Octopi” groups of the middle-20th Century.

The Kickstarter had a lot of extras with it — a few canned adventures, character “passports”, and a GM screen, maps, just for starters. I pledged at the Business class which was about $100US — so is it worth it? Yes — if you are looking for a game that captured the Jet Age cool and the comics or movies of the period, it’s a fun game that’s nice to look at and has mechanics that are easy to learn and help the flow of play. I’m not sure of Helmgast’s plans for producing and marketing this beyond the Kickstarter; my hope is that Mödipiüs or one of the other Euro-game publishers snaps it up and keeps it going.

A friend of mine turned me on to the Broken Compass role playing game that was being Kickstarted last year by a small Italian company, Two little Mice. (Man, the Italian RPG scene is hopping!) I’m a bit fan of the classic pulp era for a game setting (as evidenced by the plethora of 1930s stuff Black Campbell Entertainment has done for Fate and Ubiquity), so I dove in. About a month ago, all of the physical books and material came in. We had a week’s downtime from our Lex Arcana (another Italian game company!) to give it a try.

Broken Compass has the same goals that Fate and Ubiquity had — to make play fast and easy, and to get the rules out of the way. Fate does this well through extremely simple core mechnaics, but has a few elements — tagging scenes, for instance — that can be difficult for new players and for those used to the GM doing all the setting work to grab a hold of. Ubiquity does well until combat, where it bogs down into gronyard-like crunch. This system keeps it simple with core mechanics that do not change from managing a task, confronting a danger, or getting into a fight. the base die mechanic has the player roll a number of die equal to an attribute and skill and look not for a specific number, but for matches (kinda like Yahtze.) For basic tasks, you need a pair; for critical ones, three of a kind and so on. You could standard d6s or the company’s snazzy specialty d6s which feature the cardinal points of the compass (N,S, E, W, a broken compass, and a skull).

The character creation is simple and fast: pick two tags, like “action hero” or “femme fatale”, which give you an extra die on two of the six attributes (Action, Guts, Knowledge, Society, Wild, Crime) and on eight of the skills (there are three under each of the attributes. Simple. You’ll have between 3 and 6 dice to roll, not counting bonuses from gear and conditions. You get a two “expertise” tags that give you an extra die when appropriate. you start with 10 luck points — when you get to zero, you have a “luck coin” to help you out of danger. The system is not designed to kill a character (though it can), but give you conditions like, exhausted or scared — negative ones that take a die if you have it, or positives like confident or daring which add a die.

Villains and opponents are handled like a challenge (which don’t cause you to lose luck) or a danger (where you do get hurt.) A bunch of ordinary mooks attacking you might be a basic or critical danger, depending on their skill, or higher if they are a privileged henchmen or big bad. In a brawl, you roll an Action+Fight vs. the difficulty of the challenge, and take out the baddies dependent on how well you did, but if you fail, they do you an appropriate number of luck points (and possibly pick up a condition.) In a firefight, there’s the usual back and forth — first you shoot with Action+Shoot (or Guts+Shoot), then they shoot and you try to avoid with Action+Stunt. The GM rarely, if ever, rolls; it’s all on the players, who are encouraged to narrate their actions.

It plays very quickly and easily, and our first run of the game was as a playtest of an adventure for an upcoming product that usually would have been run in Ubiquity. I have to say, Broken Compass has won me over. It’s more intuitive than the +/0/- dice mechanic of fate, and simpler when it should be than Ubiquity — my go-to pulp action RPG systems to this point. The system is lightweight enough to carry any genre with a bit of tweaking.

The physical product is superb! The core book or Adventure Journal features a classic pocket journal look: faux-leather with a proper stitch binding and heavy gloss paper in 9.5×6″ (the same size as the Fate books). The edges are curved, it’s got a bookmark ribbon, an elastic strap to hold it closed, and elastic pencil holder. It’s a brilliant bit of design. Internal layout is clear and simple, with a minimum of nonsense to distract. The art is good (although these days, with Free League and Wizards’ art design doing stunning work, this is good for most products out there) and the typeface and sizing is clear and easy to read. (The more I publish stuff, the more impressed i am by these things.) Here’s the example from Two Little Mice’s Kickstarter page:

It came with a GM screen that is similarly sized: 9.5×6″/per panel, with a 4-panel spread on heavy cardboard with appropriate artwork on the player side, and most of the basic rules on the GM side. Again, clear, concise, and workable. I didn’t have to access the book more than twice during play. also included in my pledge was their First Season book Golden Age with some tweaks and canned adventures for the 1930s. A Spin Off: Luck Tales book similarly give a few new rules and adventures. There was a world map (circa 1999), a cloth bag of specialty dice, a plastic luck coin, and posters featuring the art from the book, as well as a Rival Passport (a listing of big bads for your game), an Adventurer Passport to record characters, and a selection of period postcards from exotic locales.

Two Little mice is currently running a Kickstarter for the next two “seasons” of the game — a pirate setting and a Victorian fantasy/steampunk setting, and the original books, GM screen, maps and dice with luck coin, and posters can be had with the right pledge.

So is it worth it? Absolutely. The physical materials are top-notch: the books are on good quality gloss paper, have a faux-leather cover, decent art with simple and clear layouts. The existing books can be had in PDF format on for $30 and $19.

It’s only been a few months since we got The Marvelous City out, our guide to Rio de Janeiro for the Ubiquity system. There’s been a few hitches with getting the book out in print with DriveThruRPG due to their new print setup, but it is live on Amazon.

While we were in the beginning stages of that book, we were approached by Scott Glancy about doing a book on Cairo. I had a look at his initial notes and material that had been developed for an abortive computer RPG and signed him up right away. He turned in the second draft of material in November, right as the Marvelous City was going online and we’ve been furiously working on getting “the Cairo book” finished.

Now, The City of a Thousand Minarets is live for PDF on with print versions coming soon. Then, this summer, we can turn our attention to getting the FATE version of book books out.

I have to thank one of my Facebook acquaintances and fellow game design/small publisher for this one: Lex Arcana. It looked interesting, and out Dungeons & Dragons campaign has been set in an alternate late antiquity Roman Empire, so i was interested in it for material to crib. After hearing it was a good system, but picked up the PDF and read through it. Then bought the Encyclopedia Arcana, their “sourcebook” on the setting in PDF. Then found a print version of both, plus the “Demiurge” (GM) screen at Miniature Market and picked them up. (I was really impressed with their selection, prices, and the speed of delivery — check ’em out.)

Back to Lex Arcana… Apparently, this had been a popular game in Europe in the 1990s, but recently was re-released through Kickstarter. First off: these books are gorgeous! The artwork is as good, and in some ways better than the stuff Wizards is doing for D&D and even the superb Odyssey of the Dragonlords. This holds through all of the products I’ve gotten, thus far, including a module in PDF on Constantinople. Production values are high — the paper quality, binding, layouts — it’s all just top shelf. This was easily one of the best buys for an RPG I’ve dropped money on in recent years.

So it’s pretty. How’s the system? Character creation can be a bit confusing at first, but I followed the flow they’d laid out in the book and had a version on one of my player’s characters from the D&D campaign banged out in under 15 minutes. Not bad — I do judge a game system based off of how long and how difficult character creation is. If I can knock out a character in 15 minutes or so and get playing, I’m not usually impressed. There’s a bit of weirdness where your attributes — strength, etc. don’t directly apply to things you do; they combine into….fields, I guess would be a good way to put it, like War or Nature or Society. This gives you a number from 2 to 18 being the top starting number, if i recall correctly. You pick skill, which give you a modifier to rolls in a certain field — bows in War, for instance. You pick your weapons and armor, and you’re ready to go.

The conceit here is you are part of a special force of the Praetorian Guard that hunts down mystic weirdness and threats to the Empire. There are rules for rising through the ranks, but also for magic and more importantly, for gaining favor from your patron deities. The piety score can be used to gain a bump in a test up to getting a bit of Olympian back-up. Magic here is not the “shoot fireballs from your fingers” stuff of D&D (thank the gods!) and focuses on pre and postcognition, interpreting omens and dreams, scrying, and manipulating the gods for favors. This is low magic that requires rituals, time, and effort to get something out of it.

The basic mechanics is a hit a target number system. How you do this is different…you get all the normal polyhedral dice for the game, but which ones you roll — that’s the difference. For instance, if I have a de Bello (War) of 16, I can chose dice that add to 16 (up to three dice, no more) — so I could do a d12+d4, or 2d8, or 2d6+d4. What’s the point of this? You ask. It does look like it could be confusing and slow play for new players, but for experienced folks, i think they could game the hell out of this for mathematical benefit. In the above example, you’re not rolling below a 2 (or 3 with the last option) which can be good for easier tasks. If you roll max on all dice, you roll them again and add to the original roll. What about odd-numbered die — d5, d7? Yes, that could be a thing. Combat is pretty straightforward, with damage based on the quality of your hit. For every three over, you gain a multiplier to the weapon damage. You’re not just getting up, either, if you get munched; damage here can be pretty deadly.

The downsides: there’s a lot of Latin used to give flavor. The character sheet and the used of terms like custodes, the agents of this group you’re supposed to be part of, might throw some folks but i suspect if you’re interested in this, that’s flavoring you might like.

The core book cost me $46. Is it worth it? Hell, yes. This is the first game one of my players — a Romanophile — is truly, actively interested in playing; another is a late antiquity historian turned acupuncturist — he’s in, as well. It’s pretty, well-designed, and there’s a lot you could crib for a setting or another game system. I fused the Piety system here with the one from the Odyssey of Theros book for Dungeons & Dragons 5e for our current game.

Instead of doing a different review, i figured I’d merge this with the other Lex Arcana products I picked up. Easily, the best sourcebook I’ve read in some time is the Encyclopedia Arcana.

This book is a genuine book of scholarship tweaked to be a setting guide for ancient Rome. There’s stuff on the road systems, the post service, the military (army and navy), shipping and trade, the ranks of government and society, as well as food, clothing, disease, and lastly magic. Written by Francesca Garello, it’s well worth picking up even if you don’t get the game; I’ve already be cribbing stuff for our D&D game. This was about $40 and yes, it’s worth every penny. The art, writing, research, and production values are sine que non.

Lastly, the Demiurge Screen.

Pretty much everything you need to quickly adjudicate social interactions, investigations, fights, experience — it’s there. The cardboard is thick and top-quality, the art is good and evocative of the setting, and it’s surprisingly cheap at $18 over on Miniature Market.

« Previous PageNext Page »