Wednesday, March 05, 2014

Elric and Void Lead New Wave Of European Graphic Novels From Titan Comics


Following the phenomenal runaway success of Snowpiercer, Titan Comics continues in its bold mission of presenting the highest quality European graphic novels to a brand-new audience!

Titan Comics is thrilled to announce that Elric: The Ruby Throne & Void will be published in deluxe hardcover editions this September!

Elric: The Ruby Throne is the first in a series of graphic adaptations of legendary fantasy author Michael Moorcock’s signature creation Elric. Written by Julien Blondel and beautifully illustrated by Robin Recht, Didier Poli & Jean Bastide, this new comic adaptation of the Elric of Melniboné novels has been produced with the full and enthusiastic endorsement of Moorcock himself, who provides an exclusive introduction to this edition!

“The best graphic adaptation of the story,” writes Moorcock, “has to be the current one by Julien Blondel and his team. This is perhaps the first graphic version of Elric fully to capture the sense of utter decadence I tried to convey in the books.”

Gripping science-fiction thriller Void is illustrated by superstar artist Sean Phillips (Fatale, Criminal, Sleeper) and written by Herik Hanna (Bad Ass). Concerning the sole survivor of an interstellar prison ship, this tense and atmospheric graphic novel is Phillips’ first venture into science fiction!

“We’re very excited to be launching a range of European graphic novels, spear-headed by Mike Moorcock’s Elric and Sean & Herik’s Void,” said Nick Landau, Titan publisher.

From late 2014, Titan Comics will follow Elric: The Ruby Throne and VOID with a host of new projects including best-selling medieval thriller The Third Testament: The Chronicles of Legion, which is the prequel to Fabien Nury & John Cassaday’s I Am Legion, and The Rage; a shocking horror about zombie children.

Void will hit comic and book stores from September 2, 2014.

Elric: The Ruby Throne will hit comic and book stores from September 16, 2014.

Void and Elric: The Ruby Throne will also be available to read on the iPad, iPhone, Web, Android and Kindle Fire, exclusively through the comiXology app and comiXology.com

To keep up-to-date with news from Titan Comics, visit www.titan-comics.com , join us on Facebook or follow @comicstitan on Twitter.


Monday, March 03, 2014

Orin Rakatha RPG Kickstarter

Always complaining about not having enough campaign settings to try out? Well, if you are there is a new Kickstarter for you: Orin Rakatha, a decades-old fantasy LARP campaign that is putting itself to paper. We'll move on to the general information on the project next but before that I want to point out that this article -- and all following Kickstarter articles -- will be a bit different as I will also giving my opinion on how the the projects have been set up. That will be towards the end, and since we are still near the beginning -- let's move on.

Orin Rakatha is a fantasy setting that has been designed over some 27 years by associations of LARPers in the U.K. The books will be system-less but feature stats for Pathfinder (and potentially others, like FATE and 3.5).What's the actual setting like? From the Kickstarter page: "a land ravaged by abhorrent creatures, warring nations and powerful magic. Where the only sanctuary can be found within magical sentient towers that the people band together to live within." The 'sentient towers' is the part that sticks out here to me, but there wasn't really much else about them on the page, unfortunately. We'll get into that later in the article, up next is the pricing and goodies.

The Orin Rakatha Kickstarter has a pretty good range of backing levels but the ones we're interested in are the book levels. Starting with the lowest -- just the PDF -- you can get your hands on all of the books in PDF form for as low as £10 in a limited 'early bird' special, with the normal price being £15. For a printed copy you can get just one book for £20 or all of them in soft back for £35 (shipping outside the U.K. is extra). Finally, if a hardbound copy is what you are looking for, there is a limited edition one on offer for £50. Apart from books there are also various ways to get your character into the books and setting material -- either with just text or with art and even a 28mm miniature likeness.

And so we arrive at the new part of these articles -- my thoughts on the Kickstarter project itself. The first thing that caught my eye on the page was the concept art -- there is a good bit of it and I don't know how it all really relates to the setting (there is some description text, but without more context it doesn't help too much), but I really liked the concept art.

The page has a tidbit of information on the setting -- a chunk of which I pasted in above -- but not enough to give me a good sense of what this setting is really about and why I would want to run or play in it. Instead there seems to be a good deal of text given to talking about how Orin Rakatha is a decades old LARPing campaign that has seen a lot of work and such over the years. That is fine, but not really what I am looking for here. I wanted more setting information, less background to the development of it.

The rest of the page basically just mentions that they really want better art, gives a brief description of each book and then the breakdown of expenses and risks. I liked the clear breakdown of expenses -- hopefully it will be something that is stuck to and prevents the wasting of funds (which has been a problem in Kickstarters before).

The funding point may be just a bit too high, as this is largely a system-less setting, but it isn't completely out of the park. Taking off a portion of the art budget to lower the funding goal and setting that up as a stretch goal might have helped to ensure funding is met. The backing levels are good, though it being in GBP does make it a bit pricey for me, at least. I liked the wide use of incorporating backer's characters into the setting and the range of price options for that. You tend to see that in just the higher backing levels of many projects, but its something that a system-less book could really set as a selling point. I might would even go further and include one more lower option in the same vein, if it proved popular enough.

Lastly, the video was alright. It had some humor in it, which is appreciated. The sound levels were a little off during a couple small parts, though. Mostly, it just briefly covered what the page had, which is just fine.

Overall, the biggest complaint that I had was not enough information about the setting on the page. They are selling the setting and the focus of the page should be on that. Especially since there is the nice concept art all over the page -- I would like to know more, which is good, but the information needs to be there.

And that wraps that up, I think. If you would like to see some of the fancy concept art mentioned above, or poke around to see what you can learn for yourself, be sure to check out Orin Rakatha's Kickstarter page and their website.

Friday, February 28, 2014

Aaron Allston 1960-2014

News shotgunned through the wires last night that designer and novelist Aaron Allston collapsed at a convention, followed shortly by reports of his dead. Unfortunately, those reports were verified on Facebook and by email this morning.

Some may know of Allston's work through his Star Wars novels, or his original Doc Sidhe novel. Some may know of him through his work on Champions, Justice, Inc. or Lands of Mystery. Some may know of him through his revision of the D&D rules published as the Rules Cyclopedia, or the Hollow World setting for that. Some may know of him for his early work at Steve Jackson Games and on Space Gamer. He was all of these things and more.

I never knew Allston, but his work spoke to me, first as a gamer and then as a designer. He was one of a small handful of designers who were authoritative on the genres of comic book super-heroes and the pulps. Both Justice, Inc. and Lands of Mystery had an impact on my pulp gaming, and on my designs for pulp games. I don't know if he ever saw Pulp Fantasy, but he was one of the inspirations to which it was indebted.

His version of the D&D rules have been my definitive version for so long that, outside of my playing Swords & Wizardry, I'm not sure if I will ever have, or need, another version of Dungeons & Dragons.

I went through my game library and took a few photos of the things in it that he produced.





Today in the Daily Illuminator electronic newsletter, Steve Jackson had this to say:
Aaron was also the best GM I've ever known. The Champions campaign he ran for the SJ Games staff was memorable. A couple of us didn't actually know the Champions system at all, but Aaron made it not matter, and we all had a fantastic time.
Over on G+, +Allen Varney crafted this eloquent obtituary and tribute to Allston:



Aaron Allston, 1960 to 2014. You wrote large upon all of our lives, and you will not be forgotten.

Sneak Peak At The New Doctor Who Comics From Titan Comics



DOCTOR WHO: THE TENTH DOCTOR #1
Regular cover by Alice X. Zhang

THE TENTH DOCTOR IS BACK, IN AN ALL-NEW ONGOING SERIES! NEW COMPANION! NEW HORIZONS! UNFORGETTABLE NEW FOES! ALLONS-Y!

Eisner Award-winning writer Nick Abadzis (Laika) and fan-favorite artist Elena Casagrande (Angel, Suicide Risk, Doctor Who, Star Trek) take control of the TARDIS for their first five-issue arc with the Tenth Doctor! And don't miss the second arc, by fellow series architect Robbie Morrison (Drowntown, Nikolai Dante, The Authority)!

On-sale July 23, 2014


DOCTOR WHO: THE ELEVENTH DOCTOR #1
Regular cover by Alice X. Zhang

THE ELEVENTH DOCTOR RETURNS IN AN ALL-NEW ONGOING SERIES, WITH A TIME-TWISTING LEAP INTO THE UNKNOWN! GERONIMO!

Series architects Al Ewing (Loki: Agent of Asgard, Mighty Avengers, Trifecta) and Rob Williams (Revolutionary War, Ordinary, Miss Fury, The Royals: Masters of War, Trifecta) kick off a whirlwind adventure through eternity for the Eleventh Doctor, with artist Simon Fraser (Nikolai Dante, Grindhouse, Doctor Who)!

On-sale July 23, 2014

Wednesday, February 26, 2014

Monsters And Magic Capsule Review

Monsters & Magic is a new(ish) RPG from Sarah Newton's Mindjammer Press. I've been a fan of Sarah's work since Legends of Anglerre came out from Cubicle 7. These days she has her own imprint that is putting out her games and fiction, with distribution through Chronicle City. I say newish because the game debuted last year at Gen Con, even though I only just got my physical copy. I would have had this game for a while now, if I had been able to get to Gen Con last year, but alas.

The system in Monsters & Magic is like the bastard offspring of OD&D, Dungeon World, Fate and HeroQuest (the Glorantha-inspired RPG, not the boardgame). While I find that interesting, I don't think that everyone will.

Character generation in the game is definitely more fiddly than standard OD&D. A starting character receives a lot of options for their character, giving you a character from the gate that is typically more powerful than your bog standard old school character. In terms of complexity of character, you can get a character that is close to a D&D 3x character. It doesn't take as much work to make a Monsters & Magic character, most of the complexity is baked into the characters and doesn't require the player having to make a lot of choices (like with the feat selection in D&D 3x). You can make a competent character right out of the gate with this game. That is something that I like about it.

One of the "new school" elements in Monsters & Magic are what the game calls traits. Traits are broken down into various types, from character to race to class, and they can provide bonuses to rolls or special abilities for a character. The standard class and racial abilities that a D&D player would be used to are rolled into traits (as are 3x feats, to a degree), in a simplified manner. They work like a mashup of D&D abilities and Fate aspects and HeroQuest traits. These traits are where the HeroQuest influence is most pronounced. While most traits are predetermined, there are places where they can also be player-defined. This means that you can have more than one character in a group inspired by the same archetypes, but at the same time you can still customize characters so they can look and feel different. It is nice to have mechanical support for this sort of thing. I think that character advancement is a hybrid of Dungeon World and standard D&D.

The DIY aspect of old school gaming is well represented in these rules. Throughout the rules, Newton encourages players and GMs to manipulate and add their own touches to the game, and throughout she gives guidelines on converting material from "classic fantasy" games into Monsters & Magic. This is pretty much where the "old school" influences end for this game. Someone expecting OD&D with some extra bells and whistles is going to be disappointed in this game. This is not the first game that I have seen marketed as an old school game that misses that mark.

Don't get me wrong. I am not holding the attempt to be "old school" against the game. It is better to try to make the game that is right for you, and have it fall short to others, than to not try to make that game at all. Each game, whether we like them or not, is a step in the direction of a diverse hobby, a place without cookie cutter games. Sometimes, when trying to do many things, you are unable to put as much effort into all of those things. Despite these flaw, the underlying system is a solid one and makes interesting characters with a strong sense of story behind them, stories that manage to not overwhelm what you want to do in the here and now.

The Monsters & Magic system and GMing advice do a good job of explaining to the reader how the game should be played. There is talk about high level campaigns and how to run them. There are rules for making constructs of all shapes and sizes (similar to the rules that appeared in Legend of Angelerre, this must be something that Sarah likes in her games). The GMing section is probably better than that in many old school retroclones anyway, many of which prefer a "learn it yourself" attitude.

One problem that I had with the game actually comes out of all of the talk throughout the rules about high level play, and the various "scales" of play in the game. Despite the fact that the rules support and talk about high level play, there are only a handful of spells available for the various magic-using classes and those spells only cover up to fourth level characters. My other problem was that there really aren't a lot of monsters in the game, all told. Perhaps games like Swords & Wizardry with its extensive lists of monsters and magic have spoiled me, but it seems like a game with monsters and magic in its name should have more of both in it. Monsters can be fixed by making your own, or converting them from other sources. However, old school fans will find that adapting or creating monsters will be a bit more difficult than they are used to because the monsters are probably closer for many to 3x in terms of complexity than OD&D.

Neither of these hurdles are insurmountable, given work on the part of the GM and players, but when in a market where there is already a lot of fantasy RPGs, these are factors that could cause someone to put down Monsters & Magic and pick up another fantasy game in its place.

Ultimately, you have to decide for yourself if this is the game for you. There are a number of strong points (varied and interesting character creation, narrative game elements in the rules) to the game, but they are balanced by some weak points as well (lack of magic and monsters). There is a good game in here, it just takes a bit of coaxing to bring it out. Hopefully, a couple of years down the line, backed up by a few years of actual play and design experience, Monsters & Magic will get a revision that will address some of these issues. At less than 150 pages, there is space for these things to be added without making the game a monster of its own.

Why Non-Disclosures Should Be A Thing Of The Past

One thing that we are seeing more of in this age of Kickstarter-driven tabletop RPG development is a thankful end to the era of NDAs (non-disclosure agreements) being an industry standard. Yeah, there are still some holdouts, but for a lot of designers and companies they are realizing that NDAs are a weakness in development rather than a strength.

Yes, I can understand the argument that you don't want people bitching about things from early drafts of your game after they've been removed. That is easy enough to deal with, however. Just say: "That's not in our game anymore." Yeah, geeks like to chew up a bone of discontent until it is a little nub of negativity, but really there is only so much that you can do about people like that anyway.

The main benefit that comes from all of this is publicity. A Kickstarter campaign that is making lots of money is good publicity, but what makes better publicity? People blogging about their love for your game, talking it up on forums and social media. Games are meant to be played and nothing is as good for publicity as people talking about how much fun they are having while playing your game. Yes, you run the risk of people trash talking, but you run that risk after release and NDAs won't matter anyway. If one YouTube video of a group playing, and having fun, causes 10 people to look at your campaign and pledge...that's 10 people that you might not have had give you money previously.

This doesn't apply only to games that are being Kickstarted either. Open development can be even more helpful to a game that is being funded the old fashioned way because you do not have that extra push of publicity from a Kickstarter campaign. Don't treat your current and potential future customers as if they are thieves who are trying to steal your ideas. These are the people who are the front line of your game's publicity. Do you want them talking about how cool your game is, or how behind the times you are because you want to make them sign an NDA?

It is time to join the 21st century and start treating your audience appropriately. They aren't thieves trying to take your ideas. Tabletop gaming just isn't important enough for "corporate espionage." Put those beta versions of your game out there on the internet. Let gamers worry at the rules like a dog with a new squeak toy. Let them find the math errors, the spelling mistakes, for you. But most of all...let them talk. There's no point in being quiet and squirrely and Cold War about your games. Let your fans be fans, the bad apples will sort themselves out.

A Dorkland! Interview -- Bulletproof Blues Second Edition with Brandon Blackmoor

Despite being in one of the busiest points of a Kickstarter -- the final stretch -- we here at Dorkland managed to get an interview with Brandon Blackmoor about Bulletproof Blues and its Kickstarter.

Dorkland!: How has the Kickstarter experience been for you so far? Is there anything that you have learned since launching the campaign that you wish you knew prior?

Brandon Blackmoor: I should have looked at the ratio of PDF vs. print backers of other RPG projects. I underestimated how many backers would elect for a print reward level, and the net revenue from print reward levels is (for us) about 50 cents on the dollar vs 85 cents on the dollar for PDF reward levels. As a result, I needed to adjust the price points of our stretch goals about mid-way through the first week.

DL: Why set your Kickstarter campaign in a more incremental fashion? Why the sample character artwork first?

BB: Originally, all of the art came first and all of the supplemental written material came after. This was based on the assumption that people would prefer to improve the core book before wanting add-ons. After the first week, I polled the backers (approx 60 at that time) to see how they would prefer the stretch goals were structured. This indicated that they were much more interested in the supplemental material than I thought, so we re-arranged the stretch goals accordingly (at that time, none of the stretch goals had been met).

DL: One of the features of the Kickstarter (and Bulletproof Blues, in general) is a creative commons license -- why have it?

BB: Because one of the primary purposes of Bulletproof Blues is to provide an open game system that anyone can use to build their own game. In my opinion, Creative Commons Attribution-ShareAlike is superior to the OGL for this purpose.

DL: What sets Bulletproof Blues apart from other supers RPGs?

BB: Task resolution is simple, combat is fast, powers are flexible and diverse, and the available range of power levels is deliberately broad. It follows a middle path between the complexity of games like Mutants and Masterminds and the simplicity of games like Bash (which are both fine games).

DL: What does the Kalos Universe have to offer people who are not familiar with it, but are familiar with DC or Marvel? Or people who are not very familiar with any supers setting?

BB: Kalos Universe is our own superhero setting. It allows the players to have a relatively minimal pre-made setting without the baggage that comes with DC or Marvel. That being said, most of the tropes you would want in DC or Marvel are there, or could easily be added. For that matter, if you want to play a DC or Marvel game with Bulletproof Blues, feel free.

DL: On the Kickstarter page Bulletproof Blues is described as a 'setting-dark' superhero RPG -- what exactly is meant by that?

BB: It's really only “dark” in comparison most mainstream superhero games. The authorities don't turn a blind eye to posthuman activities, and relatively few posthumans put on spandex and try to save or rule the world. Most posthumans have the same goals everyone else does: money, power, and fame. Of the themes of the setting is that most people are not “heroes” or “villains”. There is a great deal of grey in the world (but we assume that the PCs will be a lighter shade of grey than most of their antagonists). Also, posthumans are dangerous: even a relatively low-powered posthuman could kill a normal person pretty easily. That's a bit different from most superhero games.

DL: What are some of the bigger changes to the rules of Bulletproof Blues with this second edition?

BB: The rules really aren't changing. We are adding a few small additions (such as “Skill Mastery”, an advantage which confers a +3 task bonus to task rolls when not in combat). For the most part, the changes are cosmetic: new art, new layout, larger format, new character sheet design. We are also replacing the How To Play and How to GM sections with a “GM Resources” section that will provide some additional setting material and (hopefully) some good advice on running Bulletproof Blues, specifically.

DL: How compatible will content created for the first edition of the rules be with the second edition?

BB: Completely.

DL: Supers settings can get crazy (in a good way) -- what is a moment of Bulletproof Blues gaming that you have experienced and felt really exemplified the game?

BB: One of my favorites was when a character snuck into a mental hospital to examine the personal effects of a dangerous sociopath who had died under mysterious circumstances. You probably had to be there.

DL: Lastly, what was the most interesting Bulletproof Blues character you have seen, created or played?

BB: Probably the strangest was Frogger, who was played the nine-year-old son of a friend of mine. Frogger was a swamp monster who'd been living in the bayous near New Orleans since the 1800s.

We here at Dorkland! would like to thank Brandon for his time and wish him the best with the Kickstarter, which has long since met its funding goal and is nearly past its third stretch goal! If you would like more information on Bulletproof Blues Second Edition be sure to check out its Kickstarter page and Kalos Comics' website.

Tuesday, February 25, 2014

Gary Reed Talks About The Return of Caliber Comics

Since I've been talking about DeadWorld (and I have a feeling that I am going to eventually be moving into talking about other Caliber books as I go through my comic long boxes), I should include a link to Gary Reed's blog talking about their "return." It is an interesting article and I think it really gets to the core of what Caliber Comics was as a company that published creator owned comics, and what that means in a contemporary comic market where comic publishers have been relegated to the role of creating and maintaining IP for the purposes of making movies and TV shows.

Go over, read Gary's blog and see what you think. Hopefully you'll want to support the company, too.
Gary Reed: The Return of Caliber: "Last week, I announced that Caliber Comics was returning.  The idea of the announcement wasn't to issue some proclamation of big..."

DeadWorld Monday: Mississipi Queen

The third issue of DeadWorld is called Mississippi Queen, after the song from Mountain. I'm going to assume that you haven't haven't heard it before.


In the beginning of the issue the characters are listening to the song on the bus (I'm assuming on a tape player, since there aren't radio stations anymore and now CDs will never be invented).

This issue picks up almost immediately after the last, with the characters on the run after getting out of Slaughter, and filling up the bus with gas again.

I think that we get more hints that there is more to what is going on in DeadWorld than just zombies. Like the scene from last issue (with the character who I said would be important), the cover hints at magical creatures who aren't zombies. These impish creatures are definitely something weird and different.

The reason that this issue is entitled Mississippi Queen has to do with the characters finding a riverboat. It makes sense to hide out on a boat, right? Zombies can't swim after all. Right? Obviously nothing will go wrong with this plan.

One of the things that happens, once the characters get onto the boat, is that we get reminded that despite everything that is happening, these are just kids. We get one of the rare glimpses into seeing them be kids, rather than zombie killers.


The respite is a short one because King Zombie has found them again. I need to look a bit more closely at the first two issue now, because I'm not sure if he has been called anything other than "the motorcycle riding geek" by the characters. We know his name, as readers, but that might have just been because he was answering the letter column. Silly, I know, but still fun.

Zombies don't have to be able to swim.


When Dan encounters King Zombie, this might be where the characters first discover that he can talk, as well. These talking zombies are also able to exert control over the less intelligent zombies as well, calling the zombies to them and forcing them to act. The shore is swarming with zombies as King Zombie forces the boat back to the shore, surprising the characters with an attack of zombies that they have to fight off.

We get another interlude in this issue as well, and this time the "crazy" character who might have been hallucinating those fantastic creatures is given a name. We're still not sure if what he sees are hallucinations or reality, but the continuation of the combined with this issues cover hints that these may not be hallucinations.


Once again I am amazed at what Vince Locke is able to convey with his art. Yes, it is very cartoony in places (particularly this part where he is trying to cast doubt on the reality of the scene), but his art is just as instrumental in creating the new reality of the DeadWorld as is the writing.

Something is growing with these interludes. Were the zombies somehow intentional? It appears that this Deake (and people he knew) is somehow behind the zombie influx...but this seems to be saying that he might have been manipulated by outside forces into doing whatever happened that brought the dead back.

We still have a lot to find out.

The issue ends with zombies swarming onto the riverboat, the characters trapped. Dan is unconscious, perhaps incapacitated, and the characters face overwhelming odds while down their best fighter. What is going to happen next?
Let's see what happens next Monday.

Monday, February 24, 2014

Magic World Errata And Clarifications

It is probably not a surprise for any of you to discover that I'm a fan of Chaosium and their latest fantasy game, Magic World. The Magic World game is almost as if Chaosium is retro-cloning themselves. The game is the old Elric!/Stormbringer 5e game from them, with all of the Moorcockian references stripped out and a fine fantasy game let in it's wake.

If you're looking for a lightweight BRP game that has everything you need in one book (including compatibility with the Big Gold Book BRP book), this is the game for you.

As a service, I have come across a document of errata and clarifications to share with you. Click here and find it on Google Drive. Three pages, not too bad really.