Wednesday, August 08, 2012

Kickstarter Crack: Are RPG Publishers Going Down A Rabbit Hole?

Every day we all see announcements of new Kickstarters, or publishers/designers saying that they've submitted Kickstarters, or that they are planning one. It is a goldrush as publishers, and wannabe publishers, see the dollar signs that some are getting and want a piece of the pie. I had figured originally that in a couple of years we would reach the saturation point and Kickstarter would lose its luster, now I'm not so sure that the tipping point is all that far away.

We have had a couple of high profile RPG Kickstarters fail to materialize after a couple of years: Gary Sarli's e20 has been plagued with alleged behind the scenes issues, nearly from the beginning, and Phil Brucato's Powerchords is apparently in a limbo-like state since achieving funding in 2010. Yes, I know, there will be defenders of both of these Kickstarters that will likely come out of the woodwork, but I still say that a 2-year gap after reaching funding with no product in sight is inexcusable. With the rush for money that is going on with Kickstarter and people wanting to publish, I think that this is really only the tip of the iceberg. When you have people who do not have any sort of business background, working off of the basis of their "awesome" ideas, who are suddenly hit with the fees and taxes that come with having a real business it is going to be easy for them to get overwhelmed and burn out as well. Considering the history of a lack of business training that we have in the RPG business, there could be a lot of these coming up in the future. Like I said in a recent post here, there are too many (both fans and publishers) who value enthusiasm over professionalism, and this is going to bite Kickstarter backers on the ass.

True, I want creators and designers who are excited about their upcoming and current projects, but enthusiasm without professionalism, or even some sort of track record, doesn't mean that things are going to get done. This also leads to Kickstarter overload, with publishers announcing one Kickstarter after another, sometimes launching a new project before the previous one reaches its final stages of coming to market. Enthusiastic, yes...but is it practical? I don't really think so, plus it starts to lead to a fatigue and the fans start to believe that publishers see them as nothing more than a piggy bank. This attitude is already surfacing around the various social media outlets as gamers are saying "Enough!" to the grind of Kickstarter projects.

The enthusiasm angle also has the added danger of self-selecting for your existing audience. If you know who your audience is, and you know what they want, you end up selling the same things to them over and over again, at the exclusion of a broader market. This ends up creating a look of success to your Kickstarters, but there's no further buzz or market share gained, which is one of the strengths of Kickstarter if you plan on getting your product into distribution.

A year ago I would have said that Kickstarter was the savior of RPGs, allowing projects that would never have seen the light of day to have a chance at getting published. Now, I'm not as certain about that as I used to be. Publishers need to start pacing themselves, particularly in this economy, and realize that every Kickstarter isn't going to be like Traveller5 or Ogre. Yes, there's money to be made to get projects off of the ground, but now we are even seeing projects that announce their stretch goals out of the gate. The assumption being that gamers are going to kiddy up the money. A couple of these projects have had to revise their pre-announced stretch goals, or offer up further bribes to get people interested.

Sloppiness also plagues Kickstarter projects. The reason why I made my Enthusiasm post (linked about) was because I encountered a poorly written Kickstarter project from them, not to mention poorly thought out. A "stealth" Kickstarter like theirs, they are Kickstarting a new printing of their Swords & Wizardry Complete book and yet one of the pledge levels is for a new version of their Monsters book) leaves a bad taste in my mouth. Subsequent communication with whomever answers the mail on their Kickstarter account didn't do much to help that feeling. Ultimately, I chose to not support their Kickstarter, even though I would have liked the books that they were offering. I'm sure that some people will think that there's nothing wrong with adding a stealth Kickstarter to a publisher's existing project but I think that is just another example of the money-grab mentality that is surfacing. I will admit that this mentality isn't unique to those with RPG-related project, it is just that those are the ones that I am watching.

I do not think that Kickstarter is a bad thing. I still think that it will be able to help a lot of publishers get their projects into the hands of gamers that would not have otherwise seen them. I do think that publishers need to exercise more caution and forethought, and a little less enthusiasm on the part of their projects. I'm sure that this isn't going to be a popular or widely-held opinion within gaming circles, but it has been percolating in my head for a while and I think that it finally needed to be released into the wild. Hopefully this spawns some debate and thought on the subject before more gamers get burned on overly enthusiastic projects that never see the light of day.

Friday, August 03, 2012

Garth Ennis And The Shadow

I made one of my irregular stops to the comic store today. Unfortunately they didn't have the book I went to find (Chaykin's Black Kiss II, but I guess you have to go on new release day for things like that), but I decided to pick up a couple of issues of Dynamite's new version of The Shadow. I would have picked up more than the first two issues, but unfortunately the store didn't have any copies of number 3. The first arc of this new book is a story called "The Fire of Creation." I will try to keep spoilers to a minimum, but since these books are already a few months old now I am pretty sure that most of the people who want to read them already have. If you aren't one of those people, you might not want to read past this point.

Dorkland! Roundtable with Jacob Wood

I talked with Jacob Wood of Accessible Games about his upcoming game Psi-Punk (currently going through it's Kickstarter). As of the time of this posting, he is at 34% of his goal for his Kickstarter. I like the Fudge system, and I like cyberpunk stuff, so this is a Kickstarter that I endorse and think that you should check out and put your money into.

This is the video of the Roundtable with Jacob:


In addition to talking about his Kickstarter, we had a very interesting and enlightening discussion about issues of accessibility for handicapped people in gaming. Jacob talked about issues that he has with commercial PDFs and the problems that he often has with them in reading software for the blind. I learned some important things about accessibility, I think. Jacob also discusses accessibility issues at his blog and reviews materials on the basis of its accessibility for handicapped gamers. Really, some good stuff.

Like I said at the top of this post, I hope that you check the link to his Kickstarter and show it some love.

Thursday, August 02, 2012

Enthusiasm and Professionalism in Tabletop RPG Publishing

About this time last year I wrote a post about publishers rushing games in order to have them for sale at Gen Con, only to have to release a new edition within months because the rush job missed so many errors. The business of RPG publishing sometimes seems to forget the fact that there's more to this than just having something to sell at Gen Con.

The polar opposite of this attitude is the "hobbyist," those who publish because they love games more than they understand how a business really works. A good example of this would be the current (as of the date of this post) Kickstarter being run by Frog God Games for a new edition of their Swords & Wizardry Complete, in hardcover format. They previously released a hardcover edition that was marred by printing errors and poor follow up and customer service. I guess some lessons are difficult to learn.

I do not think there is any nobility in publishing something from the stance of being a hobbyist, so if your responses to this opinion post are based from that mindset don't bother.

Tuesday, July 31, 2012

The Fungi That Walk Like Men, A Labyrinth Lord Monster

The Fungi That Walk Like Men

No. Enc.: 2-8
Alignment: Chaotic
Movement: 30' (10')
Armor Class: 6
Hit Dice: 4
Attacks: 2, special
Damage: 1d6
Save: F4
Morale: 10
Hoard Class: I
XP: 100

Spore Cloud: Once every three rounds a Fungus can fill a 10' x 10' area with its fungal spores. This takes the form of a yellowish-grey cloud that emanates from the Fungus. Everyone within range must make a Saving Throw versus Poison. If the save succeeds, characters are coughing and blinded by tears for 1-4 rounds, during which they are at -1 on all rolls. If the save fails, characters take 1d6+1 damage from breathing in the spores. When killed, a Fungus will explode into a spore cloud that is twice the size of their normal cloud.

While the origins of The Fungi That Walk Like Men are unknown, it is believed that they were the creation of a wizard looking for ways to protect himself and his tower from attacks. Fungi reproduce via spore, and each time they use their spore cloud there is a 1 in 6 chance that 1d6 of the spores grow into new Fungi within 8-10 days. Fungi exist best in dark, dank locations like deep dungeons or the depths of forests. The appearance of a Fungi is vaguely bipedal humanoid, of about 5-6 feet in height, but the shape is formed from various mushrooms, molds and fungi held together in a humanoid shape. They are not very intelligent but can recognize people and follow very simple orders. They have no method for speech, nor have the developed any method of communication. They do not use tools or weapons, mostly because they cannot hold them.


Simple Random Treasure Table

You ever have that moment when you need to figure out how much money was in a room, or on some monsters, and forgot to figure it out in advance? Use this simple d4-based table to make up some quick treasures. All this table does is figure out the money that they have on them. You can use this table in two ways, you can roll once and then just move across the line of the table, or you can make two rolls. If you make two rolls, use the first roll to determine the first two columns, and the second roll to determine the second two columns. You could roll 4 4-siders and then just use one die for each column. This would give the most random of results, and might even work best.

If you want to go faster, just ignore the last column and assume the treasure is in gold (unless you're using Lamentations of the Flame Princess, then silver is the standard).


d4 roll
die to be rolled
number of rolled
multiplier
currency
1
d4
4
x3
CP
2
d6
3
x2
GP
3
d8
2
x1
EP
4
d10
1
x0
PP

Now you have a fast way to find out what's inside their wallets, after fighting some monster in the dungeon.

Monday, July 30, 2012

The Nothingface: OSR Blogosphere Monsters Project

The Nothingface is a monster for Swords & Wizardry that I did a write-up for over on Google+ a few months back. This is a slightly updated and cleaned up version of that initial posting. The monster was inspired by a song/album by Voivod that I used to listen to a lot, back in college. I decided to clean this up and post it to my blog after reading about the OSR Blogosphere Monsters Project. I figured that a creature this horrid deserved to be inflicted upon others. Converting this monster from Swords & Wizardry to another retroclone like Labyrinth Lord or Lamentations of the Flame Princess should be easy enough for referees of those games.


This particular write-up is for Swords & Wizardry Core.

The Nothingface
Hit Dice: 8
Armor Class: 7 [12]
Attacks: 2 claws (2d6)
Saving Throw: 8
Special: The unnaturalness of the Nothingface requires a saving throw when you first encounter it, failure causes a character to freeze up and be unable to do anything for 1-4 turns. Their extraplanar nature makes them immune to normal weapons.
Move: 10'
Alignment: Chaos
Challenge Level/XP: 10/1,400

The Nothingface is a vaguely humanoid creature with spindly, elongated arms and legs with swollen joints and longer than normal, thin fingers and toes. The nails on their toes make a faint scratching/scraping sound as they walk. Their body hair is sparse and pale and their flesh is, at best, pallid. The remarkable feature of a Nothingface is the void where their face should be. This void is a frightening lack of a face that the observer's mind attempts to fill in but cannot.

A Nothingface is extraplanar and summonable with the right spell. Their resilience and doggedness make them popular as guardians of a dungeon, even if they are likely to turn on their summoner. Typically only one appears when summoned.

Howard Chaykin and Shadowmania

1986 was a heady year for comics. Two stories that have since come to be regarded as modern classics were released by DC Comics: Alan Moore and Dave Gibbons Watchmen and Frank Miller's The Dark Knight Returns. Both of these books have left their marks on comic books. Moore and Gibbons' Watchmen has become for many the highwater mark for comic book storytelling, while Miller's Dark Knight single-handedly altered the course of The Batman forever. Somewhere in the middle of all of this was released a four-issue miniseries that has every bit of the same right to be considered a masterpiece of comics as those other two series: Howard Chaykin's The Shadow.

Since Dynamite Comics is publishing a new trade edition of this mini-series, I will try to avoid spoilers in the story itself for those who have not yet experienced this masterful comic.

Howard Chaykin is a comic artist and writer, sometimes doing on or the other on a book and sometimes doing both. With The Shadow Chaykin wrote and drew the book, infusing it with his characteristic fusion of 1940s period dress with a modern sensibility. Previous to doing The Shadow, Chaykin was known most for having done some well-regarded fantasy series for DC Comics and the early run of the blockbuster Star Wars comic from Marvel Comics. Chaykin has the rare distinction of being one of the first people outside of Lucas' production company to create original material for the Star Wars Universe, helping to usher in what we now know as the Expanded Universe. Chaykin also adapted Alfred Bester's The Stars My Destination and worked with British fantasist Michael Moorcock for Heavy Metal magazine. He also found the time to create one of the earliest independent comics in 1976 with Star Reach, and his seminal character Cody Starbuck.

Each of Chaykin's works informs the next, and it was with characters like Cody Starbuck, Dominic Fortune, and of course Han Solo that he became known for his roguish male lead characters. In The Shadow, this disposition towards the roguish lead was married to an old school social conservative to make his interpretation of Kent Allard/Lamont Cranston/The Shadow. Chaykin's Shadow is probably one of the more fleshed out interpretations of the character too, leagues away from the cipher of a character that plagued the radio shows and some of the more poorly-written instances of the pulp magazines.

In this mini-series Chaykin made a ballsy move that upset a lot of pulp purists...he moved The Shadow into the modern day of 1986. Before this pulp characters adapted to comics either existed still in their original eras or were "updated" to a hazy setting that could be the contemporary world, or it could still be the past. A lot of people did not like that Chaykin moved the story to a contemporary setting. However, the strength of this idea is that it pitted the character of The Shadow, who was still very much rooted in a pre-World War II social and psychological mindset, against the contemporary world of 1986. As with any Chaykin work, this play of the vintage against the contemporary is a method of showing that change is both good and bad, and the past should not always be viewed through rose-colored glasses. The Shadow's attitude towards women is compared to that of his contemporaries, like Harry Vincent (an important supporting character from the original pulp stories), who have been exposed to the changes for forty years and have been able to adapt to those changes. The Shadow is still very much the force of nature that he was in the pre-War days, and still he has to come to grips with the societal changes around him as well as the physical changes to New York City.

The plot of this mini-series is launched by having a number of The Shadow's operatives from his early exploits, now old, being targeted and killed by an unknown villain. This serves to bring The Shadow out of his lengthy retirement in the Himalayas. The Shadow himself is unchanged and unaged in the near forty years since he was last in New York City, and now establishes himself as the son of his original cover identity of Lamont Cranston. Assembling a team of his remaining operatives from the 1940s and new contemporary operatives (including two sons that he had while retired), The Shadow moves against this new villain. The balance of these issues deals with The Shadow and his operatives uncovering the villains of the piece and finally moving against him.

Despite the opinions of those who felt (and those who probably still feel this way) that the adventures of The Shadow should have remained in their original historical period, I think that a great deal of the success of this story came because Chaykin decided to update the time period to the contemporary. Much of the tension of the story comes from the interplay between The Shadow and his "unenlightened" (according to other characters in the story) attitudes. The Shadow as a man out of time is as much of a driving factor to the story as the actions of the villain of the piece. The story is an engaging one, although ironic because now the setting of 1986 is a historical one as well. For some current readers, the 1980s can be just as foreign as the 1930s of the original pulp stories.

I do think that the story holds up well, regardless. The characters (new and old) hold up well and Chaykin demonstrates that he can write a Shadow story in the vein of the original pulps and update it at the same time. This mini-series was the launching point for a long-running on-going series featuring the characters which would lead to some of The Shadow's strangest adventures. Fans of the pulps should enjoy this story because of the loyalty to the characters and concepts of the original pulp stories (despite the time period updating). Fans of Chaykin's current work should enjoy this story because of how it shows the development of some of his now standard storytelling tropes. If you would be bothered by a lot of people in 1930s-era clothing in the 1980s, this might not be the comic for you.

I am glad to see that this story is getting a new lease on life, and a printing up to modern standards. I never picked up the first trade collection of these comics and have had to rely on my original comics over the years. At least now I can get a good trade collection and I can put away the comics.

Thursday, July 26, 2012

Shadowman Is Coming Back From Valiant!

The next epic expansion of the Valiant Universe starts this November in Shadowman #1 – the FIRST ISSUE of an all-new ongoing series from comics superstar Patrick Zircher (Captain America, Thor: Ages of Thunder) and Harvey Award-nominee Justin Jordan (The Strange Talent of Luther Strode, Team 7)!

There’s a million dreams in the Big Easy. But now its worst nightmare is about to come true. As the forces of darkness prepare to claim New Orleans as their own, Jack Boniface must embrace the legacy he was born to uphold. As Shadowman, Jack is about to become the only thing that stands between his city and an army of unspeakable monstrosities from beyond the night. But is the mantle of Shadowman a blessing or a curse? And what is the true cost of his otherworldly power?

"Shadowman is one of the most popular characters in the Valiant Universe and the fans have been asking me since day one when he's going to return," said Valiant Executive Editor Warren Simons. "Justin and Patrick have put together an action-packed debut that also adds an incredibly important new dimension to the Valiant Universe. And as Patrick's pages clearly demonstrate, he's one of the finest artists working in the medium today. We've got an amazing team at the helm of our fifth ongoing launch and I can't wait for the first issue to hit the stands."

On sale this November, Shadowman #1 features a standard cover by Patrick Zircher with incentive variants by Eisner Award-winning industry icons Dave Johnson and Bill Sienkiewicz. Additionally, Valiant is continuing its wildly successful Pullbox Exclusive Variant program with a "blackout" cover by Patrick Zircher - available only to those comic shop patrons who pre-order Shadowman #1 with their local retailer.

X-O Manowar, Harbinger, Bloodshot, and Archer & Armstrong have captivated a new generation of fans and critics. Now prepare for the rebirth of the next Valiant icon. Fear no evil when Shadowman #1 strikes this November!

SHADOWMAN #1 – ON SALE THIS NOVEMBER!
Written by JUSTIN JORDAN & PATRICK ZIRCHER
Art by PATRICK ZIRCHER
Cover by PATRICK ZIRCHER
"Blackout" Pullbox Exclusive Variant by PATRICK ZIRCHER
Variant Covers by DAVE JOHNSON & BILL SIENKIEWICZ





Monday, July 23, 2012

Dorkland! Roundtable with Zak Smith

Perhaps you've heard of Zak Smith. He is an artist, writer and game designer who has written/designed the excellent game supplement called Vornheim: The Complete City Kit. He has also done porn, and plays D&D with a group of porn actors, models, strippers and a hairdresser. You may remember when I wrote about them before over at this post. Today I talked with Zak for one of my Dorkland! Roundtables. It was a good chat/discussion/interview. Whatever you want to call them. One of the things that I like about Zak is that he is a man of opinions but he goes beyond just stating opinions and tries to back up what he says with facts and information.

More than a few people get upset because Zak has done porn, because he games with people who do porn, because he has a blog called D&D With Pornstars. People shouldn't be afraid of sex and sexuality, or think that all forms of entertainment has to be safe, sanitized and polite to all ages. There is plenty of room in gaming for people with all sorts of backgrounds, genders, orientations and races. It is OK to want things to be a little grown up too, and to want to game differently than you might have when you were 13.


You should check out the videos of Zak and his friends gaming. They are fun to watch, and they have a group of people who are having a lot of fun gaming. There's a bit of strong language in them (and my YouTube video above) so I wouldn't suggest watching them at work. People say that we need more people in gaming, and sometimes I even agree with that idea. I think that one way to do that is to show different people, outside of the conventional stereotypes of gaming, having fun at table top gaming. I think this group is as good of an example as any others. They kick ass, take names and have fun. Who cares about their jobs?

I had a good time talking with Zak, and I hope that you enjoy this interview. My standard Thumper rule is in place for this post. If you can't say anything nice about the people, don't say anything at all. I will delete people for being a dick. You're more than welcome to be a dick on the internet, you just don't get to do it on my blog. There's plenty of other virtual real estate out there if you want to do that.

Friday, July 20, 2012

The Internet And The Art Of The Actual Play In RPGs

Updated: I will add our new videos to this post as we make them.

I have to first admit that I'm really not a fan of reading, listening to or watching other people's actual play reports/podcasts/whatevers. I've been running a Swords & Wizardry game for a couple of months now, using the Google+ Hangouts for its video chat services. It's been a lot of fun. The last two weeks, we decided to use the Hangouts on the Air function to broadcast and record our sessions.

This is our first recording:


And this is our second recording:


Our third recording:



Before I had started running this game, I was strongly anti-running games online. I'm what you would call a social gamer (in that I game for the social aspect of things, hanging out with people and that sort of thing), and I didn't think that using online tools would come close to equally the feel that I get from gaming. It turns out that I was wrong about that. Maybe it is just because of the group of people that I have met because of this game, but this group has been every bit as engaging for me socially as any face to face group that I've ever been a part of.

I'm still not a big fan of actual play however. People seem to be watching and getting something out of our posts, so I guess that's a good thing for them. I can see the benefit of actual plays for games that you have never played before, and would like to watch others doing it so that you can make sure that you are doing things right. I'm not saying there's no use to actual play posts or reports.

What do you get out of seeing someone else doing an actual play?

Friday, July 13, 2012

Tabletop RPG Gaming and Social Responsibility

I took part in a conversation online about gaming and "Social Responsibility." There are a small, yet vocal, group of people out in the table top gaming community who want to impose their narrow standards upon everyone else who is involved in gaming. That is wrong. I think it is wrong to impose my standards upon others, and I think that it is wrong for others to try to impose their standards upon me.

There are legitimately bad things out there in the world, many of them things that I have experienced myself. I've been homeless, sleeping on benches on building stoops. I have been in halfway houses for those suffering from mental illness. I've been sexually assaulted. I've been robbed, mugged and had guns and knives pointed at me. On the whole spectrum of things whether a piece of art shows a woman's breasts or a tabard is pointing at someone's genitals is pretty damn insignificant.

I am sure that someone, somewhere will misquote or misrepresent what I am saying here, or elsewhere, but that reflects more upon them and their standards and the fact that they have to actively misrepresent the viewpoints of those who have opposing viewpoints means that they have already lost any discussions. Nothing stays static, and no culture should ever stagnate, but that is what happens when some try to impose their ideologies onto others.

I don't know, this is something that I am close to so my language isn't going to be as precise as it probably could be but I am just going to muddle through this. It is OK to not like things. It isn't OK to start telling other people what they can and cannot like. Like George said in the discussion, so many great pieces of art/literature would be lost to us today if publishers and others listened to the loud voices.

Here's the video of the panel:


Honestly, I think that we can get through this patch of things. We have to start by trusting that others are capable of thinking for themselves and that they are capable of coming to their own decisions. We also have to realize that the existence of a game or book or movie or piece of art that does not fit into what we like, what we enjoy, does not invalidate what we do like.

It is OK to not like things, just keep your biases off of me and I promise to do the same and keep my biases off of you. That is what will make for a better community.

Thursday, July 12, 2012

Dorkland! Roundtable with James Desborough


Today I spent some time talking with James Desborough of Postmortem Studios about gaming, the cultural differences between the U.S. and the U.K., being a controversial figure and 2000AD comics. It was a fun time and enthusiastic for us both, at least I think that it was enthusiastic for us both. One of the important things about these Roundtables is that we get to put a humanizing face to the people whose books we read, or games that we play.

Just remember, this blog isn't a democracy and I have zero qualms about squelching the rights of expression from anyone who can't be polite about things. You're more than welcome to disagree with people and their ideas, just don't be a dick about "attacking" them.

Wednesday, July 11, 2012

Valiant Preview: Bloodshot #1

Out today at your comic stores!

Valiant Entertainment is proud to present an advance preview of Bloodshot #1, from acclaimed writer Duane Swierczynski and red-hot artists Manuel Garcia and Arturo Lozzi! You've seen X-O Manowar and Harbinger take fans and critics by storm. Now find out on Wednesday, July 11th why Bloodshot #1 is the book that has IGN declaring, "Valiant is quickly becoming the publisher to beat and as long they keep putting out quality books like Bloodshot, it's likely to stay that way."

It was supposed to be your final mission. One last job before leaving black ops behind. Dropped into the middle of a Third World firefight, you must rescue your captured comrade from certain death. No - wait. You're infiltrating an enemy compound to bring an international terrorist to justice. No - that's not right either. You're on a one-man revenge mission to avenge your wife and family. Everything used to make sense, but - wait, what is Project Rising Spirit? Are they the ones pulling your strings? And who are you really?

On July 11th, the most dangerous man in the Valiant Universe takes on his most formidable opponent yet – the truth. Trust no one – even yourself – when Bloodshot #1 charges into action this Wednesday!

But the saga of the Valiant Universe doesn't end there. Look for Harbinger #2, available in stores and on comiXology the same day, and X-O Manowar #3, on sale July 18th!

BLOODSHOT #1 – ON SALE JULY 11th!
Written by DUANE SWIERCZYNSKI
Art by MANUEL GARCIA & ARTURO LOZZI
Cover by ARTURO LOZZI (MAY121309)
Pullbox Exclusive Cover by MICO SUAYAN (MAY121310)
Variant Cover by DAVID AJA (MAY121311)
Variant Cover by ESAD RIBIC (MAY121312)
$3.99/Rated T+/32 pgs.








Tuesday, July 03, 2012

The Super-Powered Dorkland! Roundtable


My guests were Steve Kenson, Chris Rutkowsky, Joshua Kubli, Jeff Dee and Cam Banks. Cam, unfortunately had some serious technical issues and didn't get to contribute as much as he would have liked. Hopefully I can get Cam back for a future Roundtable. We talked about super-heroes, comics and role-playing, as well as their games: Mutants & Masterminds, Villains & Vigilantes, the Bash RPG, Invulnerable and Marvel Heroic Roleplaying.

Thursday, June 28, 2012

The Future of Dungeons & Dragons: Dungeons & Dragons Keynote Address at Gen Con Indy 2012



The Future of Dungeons & Dragons
Dungeons & Dragons Keynote Address at Gen Con Indy 2012

INDIANAPOLIS (June 28, 2012) - Calling all heroes, your presence is required!  Join us for an unprecedented look into the future of Dungeons & Dragons, including the evolution of the game, the re-birth of a fantasy setting and the next generation of art.  Wizards of the Coast is proud to host its first-ever Gen Con keynote address on Thursday, August 16th  to share with D&D fans what is in store for the game that has changed gaming forever. Speakers include President and CEO of Wizards Greg Leeds, Senior Manager for D&D Research and Design Mike Mearls, and some of the greatest creative minds in the industry. 

The keynote begins at 7:00 PM in the 500 Ballroom of the Indianapolis Convention Center and will be live-streamed at DungeonsandDragons.com/events.

Greg Leeds quote: “We are honored to be hosting the first-ever Gen Con keynote address, and sharing with the legions of D&D fans what the future holds for the game that has changed so many lives.”

#

About Gen Con
Gen Con, LLC produces the largest consumer hobby, fantasy, science-fiction, and adventure game convention in North America. It was acquired in 2002 by former CEO and Founder of Wizards of the Coast Peter Adkison. Gen Con is a consumer and trade experience dedicated to gaming culture and community. For more information on Gen Con, visit www.gencon.com.

Tuesday, June 26, 2012

Let's Talk About ... Agents of S.W.I.N.G.

Alternate cover image taken from the author's DeviantArt page.
Let's talk about a fun little game called Agents of S.W.I.N.G. It came out from Postmortem Studios and was written by James Desborough (you may have heard of him). I'm writing this review because because this is a cool little game that deserves the attention, and because James is a creator who also deserves the attention. Now, I'm not a fan of everything that Postmortem does, but I am a fan of this game.

Agents of S.W.I.N.G. uses a Fate 3.0 hack at its core, but unlike many other of the contemporary Fate hacks, this version is a bit more streamlined than what you are going to find in other third party builds. Don't let that 344 pages on the RPGNow fool you because Agents of S.W.I.N.G. is a digest-sized book, unlike the letter-sized books that the other Fate hacks have been. If Agents had been done in a letter size it would have been a much slimmer book.

James shows an understanding of the underlying concepts and mechanics of the Fate rules when he digs in and streamlines the mechanics to get to what he wants to do with them. I'll get back to that in just a bit because I want to talk about the setting, and then get back to how the rules make this setting work. Agents of S.W.I.N.G. is a solid game that everyone who enjoys cinematic, fast-paced espionage gaming should own.

Agents of S.W.I.N.G. is a game of Swinging 60s British Spy-Fi television and movies.Shows like The Avengers, The Man From UNCLE, Danger Man and The Prisoner are the basis of this game. For those who might not know about Spy-Fi, Wikipedia gives a nice definition:
It often uses a secret agent (solo or in a team) or superspy whose mission is a showcase of science fiction elements such as technology and ideas used for extortion, plots for world domination or world destruction, futuristic weapons, gadgets and fast vehicles that can travel on land, fly, or sail on or under the sea. Spy-fi does not necessarily present espionage as it is practiced in reality. It is escapist fantasy that emphasizes glamour, adventure and derring-do.
This isn't a game, or setting of gritty espionage, like the current James Bond movies or the spate of Bourne movies, but one that embraces the pulpiness of the genre. Agents of S.W.I.N.G. is a game where John Drake can rub elbows with the Doctor and go off and fight Communist tyranny. In fact, if you look closely at the extensive collection of NPCs in the book you might just find analogues for both of those characters. There is even plenty of support for the Sci-Fi gadgetry that is so important to this genre.

Then we get to Fate. As we all know, Fate 3.0 is the engine that was built for Evil Hat's Spirit of the Century game, a high-flying game of pulp adventure, that has been adapted to be used for everything from urban fantasy to space opera to traditional fantasy games. The inherent pulpiness of Fate makes it a great match for this genre. James then streamlines and customizes the rules in his build, to make the rules fit into the concepts of Spy-Fi even better. One of the fundamental (to me) changes is the change to the adjective ladder of Fate. Fate (and the Fudge rules from which it is derived) is built around the concept of the adjective ladder as both a tool for descriptions and as the core resolution mechanic. This is the adjective ladder used in Agents of S.W.I.N.G.:
+8: Out of sight
+7: Far out
+6: Fab
+5: Groovy
+4: Neat
+3: Solid
+2: Hip
+1: Cool
+0: Yawn
-1: Bent
-2: Crummy
-3: Bummer
James cooked the Swinging 1960s London right into the core of the system. This is a good thing, because the rules help to reinforce the mindset of the setting and pull the players both into the setting and their characters. Each time you roll the dice in Agents of S.W.I.N.G. you are sucked into thinking like someone in Swinging London.

Agents of S.W.I.N.G. introduces a point-buy system to Fate that does away with pyramids and extensive stunts and perquisites. The point buy system for Skills in this game is particularly good (and time saving). Something that I plan to use should I run another Fate game myself. Basically, what James does is make each rank worth a point (so a skill purchased at Hip costs 2 points and a skill purchased at Groovy costs 5 points) and then gives starting characters 20 points with which to purchase skills. You can get a surprisingly adept character out of this method, which I am sure was the point. Stunts are similarly broken down and streamlined.

Does Agents of S.W.I.N.G. do the job of capturing the feel that it is going for? I think so. The choice of the Fate system was a good fit for this system, and the further customizations to it by James help to reinforce this. Fate embraces the swinging pulpiness of the setting and at the same time enforces the setting in the minds of the players.

I cannot recommend strongly enough that people buy this game. Am I doing this review for political reasons? Absolutely, but not for the reasons that some may think. When creators are censored or pressured into making games out of political pressure that is ultimately not good for gaming in the long run. People cannot design if they are constantly looking over their shoulder, which is what happens in an environment of anger and hate. Once one publisher or designer crumbles, it is only a matter of time before the mobs move on to something else that they don't like, using their anger and fear as a justification to stifle further creativity.

Keep in mind that, should you decide to comment, this is not a public venue. It is my blog and my rules. I will allow, disallow and delete whatever comments that I want. The Thumper rule is in effect: if you can't say anything nice, don't say anything at all.

Thursday, June 21, 2012

Simple Skill System For Swords & Wizardry

Admittedly, not everyone want skills in their old school games, this post is for those people who do want to add the option to their games. This is written for Swords & Wizardry but could easily be ported to any old school game. The genesis of this particular variant comes from a forum post made by one of the players in the G+ Swords & Wizardry game. This is still in a very rough form, and I am posting this mostly to get it out of the headspace and into a format that can be commented upon.

The basic mechanic is that the player rolls 2d6, adds any modifiers from their character's Ability Scores, and compares it to a target number for the difficulty of the task (as set by the Referee). If the roll + modifiers is higher than the target, the character succeeds at using that skill.

Difficulty Determined by Referee
Die Roll
Simple Task
No Roll
Hard Task
9+
Difficult Task
12+

The referee should keep the difficulty of the task in mind at all time, and should also consider the general level/competency of the character in mind as well. What is a simple task for a 6th level character might be Hard or Difficult for a 1st level character. The referee is always cautioned to err in favor of the character when determining the difficulty of a task.

Modifiers are determined by the Dexterity or Intelligence of the character, using the following table:


Score
Bonus/Penalty
3-8
-1
9-12
+0
13-18
+1

If a skill is something that is dependent on the character's overall agility and coordination, use the Dexterity score's bonus/penalty. If the skill is something that depends on the overall mental capabilities of the character, use the Intelligence score's bonus/penalty.

At this point I do not include Thief skills, because I think that those skills should be a protected niche of that character class. An option for Thieves could be to convert the Thief "skills" over to skills in this system and just give the Thief a special modifier, like half their level. I'm not 100% on this specific listing of skills just yet. This is a part that I am still turning over in my head (yes, this list of skills was taken from an OGL source, and it will be properly attributed, should this idea make it into a polished and final form).

Arcana: Your character’s knowledge of the unknown and the magical within the game world. Note that this doesn't give a character any sort of spellcasting ability.

Athletics: Anything involving physical or athletic activities, including climbing, swimming, and acrobatics.

Communication: Your character’s ability to communicate with others, but not to persuade (see Social, below).

Focus: Anything involving concentration, observation or perception.

Nature/Outdoors: How good your character is at things like camping, fishing, hunting, survival, navigation and horseback riding.

Enterprise: Your character’s knowledge of how businesses and finance work.

Investigation: Your character’s knowledge of how to look for clues, searching an area for hidden things, and the like.

Languages: How good your character is at speaking/reading/understanding a particular language. Each language counts as a different skill.

Military Sciences: Your character’s knowledge of tactics and strategy, as well as military history.

Profession: This is what your character does for a living when not out adventuring. Sample professions can be: Blacksmith, Cooper, Brewer, Weaver, Veterinarian, and etc. The profession must be specified, and this skill can be taken multiple times for multiple professions.

Performance: Your character’s ability to perform in front of others, this can be acting, singing, dancing or playing a musical instrument.

Social: Anything involving using your charm or persuasion

Technical: How good your character is at technical tasks such as mechanics.

Transportation: How good your character is at driving or piloting vehicles. Also allows the character some basic mechanical knowledge of their preferred vehicle.

Skills do not have ranks, they are either trained (i.e. the character has that skill) or untrained. All character classes start play with one skill at first level, and gain another every three levels.

Wednesday, June 20, 2012

Random Spellbooks For Swords & Wizardry

One of the benefits to a game like Swords & Wizardry is the ability to quickly generate a character. Roll the dice, pick the class, fill out hit points and you are pretty much ready to go. The only thing that can slow down the process is figuring out what spells the Magic-User can have access to when starting out. The assumption is that a fledgling magic-user is given a (mostly blank) spellbook when completing their studies that has a handful of spells scribed into it by their teacher. The question is, what spells are in their spellbook?

This post helps you to quickly, and randomly, generate a starting spellbook for your first level magic-user. (It can also be handy for spellbooks found in the loot while dungeon-crawling.) We assume that your character's teacher is not going to be too helpful and provide them with too much magic...just because powerful magic-users tend to be covetous of the knowledge that they have gathered, and paranoid about how others might use that power against them. One house rule that I have for my Swords & Wizardry games is that Read Magic is a class ability for magic-users, rather than a spell. It seems silly that a magic-user would undergo that much sorcerous training and not understand magical languages.

Spellbooks are a repository of the accumulated magical knowledge of the magic-user, part documentation for their spells and part magical diary of their journey of discovery. A spellbook is very important to a magic-user because it contains the formulas and memory devices for each spell that they use. Losing a spellbook means that a magic-user is unable to rememorize spells as casting causes the spells to vanish from their minds. This makes a spellbook more valuable than gold to a magic-user.

Friday, June 15, 2012

Some New Options For Your Old School Cleric

I use the conflict between Law and Chaos as a central point in my D&Dish fantasy games. I like the idea of the conflict because it provides a central narrative to what is going on in the game and embracing and ramping up this conflict really makes a lot of the central concepts of a fantasy role-playing game really start to make a lot of sense. This post is about making Clerics a central part of this conflict in a mechanical way, as well as giving your Cleric a bit of extra juice. These rules were written with my Swords & Wizardry game in mind, but with a little squinting that could be easily adapted to most old school types of games. Obviously, not everyone is going to be as interested in applying these rules to Clerics in their home games, but I think that they add a nice bit of flavor to Clerics, particularly at lower levels, and makes them into something other than a slightly weaker Fighter knock-off.

At some point in the eternal conflict between Law and Chaos one side, or the other, hit upon the idea of having their own supernaturally empowered warrior to use as pawns in the battles. Fighters were helpful, but they would not always have the raw power that these forces would want or need and Magic-Users were useful but they ultimately served their own agendas. This was the origin of the Cleric. Once one side had their own Clerics, the other side needed them as well.

Clerics combine the qualities of a a warrior and a wizard, but into a package that is controlled by Law or by Chaos. The spellcasting ability of the Cleric is entirely dependent on their following the rules of their patrons within Law or Chaos. Not following those rules gets the Cleric stripped of their spellcasting, which can be very dangerous in the types of situations that Clerics tend to find themselves. However, since Clerics are typically chosen from the ranks of the most faithful, breaking these rules is rarely an issue.

Different Clerics fill different roles within an organization, and these roles are represented by Domains. A Domain is a class ability for the Cleric, but one that the player gets to choose. The Domain picked for a Cleric is like a theme for them, giving them purpose within their religion and sometimes within the adventuring group as well. All Clerics get one Domain at first level.

Domains are fairly generic because Clerics tend to fill the same sorts of niches within religions. Groups are encouraged to come up with their own Domains as well, using these as a basis for their own creations. One thing to remember is that these Domains do not work in the same manner as those from other editions of the original game.

Friday, June 08, 2012

The Next Round of Dorkland! Roundtables

I have really been enjoying doing these Dorkland! Roundtables. Sure, the technology is still in a beta phase and there have been bumps and hiccups because of that, but I have really enjoyed getting to have conversations with people who love tabletop gaming and are passionate enough about it to want to talk about it over the internet. The upgrade to Google's Hangouts on the Air, over regular hangouts, has made a real difference in being able to hold a focused conversation with designers and not have to worry about random people deciding that they need to come into your Hangout to grief, or try to hit on women.

James Maliszewski of the Grognardia blog and designer of Thousand Suns, a Science Fiction role-playing game. James is a respected gaming "pundit" and authority on the history of our hobby who is often credited as one of the early proponents of what has become known as the Old School Renaissance, a growing group of gamers interested in the traditions, history and early days of tabletop role-playing. He also has demonstrated his chops as a gamer designer with the 12 Degree, which has been used in Rogue Games Colonial Gothic and Shadow, Sword and Spell, as well as James' Grognardia Games published Thousand Suns. According to the game's blurb Thousand Suns is "a roleplaying game that takes its inspiration from the classic literary "imperial" science fiction of the '50s, '60s, and '70s written by authors like Poul Anderson, Isaac Asimov, Alfred Bester, Gordon Dickson, Larry Niven, H. Beam Piper, Jerry Pournelle, and A.E. van Vogt, among others."

I will be talking to James on June 18th at 9pm EST (United States).

The next Dorkland! Roundtable after that will be my first actual panel discussion and it is something that I am very excited about. I will be talking with five designers who have all created super-hero games, some are newer names that you might not be as familiar with while others have been around in game design for a while. All of them are united by a passion for comic book super-heroes that has driven them to design games around them. The panel will be:

  • Industry veteran Jeff Dee. In addition to being on of the early, and inspirational, artists for a good number of TSR's D&D and AD&D products, Jeff is know for having created the Villains & Vigilantes role-playing game while still in high school. Jeff has also developed the game Living Legends, a spiritual successor to V&V, and is back on the gaming scene with Monkey House Games doing a new edition of Villains & Vigilantes.
  • Steve Kenson has created material for pretty much every super-hero game that has been on the market, since he became a professional designer. He has created both the Mutants & Masterminds game (for Green Ronin) and Icons (for Adamant Entertainment). When not designing for games he also writes fiction for Shadowrun and Battletech, among other properties.
  • Marget Weis Productions Creative Director Cam Banks has spearheaded two of the new school approaches to super-hero role-playing with Marvel Heroic Roleplaying and the Smallville Role-Playing game. MWP is unique in that it has sort of "dueling" licenses with both DC Entertainment/Warner Bros. and Marvel Comics and has games dealing with the characters of both companies at the same time, and with close to the same system. Both Marvel Heroic Roleplaying and Smallville run off of variants of the company's innovative Cortex+ system. Like Steve, Cam is also published fiction writer.
  • Joshua Kubli of Imperfekt Gammes has created the Invulnerable Tabletop  Super Hero RPG. Joshua is the new kid on the block on this panel, and is probably nervous about appearing alongside all of these others. Joshua also designs a series of sandbox science fiction adventures for Occult Moon. He definitely has nothing to be worried about appearing here.
  • Chris Rutkowsky of Basic Action Games designed BASH! (Basic Action Super Heroes), currently in its Ultimate Edition. Other publishers, like Vigilance Press, also produce licensed material for the BASH! game. The genesis of BASH! was Chris' desire to create a game with minimal math and overhead that could be used with kids in an after school program that he was involved with.
While normally Dorkland! Roundtables are about an hour in length, due to the number of guests involved this super! Roundtable will likely be about an hour and a half (just to give all the people a chance to talk) and will start at 9pm EST (Unites States time) on July 2nd.

If you are a game designer or publisher and would be interested in a future Dorkland! Roundtable, please contact me via Twitter or Google Plus and we can talk about getting you scheduled to appear on one of the future broadcasts. All Dorkland! Roundtable are initially live streamed via YouTube and Google's Hangouts on the Air and archives are available for viewing on YouTube and Vimeo.

Thursday, June 07, 2012

Gen Con Launches Educational Partners Program

INDIANAPOLIS (June 6, 2012) – Gen Con LLC has entered into a partnership with the Indiana University School of Informatics at Indiana University-Purdue University Indianapolis that will make the IU campus the first institution in the nation to participate in Gen Con’s Educational Partners Program.

“Given the academic reputation, enrollment size and proximity of the campus to Gen Con, partnering with the IUPUI seemed like a natural fit for Gen Con Indy 2012,” said Adrian Swartout, CEO of Gen Con LLC. “The IU School of Informatics at IUPUI offers some innovative specializations such as Storytelling Fundamentals and Gaming, and their students and faculty will add a unique voice to discussions on current topics in the industry.”

With its new Educational Partners Program, Gen Con hopes to give programmatic access to selected academic institutions, allowing students and faculty to interact with key members of the game industry and participate in educational, informative seminars.

“We are proud to collaborate with Gen Con on its Educational Partners program,” said Mathew Powers, assistant professor at the IU School of Informatics at IUPUI. “The School of Informatics uniquely integrates computing, social science and information systems design to explore how people use computing and technology to live, work, play and communicate, so it only made sense for us to collaborate with Gen Con, which is known world-wide as the best place for the creation and development of truly original gaming fare.”

Gen Con will celebrate its 45th anniversary this fall, as well as its 10th anniversary at its show in Indianapolis, August 16-19. According to the Indianapolis Convention & Visitors Association, Gen Con Indy 2011 provided more than $36 million in economic impact to Indianapolis, largely attributable to its record turnstile attendance of 120,000.

For questions regarding the Education Partners Program, including how to get involved, please contact Jake Theis, Gen Con Senior Marketing Communications Manager, at jake.theis@gencon.com.

Friday, June 01, 2012

The Sound of Music: How You Can Use Music To Explain Your Campaigns

Today I get to talk about two things that I like in one post: gaming and music. Campaigns all have a tone and a feel to them, sometimes no matter how hard you try to describe the feel of a campaign to a prospective player the words just escape you. That's where music can come in. Sometimes music and songs can describe things that your words fail. For example, do you have a Cyberpunk game coming up? Try using Susie van der Meer's Somebody Has to Pay from the great Run Lola Run soundtrack. One thing to keep in mind...I hate movie scores and I think that they're abysmal for trying to set the tone for your own campaign. For me the connotations from the source movie are just too high. Yeah, you could say that I have a double standard, since I just linked to a movie from a soundtrack, but for me that is something different.

Digging through a box the other night, I found a bunch of old mix CDs that I had made for some old campaigns. Most of them had never moved past the planning stages but I saved them anyway. The CD in question was labelled "Santeria" and I am going to assume that it was for one of my many modern horror/conspiracy/magic games. From the choice of songs, I am going to date this CD at about 2005.

I listen to this now and a couple of the songs are clunkers, and I could have probably demonstrated the tones that I wanted in the campaign a bit less heavy handed. One of these songs I hate to admit that I listen to, like would be too strong of a term but there are some personal resonances to the song. It's amazing what history and relationships will do to a song.

I know that I was being cutesy with following Sublime's "Santeria" with Amy Winhouse's "Rehad" because I have always felt that Bradley Nowell would have had a much greater impact on American Popular music if he hadn't died of a drug overdose. I don't think the irony of Amy Winehouse's death was lost on anyone.

What I am going to do with these nineteen songs (provided I can find all of them on YouTube) is trace a pathway through them and show how they can be used to demonstrate the themes of a campaign. Now, this isn't an actual building tool. These songs didn't inform the actual campaign, instead they were intended to be used to explain the campaigns to others.

Be warned that some of these songs are not safe for work. Some of them might just get you odd looks from co-workers if you're listening to them at work. It also may be that some of these videos are not available in all countries. There's not a whole lot that I can do about that but wish you luck on finding them for yourselves.

After the jump, the songs from the long lost mix CD and a bit of explanation on how they can help to explain the tone and feel of a game.