Unlike the editors of Variety, whose jaded view of the marketing aspects of TRON demonstrate a cluelessness regarding Gen-X culture, I have been anticipating a sequel to the original TRON film since the day I left the theater in 1982. Contrary to what the opening line of the snide Variety article discussing TRON: LEGACY might lead you to believe, the first TRON film did quite well. According to BoxOfficeMojo, the original film had a cost of $17 million and made $33 million in domestic box office -- a moderate success. This figure does not include the sales of video game machines, VHS tapes, DVDs, or any of the other merchandise associated with the film.
Initial under-performance is no sign of a lack of long-term interest. One can excuse executives in 1982 for not being able to see into the future at TRON's legacy, but current executives are right to invest so much time and marketing energy behind the new film.
Now...if only the movie's story will match the effort put into the film in other areas.
Thursday, July 22, 2010
"The Legend of Korra" -- 70 Years After "Avatar: The Last Airbender"
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| Image © Nickelodeon |
Michael DiMartino and Bryan Konietzko created one of the best animated television shows of all time with Avatar: The Last Airbender. As the series unfolded, viewers watched the adventures of a young man named Aang as he fought to bring peace to a world at war. The show's episodes were brilliantly written tales that balanced humor, romance, and drama in a way rarely seen in American animated televisions shows.
DiMartino and Konietzko just announced that in 2011, Nickelodeon will be airing a sequel to Avatar tentatively entitled "The Legend of Korra." Where the original series was a world-spanning road trip, "Korra" will have a great deal of its action take place in a central location called Republic City. Where the bending skills of the Avatar were admired by the good citizens of the world, "Korra" will adventure in a world where (according to the creators) there is a major "anti-bender" revolt going on. Where Aang had only mastered Air-bending and spent the series wandering the globe while mastering the other three arts, "Korra" begins the tale with Korra having mastered Earth, Water, and Fire and will receive training in Air-bending from Aang's son.
If past is prologue -- and it often is -- then 2011 will be one of the best years for television animation ever. It will see the return of "Iron Man: Armored Adventures" and the start of "The Legend of Korra."
In the meantime, we'll have to wait and watch episodes of Avatar: The Last Airbender to fill our addictive cravings.
Now, if we can only get Nickelodeon to release an Avatar roleplaying game.
Wednesday, July 21, 2010
Some Thoughts on the 2010 Diana Jones Award
Yesterday, the mysterious and secretive committee behind the Diana Jones Award announced this year's nominees for the prestigious annual award.
One of the things that I really like about Diana Jones short lists is the diversity of the nominees. As usual, this year's list of nominees is an impressive one that combines things that are well known in the hobby as well as those that are more obscure. Also as in prior years, the list is a mix of games that incorporate new ways of infusing narrative experiences in a gaming format, services that benefit the hobby as a whole, excellence in game design, and artistic workmanship.
The committee is to be praised for their list this year. The nominees are discussed in the Committee's press release:
As I wrote above, this is indeed a list filled with games and services worthy of nomination. It is also a list that deserves some commentary.
First, the nomination of Boardgamegeek seems to be a gimme at first glance. The website has been a hub for hobby board gaming enthusiasts for the past decade and is an invaluable resource for players and collectors. I wish the site was more user friendly with regard to helping me find news on upcoming games. When one has limited time, paging through the site can become a tad bit of a chore -- a pleasurable chore filled with new and exciting information, but a chore none the less.
That's just at first glance. At deeper glance one realizes that the committee ought to have nominated GeekDo, the website that is the descendant of Boardgamegeek. It contains all of the BGG pages, but now includes areas for role playing game and video game collectors as well. The site has moved beyond boardgaming and has become the best representation of the gaming hobby as a whole.
Chaos in the Old World is a marvel. The game proved that it was still possible, and desirable, for a company to make a board game based upon a miniature game's setting. Back in the 80s-90s Games Workshop produced scads of wonderful games like Warrior Knights, Blood Royale, Doom of the Eldar, Battle for Armageddon. Some of these were board games with no relation to GW's miniatures lines, but some where and these were quality media tie-in games. When Fantasy Flight Games announced they had an agreement with GW to produce games based on Warhammer, and 40k, intellectual property, the hobby rejoiced knowing that some great games were going to be re-published. What they didn't know was that FFG had creators like Eric Lang and Jeff Tidball who would be designing new and wonderful games to add to the pantheon of the GW boxed board game. Lang's Chaos in the Old World is one of the best games of deities doing battle every designed, it is also one of the best media tie-in games produced.
I had never heard of Kagematsu. After reading the reasoning behind the nomination and visiting the website, I immediately purchased the game. This is a beautiful looking game, the component design alone is art, with an intriguing premise. I don't think my regular gaming group will have any interest in the game, but I will love reading it. I don't know how vital the "gender reversal" elements of play are, I think that the shifting of what constitutes protagonist player roles is in and of itself intriguing. Playing the villagers instead of the adventuring hero is a greatly overlooked focus.
Montsegur 1244 is the Grey Ranks of this year's nomination group. The game takes the final days of the Crusade against the Cathars and puts the players in the role of the besieged heretics. Throughout play, the players explore the emotions and consequences of choosing religious faith over life itself. The game combines tragedy and a powerful historic setting, like Grey Ranks, and I look forward to reading more about this product. I am also a fan of the movement in games that attempts to structure play that is educational and emotionally powerful. These are the games that make claims like "games can change the world" less laughable than people might otherwise think and that return play to the "sacred" sphere it originated from.
There is a company that I would have lobbied for were I a member of the Diana Jones Committee because it meets quite a few of the standards exhibited by past and present Diana Jones nominees. I would have added Victory Point Games to the list. Victory Point Games is a DIY gaming company that is affiliated with a game design program at a Southern California university. The company not only makes a wide array of games covering a wide array of play styles, but they have it as a motto that he who plays should design. A key goal of the company is to turn its customers into game designers. There are only three other companies/institutions that I think can make a strong claim to that goal: Wolfgang Baur, Robin Laws, and the folks at Gameplaywright.
Any company that has as a central goal turning its customers into designers is definitely thinking about the future of the hobby in ways that deserve recognition. Maybe the committee will consider Victory Point Games next year.
One of the things that I really like about Diana Jones short lists is the diversity of the nominees. As usual, this year's list of nominees is an impressive one that combines things that are well known in the hobby as well as those that are more obscure. Also as in prior years, the list is a mix of games that incorporate new ways of infusing narrative experiences in a gaming format, services that benefit the hobby as a whole, excellence in game design, and artistic workmanship.
The committee is to be praised for their list this year. The nominees are discussed in the Committee's press release:
The committee of the Diana Jones Award has released the shortlist for its 2010 award. This year the shortlist contains four nominees that in the opinion of the committee exemplify the very best that the world of hobby-gaming has produced in the last twelve months. In alphabetical order, they are:
BOARDGAMEGEEK, a website edited by Scott Alden and Derk Solko; CHAOS IN THE OLD WORLD, a boardgame by Eric Lang, published by Fantasy Flight Games; KAGEMATSU, a role-playing game by Danielle Lewon, published by Cream Alien Games; MONTSEGUR 1244, a role-playing game by Frederik Jensen, published by Thoughtful Games
The winner of the 2010 Diana Jones Award will be announced on the evening of Wednesday 4th August, at the annual Diana Jones Award and Freelancer Party in Indianapolis, the unofficial start of the Gen Con Indygames convention.
ABOUT THE NOMINEES
Boardgamegeek
A website edited by
http://www.boardgamegeek.com
BoardGameGeek is a resource without peer for players of board and card games. Its comprehensive database is a first and best reference for both staunch grognards and casual non-gamers, presenting not only reference data about games but also the reviews, opinions, expansions, photos, and session reports of its membership. The site's internal economy effectively rewards those who continue to make the site broader, deeper, and stronger, and as a result its community is smart, enthusiastic, and steadfast. In 2010, BoardGameGeek celebrates its tenth anniversary, adding longevity to the roll of its merits. In one small corner of human endeavor, BoardGameGeek's exhaustive knowledge base, devoted community, and collaborative bedrock exemplify the absolute best that the Internet has to offer society.
Chaos in the Old World
A board-game by Eric Lang
Published by Fantasy Flight Games
http://www.fantasyflightgames.com/edge_minisite.asp?eidm=84
In Eric Lang's Chaos In The Old World, players take the roles of four cruel and hateful gods, competing—and cooperating—to debase and destroy the human world. Lang takes the heart and flesh of the Warhammer cosmos and stretches it as tight as a drumhead across a boardgame that richly evokes the baroque insanity of its source material while remaining elegant and rational in design. Side elements feed game play rather than distracting from it, and each god fulfills its individual character while reinforcing the game's structure as a whole. The basic mechanics repeat and reveal themselves from new angles, channeling competition and fueling flavor as the game builds to its climax. Simultaneously rewarding planning and immersion, Chaos In The Old World masterfully bridges the board-game design gap between European architecture and American art.
Kagematsu
A role-playing game by Danielle Lewon
Published by Cream Alien Games
http://sites.google.com/site/creamaliengames
With Kagematsu, creator published roleplaying games boldly continue their advance into uncharted territory. Set in Japan, the game flips genders on the players, casting men as village women whose efforts to romance the wandering ronin Kagematsu are judged by the woman playing him. The text is lucid and elegant. The game plays to a natural conclusion in four or five hours—resolving the fates of the women, Kagematsu, and the village—with no need to force things along to finish on schedule. And play is lush, anxious, and partakes of great dramatic energy from its tight mechanics and device of gender-reversal.
Montsegur 1244
A role-playing game by Frederik Jensen
Published by Thoughtful Games
http://thoughtfulgames.com/montsegur1244/index.html
Montsegur 1244, by Frederik Jensen, uses actual history to frame a tightly focused game that explores faith, loyalty, and the bonds of kinship. Using the final, brutal siege in the Catholic crusade against the Cathar heresy as a backdrop, players take the roles of true believers trapped in the fortress of Montsegur. As the inevitable endgame draws closer, each player must decide—will their character abandon their faith and recant, or will they burn for what they believe? This single, simple choice drives the entire game. Montsegur1244 succeeds brilliantly in evoking the horror and pathos of the doomed Cathars, and combines the best of Nordic and North American roleplaying traditions. The game is carefully structured where it needs to be and completely freeform where it doesn’t. Elegant, simple mechanics support play that is often surprisingly emotional. The choices players are presented with are impossible to reconcile. The tangled web of family, love, duty and belief only amplify the difficulty of the decision each must eventually make.
ABOUT THE AWARD
The Diana Jones Award for Excellence in Gaming was founded and first awarded in 2001. It is presented annually to the person, product, company, event or any other thing that has, in the opinion of its mostly anonymous committee of games industry alumni, luminaries and illuminati, best demonstrated the quality of 'excellence' in the world of hobby-gaming in the previous year. The winner of the Award receives the Diana Jones trophy.
Past winners include industry figures Peter Adkison and Jordan Weisman, the role-playing games Nobilis, Sorcerer, and My Life with Master, and the board-game Ticket to Ride. The 2009 winner was the card-game Dominion designed by Donald X. Vaccarino and published by Rio Grande Games.
This is the tenth year of the Award.
CONTACT
For more information, see the website www.dianajonesaward.org or contact
the committee directly: committee@dianajonesaward.orgthe committee directly: committee@dianajonesaward.org
As I wrote above, this is indeed a list filled with games and services worthy of nomination. It is also a list that deserves some commentary.
First, the nomination of Boardgamegeek seems to be a gimme at first glance. The website has been a hub for hobby board gaming enthusiasts for the past decade and is an invaluable resource for players and collectors. I wish the site was more user friendly with regard to helping me find news on upcoming games. When one has limited time, paging through the site can become a tad bit of a chore -- a pleasurable chore filled with new and exciting information, but a chore none the less.
That's just at first glance. At deeper glance one realizes that the committee ought to have nominated GeekDo, the website that is the descendant of Boardgamegeek. It contains all of the BGG pages, but now includes areas for role playing game and video game collectors as well. The site has moved beyond boardgaming and has become the best representation of the gaming hobby as a whole.
Chaos in the Old World is a marvel. The game proved that it was still possible, and desirable, for a company to make a board game based upon a miniature game's setting. Back in the 80s-90s Games Workshop produced scads of wonderful games like Warrior Knights, Blood Royale, Doom of the Eldar, Battle for Armageddon. Some of these were board games with no relation to GW's miniatures lines, but some where and these were quality media tie-in games. When Fantasy Flight Games announced they had an agreement with GW to produce games based on Warhammer, and 40k, intellectual property, the hobby rejoiced knowing that some great games were going to be re-published. What they didn't know was that FFG had creators like Eric Lang and Jeff Tidball who would be designing new and wonderful games to add to the pantheon of the GW boxed board game. Lang's Chaos in the Old World is one of the best games of deities doing battle every designed, it is also one of the best media tie-in games produced.
I had never heard of Kagematsu. After reading the reasoning behind the nomination and visiting the website, I immediately purchased the game. This is a beautiful looking game, the component design alone is art, with an intriguing premise. I don't think my regular gaming group will have any interest in the game, but I will love reading it. I don't know how vital the "gender reversal" elements of play are, I think that the shifting of what constitutes protagonist player roles is in and of itself intriguing. Playing the villagers instead of the adventuring hero is a greatly overlooked focus.
Montsegur 1244 is the Grey Ranks of this year's nomination group. The game takes the final days of the Crusade against the Cathars and puts the players in the role of the besieged heretics. Throughout play, the players explore the emotions and consequences of choosing religious faith over life itself. The game combines tragedy and a powerful historic setting, like Grey Ranks, and I look forward to reading more about this product. I am also a fan of the movement in games that attempts to structure play that is educational and emotionally powerful. These are the games that make claims like "games can change the world" less laughable than people might otherwise think and that return play to the "sacred" sphere it originated from.
There is a company that I would have lobbied for were I a member of the Diana Jones Committee because it meets quite a few of the standards exhibited by past and present Diana Jones nominees. I would have added Victory Point Games to the list. Victory Point Games is a DIY gaming company that is affiliated with a game design program at a Southern California university. The company not only makes a wide array of games covering a wide array of play styles, but they have it as a motto that he who plays should design. A key goal of the company is to turn its customers into game designers. There are only three other companies/institutions that I think can make a strong claim to that goal: Wolfgang Baur, Robin Laws, and the folks at Gameplaywright.
Any company that has as a central goal turning its customers into designers is definitely thinking about the future of the hobby in ways that deserve recognition. Maybe the committee will consider Victory Point Games next year.
Friday, July 16, 2010
Let Isaiah Mustafa Be Luke Cage
Luke Cage and Black Panther are two of the coolest superheroes ever created. For years I have created mental "casting calls" for the two characters. Typically, Wesley Snipes gets cast as Black Panther -- my favorite Avenger -- but my ideal Luke Cage has been more fluid.
Recently, I have tended toward Brian J. White. I really like Brian J. White as an actor, but even when he's an antagonist (like in Fighting) he's too likable to be the hard nosed Cage. That doesn't stop me from having him return to the top of my casting list.
Hollywood has been considering Tyrese Gibson for the role. Tyrese can certainly bring the edge the character requires, but he looked a lot more than 1" shorter than Paul Walker in 2 Fast, 2 Furious. Luke Cage should be intimidatingly tall and Tyrese, has never seemed tall in the films he has starred in.
I am a big fan of Taye Diggs, and his performance in Equalibrium cemented him in my mind as someone who can portray an intense action star. His work in projects like Private Practice prove that he can bring a nice softness to a role as well. My ideal Luke Cage needs both. He needs the anger and the empathy.
What none of these actors share, to the best of my knowledge, is a deep and abiding love for the character and for comics in general.
Isaiah Mustafa does. Not only has he been awesomely entertaining in the Old Spice Commercials, but he is a comic book fan who has publicly expressed his affection for the character.
I know, I know...you're going to say that Nicolas Cage is proof that fandom and genuine love for a medium doesn't necessitate quality films, we can argue that another time. I for one have enjoyed Nicolas Cage's films, even some that were universally panned. There's a kind of sincerity to them that is often lacking in productions. That sincerity matters.
Watching the G4TV interview below with Isaiah Mustafa convinced me that he has the sincerity. His willingness to fully commit to the Old Spice commercials, not matter how ridiculous they get, puts him at the top of my list of Luke Cage candidates.
Let's get Isaiah Mustafa to star as Luke Cage.
Recently, I have tended toward Brian J. White. I really like Brian J. White as an actor, but even when he's an antagonist (like in Fighting) he's too likable to be the hard nosed Cage. That doesn't stop me from having him return to the top of my casting list.
Hollywood has been considering Tyrese Gibson for the role. Tyrese can certainly bring the edge the character requires, but he looked a lot more than 1" shorter than Paul Walker in 2 Fast, 2 Furious. Luke Cage should be intimidatingly tall and Tyrese, has never seemed tall in the films he has starred in.
I am a big fan of Taye Diggs, and his performance in Equalibrium cemented him in my mind as someone who can portray an intense action star. His work in projects like Private Practice prove that he can bring a nice softness to a role as well. My ideal Luke Cage needs both. He needs the anger and the empathy.
What none of these actors share, to the best of my knowledge, is a deep and abiding love for the character and for comics in general.
Isaiah Mustafa does. Not only has he been awesomely entertaining in the Old Spice Commercials, but he is a comic book fan who has publicly expressed his affection for the character.
I know, I know...you're going to say that Nicolas Cage is proof that fandom and genuine love for a medium doesn't necessitate quality films, we can argue that another time. I for one have enjoyed Nicolas Cage's films, even some that were universally panned. There's a kind of sincerity to them that is often lacking in productions. That sincerity matters.
Watching the G4TV interview below with Isaiah Mustafa convinced me that he has the sincerity. His willingness to fully commit to the Old Spice commercials, not matter how ridiculous they get, puts him at the top of my list of Luke Cage candidates.
Let's get Isaiah Mustafa to star as Luke Cage.
Wednesday, July 14, 2010
Bill Willingham Contemplating Marathon RPG Session at Gary Con 2011
Bill Willingham -- author of DC Comic's FABLES, early Dungeons and Dragons illustrator, and creator of the classic independent comic book THE ELEMENTALS -- recently posted on Monkey House Games' website that he was planning on attending next year's Gary Con.
But wait there's more.
Willingham posted that he was hoping to run a game session at the convention, but this wouldn't be just any game session.
Mr. Willingham plans to run a 3-day non-stop marathon session in which players will experience an entire Villains and Vigilantes campaign.
That's right. A legendary comic book writer wants to run a 3-day gaming session using one of the oldest Superhero roleplaying game systems at a small local convention that honors one of the founders of the roleplaying hobby.
Does that sound like heaven or what?
But wait there's more.
Willingham posted that he was hoping to run a game session at the convention, but this wouldn't be just any game session.
Mr. Willingham plans to run a 3-day non-stop marathon session in which players will experience an entire Villains and Vigilantes campaign.
That's right. A legendary comic book writer wants to run a 3-day gaming session using one of the oldest Superhero roleplaying game systems at a small local convention that honors one of the founders of the roleplaying hobby.
Does that sound like heaven or what?
Tuesday, July 13, 2010
Steve Jackson Games Offering Early Space Gamer Issues on e23
From many of my prior posts, it's probably pretty clear that I am a great admirer of The Space Gamer magazine that was published by Steve Jackson Games in the early 80s. Over the course of the magazine's lifetime, it changed hands no fewer than four times, but it is the Steve Jackson era that stands out as a particularly high point for the magazine.
During the Steve Jackson era, The Space Gamer was THE magazine where gamers could find reviews covering the breadth of the gaming hobby. They had review and news columns covering rpgs, miniatures, and play-by-mail games. Key among the reviews was the magazine's "Capsule Reviews" section where gamers could find thoughtful reviews of dozens of gaming products in every issue. This magazine is one of my favorite resources when I am looking for archival information about the history of the gaming hobby. Reading The Space Gamer one quickly sees that the "current" animosity that some gamers feel toward Wizards of the Coast -- the current owners of Dungeons and Dragons -- is nothing new. Back in the 80s, during the Gygax era, TSR (the owners of D&D at the time) had huge layoffs on a regular basis and were as sue happy as modern gamers claim Wizards is today.
In addition to rules and news, The Space Gamer issues often featured fully playable board games. Kung Fu 2100, Globbo, Battlesuit, and Necromancer were all games that originally appeared in the pages of TSG. The pages of the magazine also featured regular articles by people who are now giants in the gaming industry. People like Allen Varney started their game designer careers as contributors to the Letters page of TSG. Lord British wrote articles discussing his designer notes for Akalabeth and its origins.
For years, I have been collecting back issues by scouring eBay on a regular basis. Some of the issues are more expensive than others, and I have had to wait through several auctions on a couple of key issues. eBay, garage sales, used games sections, and used book stores used to be the only places one could legally acquire copies of TSG. Now that has changed.
Steve Jackson Games has finally made the first three SJG issues of The Space Gamer available on their e23 electronic publication store. Potential readers can now find issues 27, 28, and 29 at the website where they cost a mere $2.99 each. For these, and for any TSG issues, this is a bargain.
Go. Buy them now. Read them. Enjoy the in depth look at the early days of our hobby.
You can even get a free preview of issue 29 here.
Let's hope they keep adding new issues for us to purchase.
During the Steve Jackson era, The Space Gamer was THE magazine where gamers could find reviews covering the breadth of the gaming hobby. They had review and news columns covering rpgs, miniatures, and play-by-mail games. Key among the reviews was the magazine's "Capsule Reviews" section where gamers could find thoughtful reviews of dozens of gaming products in every issue. This magazine is one of my favorite resources when I am looking for archival information about the history of the gaming hobby. Reading The Space Gamer one quickly sees that the "current" animosity that some gamers feel toward Wizards of the Coast -- the current owners of Dungeons and Dragons -- is nothing new. Back in the 80s, during the Gygax era, TSR (the owners of D&D at the time) had huge layoffs on a regular basis and were as sue happy as modern gamers claim Wizards is today.
In addition to rules and news, The Space Gamer issues often featured fully playable board games. Kung Fu 2100, Globbo, Battlesuit, and Necromancer were all games that originally appeared in the pages of TSG. The pages of the magazine also featured regular articles by people who are now giants in the gaming industry. People like Allen Varney started their game designer careers as contributors to the Letters page of TSG. Lord British wrote articles discussing his designer notes for Akalabeth and its origins.
For years, I have been collecting back issues by scouring eBay on a regular basis. Some of the issues are more expensive than others, and I have had to wait through several auctions on a couple of key issues. eBay, garage sales, used games sections, and used book stores used to be the only places one could legally acquire copies of TSG. Now that has changed.
Steve Jackson Games has finally made the first three SJG issues of The Space Gamer available on their e23 electronic publication store. Potential readers can now find issues 27, 28, and 29 at the website where they cost a mere $2.99 each. For these, and for any TSG issues, this is a bargain.
Go. Buy them now. Read them. Enjoy the in depth look at the early days of our hobby.
You can even get a free preview of issue 29 here.
Let's hope they keep adding new issues for us to purchase.
Saturday, July 10, 2010
Mongoose Publishing Releasing "Classic Chaosium" Michael Moorcock RPGs in PDF
I am happy to see that a number of publishers are using digital publishing to keep old and out of print games in the marketplace. In the modern market, there is no excuse for not having old products available. All you do is feed a secondary market and feed digital piracy. While digital pirates will still steal products that are made available digitally for sale, more honest purchasers have a way that they can support the games that they love. It allows new players to be introduced to historic games, and it allows people who own physical copies to keep those in more pristine shape and use the digital copies instead.
Mongoose Publishing has long been using the digital distribution stream, and they have now made the classic Chaosium Michael Moorcock inspired Basic Role-Playing games available for purchase. This includes the excellent first edition of Stormbringer by Tunnels and Trolls' own Ken St. Andre.
I know there are some who have mixed feelings about Mongoose Publishing's business practices during the early d20 boom. No one can deny that Mongoose looked at the upcoming releases of other companies and rushed out versions of similar products that were released prior to those of their competitors. This often led to inferior product by Mongoose and diminished sales for the original company. I share these mixed feelings regarding Mongoose and d20.
That said, I have been impressed with Mongoose Publishing in the Post-d20 marketplace. They have done quality editions of Traveller, and adapted Judge Dredd and Hammer's Slammers to that system seemlessly. I am also enjoying their -- slightly overpriced -- new Lone Wolf role playing game.
Regardless of what you think about Mongoose, you might want to consider what Michael Moorcock had to say about Chaosium in Kobold Quarterly #5:
Quite a different picture than one might have imagined. Chaosium is one of the venerable and trusted names in gaming, and most early vitriol regarding "game publisher greed" were aimed at TSR. Those anti-TSR flames were often fanned by fans of Chaosium, so if Moorcock's claims are true it puts the early days of the hobby in a different light.
I don't know the truth of Moorcock's anti-Chaosium claims, but I'll take him at his word with his pro-Mongoose praise. If purchasing the pdfs means the good author gets royalties, then count me in as a customer.
Mongoose Publishing has long been using the digital distribution stream, and they have now made the classic Chaosium Michael Moorcock inspired Basic Role-Playing games available for purchase. This includes the excellent first edition of Stormbringer by Tunnels and Trolls' own Ken St. Andre.
I know there are some who have mixed feelings about Mongoose Publishing's business practices during the early d20 boom. No one can deny that Mongoose looked at the upcoming releases of other companies and rushed out versions of similar products that were released prior to those of their competitors. This often led to inferior product by Mongoose and diminished sales for the original company. I share these mixed feelings regarding Mongoose and d20.
That said, I have been impressed with Mongoose Publishing in the Post-d20 marketplace. They have done quality editions of Traveller, and adapted Judge Dredd and Hammer's Slammers to that system seemlessly. I am also enjoying their -- slightly overpriced -- new Lone Wolf role playing game.
Regardless of what you think about Mongoose, you might want to consider what Michael Moorcock had to say about Chaosium in Kobold Quarterly #5:
"Or course, Chaosium turned out to be crooks, paying no royalties, ripping me of, behaving in a dodgy way. I tried over the years to get the stuff away from them, but it wasn't until Mongoose made a serious offer to Chaosium, plus an offer to me, that I was able to switch. Mongoose have proven a completely trustworthy firm... Gary [Gygax] told me he wished he'd known the circumstances, since he had other ideas for EC games. I too wish I'd signed with GG, who seemed a pleasant and agreeable guy."
Quite a different picture than one might have imagined. Chaosium is one of the venerable and trusted names in gaming, and most early vitriol regarding "game publisher greed" were aimed at TSR. Those anti-TSR flames were often fanned by fans of Chaosium, so if Moorcock's claims are true it puts the early days of the hobby in a different light.
I don't know the truth of Moorcock's anti-Chaosium claims, but I'll take him at his word with his pro-Mongoose praise. If purchasing the pdfs means the good author gets royalties, then count me in as a customer.
Friday, July 09, 2010
A Gamer's Treasure -- Different Worlds #23
To say that Different Worlds Issue #23 is one of the highest Superhero Themed Gaming Magazine issues of all time would be an understatement. It closer to the truth to say that this particular issue of Different Worlds is one of the best -- if not the single best -- issue of a gaming magazine ever published.
Issue 23, the "Special Superhero" issue, was published in August of 1982 just as superhero roleplaying games were beginning to emerge in the marketplace. 1977 had seen the release of Superhero 2044. This game was quickly followed by the release of the 1st edition of Villains and Vigilantes by Jeff Dee and Jack Herman and Supergame Aimee Karklyn and John Hartlove. By the time Champions emerged in the marketplace in 1981 at the Origins Game Fair, where it set a new standard in superhero gaming, the genre was well established as a successful gaming milieu.
During the early 1980s, fewer gaming magazines were "House Organs" that existed purely to promote the products of the company that published the magazine. The vast majority of these magazines were published by gaming publishers, like today, but these publishers frequently featured articles containing content for their competitor's games and advertisements for their competitor's products. Dragon, The Space Gamer, and Different Worlds were published by TSR, Steve Jackson Games, and Chaosium but they didn't limit themselves to promoting their own products. Of these magazines, Dragon ran the fewest articles covering competitors' products but it contained a significant amount of external advertising. It wasn't until the publication by Steve Jackson Games' AutoDuel Quarterly that a company produced a magazine with the sole goal of promoting a single product line.
If Dragon was the stingiest when it came to containing articles about other companies' offerings, Different Worlds and The Space Gamer were in heavy competition for which magazine was the most generous in supporting the hobby first and the company second. Both were excellent magazines that are sorely missed today.
It is in this environment that Different Worlds issue #23 "hit the stands" and set a high mark for what a magazine could do in support of the hobby itself. If you were considering starting up a magazine that covered the whole RPG hobby -- I'm looking at you d∞ -- this is the issue I would point you toward to demonstrate how to do a themed issue.
The issue had content that supported all of the major superhero roleplaying games of the day, had reviews of several of their products, and had reviews of some of the smaller emerging titles of the time.
Let's have a look at the issue:
Superhero 2044: Part-Time Superhero -- This five page article, written by the game's designer Donald Saxman, provided designer notes for the game, supplemental rules, and an adventure that players could run in their own campaigns. The inclusion of a couple of new characters is helpful to GMs and players who want to use this system.
Villains and Vigilantes -- Pages 14 and 15 of the issue have a detailed discussion, by game designer Jeff Dee, of the history of the game and the changes that Dee and Jack Herman made to the system for the newly released (in 1982) 2nd edition of the game.
Supergame -- Jay and Aimee Hartlove have a four page article that has a detailed discussion of the game's development and history. This article also includes Supergame conversions of The Incredible Hulk (Marvel), Raven (DC), Captain America (Marvel), Wonder Woman (DC), Batman (DC), Spider Woman (Marvel), and Wolverine (Marvel). This article prompted years of searching for copies of Supergame, a search that was not completed until 2002 when I found copies of the first and second edition at the War House in Long Beach. Modeling existing characters within a specific gaming system is one of the best ways to demonstrate what the benchmarks of a given game are and Jay and Aimee did a bang up job in this issue. They also discussed the limitations of their game.
Champions has two articles back to back in the issue. The first is a set of designer notes by Steve Peterson. Modern Champions players may not be able to envision a day when Steven Long wasn't the man behind the rules set, and he has been a boon for the game, but it's nice to read what the creator of a game thought of his rules and how he wanted them changed for the second edition. The first edition of Champions was a 64 page rulebook released in 1981, Hero Games released a second edition of 80 pages a year later. That "revised" edition contained a number of significant changes. This second edition was the edition of the game I cut my teeth on, though the 4th edition was the one I played the most and still find to be my favorite edition. What is particularly praiseworthy in Peterson's notes is how responsive he was to how the game was being played. Given that he was a decade before the internet -- though there was a significant BBS community for the game -- it is even more remarkable.
The second article for Champions is an article by Glenn Thain, a name you will find repeated in many of the early superhero rpgs and someone who has a knack for testing the limits of systems in character design, where he presents statistical representations for the John Byrne era X-Men. This article shaped the way that I viewed game balance for quite some time. In hindsight I think that Thain's fandom for the characters made him make them a little more powerful than they would have been written up by a more neutral evaluator. Regardless of quibbles, Thain presents some good guidelines to be used in individual campaigns that wish to model superheroes. Thain provides statistics for Sprite (Kitty Pride/Shadowcat), Storm, Colossus, Nightcrawler, Cyclops, Wolverine, and Magneto (giving one villain). Given the accuracy of the emulation of the abilities of the characters, this article is a great demonstration of the versatility of the Champions system -- even before it became a 900 page omnibus.
Superworld -- Given that Different Worlds was a Chaosium organ, one would expect to find a section discussing their superhero entry Superworld and Steve Perrin provides a nice designer notes and errata article for the first edition (the one in the Worlds of Wonder boxed set) of the game. Superworld is based on the Basic Role-Playing system, and as such has one of the most intuitive mechanical systems as its underlying structure. Tell someone that they have to roll 11 or less on 3d6 to accomplish a task and they may or may not understand what the probabilities of success are. Tell them that they have a 55% chance and it is instantly crystal clear. Superworld's system is a percentile based one. It is no wonder that this game became the basis for George R. R. Martin's shared world anthology Wild Cards. The game is versatile and easy to understand. The first doesn't have a large power set, but that was soon changed with a second -- and stand alone -- version of the game.
Like Champions, Superworld gets an article wherein the X-men are modeled using the system. In this case the X-Men represented include a couple missing from the prior article. They are Angel, Storm, Professor X, Sprite (Kitty Pride/Shadowcat), Wolverine, Nightcrawler, Cyclops, Colossus, and Magneto (the villain).
In the reviews section of the issue, there are reviews of Supervillains by Task Force Games (a deservedly negative review by Steve Perrin), The Official Superhero Adventure Game by Brian Phillips (a relatively positive review of the independently published game -- a game that I desperately wish to own), Death Duel with the Destroyers an adventure for Villains and Vigilantes (a deservedly positive review by Steve Perrin), The Ysgarth System (a mixed review of a game that became the foundation of a near impossible to find superhero rpg entitled Challengers).
There are many other noteworthy aspects to the issue, not the least of which is the sweet Bill Willingham cover, so if you are a fan of superhero rpgs you absolutely must track down a copy of the issue. My personal copy is one of the "Collector's Reprints."
Thursday, July 08, 2010
Eagerly Awaiting a New "Out of the Box" by Kenneth Hite
Has it really been four months since Kenneth Hite last shared his insights into the independent rpg world with us in the form of a new "Out of the Box" opinion column?
Sadly, yes.
Hite's "Out of the Box" column is one of the great treats that the internet has to offer to gamers who desire to look for games a step off of the beaten path. Hite has been writing the column since 1997 and back when Gamingreport.com was an actual gaming news site, Hite's OOTB columns provided editorial content that supplemented was a step above the site's "Press Release" news feed. Hite's columns were conversational, provided insight about games you may have otherwise missed, and were written in his erratic polymath style. In shore, like Hite's own self promoting blog, they were a joy to read.
When Gamingreport.com folded, Hite's column migrated over to one of the best places on the internet to find small press role playing games the Independent Press Revolution website. Since migrating to the website, Hite has written columns filled with praise for games about anthropomorphic mice, Lucha Libre wrestlers, murderous space marines, superhero homicide detectives, and mysterious disappearances.
He has also written a couple of wonderful little rpg products himself in the past two years.
But Hite hasn't written a column since March of this year. Surely he can give us an Origins report, or a discussion of how 2010 is the year of the super hero rpg, or a review of a game wherein players take on the role of Helots who strive to live normal lives in between brutal Spartan raids.
In the meantime, I'll just have to visit his blog.
Tuesday, July 06, 2010
LOOT AND SCOOT: A Win for Victory Point Games?
I am a sucker for dungeon crawl themed board and card games. I own the vast majority of the games included in Board Game Geek's Definitive Dungeon Crawl Geek List. When I saw that the scrappy independent game company Victory Point Games had developed what they believe to be a "Euro Style" and "Family Friendly" version of a dungeon crawl game, I knew that I would have to add Loot and Scoot to my collection.
Adding the game to my collection is one thing, keeping the game on the "keep ready at a moment's notice" shelf is quite another. I own quite a few games, but only a few manage to find their way onto readily accessible shelf space. Most games end up in one of my gaming closets, or even banished to my storage unit where they rest until my wife and I manage to make the millions necessary for a house big enough to house a proper gaming library. Given that we live in Southern California, that truly means millions. Storage games do get played from time to time, but such occurrences are rare and must be planned. TSR's All My Children and Fantasy Flight Games' Fireborn are both games that are currently trapped in storage. If my gaming group shared certain affections with me, Fireborn wouldn't be there but she is.
What is the fate that awaits Loot and Scoot?
My friend, and fellow board game aficionado, Eric visited my house the other weekend during a non-roleplay gaming weekend and we tried out a number of games to test their merit and Loot and Scoot was among those games we played.
Loot and Scoot is one of many genre themed games published by Victory Point Games designed by Chris Taylor, or as VPG calls him the "Maker of Games." It would be fair to say -- attempting to not tip my hat on this particular evaluation -- that Chris Taylor and I have extraordinarily similar tastes in game themes. In addition to designing the pen and paper FALLOUT game that accompanied FALLOUT: TACTICS, Taylor has designed FORLORN HOPE (an Aliens/Space Hulk inspired game), NEMO'S WAR (a solo game inspired by 20,000 Leagues Under the Sea), and has a number of free web-published games. Let's just say that based solely on his attempt to design a solo game based on a Jules Verne novel places Chris Taylor among my favorite designers.
Loot and Scoot is a game of exploring dungeons, training adventurers, and scoring the most "loot." Each of the two to four players in a game of Loot and Scoot takes on two roles. Every player is a dungeon owner and a band of hearty adventurers seeking to kill the monsters and take the stuff from the other players' dungeons. In this manner, Loot and Scoot combines elements from FFG's excellent Descent game with the progenitor of all Dungeon Crawl games TSR's Dungeon.
Descent has players in direct opposition to one another as one represents the Dungeon Master and the others represent the adventurers. In Dungeon all of the players are adventurers seeking to loot the same dungeon and the first player to meet certain victory requirements wins. In Loot and Scoot players stock their own dungeons and loot those of their opponents. Games with more than two opponents can see some players' dungeons become the focus of several players for a time.
At the beginning of each game session players select a map they will use as their own dungeon which they will stock with an array of dastardly creatures in the hopes of creating a challenge for their opponents. Each player also begins with two "level 1" adventurers and two hirelings. Players will use these character to explore the dungeons of their opponents, a player can never explore his/her own dungeon.
Once the players' dungeons have been stocked, the players' work as "dungeon master" is finished and the only ways that the dungeon will change are due to the successes of the opponents' adventurers. Monsters don't leave their rooms once they have been placed. It should be noted that the dungeon stocking phase of the game shares some qualities with Stratego. Players want to place their Dungeon Bosses -- really tough monsters -- in such a way as to make their opponents work hard to get to them.
During a player's turn he/she may use money that has been acquired, either through adventuring or using an action to "beg funds," to recruit adventurers and hirelings, train adventurers, or purchase buildings where adventurers may be trained. Different adventurers are more, or less, effective against different monsters and players are well served to have a well-balanced and highly trained party. The game's design is such that there are not enough characters, or buildings, for every player to have multiples of each character type or training facility. This can lead to trading and auctioning activities when a player encounters a monster that his/her adventurers are less than effective against. Having limited resources adds a nice level of depth to the play and increases player interactivity.
When looting an opponent's dungeon, players go from room to room (revealing and combating monsters as they go) attempting to acquire as much loot -- and defeat as many monsters as possible -- before encountering the dungeon's Dungeon Boss. Defeating a Dungeon Boss ends the game and points are scored at the end of a full round of play after the Dungeon Boss is defeated. This activity sounds easier than it actually is in practice. Defeating an individual monster is no easy task, an adventurer has either a 1/6 chance or no chance at all of defeating a monster. Certain monsters can only be defeated by certain character types. For example, the Werewolf may only be combated by the Mage, the Cleric, and the Fighter. Any Rogues in the player's party are of no use. Additionally, only one of each of those characters can contribute in a battle against a Werewolf -- each needing to roll a six in order to defeat the beast. It is guaranteed that players will lose hirelings/take damage while they are adventuring, but it is up to the player to decide how far he/she wants to push their luck as they loot dungeons. Play too cautiously and opponents will run away with the game. Play too loosely and you will never acquire enough victory points to win the game.
The game play has a nice balance of luck and skill. The luck comes in the form of the die roll resolution, but the skill comes in rationally analyzing your odds of success. This kind of luck/skill balance is common in Eurogames and is one of the reasons they have such a broad appeal. Having elements of luck in play allow less skilled opponents to win, and thus expands the number of those who can have fun while playing. Having elements of skill appeals to those who find the whimsical hand of purely luck driven games dull. Taylor's design in Loot and Scoot has the right balance of the two, both in the "planning" stages and in the eventual "adventuring" stages of the game.
Like all of Victory Point Games' games, Loot and Scoot is well designed graphically. Also like all Victory Point Games' games, there is a "hand made" quality to the components. This is because VPG games are designed by people with excellent graphics skills who are actually making the game by hand. The game features hand cut die-cut counters that had their graphics printed on a high quality ink jet printer.
At $17.95, the components compare well to other die-cut counter games and are far superior to the components of early Microgames like Ogre (those Microgames have an inflation adjusted price of approximately $10.00). As a die-cut counter game the components are good, but for those who prefer miniatures/meeple/wooden blocks this game won't quite meet expectations. The game also included one of those microscopic 6-sided dice, something that I actually would have preferred they left out of the bag. Did I write bag? Yep. The game, like those old Microgames, comes in a ziplock bag.
Some of the above comments regarding the components read a little more critical than I intend them too. I just want you to know what you are getting for $17.95. This is the 2010 version of a Microgame, inexpensive components and a reasonable price.
Components and rules aside, whether or not a game gets played repeatedly or gets its place on the "keep ready at a moment's notice" shelf is determined by two major factors -- is the game fun to play and can it be played repeatedly? In the case of Loot and Scoot, I can give a resounding yes to both questions.
There are a couple of things that set this game apart from other dungeon crawl games and make me want to have it as readily accessible as Descent. The game sets up and plays quickly. The games mechanics encourage player interaction due to a scarcity of resources. The game has internal mechanics that prevent one player from feeling "beat up" on for more than a short time. All in all this is a fast and furious game, and I cannot wait for the expansion.
Adding the game to my collection is one thing, keeping the game on the "keep ready at a moment's notice" shelf is quite another. I own quite a few games, but only a few manage to find their way onto readily accessible shelf space. Most games end up in one of my gaming closets, or even banished to my storage unit where they rest until my wife and I manage to make the millions necessary for a house big enough to house a proper gaming library. Given that we live in Southern California, that truly means millions. Storage games do get played from time to time, but such occurrences are rare and must be planned. TSR's All My Children and Fantasy Flight Games' Fireborn are both games that are currently trapped in storage. If my gaming group shared certain affections with me, Fireborn wouldn't be there but she is.
What is the fate that awaits Loot and Scoot?
My friend, and fellow board game aficionado, Eric visited my house the other weekend during a non-roleplay gaming weekend and we tried out a number of games to test their merit and Loot and Scoot was among those games we played.
Loot and Scoot is one of many genre themed games published by Victory Point Games designed by Chris Taylor, or as VPG calls him the "Maker of Games." It would be fair to say -- attempting to not tip my hat on this particular evaluation -- that Chris Taylor and I have extraordinarily similar tastes in game themes. In addition to designing the pen and paper FALLOUT game that accompanied FALLOUT: TACTICS, Taylor has designed FORLORN HOPE (an Aliens/Space Hulk inspired game), NEMO'S WAR (a solo game inspired by 20,000 Leagues Under the Sea), and has a number of free web-published games. Let's just say that based solely on his attempt to design a solo game based on a Jules Verne novel places Chris Taylor among my favorite designers.
Premise
Loot and Scoot is a game of exploring dungeons, training adventurers, and scoring the most "loot." Each of the two to four players in a game of Loot and Scoot takes on two roles. Every player is a dungeon owner and a band of hearty adventurers seeking to kill the monsters and take the stuff from the other players' dungeons. In this manner, Loot and Scoot combines elements from FFG's excellent Descent game with the progenitor of all Dungeon Crawl games TSR's Dungeon.
Descent has players in direct opposition to one another as one represents the Dungeon Master and the others represent the adventurers. In Dungeon all of the players are adventurers seeking to loot the same dungeon and the first player to meet certain victory requirements wins. In Loot and Scoot players stock their own dungeons and loot those of their opponents. Games with more than two opponents can see some players' dungeons become the focus of several players for a time.
Basic Flow of Play
At the beginning of each game session players select a map they will use as their own dungeon which they will stock with an array of dastardly creatures in the hopes of creating a challenge for their opponents. Each player also begins with two "level 1" adventurers and two hirelings. Players will use these character to explore the dungeons of their opponents, a player can never explore his/her own dungeon.
Once the players' dungeons have been stocked, the players' work as "dungeon master" is finished and the only ways that the dungeon will change are due to the successes of the opponents' adventurers. Monsters don't leave their rooms once they have been placed. It should be noted that the dungeon stocking phase of the game shares some qualities with Stratego. Players want to place their Dungeon Bosses -- really tough monsters -- in such a way as to make their opponents work hard to get to them.
During a player's turn he/she may use money that has been acquired, either through adventuring or using an action to "beg funds," to recruit adventurers and hirelings, train adventurers, or purchase buildings where adventurers may be trained. Different adventurers are more, or less, effective against different monsters and players are well served to have a well-balanced and highly trained party. The game's design is such that there are not enough characters, or buildings, for every player to have multiples of each character type or training facility. This can lead to trading and auctioning activities when a player encounters a monster that his/her adventurers are less than effective against. Having limited resources adds a nice level of depth to the play and increases player interactivity.
When looting an opponent's dungeon, players go from room to room (revealing and combating monsters as they go) attempting to acquire as much loot -- and defeat as many monsters as possible -- before encountering the dungeon's Dungeon Boss. Defeating a Dungeon Boss ends the game and points are scored at the end of a full round of play after the Dungeon Boss is defeated. This activity sounds easier than it actually is in practice. Defeating an individual monster is no easy task, an adventurer has either a 1/6 chance or no chance at all of defeating a monster. Certain monsters can only be defeated by certain character types. For example, the Werewolf may only be combated by the Mage, the Cleric, and the Fighter. Any Rogues in the player's party are of no use. Additionally, only one of each of those characters can contribute in a battle against a Werewolf -- each needing to roll a six in order to defeat the beast. It is guaranteed that players will lose hirelings/take damage while they are adventuring, but it is up to the player to decide how far he/she wants to push their luck as they loot dungeons. Play too cautiously and opponents will run away with the game. Play too loosely and you will never acquire enough victory points to win the game.
The game play has a nice balance of luck and skill. The luck comes in the form of the die roll resolution, but the skill comes in rationally analyzing your odds of success. This kind of luck/skill balance is common in Eurogames and is one of the reasons they have such a broad appeal. Having elements of luck in play allow less skilled opponents to win, and thus expands the number of those who can have fun while playing. Having elements of skill appeals to those who find the whimsical hand of purely luck driven games dull. Taylor's design in Loot and Scoot has the right balance of the two, both in the "planning" stages and in the eventual "adventuring" stages of the game.
Component Quality
Like all of Victory Point Games' games, Loot and Scoot is well designed graphically. Also like all Victory Point Games' games, there is a "hand made" quality to the components. This is because VPG games are designed by people with excellent graphics skills who are actually making the game by hand. The game features hand cut die-cut counters that had their graphics printed on a high quality ink jet printer.
At $17.95, the components compare well to other die-cut counter games and are far superior to the components of early Microgames like Ogre (those Microgames have an inflation adjusted price of approximately $10.00). As a die-cut counter game the components are good, but for those who prefer miniatures/meeple/wooden blocks this game won't quite meet expectations. The game also included one of those microscopic 6-sided dice, something that I actually would have preferred they left out of the bag. Did I write bag? Yep. The game, like those old Microgames, comes in a ziplock bag.
Some of the above comments regarding the components read a little more critical than I intend them too. I just want you to know what you are getting for $17.95. This is the 2010 version of a Microgame, inexpensive components and a reasonable price.
Overall
Components and rules aside, whether or not a game gets played repeatedly or gets its place on the "keep ready at a moment's notice" shelf is determined by two major factors -- is the game fun to play and can it be played repeatedly? In the case of Loot and Scoot, I can give a resounding yes to both questions.
There are a couple of things that set this game apart from other dungeon crawl games and make me want to have it as readily accessible as Descent. The game sets up and plays quickly. The games mechanics encourage player interaction due to a scarcity of resources. The game has internal mechanics that prevent one player from feeling "beat up" on for more than a short time. All in all this is a fast and furious game, and I cannot wait for the expansion.
Thursday, June 24, 2010
Big Week for Superhero Role Playing Games
As I mentioned yesterday, Monkey House Games will be releasing a new version of Villains and Vigilantes to the gaming world Sunday, June 27th on RPGNow.com, but there is more great news for super hero rpg collectors.
You know who you are.
This week also sees the release of the first Icons RPG adventure, "The Skeletron Key." The adventure, written by the one and only Steve Kenson, begins with our heroes attending a demonstration of the new SPecial ARmored TANk or SPARTAN battlesuit. They arrive just in time to see things go very wrong as the suit is stolen.
Will our heroes be able to retrieve the suit before it can be mass produced by a villainous mastermind?
Is there something more than meets the eye to the theft?
Only time will tell.
In addition to releasing "The Skeletron Key," Adamant Entertainment have released the "ICONS Character Folio" character generation program. The program allows players to create random superheroes, build superheroes using a point based system, and includes old school character outlines by Dan Houser.
You know who you are.
This week also sees the release of the first Icons RPG adventure, "The Skeletron Key." The adventure, written by the one and only Steve Kenson, begins with our heroes attending a demonstration of the new SPecial ARmored TANk or SPARTAN battlesuit. They arrive just in time to see things go very wrong as the suit is stolen.
Will our heroes be able to retrieve the suit before it can be mass produced by a villainous mastermind?
Is there something more than meets the eye to the theft?
Only time will tell.
In addition to releasing "The Skeletron Key," Adamant Entertainment have released the "ICONS Character Folio" character generation program. The program allows players to create random superheroes, build superheroes using a point based system, and includes old school character outlines by Dan Houser.
Wednesday, June 23, 2010
Monkey House Games to Publish New Edition of Villains and Vigilantes
Villains and Vigilantes was the first superhero role playing game I ever purchased, and it was entirely due to the advertisements that Fantasy Games Unlimited placed in Dragon Magazine.
I cut my role playing teeth in the rpg hobby with the Moldvay/Cook edition of Dungeons and Dragons which featured a large number of illustrations by Jeff Dee. While Dee's D&D illustrations where "comic book-ish," they fired my imagination and were one of the key reasons I enjoyed the Moldvay/Cook D&D books. They made D&D look "fun."
The Villains and Vigilantes advertisements in Dragon Magazine also featured art by Jeff Dee. Art that portrayed dynamic superheroes with names like "Shatterman" and "Magnetor." Like the illustrations in the Moldvay/Cook D&D books, Dee's advertisement superheroic images evoked a sense of fun. I bought the game, read the rules, and proceeded to make several dozen characters using V&V's easy to use character creation system. For someone who was familiar with D&D's character generation mechanics, V&V was an easy transition. I'll admit that I did do one thing different than the "recommended" primary method of character generation. Instead of making characters that were alter-egos of myself, and thus had statistics reflective of what I believed were "my own" statistics at the age of 12, I rolled 3d6 for each attribute just like I had in D&D (it should be noted that this is an alternate generation method discussed in the V&V rulebook as well).
The actual powers possessed by the hero are determined randomly, which I have always thought was a wonderful strength for this particular game. Many superhero rpgs have character "construction" systems where the player comes up with a concept and then spends points to manufacture the character. This can be wonderful, except when the player has "writer's block." The wonderful thing about random power generation is that it spurs creativity even when you have writer's block. You can ask yourself, "just how do these powers fit together?" Next thing you know, you've got a concept and back story. It isn't always the most "balanced" system, but it is an entertaining and simple one.
It was a few years before I was actually able to play in a V&V game, but when I finally played the game I discovered just how fun the system was. It didn't hurt that Robert June, the GM for the game, was a masterful game master and had a wonderful feel for cinematic narration. His portrayal of villains is unforgettable.
For years Villains and Vigilantes has been available, but out of print. You could purchase existing material, from the original publisher, but there were no new products coming down the pipeline.
That changed this week. Jeff Dee and Jack Herman, the creators of the V&V game, announced this week that V&V was "back in the hands of its creators" and would be available in a new edition starting this weekend. The new edition will be released for sale on Sunday the 27th of June in a pdf version on RPGNow from Monkey House Games. A print on demand version should be available shortly after the pdf goes on sale.
The new edition will be a slight update of the second edition of the game and will not be a major overhaul of the system. Any massive reworking of the game will come at a future date, if at all. My hopes are that Jeff and Jack will refrain from too much massive tinkering, Jeff Dee has his Living Legends game if he wants to experiment with significantly different mechanics for superhero role playing. V&V does need some fine tuning, but it should keep to its core strengths.
1) Random Character Generation
2) Quick Combat Rooted in Old School Table Based Mechanics
3) A Level Based System where the improvements are gradual
4) Lighthearted fun
I cannot wait for the new edition, and if they keep to the core principles I'll be a customer for years to come.
DDR + David Hasselhoff = ??? -- Legend of the Dancing Ninja
Dance Dance Revolution, Kung Fu, David Hasselhoff.
Do I really need to say anything more about this production?
Do I really need to say anything more about this production?
Tuesday, June 22, 2010
Green Hornet Trailer -- I'll Leave It to Bill Cunningham to Describe How Wrong this Is
Just like Kevin Smith, Michael Gondry and Seth Rogan just don't get this character.
It might help to start by taking the character seriously.
The Hornet should be frightening in his "role" as criminal mastermind, and Brit Reid should be unimpeachable in his role as crusading journalist. It is the perfect duality.
Trust fund loser who needs to redeem himself after the death of his father is so Freudianly lame.
Complaints aside, at least the film is coming out around my birthday. This will allow me to continue my "let's watch the worst movie of XX for my birthday party" tradition. Let's see how this compares to In the Name of the King.
It might help to start by taking the character seriously.
The Hornet should be frightening in his "role" as criminal mastermind, and Brit Reid should be unimpeachable in his role as crusading journalist. It is the perfect duality.
Trust fund loser who needs to redeem himself after the death of his father is so Freudianly lame.
Complaints aside, at least the film is coming out around my birthday. This will allow me to continue my "let's watch the worst movie of XX for my birthday party" tradition. Let's see how this compares to In the Name of the King.
Surprised by Superhero 2044 -- The First Superhero RPG was More Influential than You Might Think
According to Heroic Worlds by Lawrence Schick and Steve Perrin in Different Worlds #23, Superhero 2044 by Donald Saxman is the first commercially available superhero themed role playing game. Saxman's game was publishedin 1977 under the name Superhero '44. The game wasn't entitled Superhero 2044 until the game's second edition, when it was by Lou Zocchi's Gamescience Inc. later that same year. While I am a huge fan of super hero role playing games, and a student of the history of rpgs, this game sat on my bookshelf for years without a complete reading. Its lack of a list of itemized superpowers, and the mechanics of how they worked, was one of the key reasons that the game languished for so long on my shelf without a thorough examination. Apparently, Donald Saxman intentionally left a formal list of superpowers out of the book in order to respect the copyrights of various comic book publishers -- though that didn't stop artist Mike Cagle from providing a cover illustration filled with characters who bear an uncanny similarity to many popular comic book characters.
I just couldn't ever muster the desire to read or play a superhero role playing game that lacked a robust super power system. The recent release of Icons by Adamant Entertainment got my mind focused reading a new super hero rpg, and this opened the door for Superhero 2044 to work its way off the book shelf and into my reading pile. I quickly devoured the booklet and have come to the following conclusions.
First, Superhero 2044 is almost unplayable with its Rules as Written (RAW). The game is a jumble of multiple systems and contains no fewer than three major design directions, none of which are flowing in the same direction.
Second, without Superhero 2044 modern super hero role playing would not be what it is today. Those three major directions I mentioned above? Each of those had a significant influence on the super hero games that came after Superhero 2044. Without this game, there would be no Champions, Supergame, or Golden Heroes. Each of those super hero games lifts a concept out of Superhero 2044 and structures a game around that concept.
Superhero 2044 is more than the first super hero role playing game, it is the foundation upon which many games followed.
It was the first superhero game to include point based character construction. Though the point expenditure was limited to the building of a character's "attributes" and were not a part of "power design." This innovation, and at the time of Superhero 2044 this was a significant innovation, is one of the major design starting points for a number of super hero role playing games -- not the least of which is the Champions game.
Influence on Champions
Speaking of Champions, in addition to being inspired by the point based character design of Superhero 2044 it is evident that Champions melee combat system was influenced by Donald Saxman's game as well.
In Champions combat is resolved by taking a character's "Offensive Combat Value" and subtracting an opponent's "Defensive Combat Value." The result of that subtraction is then added to 11 to find the number required to hit an opponent on a roll of 3 six-sided dice. Champions combat system is one of the best on the market and the fact that it uses a comparison of combatant's effectiveness, and a bell curve resolution system, are among its chief strengths.
In Superhero 2044, you take a character's "Stamina" and subtract his opponents "Stamina." The difference between these two numbers is compared to the Universal Combat Matrix which gives you a number between 3 and 18 that the character must roll on 3 six-sided dice to determine if the character hit his opponent. It should be noted that this combat system is only used for "melee" combat in Superhero 2044, where it forms the foundation of Champions combat.
The Champions version is more elegant, as the result of the initial comparison is the modifier to the 3d6 roll, but it is the same system. It is as if the designers of Champions playtested and refined the Superhero 2044 melee combat system. Champions combat has some significant differences overall to Superhero 2044, but one can see that one echoes the other.
Influence on Supergame
Like Champions, Supergame was influenced by Superhero 2044's point based character generation system. Given its own 1980 design date, and the fact that it was a part of "California Gaming Culture," might hint that Supergame itself also influenced Champions. One sees the underpinnings of Superhero 2044 is in the purchase of a character's starting attributes.
Both systems feature something that many modern gamers might consider odd. All of a character's attributes start at zero and can be increased -- this itself isn't odd to the modern gamer. What is odd is that both games have attribute levels where the character is suffering from a disability. In Superhero 2044, if a character has an Endurance of less than 20 that character is "fatigued" or worse. In Supergame, a character with an "Agony Score" of less than 15 "may either move or attack, but only one per turn." There are similar penalties for "Vigor" in Superhero 2044 and "Physical Score" in Supergame. The names of the attributes and the level of effect are different, but one can see the similarities. Most modern systems would start a character with a base number of points sufficient to not be fatigued or incapacitated, but both Superhero 2044 and Supergame allow for the possibility.
But it isn't the point based character design where Supergame bears the most similarity to its predecessor. Supergame includes rules for building specific powers -- though not as robust the later published Champions -- that are themselves an innovation over the state of gaming at that time and a step beyond what were offered in Superhero 2044.
The area where Supergame most reflects Superhero 2044 is in its ranged combat system. In Superhero 2044, ranged combat is decided by rolling a six sided die and adding/subtracting to the die total applicable modifiers. This sets the target number that must be rolled, or higher, on a second roll of a six sided die. For example a character with a 20 Dexterity (-1) shooting an opponent at point blank range (-3) with a shoulder weapon (-1) rolls a 6 on a six sided die. This gives a modified result of 1 (6-1-3-1=1) and means that the character hits if the player rolls a 1 or better on the second roll. This system, with some differences in modifier values, is the system used in Supergame.
Influence on Golden Heroes
While I was intrigued by the way that Superhero 2044 influenced the design of American super hero role playing games, I was amazed at how it had influenced a British one. In White Dwarf magazine issue 9, game designer Eamon Bloomfield reviewed Superhero 44 -- Superhero 2044's first edition -- and wrote the following:
"Each character fills out a weekly planning sheet indicating whether he is patrolling, resting, training, or researching. This...show[s] how many crimes of what type he's stopped this week and at what damage to himself; without actually having to play the event...Overall good fun and realistic and a welcome addition to any role playing fan's collection. Certainly as a postal game it has a great future."
The weekly planning sheet is one of the most intriguing aspects of the Superhero 2044 game and the most playable aspect. The game includes weekly planning sheets that provide a number of "activity blocks" to which players assign particular tasks, like fighting crime or resting. Golden Heroes, Games Workshop's super hero role playing game, featured a campaign system that bears no small similarities to that of Superhero 2044. Games Workshop was, and still is, the publisher of White Dwarf magazine and so it is easy to believe that this game review sparked some discussion of "planning sheet" style campaign play.
Golden Heroes features a campaign system that heavily relies on something very similar to Superhero 2044's weekly planning sheet. They have a system that uses something called a "Daily Utility Phase" or DUPs. The game describes them as follows:
The scenarios played in each week occupy a certain number of DUPs for the characters involved. Any remaining DUPs can be devoted to other pursuits such as training, improving powers, developing scientific gadgets, etc.
Thus at the end of each scenario, you must inform the players how many spare DUPs their characters have. Preferably then, or at worst at the start of the next game session, the players must tell you how their characters have spent those DUPs.
The player's allocation of DUPs is compared to various campaign ratings, something vary similar to what Superhero 2044 calls "handicaps," in order to determine what events happen to the character and how much the character is able to improve over time. Both systems are dynamic and change as characters interact with the game world. The Golden Heroes system is more developed and is a part of a more complete system of mechanics, but it is unarguably a descendant of the Superhero 2044 system.
Closing Remarks
I wish I had read Superhero 2044 much sooner than I did. It is a definite diamond in the rough. While it would be difficult to play RAW, it has a large number of innovative mechanics and ideas. The fact that it contains enough ideas to influence no fewer than THREE super hero role playing games in their design is a significant achievement in and of itself. One cannot truly understand the development of the hobby without reading this game.
I think I will try to play the game itself soon, though I don't know if I will try to design a comprehensive powers system or use an existing one to supplement the game, as the campaign play system still stands out as something that has some depth and would be useful in a number of games. Given the abstract nature of the campaign planning system, one could easily adapt it to another game for use.
The game also features a detailed setting for super hero play. The setting lacks the microscopic detail of modern settings, but for the time the game was written it is quite intricate. Like the game itself, its setting is one that inspires addition and extension rather than provides a complete painting.
Donald Saxman has created something pretty special here and I'd love to see someone take this system and make a modern edition out of it. It would take some work, but it would be worth it.
Thursday, June 17, 2010
John August Writing Monsterpocalypse Movie
Among certain gaming circles, there is a narrative that the Monsterpocalypse collectible miniatures game isn't performing very well -- that it was dead out of the gate. I have always felt that these gamers were pure nay-sayers who had little to no real information regarding the success or failure of Privateer Press's intriguing little game.
For those who aren't familiar with the game, Monsterpocalypse is a collectible miniatures game which features battles between titanic sized monsters -- Kaiju, if you will. You have giant apes, giant lizards, giant blobs of goo, giant squidheaded monstrosities, and...aliens. In my opinion, the game is the perfect combination of all the things I love from the giant monster movies of the 60s through 00s.
What's not to love about the theme?
Heck, they even recently licensed Voltron which will be featured in a game this summer. The acquisition of this license was a sign to me that Privateer Press had a product that would bring in the revenue for years to come.
Since the miniatures are produced by Privateer Press (Iron Kingdoms), the figures are well sculpted and very high quality. I own quite a few, and I love them so much I spent hours using Dundjinni making a prettier version of the map for Creature that Ate Sheboygan just so I could use these figures with that game.
While my enthusiasm for the game knows few bounds, I was surprised to read that there was a movie in production (by DreamWorks no less) based on the product. There is just a part of my conscious that begins to spiral toward insanity when it thinks about a movie, based on a game, inspired by characters from movies. My metacognitive meter goes past eleven. It's really too much for me to comprehend. Imagine if you will a Villains and Vigilantes or Mutants and Masterminds movie. Either could be good, but still seems out of place in a world where studios can make a Justice League or Avengers movie instead. Besides, DreamWorks recently released Monsters vs. Aliens so they have kind of addressed the topic already.
Skepticism aside, the upcoming Monsterpocalypse movie will be scripted by John August. In addition to having tremendous amounts of "geek cred" -- just read his entries in Gameplaywright Press's Things We Think About Games to get some sense of how hard core a gamer John August is -- John is a very experienced Hollywood writer/director. His past credits include Titan A.E., Big Fish, Go, Corpse Bride, both Charlie's Angels movies, and Prince of Persia (as an Executive Producer).
This film could be very good if John mixes the right elements. I think that he should stop by my apartment in Glendale once a week for the next few months and play sessions of Monsterpocalypse, Monsters Menace America, and The Creature that Ate Sheboygan just to make sure.
For those who aren't familiar with the game, Monsterpocalypse is a collectible miniatures game which features battles between titanic sized monsters -- Kaiju, if you will. You have giant apes, giant lizards, giant blobs of goo, giant squidheaded monstrosities, and...aliens. In my opinion, the game is the perfect combination of all the things I love from the giant monster movies of the 60s through 00s.
What's not to love about the theme?
Heck, they even recently licensed Voltron which will be featured in a game this summer. The acquisition of this license was a sign to me that Privateer Press had a product that would bring in the revenue for years to come.
Since the miniatures are produced by Privateer Press (Iron Kingdoms), the figures are well sculpted and very high quality. I own quite a few, and I love them so much I spent hours using Dundjinni making a prettier version of the map for Creature that Ate Sheboygan just so I could use these figures with that game.
While my enthusiasm for the game knows few bounds, I was surprised to read that there was a movie in production (by DreamWorks no less) based on the product. There is just a part of my conscious that begins to spiral toward insanity when it thinks about a movie, based on a game, inspired by characters from movies. My metacognitive meter goes past eleven. It's really too much for me to comprehend. Imagine if you will a Villains and Vigilantes or Mutants and Masterminds movie. Either could be good, but still seems out of place in a world where studios can make a Justice League or Avengers movie instead. Besides, DreamWorks recently released Monsters vs. Aliens so they have kind of addressed the topic already.
Skepticism aside, the upcoming Monsterpocalypse movie will be scripted by John August. In addition to having tremendous amounts of "geek cred" -- just read his entries in Gameplaywright Press's Things We Think About Games to get some sense of how hard core a gamer John August is -- John is a very experienced Hollywood writer/director. His past credits include Titan A.E., Big Fish, Go, Corpse Bride, both Charlie's Angels movies, and Prince of Persia (as an Executive Producer).
This film could be very good if John mixes the right elements. I think that he should stop by my apartment in Glendale once a week for the next few months and play sessions of Monsterpocalypse, Monsters Menace America, and The Creature that Ate Sheboygan just to make sure.
Friday, June 11, 2010
Margaret Weis Productions Releasing Smallville RPG at Gen Con
Margaret Weis Productions is quickly becoming the West End Games of the 21st Century -- and that is a good thing.
In the 1980s, West End Games went from a publisher of war games and board games. Among their early titles were Campaigns of Napoleon, Operation Badr, and Killer Angels on the "war gaming" side, and Junta and Bug Eyed Monsters on the "board gaming" side. In the mid-80s, West End Games acquired the license to make official Star Trek based board, war, and role playing games. They weren't the first company to get the Star Trek license, but they were the first company to create consistently high quality products based on an existing license. Star Trek itself had been licensed as an RPG product prior to the West End license, but that product lacked the combination of high production value and quality mechanics that West End brought to the table.
Following on the Star Trek license the company acquired a license for a Ghostbusters role playing game, and the rpg they published for that game secured their reputation. So secure was their reputation that they eventually landed the grand daddy of all rpg licenses -- Star Wars and the game they produced was a masterpiece. To this day it stands as the gold standard for adaptation of a licensed property into a role playing game. The Star Wars mechanics were an adaptation of the Ghostbusters d6 system, one of the cornerstone rules sets for players who prefer "cinematic" role playing games over "mechanics."
The list of licensed properties that West End created games for grew and grew, and they maintained their consistent quality, but changes in the gaming market like the explosion of Magic: the Gathering, the d20 explosion, and the loss of the Star Wars license conspired to bring the company down. It took a while for the company to completely peter out, and you can still find a small pulse out there somewhere, but peter out it did.
When West End's reign as the king of licensed rpgs ended, there was no clear leader in the field. Several companies had licensed properties. Wizards of the Coast had Star Wars. Decipher had Star Trek and Lord of the Rings (the movies only). All of which are/were good products based on "mainstream" intellectual properties, but none of which fired the imagination in the way that West End Games' Star Wars line did.
The death of West End left a hole in the marketplace for a company to emerge as a leader in creating adaptations of "mainstream" intellectual properties.
Green Ronin is earning a reputation as a skilled creator of licensed games, but prior to their recent acquisition of the DC Comics license their properties had been more niche than mainstream. As much as I love George R.R. Martin's Song of Ice and Fire, it's a fantasy series and not a television series/movie.
It appeared that Eden Studios, with their Buffy, Angel, and Army of Darkness games might have become the next true successor to West End, but these hopes fizzled with their City of Heroes license.
Margaret Weis Productions, on the other hand, seems to be acquiring license after license and publishing quality product after quality product. The first licensed game they produced was Serenity based on Joss Whedon's film of the same name -- and which takes place in the Firefly universe. The game was well put together and well received. This was followed by a Battlestar Galactica game and an excellent game based on the Supernatural television series. All three of these games use some variation of Margaret Weis Productions' in house "Cortex" gaming system. The "Cortex" system is a cinematic system, in the tradition of West End's old d6 system, and bears some similarities to the excellent Savage Worlds game system. Not enough similarities that one would accuse MWP of lifting another system, but both systems are easy to learn and use "steps" of dice to signify attributes/skills. The similarities, and the quality of products, likely contributed to their ability to acquire the license for a Leverage based game. The fact that John Rogers, the creator of Leverage, is a big gaming geek couldn't have hurt either.
What is remarkable about this list of licenses is that they come from a variety of networks and companies. Serenity is Joss Whedon/Fox, mostly Joss Whedon due to the status of that IP. Battlestar Galactica is NBC Universal. Supernatural is a CW property (CBS and Warner Bros.), and Leverage is a TNT show (Turner). All of the properties have "geek street cred," but all of them also have audiences outside the gaming community.
This summer, MWP will be adding Smallville to the list of games it produces. According to MWP, the game will use a variation of their in house Cortex system -- but with some key changes:
We've had a few questions regarding if we'll be using the Cortex system for Smallville. The answer is we'll be using an updated version now called
Cortex Plus. It focuses on Values (what's important to you) and Relationships (who is important to you). Powers, training, etc. are Assets you can add
into your rolls when appropriate.
Smallville will use d4, d6, d8, d10 and d12. Many of the game elements are the same but fixed difficulties are gone, replaced by opposed rolls. We feel it's a super fit (sorry for the pun) for this line of product!
The focus on "Values" and "Relationships" demonstrates a desire by Line Developer Cam Banks -- and the writers working on Smallville -- to highlight the interpersonal relationships of the characters over combat situations. Stressing interpersonal relationships in superhero rpgs is an important, but often overlooked element of the emulation of the subject matter. One of the innovations of the "Marvel Method" was the incorporation of personal relationships with "real life" stakes attached. Marvel's genius was in combining Teen Romance comic narratives with superhero action. Some roleplaying games -- like Capes, TSRs Marvel Superheroes (FASERIP), Mayfair's DC Heroes -- have internal risk/reward systems that facilitate non-combat role play. Other games -- like Champions and Mutants and Masterminds -- encourage and allow for personal interactions, but lack a robust mechanic specifically designed to encourage such interactions.
About a year ago, Cam Banks blogged some initial thoughts regarding the development of an independent RPG called Superteam. The game would have been a superhero role playing game that was structured around team dynamics and team-member interdependence, inspired by comics like Teen Titans and the X-Men. Sadly, Bank's posts on the topic faded and I had lost hopes of seeing some of his ideas regarding the proper design of a superhero RPG.
Thankfully, he is working on the Smallville project and we'll get to see some of his ideas there. I would still like to see where he was going with Superteam, but I eagerly await Smallville.
MWP is offering free pdfs of their Supernatural rpg to anyone who pre-orders Smallville.
I'm wondering if one can pre-order and request to pick up the game at Gen Con rather than to have the game shipped.
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