Wednesday, June 29, 2011

Evil Hat to Publish 'Race to Adventure' Board Game





Our friend's over at Evil Hat have an annoncement about a new board game designed by a member of this blog, Eric Lytle. The game is called Race to Adventure! Check it out over at Deadly Fredly. I designed this game with my design partners Chris Ruggiero and Evan Denbaum.

The game is a pulp themed adventure game about a global race. It's highly thematic and I'm really excited to be working with Evil Hat on this new venture. They are the publisher of one of my favorite new role-playing games, The Dresden Files Role Playing Game. Congratulations to them on their two shiny-new Origins Awards for Best RPG and Best RPG Supplement.


Evil Hat is also announcing the much anticipated Zeppelin Armada game designed by Jeff Tidball , half of gameplaywright. Zeppelin Armada is a card game set in the world of Spirit of the Century about Zeppelin aerial combat.


More information to follow.

Wednesday, June 22, 2011

Gaming*Mirth -- No Fantasy This Week, Just an Awesome Jody Lindke Illustration

Since I am planning a major trip to Sacramento next week with 150 high school students, and since I have shared my "busy-ness" with Jody, she was unable to provide the next in her "Dragon Pranks" or other fantasy themed single-panel comics.

So...I thought I would share one of my favorite Jody Lindke political cartoons. A few years ago, I did a "Bridging the Partisan Divide" series of conferences for work and this inspired Jody to draw the following.

Monday, June 20, 2011

Falling Skies -- Alien Occupation TV Done Right?

The vast majority of "Alien Invasion" SFnal storylines follow a very familiar pattern. The aliens arrive, sometimes pretending to be friendly. The aliens attack. The aliens defeat us. We keep fighting. For some reason, either because of some gimmick or because of human tenacity, the aliens are defeated/leave. We all rejoice.

This pattern is used in H.G. Well's "War of the Worlds," Edgar Rice Burroughs' "The Moon Maid," Larry Niven's "Known Space," Jerry Pournelle/Larry Niven's "Footfall," Robert Heinlein's "Starship Troopers," L. Ron Hubbard's "Battlefield Earth," etc., and too many movies and television shows to list. The fact that it is formula doesn't mean that it isn't good. It is a tried and true formula that allows for narrative excitement while also allowing for a cathartic happy ending. When done extremely well, it also allows for sfnal commentary on modern human affairs.

The new TNT series "Falling Skies" is the latest television addition to this storied tradition. In "Falling Skies," the aliens have already invaded, destroyed most of the world's large cities, and crushed the military might of Earth. All that remain are ever increasingly small bands of humanity. Groups that get smaller as the aliens begin scanning for smaller and smaller communities. In the first episode, we are informed that the aliens are now tracking and attacking communities of 500 citizens and may soon move on to communities of 300 people. When the aliens encounter communities, they kill all the adults and capture the teenage children in order to put the teens in "mind control harnesses." The overall purpose of the harnesses is unknown, but hinted at. The aliens have established permanent bases, in the form of large structures, and their flagships have left our world to unknown locations. The initial shock and awe of the alien assault is over, "Falling Skies" is a tale of occupation and resistance.

"Falling Skies" follows the struggle of one band of the human resistance. That community includes a number of key players.

Porter -- the former military officer who believed that his fighting days were over and must now command a group that has all too few fighting men and women.

Captain Weaver(Will Patton) -- the military man who wants to take the fight to the aliens, and who resents the "civilian baggage" he is responsible for -- forgetting why it is that soldiers fight in the first place.

Tom Mason (Noah Wylie) -- a former professor of American History who has a deep knowledge of military history, but lacks practical experience in the art of war. He has read his Caesar, but had not used a firearm before the invasion.

Anne Glass (Blood Moongood) -- a pediatrician turned omni-doctor, who must minister to all the medical needs of the community.

There are a number of other important players, but Mason, Glass, and Weaver form provide a nice conflict triangle for the first two episodes. Weaver is solely concerned with preparing for combat, Glass is concerned with the health of the community, and Mason tries to balance the needs of society with the necessities of war.

Professor Mason provides the lens through which the narrative of the show progresses. He believes that the struggle of the survivors against the aliens is analogous to the American Revolution and believes that if we fight hard enough that it becomes a more expensive/difficult for the aliens to remain than the benefits they gain from occupation, then they will leave. It is Mason who describes the strategy needed in a way that exactly mirrors the traditional sfnal alien invasion tale. It also happens to mirror George Washington's strategy against the British.

The first episode is an engaging introduction to the stakes of the series. The survivors need food, and they need to find out why the aliens are capturing human children. Mason, and a small squad of the resistance, backtrack into the area the community is fleeing to find food and to see if they can locate any harnessed children. It is hoped that they can rescue the children, and find out what the harnesses are for. So far, all attempts to remove the harnesses from children have resulted in the death of the child and no increase the understanding of their purpose. The episode is engaging, and hints that "Falling Skies" can be an occupation/invasion story of the best kind.

It is in the second episode where the edges begin to fray, and the show risks becoming a retread of previously explored narratives -- and uninteresting narratives at that. In the second episode, "The Armory," the resistance is exploring an Armory in pursuit of additional weapons. They soon discover that there are more dangers than the alien "Skitters" that wander the post-invasion landscape. There are also wandering marauders who are on holiday from 80s post-apocalyptic narratives. The marauders of "The Armory" are led by the morally ambiguous ex-con John Pope (Colin Cunningham) who has found that the lawlessness of the post-invasion world suits his brutal nature.

[rant]Why is it that we always have to have the "morally ambiguous leader of wasteland marauders" in these stories? Can't we just do without them? Maybe have the morally ambiguous threat, or even sinister threat, lie hidden in the civilian population rather than as a leader of a roving band of maniacs.[/rant]

As disappointing as the John Pope narrative is, all hope for a good series is not lost as the upcoming third episode adds some interesting narrative conflicts. "The Armory" also includes some good character growth in the Weaver, Mason, and Glass characters.

I have pretty high hopes for the show. I also have a prediction regarding why the kids are being harnessed. I think that the children are being harnessed so that they can become the "pilots" of the alien's dreaded Mechs.

"Falling Skies" combines many elements of past human/alien conflict stories, including some similarities to the "Tripods" trilogy/quadrology of books by John Christopher. In fact, it is the fact that "Falling Skies" has tropes from so many of my favorite alien occupation stories, rather than just one series, is one of the key reasons I have hope for the series. It seems as if the writers of the show are steeped in the tropes of the genre and are comfortable using them, rather than thinking they are reinventing the invasion genre.

I eagerly await the next episode, "Prisoner of War."

Tuesday, June 14, 2011

[Blogging Sir Hereward and Mister Fitz] Sorcerous Puppets and Dark Gods -- A Look at "Sir Hereward and Mister Fitz Go to War Again"

A couple of months ago, I stumbled across a wonderful publication entitled Swords & Dark Magic: The New Sword and Sorcery. The book was edited by Lou Anders, who is one of my three favorite SF/F editors and is Editorial Director for Pyr Books. Anders was aided in his editorial duties by Jonathan Strahan, the Reviews Editor for Locus Magazine. The Table of Contents of the book included a veritable who's who of my favorite Fantasy authors: Michael Moorcock, Gene Wolfe, Glen Cook, and Joe Abercrombie to name a few. Needless to say, with the combination of a talented editor, an industry influencing reviewing editor, and a murderer's row of writers, I imagined that this book was destined to become a favored book -- one that was featured both in my Kindle and on my bookshelf.

I was right in this assumption, but I also encountered a pair of wonderfully unexpected characters. These wandering adventurers, Sir Hereward and Mister Fitz, were featured in the story "A Suitable Present for a Sorcerous Puppet" by Garth Nix. Mister Fitz is the titular Puppet, and he is one of the most interesting characters I have encountered in all my years of reading.

I have mentioned before that my formative years with reading Fantasy literature were saturated with the writings of Michael Moorcock. In fact to me Modern Fantasy begins with Moorcock more so than Tolkien. This being the case, I could only imagine how genre changing Moorcock's anti-hero Elric was. On a rational level, I can see and understand how different Elric is from earlier Sword & Sorcery characters -- and Fantasy characters in general -- but I could not truly imagine how perception changing the character was for those who encountered the character when he was first published. Now I think I can.

Mister Fitz changed the genre for me. You see Mister Fitz is a Sorcerous Puppet -- a puppet animated by ancient sorcery. He's kind of like Pinocchio. As Nix points out in the narrative, the vast majority of Sorcerous Puppets were created to be entertainers -- just like Pinocchio. There are a couple of small difference though. Mister Fitz has a large Pumpkin shaped papier-mâché head, and he's possibly the most powerful Sorcerer the world has ever known.

That's right...a Puppet is the Sorcerer Supreme who uses his sewing related sorcery to battle dark and ancient gods.

The concept was mind blowing.

I immediately began hunting down all of the Sir Hereward and Mister Fitz stories, and discovered that there are three stories. Two are published in print anthologies, and the first was published in Jim Baen's online magazine Universe. That first story is Sir Hereward and Mister Fitz Go to War Again.

Sir Hereward and Mister Fitz are worthy inheritors to the grand Sword & Sorcery tradition of adventuring companions. They fit right in with Fafhrd and the Gray Mouser and Elric and Moonglum. They are wonderfully complementary characters who are a kind of twisted mirror image of one another.

Sir Hereward is the vain and noble Knight and Artillerist. Hereward, likely named after the proto-Robin Hood Hereward the Wake, is a skilled physical combatant who possesses the ennui common among the questing heroes of Sword & Sorcery. He is a noble, but reluctant hero. In his first conversation with Mister Fitz, Hereward wonders at his place in the world and why the world is conspiring to push him and his companion from one dangerous adventure to another. Even when they merely seek a resting place, it seems that events conspire to have them participate in some epic battle. Hereward's humor and kindness, as well as his reluctantly heroic nature, perfectly reflect what I always viewed as the Paladin archetype. He nobly accepts his fate, but wishes he could live and love like other men.

Mister Fitz is...well...he's a Puppet with a papier-mâché head who happens to be a centuries old sorcerer created to battle with gods and demons for the fate of the world.

Hereward and Fitz's first adventure, "Sir Hereward and Mister Fitz Go to War Again" sets the pattern for all of the tales printed to date. Hereward ponders some question -- what their purpose in life is, whether that pirate ship will actually shoot at them, or what exactly makes a good birthday present for a thousand year old puppet -- that hints at the theme of the adventure. At some point, Hereward meets an attractive woman -- who would be more attractive is she bore the ritualistic facial scars of the women around whom he was raised -- that Hereward might be able to have a satisfying relationship with. Some obstacle to happiness in that relationship arises, and potentially some tragedy. Finally, Hereward and Mister Fitz battle some powerful demi-god who was named by an ancient charter as a threat to the world. There is usually a comic, and tragic, twist at the end of the story where we get to see how the continual quest of protecting mankind is a thankless and terrible fate.

In the first tale, Hereward and Fitz are looking for gainful employment in the city of Shûme. Shûme is a vibrant city-state surrounded by poorer nations, nations that appear to be readying for war in a jealous attempt to reduce Shûme's hegemony over the region. But we soon discover all is not as it seems in Shûme, and that Hereward and Mister Fitz's duty to battle eldritch evil overshadows their ability to earn a little money. There are some secrets to Hereward and Fitz's origins that are better left revealed by the tale, but let me say that they are for all intents and purposes under a geas to defend the world. Their charter requires them to combat demons and demi-gods listed in an ancient tome created a number of largely forgotten civilizations. The civilizations may be forgotten, but the evil they opposed is still very real and Hereward and Fitz wander the world stumbling onto that evil and battling it.

The representations of Hereward's swordplay are almost superhuman. He is a truly skilled combatant, but he is still just a man and his skills are primarily limited to battling other mortals. It is Mister Fitz who faces the ancient evils, and who metes justice on those who worship them.

Fitz is a comical and terrifying figure. It is that combination that has endeared him to me. I can only hope that there are more stories on the way.

Well Shoot! -- We didn't win Angry Robot Books' "Steampunk" Kindle

Last month, Angry Robot Books ran an online competition where they solicited "Steampunk" themed artistic creations and offered a Steampunk skinned Kindle as a prize. I am a big fan of Angry Robot Books -- if you aren't reading their books you are really missing out on a wonderfully diverse list of SF/F offerings -- and thought that the Steampunk skinned Kindle looked amazing.

So...even though both Jody and I already own Kindles, and I already own most of the books Angry Robot was preloading into the prize offering, I asked Jody to draw up a submission to the contest. She drew up an inspired image of our cartoon doppelgangers dressed up in thematic garb. I loved the piece and immediately entered it. I think it is magnificent.


Sadly, our entry didn't win. I would scream "Sour Grapes!" except for the fact that the winning entry is pretty cool. I still like Jody's offering more -- they could have at least given her an Honorable Mention for goodness' sake -- but the winning entry is a combination of cute and original.

Congratulations to all the winners. And thanks again to Jody. It's hard to compete with Steampunk Guitars, Dirigibles, Weapons, and Pop-Up cards.

Wednesday, June 08, 2011

Gaming*Mirth -- Fantasy Odd Couples: Love and Gelatinous Cubes


Who doesn't remember their first encounter with a Gelatinous Cube? In my case, our DM misled the group into believing that a Spectre was floating down the hallway toward our group. Most of us panicked, as we lacked magic weapons, but our Paladin charged the foul "undead" creature. He had faith in his magic weapon, the only magic weapon in the group, it was his screams of "it burns, it burns!" that signaled that something else was up.

Tuesday, June 07, 2011

Kickstarter is Gamer Heaven

Ever since Erik Bauer's very successful foray using Kickstarter to fund a Gaming Paper project, it seems that each day brings a new worthy project.  Kickstarter really seems to be where the action is for the prospective game designer/start-up company.  Given my plans for the next couple years, I hope that this trend continues.

Here are two current projects in the midst of their funding processes that caught my eye.  Each one has its own appeal, but if you only had $50 with which to fund projects how would you distribute your hard earned money?

First up is Technoir, a game of high-tech, hard-boiled roleplaying.



Next up is a game that may be too "original" for its own good. I like the underlying concept -- I've mentioned before that I am looking forward to Mike Elliot and Eric Lang's "Quarriors" game -- but the wild variety of the dice in Dice Age might be more a disadvantage in the market than an advantage. What are your thoughts?


Some Gamers Don't Trust Cryptic with D&D, but I Trust Shane Hensley to Deliver

The official Neverwinter MMORPG trailer is out and it looks good.

Check out the Blue Dragon at the end of the video...it looks like D&D. I am officially excited.



I have faith in the gameplay, now if they can only release anywhere close to GenCon.

Wednesday, June 01, 2011

The Saga of Legends & Labyrinths with Star Wars Style Intro

The opening screen roll of the Star Wars franchise is a classic serials trope -- Flash Gordon used it to wonderful effect -- that conveys background information in an attractive manner. Add to that the John Williams score, and you have sheer film making pleasure.

As you know, I am pretty excited about George Strayton's upcoming Legends & Labyrinths game. So excited, that I'm giving it a Star Wars lead in...


Gaming*Mirth: Dragon Pranks -- Pranking Prince Charming

For the past month, my wife Jody has been providing me with fantasy and gaming inspired cartoons that channel the old cartoons that used to be so prominent in gaming magazines like Dragon and The Space Gamer. This week's entry is the first that will be in color.


I'm happy to see that in the weeks since I have started these posts that Wizard's of the Coast has decided to start including cartoons on their website. I don't think I had any influence on their decision, but it is nice to see we are thinking in the same nostalgic way.

Monday, May 30, 2011

G4 Unboxes "Conquest of Nerath"

I am really looking forward to the release of Wizards of the Coast's next board game Conquest of Nerath later this month. I am not only a fan of big box Axis and Allies style board games, but I want to see the "points of light" setting for the D&D 4th Edition game become more developed -- and it looks like this board game will continue Wizards' recent exercise of adding depth to that world.

One of the biggest mistakes that Wizards made with the release of 4e was the lack of focus on a setting with sufficient depth to form a meaningful connection with players. The reported reason for the vagueness of the setting was that it would allow DMs to create more of their own worlds and use the open "points of light" setting as a sandbox. In reality this concept may have appealed to a few gamers, but I believe it cost Wizards greatly. Recently, they have begun to increase the richness of the setting.

First, in the excellent Tiefling and Dragonborn sourcebooks -- products that weren't particularly successful in the market in part due to the fact that DMs had no way of knowing how much rich fluff these products were offering. This is especially true given the relative lightness of fluff in early core products.

Second, in the growing series of books based in the "points of light" setting. The books suffer from a lack of being able to draw on a rich setting, but each book adds more depth to the setting. As I mentioned earlier, reading the books is like watching world building in progress.

Third, products like the upcoming Monster Vault: Threats to the Nentir Vale are filled with rich narrative details -- the kinds of details that should have been in the game from the beginning.

One of the key reasons players enjoy sandboxing around Paizo's Golarion is because the setting has a rich, deep, and strong IP in which to play around. Wizards is finally making the "points of light" setting a richer place.

The G4 box opening makes the game look good, and I'm even more excited about the product itself. I saw a d12 being used and anything that uses d12s automatically gets a boost in my book, which is one reason why I own all the Rogue Games stuff.

You can ignore the last minute of the video where the staff of G4 pretend to play the game.

Friday, May 27, 2011

Legends & Labyrinths Are In My Future


As always the Gen Con festival will mark the release of several exciting new role playing games. Among those set to be released this year is a little game called Legends and Labyrinths that will be published by a group of upstart whippersnappers who plan on setting the role playing game world on fire!

The game combines the wonder, excitement, and flexibility of Old School style games with some of the narrative design elements that are coming to the forefront of modern RPG design. It's Old School play without the rules interpretation arguments. George Strayton, the man behind the project, has incorporated some very innovative rules and infused the project with a level of excitement rarely seen outside the Savage Worlds game boards.

At first glance, you might be thinking this is just another player entering the Old School Renaissance game market -- an already flooded market that already has its high production value products -- but you would be wrong.

Trust me when I say that the release of L&L will be bigger than you imagine.

Wizards, Warriors, and Wedding Anniversaries

Jody drew this image a couple of years ago for a wedding anniversary card she made me. Last year, I used Cafe Press to put this image on mugs and a wall tile as an anniversary present for her.

Quick Review -- "The Temple of Yellow Skulls" by Don Bassingthwaite



Bassingthwaite's Eberron books are among the best examples of how to balance good storytelling while making a work of media tie-in fiction reflect its origins. Bassingthwaite had a way of incorporating the tone of the Eberron setting and the mechanics of D&D into the narrative without the game mechanics getting in the way of the mechanics of good storytelling. His Dragon Below series is among the best D&D media tie-in fiction written to date.

I had high hopes for The Temple of Yellow Skulls -- and the Abyssal Plague series of stories -- because Bassingthwaite's involvement in the project. Sadly, the shallow world design of the "Points of Light" setting (and the Nentir Vale in general) were a little too much for Bassingthwaite's talents to overcome. Don wasn't given the same kind of rich background he had available in his earlier work, and he wasn't given the same freedom to create characters within the story, and the book suffers as a consequence. The characters that Bassingthwaite introduced in "Skulls" are well developed and engaging, but the writing on the carryover characters seems a bit pro forma.

Those criticisms stated, Bassingthwaite tells an entertaining tale that has some genuinely enjoyable moments and the "Points of Light" setting -- and the Nentir Vale -- have more depth as a setting after this book than they did before it. I have been impressed with the way that the authors of this new "Points of Light" series of D&D books have begun to fill in the massive gaps in the setting to create a world. Reading these books is like watching world building in action. This book would have been better if the setting itself had either been flushed out, or the author given more freedom in world building, but the book was a fun way to spend an afternoon.

Tuesday, May 24, 2011

Combat Maneuvers in 4th Edition D&D


One of the chief innovations of the 3rd Edition of the Dungeons & Dragons role playing game was the incorporation of robust mechanics for combat maneuvers. Earlier editions of D&D had vague rules for parrying blows, but little to no guidance with regard to how your character could disarm an opponent or trip a foe. To be fair, some products featured what I would call "patchwork" fixes that allowed for these activities (case in point the D&D "Master's Set" for the Mentzer edition), but the mechanics didn't seem organic to the system. With 3rd edition, this changed. The maneuvers weren't always easy to accomplish for all characters, and often contained a "feat tax" to perform them without consequences, but they were clearly defined and articulated.


Paizo's Pathfinder role playing game took the basic mechanics of the combat maneuvers in 3.5 and expanded them, clarified them, and aided Gamemasters by adding listings for "Combat Maneuver Defense" and "Combat Maneuver Bonus" which helped to speed up calculations during play. They also made some small adjustments to the system.

The combat maneuvers -- other than basic strikes -- that 3.x and Pathfinder presented mechanics for include: Bull Rush, Disarm, Grapple, Overrun, Sunder, Trip, and Feint. Each of these can add some narrative dynamics to combat that empower players to control the "story" of how combat takes place and they add to the excitement of the combat experience.

A chief complaint is that 4th Edition is that the system lacks a robust system like that presented in 3.x -- in fact it is one of the complaints I hear most frequently about 4e. The typical response to those who make this complaint is that the "basic combat maneuvers" of 3.x and Pathfinder are difficult to achieve without appropriate feats and that 4e "solved this" by incorporating the effects of most of these maneuvers into the "powers/maneuvers" of the classes for which these maneuvers are appropriate. After all, the line of argument goes, making a grappling mage in 3.x/Pathfinder isn't an easy thing to do -- the feat tax "trap" and the method of calculating basic attacks -- meant that it was primarily Fighters who were good at these maneuvers.

Both the complaint and the answer are deeply flawed and don't accurately represent the problem or solution. The problem isn't that the system lacks a robust system for using these maneuvers, nor is the solution that they've incorporated the maneuvers into powers/exploits of the various classes. The problem is that 4e does have the mechanics, and they even show you how to use them on page 42 of the Dungeon Master's Guide, but that they only clearly articulate the rules for a couple of them and expect that DMs will follow the advice on page 42 for the remaining maneuvers -- or extrapolate them from the information contained in the rule books.

This is a problem of rule book drafting philosophy. As role playing games have grown as a hobby, many rules systems have become more specific in how combat maneuvers and abilities are expressed. In a manner of speaking, the mechanics of the game systems have become more like computer program subroutines and have become less subject to "DM interpretations" that may differ from group to group. The pinnacle of this style of mechanical subroutine presentation are the Hero System and GURPS, but 3.5 wasn't far behind. A key advantage to these systems is that groups can do narrative combat actions using the Rules As Written (RAW) rather than the Rules As Intended or even the Rules As Interpreted. This kind of design doesn't end rules arguments at gaming tables, but it does lessen them from the days of "rulings rather than rules." Neither the "rulings instead of rules" or "rules instead of rulings" philosophies are superior to the other, but each has its advocates and 3.x was pretty heavily on the "rules instead of rulings" side.

Surprisingly, to those who might think otherwise, 4e has a heavy "rules instead of rulings" philosophy. So much so that some gamers think of 4e as a board game or miniatures war game more than a role playing game. But the game also has a heavy -- and deep -- "rulings instead of rules" philosophy. The game tried to have the best of both worlds. It wanted the rules stability, balance, and statistical predictability of a game like Feng Shui -- where the "average" result of a character's action against a difficulty number is equal to their skill/ability score -- but they also wanted the narrative flow of a game like The Burning Wheel or Savage Worlds. In fact, once you understand the underlying math of the game it can be played entirely using the "Skill Challenge" system without ever using the combat rules -- but that is another post entirely.

The 4th Edition of D&D has a great deal of advice for playing with RAW, but they have moved beyond "Rules as Intended" or "Rules as Interpreted" and have many "Rules as Possible" which are a combination of written and interpreted rules that allow for DMs to recreate the maneuvers from the prior edition without ever creating new rules systems. To do it well, a DM does need to understand the underlying math of combat, but 4e has a pretty simple and a very static (from level to level) system. This is the game's greatest strength -- it makes designing balanced encounters easy -- and its greatest weakness.

The game provides specific examples for how Bull Rush and Grapple work in 4e, and they provide the mechanics for the rest -- but they never construct those remaining maneuvers. Page 42 of the Dungeon Master's Guide gives specific guidance on how to construct the maneuvers, but the specifics are left to the DM to construct.

The basic 4e combat math is as follows. Monsters will have an Armor Class equal to approximately 14 + level -- 15 for a Level 1 monster -- with some slight variation for the monster's "role." Monsters will have a base to hit bonus vs. Armor Class of 5 + Level -- +6 for a Level 1 monster -- and will attack other defenses at 3 + Level -- +4 for a Level 1 Monster. A Player Character will have between a 16 + Level and 20 + Level Armor Class -- depending on "role" -- and will have between a 5 + Level to 8 + bonus to hit an opponent's AC (2 less versus NADs). There is some variation of this, but these are fairly good baseline assumptions.

This means that a Monster -- attacking AC -- will be +6 vs. an AC of 17 to 21 thus hitting 30% to 50% of the time, while players will hit between 60% to 75% of the time. Tactics will modify both of these numbers upward with some roles ("Strikers") hitting 90% of the time. These percentages remain the same -- with very little variation -- throughout a character's "career." The game's progression is relatively level so that challenges have a similar character risk regardless of level, though the growth of Encounter and Daily Powers make the dynamics of combat change as the levels progress.

These assumptions are quite different than the underlying mathematical assumptions of 3.x/Pathfinder. 3.x combats are a little harder to balance, as the combat atop the Belltower in Paizo's first Adventure Path can attest, but they can be quite exciting. While high level threats in 4e might be as challenging to characters as threats were at low levels, they are still relatively narrow in tactical options -- each monster is only expected to live a certain number of rounds so there are only so many attack options given to each opponent -- whereas 3.x/Pathfinder opponents can become quite complex in their tactical offerings in later levels. Anyone who has stated up high level NPC or Dragons knows how detailed these characters can be. This level of granularity is refreshing to many players, and as an old Hero grognard I have a deep appreciation of it. This difference of granularity could be a post in and of itself, just let it be said that 4e characters are always at the same risk of death as they were at low levels and that 3.x characters encounter more tactically diverse (within a single opponent) challenges.

What is key here is that 3.x/Pathfinder is slightly harder to balance for as its combat system is looser. I'm going to use 3.x as a reference for constructing 4e versions of

So how do we bring Bull Rush, Disarm, Grapple, Overrun, Sunder, Trip, and Feint to the 4e table without actually creating new rules? How do we use the existing rules set to bring in more tactical options? Will it break the balance of the game?

I'll answer the last question first. Adding these maneuvers as powers will not break the game. There are already a number of classes, the two Essentials Rangers for example, who have "trip" effects as part of damaging powers, and the Essentials Knight has a Bull Rush capability added to one of its powers. Additionally, 4e does allow anyone to use Bull Rush and Grapple as maneuvers. We'll be using those mechanics to establish our guidelines. This leaves only Disarm, Overrun, Sunder, Trip, and Feint for us to create maneuvers for.

First, let's take Trip. Given that there are currently classes that -- at 1st level -- can Trip as a part of a normal attack action, it isn't game breaking to create a Trip Maneuver. Additionally, being knocked prone in 4e -- while bad -- isn't as horrible as being knocked prone in 3.x/Pathfinder.

TRIP
Essentially, Trip is an attack based on your combatant's Strength against your opponent's Reflex defense. If you hit, then you knock the opponent prone. No damage, just a prone opponent.


You might add a "Trip Training" feat that allows characters to use other statistics as the basis for tripping, just as the game has Combat Training to allow Basic Attacks to be based on alternate stats. I recommend doing so, and making it an Heroic feat.

I also recommend creating a "Sweeping Trip" power that can only be used by those who have the feat -- which I recommend be a Paragon level feat. This feat will allow a combatant to Trip anyone in a Blast 1.


It might also be wise to create feats that allow characters to used certain weapons with Trip attacks, thus gaining the proficiency bonus for those attacks. Weapons like Pole Arms and Staffs should have a "Trip Weapon Proficiency" feat, that lets you use their "Trip Weapon" feature.

Disarm is a little trickier, but not much. Given that damage for monsters is based on level, and not on weapon, a disarm attack's effect isn't just the removal of the weapon it also has an impact on damage dealt.



TRIP
I would represent this through the Weakened condition, which halves the damage done by character, that can be ended by spending a move action to pick up a weapon. In essence, the monster must choose between spending an action to pick up a weapon -- or doing less damage. I would also make the attack a little more difficult than a normal melee attack and give a -2 penalty to attack rolls. Given 4e's tendency to have Non-AC Defenses 2 lower than AC, and most weapons provide a Proficiency bonus of +2, this works nicely.


Feint could easily be represented as a Weapon Attack using Strength - 2 vs. Reflex attack that grants the next attack Combat Advantage. Given that there are feats that grant Combat Advantage in easy situations, and that Doppelgangers have a Minor Action that does just this effect, it seems in line with the game's intent.

Sunder would be a Strength vs. Reflex -2 attack that specifically targeted the opponent's weapon or shield. I will give this its own post, as calculating the HP and DC of the attack requires me to look through the Essential DM's book.

Overrun is also easy, but I'd like to give it its own post as well.

Thursday, May 19, 2011

New "John Carter of Mars" Anthology to Be Released in 2012

It would not be an understatement to say that Edgar Rice Burroughs is the reason I read as voraciously as I do today. My introduction to SF/F were the Fairy Tales of Hans Christian Anderson. My first glimpse into modern Fantasy was Tolkien's Lord of the Rings. The author who came to define the genre for me was Michael Moorcock. But it was Edgar Rice Burroughs who showed me all that SF/F can be. His fiction had everything. If I wanted to read "lost worlds" fiction, Burroughs was there. Historical fiction that bordered on Fantasy? Burroughs was there. Wild visions of other worlds that combined soap operatic romance with pulse pounding action? Burroughs was there. Westerns? Cave men? Dinosaurs? Bizarre Aliens? Post Apocalyptic adventure?

Burrough's imagination has always seemed limitless to me. His writing style was workmanlike and efficient in delivering its tale, and finding poetic beauty in one of his tales isn't always an easy task, but the story telling and the ideas are truly remarkable. He arguably created the genre of Planetary Romance with his John Carter stories (though they become formulaic at times), a genre that Leigh Brackett then mastered, but Burroughs returned to the genre in his Venus adventures and did a little post-modern deconstruction of the genre.

Burroughs showed me that written stories were the best tool to open up the imagination. He showed me in ways that a less prolific author, or a better writer, never could have. My mind filled in the details of the gaps in his writing, and it wondered what new genre Burroughs would be introducing me to in the next book I picked up.

What made Burroughs great, and why he inspired me to be a voracious reader, was that he wrote essentially every genre. My love for one author made me a lover of stories. Not a lover of stories of a particular genre, but of stories in the broader sense. It's the reason I'll read anything, and it's also the reason I'm able to talk with people about Gossip Girl, Hellcats, and uncountable Romantic Comedies. I love story, and I have Burroughs to thank for that.

I mention that Burroughs created my love of story because it was just announced that Simon and Schuster books will be releasing a new anthology of John Carter stories written by many of today's leading authors. The book is being edited by one of my favorite anthology editors, John Joseph Adams, and is scheduled to be released just before the new John Carter movie next year.

But it wasn't just the announcement that made me think about why I love Burroughs was the list of authors who will be contributing to the tome. If you were to ask me to create a list of authors "I would select" who would write in a publication featuring new tales of John Carter, it might look like the following:

1) Michael Moorcock
2) Lois McMaster Bujold
3) James Enge
4) Chris Roberson
5) Howard Andrew Jones
6) Ursula K. LeGuin
7) George R. R. Martin
8) Mike Resnick
9) C.J. Cherryh
10) Michael Chabon

Those would be the "big names" I would include off the top of my head. Some of these authors would be chosen for their own confessed love of Burroughs, and others to see what they would do with Burroughs' characters. I'm particularly interested in what Bujold would do.

Surprisingly, not one of those authors is listed as a writer in the upcoming publication. I actually find the lack of Moorcock and Roberson shocking...shocking I tell you.

Instead, this is the list of authors:

1) Joe R. Lansdale
2) Jonathan Maberry
3) David Barr Kirtley
4) Peter S. Beagle
5) Tobias S. Buckell
6) Robin Wasserman
7) Theodora Goss
8) Genevieve Valentine
9) L. E. Modesitt, Jr.
10) Garth Nix
11) Chris Claremont
12) S. M. Stirling
13) Catherynne M. Valente
14) Austin Grossman

There are many talented authors on the list, as well as a few I've never read. What sets this list apart from the list I wrote earlier, is that I wonder what exactly a John Carter story would look like from each of these authors. I have a good idea of what a Moorcock one would look like -- he did do his own Mars planetary romance series after all -- but I have no idea what Theodora Goss' version of planetary romance is. These authors come from across the speculative fiction spectrum. The list includes authors who write Young Adult Fiction, Horror, Short Fiction, Comic Books, "Literary" SF/F, and Classic Fantasy.

I excitedly await the volume and will be investigating the fiction of some of its authors -- the ones I haven't read yet -- to get a glimpse of what Adams has in store for us as Burroughs fans.

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