Movies Christian Loves, But Shouldn't #2: Trancers

In the mid-90s, my roommate Rich Berman introduced me to a number of wonderful geek entertainments I might otherwise have overlooked. It is because of him that I am such a big Wing Commander (the video games) fan and it is because of him that I am buying the reprint editions of the Lone Wolf Books that Mongoose Publishing is slowly but surely getting out the door. These products have provided me with untold hours of entertainment and continue to do so years after they were initially released.

For the most part, if Rich recommended it then it was worth the time and effort. As much as I trusted Rich's recommendations, there was one recommendation I had ignored for almost fifteen years. There was a series of movies that Rich enjoyed that I just couldn't quite talk myself into watching. That series was the Trancers series of films by Full Moon Video. I don't know if it was anti-D2Video snobbishness or Full Moon's association with the Puppet Master series that prevented me from listening to my friend's advice and plopping the film in the VCR to enjoy the ride. More than likely it was the Puppet Master, since any anti-D2Video bias I might have didn't prevent me from watching, and enjoying, classics like Full Eclipse starring Mario Van Peebles. It wasn't until last week that I finally got around to watching Trancers and found yet another one of Rich's recommendation's to be enjoyable.

The film's plot is simple enough. Jack Deth (Tim Thomerson) is an Angel City (Los Angeles) police officer -- they are called Troopers in the future -- in the year 2247 who is obsessively hunting down and "singe-ing" Trancers. As Jack's opening film noir-esque monologue put's it:

"Last January, I finally singed Martin Whistler out on one of the rim planets. Since then, I've been hunting down the last of his murdering cult. We call them 'Trancers:' slaves to Whistler's psychic power. Not really alive, not dead enough. It's July now, and I'm tired. Real tired."

Just when Jack thinks he's defeated the last of the Trancers, he discovers that Martin Whistler -- the psionic head of the Trancer cult -- is still alive. Whistler has traveled back in time to 1985 where he is murdering the ancestors of those who opposed his rise to power in the 23rd century. By eliminating the ancestors Whistler is eliminating all of his enemies as well. It is up to Jack Deth to travel back in time, eliminate Whistler, and prevent all of Angel City from becoming members of the Trancer cult.

The film has noir elements, a psionic powered mastermind, psionically influenced "zombies" who spontaneously combust after they die, time travel, a future Los Angeles completely submerged under water, and a young Helen Hunt. The film is an enjoyable romp that spawned a number of sequels, but it is a film that oughtn't have its narrative scrutinized to closely. It really falls apart under the microscope.

Here are some examples of the "ragged edges" of the film:

• When told he has to go back in time to stop Whistler by the Council. The Council openly talks about the one Council member Whistler has already eliminated. Given that that Council member has now -- at this point in the plot -- never existed, that is quite a feat of metatemporal memory.
• Your physical body cannot travel back through time -- your consciousness must possess that of an ancestor -- but physical objects can be sent back for your use.
• Jack Deth killed Whistler on one of the "rim planets," but there is no other mention of planetary travel.
• Time travel is a "condition" that can be given an antidote vaccine which brings the person back to the future.

One could probably write an entire book about the flaws of the film, or write a snarky "better than thou" review of it. Such efforts would be misguided though. Trancers is one of those movies that if you watched it on Mystery Science Theater, you would want the guys to shut up because you were having a fun enough time without the snark.

Trancers doesn't pretend to be something it isn't. It doesn't put on airs or quote philosophy. The movie is a straight forward action romp where a future cop hunts down psionically controlled zombies in "modern day" Los Angeles -- a city he only knows about because of his frequent scuba diving excursions.

Can you really ask for more than psionically controlled zombies? I can't -- especially when one of those zombies is a "mall Santa."

Hulu Recommendation Friday: Journeyman

When NBC released Journeyman for the fall 2007 schedule, I was a bit skeptical. It was hard for me to imagine a "lost in time" television series without thinking of it as a derivative of either Quantum Leap or Time Tunnel.

The show's premise seemed similar enough. Dan Vasser is a time traveler who jumps from point in time to point in time without being able to control his destination. At each point in time Dan has to help some person from the past achieve his or her destiny. The lack of control regarding the destination in time the time traveler ends up at in each episode is a unifying factor for shows of this kind. As a narrative device -- it is also a feature of the Gen X cult time travel show Voyagers -- the "lost in time" trope allows for almost any story to be told. It frees writers in that it allows them to write episodic narratives, with little concern for continuity. Though in the end most of these shows have tended to create an internal continuity in order to maintain audience interest. There is almost nothing devoted fans to any entertainment medium enjoy than debating the "history" of a fictional property. Just look at fans of Sherlock Holmes and how they attempt to "solve" various narrative inconsistencies, or better yet listen to comic book fans deliberate on the various timelines of pre-Crisis DC Comics.

I really had very low expectations for Journeyman, as did most of America apparently since the show never really took off. This is too bad, because Journeyman ended up being one heck of a show and this was due to two key differences between it and past time travel television shows.

Where other shows added a continuity after the show had been running for a while, Journeyman begins with continuity as a main component of its narrative structure. Dan Vasser's jumps through time are all related in some way. Dan doesn't know how they are related, but it quickly becomes apparent that they are. Added to this that Dan's travels through time occur spontaneously. Dan is a journalist, not a scientist, and he just starts jumping through time without ever wanting to. Why Dan is traveling through time, who is responsible, and to what purpose are all a part of the initial mystery underlying the series.

Additionally, a major part of the show is devoted to Dan's modern day family relationships. One could even argue that the show is really about how a person who randomly jumps through time is able to maintain a normal life and keep his family together -- especially when they think he may or may not be insane/using drugs. Dan's family has some nice character conflicts built in and the show explores them in dramatic fashion. Given Journeyman's lack of success, one wonders how well The Time Traveler's Wife will do in theaters as it has a similar conflict.

Kevin McKidd does a good job as Dan Vasser. McKidd is the kind of actor I like to call "a worker." His filmography ranges from cult horror films and video games to "respectable" roles. Any actor who is willing to do voice work after getting a role on Grey's Anatomy deserves respect for his/her work ethic. The fact that McKidd is a very good actor is icing on the cake. Gretchen Egolf and Moon Bloodgood are both good as Dan's love interests -- present and past -- and Reed Diamond is great as the brother who knows all about Dan's dark side and suspects his brother may be relapsing into some nasty behavior patterns.

Journeyman was an enjoyable show that never quite found its audience.

As always, hit PLAY...then FULL SCREEN...and enjoy.

Gaming Paper -- Do You Need It?

In the Summer of 2002, I attended GenCon in Milwaukee, WI. It was the final GenCon to be held in that wonderful city. The con had outgrown Milwaukee's accommodations. I had an amazing time at the convention, which made for wonderful tonic given that my wife's and my dog Oreo had died the week before the convention. In fact, Oreo died on the day I left town for work. She woke us up, as we anthropomorphize to this day, just to say good bye. She was a small dog, and an old one -- she was over 20 when she died. As one might expect, I was distraught and attending GenCon at the back end of a business trip was a wonderful anti-depressant.

At the convention there were myriad products for all kinds of games. The OGL boom was in full swing and the convention hall was abuzz with excitement regarding numerous new products. One of those products was the Savage Worlds roleplaying game by Pinnacle Entertainment Group another was a highly useful product manufactured by Skeleton Key Games. Skeleton Key Games, who are now a leader in PDF based game tile sales, had printed up sets of what can only be called "Cave Paper." The sheets of paper were brown and featured a textured print and a one-inch grid for use in playing D&D. DMs could cut the paper into any cave shape, a relatively easy process, and have a nice looking set of tiles which could be placed next to one another to form a cave complex. I bought a couple of packs and used them up rapidly as the textured image looked better than the vinyl surface of my battlemat as a cave complex. My gaming group enjoyed the verisimilitude the tiles offered as they ventured into the caves surrounding the Temple of Elemental Evil.

Skeleton Key Games quickly expanded their offerings to include a wide variety of city, dungeon, cave, boat, and water tiles available in pdf format. You are no longer limited to buying their pre-printed packs, you buy the file and print what you need. It's useful, but can be expensive once you start adding up all those toner costs and the various stacks of cut outs can take up quite a bit of storage space if you let it. Needless to say, the "Cave Tiles" were a needed innovation that spawned a product line.

This year Gaming Paper, Inc. is offering a product they hope will be as innovative and useful as the battlemat or those pdf dungeon tiles. Their offering is called, simply enough, Gaming Paper. To help sell the product, Gaming Paper, Inc. has used YouTube viral commercials featuring Gaming Paper founder Erik Bauer demonstrating the uses of Gaming Paper. We've enjoyed the commercials and have written about them before (be sure to check out their YouTube channel).
In the commercials, Erik demonstrates many of Gaming Paper's "uses" and ways it can be abused, but we are concerned here with Gaming Paper's use as a gaming product.

To begin, Gaming Paper is exactly what it says it is. It is a lightweight, but durable, paper product with a one inch grid printed on a tan wax-coated paper stock. The basic roll supplies a good amount of Gaming Paper for a reasonable cost at $4.00 a roll.

Given the widespread use of battlemats, one my wonder if their is a market for Gaming Paper or whether it is useful to someone who already owns a battlemat. I believe there is a market and can assure you that it is useful to those who -- like me -- own battlemats. This is because Gaming Paper has three traits where it has an advantage over a standard battlemat and only one trait where it is at a disadvantage.

The first advantage is how light a roll of Gaming Paper is to carry around. The fact that Gaming Paper is lightweight makes it the perfect surface for use on the Convention circuit. Let's say you are an RPGA judge who will be running 3 different Living Forgotten Realms modules at your local con. You can pre-draw all the maps onto Gaming Paper sheets -- cut to the size you need -- roll them up, and carry them to the Con all more lightweight than the battlemat.

This brings us to our second advantage -- which also happens to be the products chief disadvantage as well. Once you draw something on Gaming Paper, it stays on Gaming Paper. You cannot draw and erase, like a battlemat, but when combined with its light weight this means that you can bring multiple sheets each with a different dungeon level on them for multiple uses during repeated con events. If you were using a battlemat, you'd have to redraw each level as you came to them -- taking time away from the session -- and redraw them again for the next session. Either that or carry multiple battlemats, which might need to be retouched if the ink smeared, which becomes more cumbersome than Gaming Paper.

The third advantage that Gaming Paper is that it can be cut to create variable sized mats. Each roll is 30 inches wide and 12 feet long. You can cut out quite a few playing surfaces at that length.

I also like that Gaming Paper has a low cost. A roll of gaming paper can go quite a long way, is reusable (make sure you keep the cardboard tube), especially if you are just using it for the grid and have physical terrain you can place on it, and is only $4.00.

I would be remiss if I didn't mention that Gaming Paper has a similar texture and size to Gift Wrapping paper. Erik will probably blow a gasket for me writing this, but I think that Gaming Paper also makes ideal gaming wrapping paper. Draw a map of a dungeon on the gaming paper, wrap up a copy of the new edition of Warhammer Fantasy Roleplay inside, and it's perfect. Just make sure that your friend or loved one is careful when unwrapping and isn't one of those ravenous tearing freaks.

My one complaint about gaming paper is that it is currently only offered in a tan color. I think it would be invaluable to my gaming group to have a variety of colors, especially "grassy" and "cobblestone" for use in creating various non-dungeon maps. If I could by a $4.00 roll of cobblestone for use in my Eberron game to lay as a foundation for all my city based adventures, I'd be a happy gamer. If they wanted to go crazy, they could pre-print some medieval city cartography as well.

Gaming Paper reminds me of the Skeleton Key "Cave Tiles." It is a needed product coming out at the right time, but I'd like to see the product line expand.

One more thing...apparently Gaming Paper makes a good parachute too.

Jess Hartley Provides Convention Advice for the Aspiring Game Professional

It is a maxim that every Game Master is a game designer to one degree or another.

It is also a maxim that every Game Master believes that he or she is a good enough designer to make a living making games and supplements.

The hard truth is that not every Game Master has what it takes to make a great gaming product, even when he or she is a wonderful Game Master. Additionally, there are some very talented designers out there in the gaming community who lack the confidence and experience to properly sell themselves to game companies who could use their talents. Sadly, there is a dearth of really great resources for advice for the aspiring game designer.

Okay, I hear you disagreeing already. There are a few tomes on Game Design Theory that reference bizarre sounding names like Huizinga and DeKoven. There are also hundreds of books covering Game Design for computer games. Then there are the "how to work for company x" panels at conventions and the recent Mongoose product "I am Mongoose and So Can You."

But even with all these resources, there is still a dearth really great resources for advice for the aspiring game designer...on how to acquire a career in the gaming industry. Truth be told, when you look at how many of today's giants in the gaming field became game designers there are a seemingly endless variety of paths to becoming a game designer -- and little guidance. Do I work in the warehouse shipping out games like Greg Costikyan did? Do I send my game setting in as a submission to a major company? Do I submit articles to their online/print magazine? Do I write some of the most rigorously researched campaign compilation material ever imagined for free consumption on the internet?

There are a hundred different stories to tell, each is different and none are really helpful to the mildly socially awkward individual that is your average gamer.

What is the best way to get that foot in the door and start building a professional relationship with a company you might want to work with? One answer, though certainly not THE answer, is to use the convention circuit as a "job interview" resource. It can be a daunting prospect and one that might make you nervous, but if you talk to most gaming professionals they will let you know that many business decisions are made at conventions or based on convention experiences.

This is where Jess Hartley's "GenCon for the Aspiring Professional" comes in handy. This sixteen page document provides a veritable crash course on "pitching" behavior at conventions, and its information can easily be applied to other situations. The document is a nice step by step guide of things to consider, things to bring, things to say, and things not to say. It must reading for anyone who wants to work in the gaming industry.

Jess knows what of she writes too. She is a veteran game designer who has worked on a number of wonderful products. She has worked on game related fiction -- including Buried Tales of Pinebox, Texas (as a Savage Worlds fan any one who writes for the Pinebox setting gets bonus esteem points in my patented gaming professional esteem-o-meter 2500). Additionally, she has been a central author in White Wolf Games new generation line of World of Darkness products and their exciting Scion game line. She is also one of the contributors to Green Ronin's upcoming Family Games: The 100 Best.

If you're interested in working in the games industry, check out Jess's pamphlet. You might also want to check out her excellent website which features a fun advice column entitled "One Geek to Another."

My only complaint about the website is that the "heading banner" doesn't have an embedded link to the home page. The link is on the side banner, but I like clicking on the header.

Hulu Recommendation Friday: Full Metal Alchemist (Brotherhood)

A couple of years ago, my wife and I were captivated once a week by a wonderful anime series called Full Metal Alchemist. The show follows the adventures of two brothers as they attempt to learn the secret of the Philosopher's Stone in the hopes that they can reverse the "price" they paid when they attempted to resurrect their mother using the power of Alchemy. The show wonderfully captured the horror trope hightlighted in classic horror tales like Frankenstein and Faust. No power comes without a price, and the brothers paid a high price indeed. As an added bonus the characters are named Edward and Alphonse Elric. How can I not love a show where two of the characters are named ELRIC?!

The cartoon was a hit, but it also varied wildly from the manga on which it was based. The series had an ending that was nowhere to be seen in the manga, which continues to this day, and which left one feeling mildly disappointed. There was much of the world left to explore and Jody and I felt a little bit robbed by the ending.

Thankfully, the animation studio Bones, has contracted to do a reboot of the series and the show is a part of the hulu streaming video stable. The episodes become available two weeks after they air in Japan and are a new start for the series. Old fans will find much that is familiar, but the new series is closer to the manga and goes into greater depth into many of the secondary characters.

As always...CLICK PLAY...then CLICK ON FULL SCREEN...the ENJOY.

The Wolf Man (2010): The Signs Seem to Hint at a Classic Movie Renaissance

When it comes to iconic horror characters, Universal has the catalog to beat all catalogs. The classic Universal monsters include The Mummy, Dracula, The Wolfman, Frankenstein, and The Creature from the Black Lagoon -- classics all. Each of these monsters touches at a different "fear button" deep within the human psyche. For many, it is Dracula -- with his vampiric combination of death and sex -- who resonates most deeply and draws viewers and readers to peer into the abyss that can await.

For me, it has always been Lawrence Talbot -- the Wolf Man -- who seemed to both capture my empathy and fear. In the classic Universal film, gentle Lawrence Talbot acquires the curse of lycanthropy and nearly destroys all that he holds dear. The Wolf Man is a wonderful deconstruction of the typical hero narrative. While I am often critical of narratives that deconstruct the hero, I am quite fond of this particular deconstruction. A part of the reason for my fondness is that this particular deconstruction ends in tragedy -- when the hero through the act of heroism becomes a force of terror tragedy should result. It is when a hero becomes a force of terror and is narratively rewarded that I find myself often annoyed. Talbot is an extremely sympathetic man. He has a virtuous heroic streak and has found someone who may be the love of his life, yet it is his actions that will doom his happiness -- actions that were noble and not vicious. This is where the horror of the Wolf Man lies, it lies in the fact that we might destroy the things we love even without action ignobly -- or at least without initially acting ignobly.

It is a timeless and classic tale, as are the tales of all the Universal monster catalog. Yet, it is not a tale that is always captured well. The original Wolf Man (1941) with Lon Chaney was a delight (itself a descendant of Werewolf of London), as were the Hammer Curse of the Werewolf with Oliver Reed as the cursed man and John Landis' 1981 An American Werewolf in London. Each pulled the right heartstrings. There have been historic "campy" tellings of the of the tale as well -- in fact most of the Universal monsters have become fodder for parody throughout the years.

By the late 80s, the "Universal Monsters" had pretty much become "universal monsters." The creatures, and their look-a-likes, could be found everywhere in popular culture. So it was no surprise that Universal Pictures claimed the right to redefine these classic characters for themselves in the early 90s. It's no surprise, but it largely lead to disappointing films that lacked the heart of the originals.

Bram Stoker's Dracula (1992) by Francis Ford Coppola lacked visual appeal, had terrible costumes and makeup, and included mediocre performances by talented actors. The film, which was the film my wife and I saw on our first date, was lackluster and an unworthy descendant of the Bela Lugosi film. Frank Langella was a more haunting Dracula in the 1979 film than Gary Oldman. Coppola's venture into the Universal Monster was a misfire that lacked heart.

Wolf -- full film at link -- (1994) starring Jack Nicholas Jack Nicholson (I blame my recent viewing of Back Nine at Cherry Hills for the error, but it's pretty unforgivable.) seemed more a Mike Nichols film than a true werewolf tale. It tried to hard to be topical and not enough time exploring the psychological aspects of the deconstructive narrative. James Spader plays the same character he played in Baby Boom (1987) -- with a bit of a twist. The film entertains as an allegory for how the business world can corrupt and consume, but it fails as a "horror" movie.

It wasn't until 1999 with the release of Stephen Sommers' take on The Mummy that Universal had a new "Universal Monster" movie that both captured the magic of the original and added a magic of its own. Brendan Fraser was such a compelling pulp hero, as Rick O'Connell, that it became easy to envision Fraser as the titular star of a Doc Savage film. Arnold Vosloo was a compelling Mummy with a compelling story -- audiences both loved and hated him. The film worked as blockbuster and as Mummy movie.

Sadly, Universal made audiences sit through The Mummy Returns and handed Sommers the reigns to Van Helsing -- more than balancing the 1999 gem with subsequent drivel. The Scorpion King "prequel" to The Mummy Returns was fun, and Sommers showed with GI JOE that he still knows how to have fun without needing to use Frankenstein as the circuit breaker for Dracula's electrical/mechanical Uterus (yes...that's the plot of Van Helsing).

Looking at the newly release trailer for 2010's The Wolf Man starring Benecio Del Toro as Talbot, it appears as if Universal has found the right director in Joe Johnston. Johnston has an extensive filmography that includes Hidalgo, October Sky, The Rocketeer, and the upcoming The First Avenger: Captain America. The inclusion of the talented and beautiful Emily Blunt as the romantic interest is a good choice. Blunt was one of the three bright spots in 2006's The Devil Wears Prada, the other being Meryl Streep and Stanley Tucci. The inclusion of Anthony Hopkins among the cast hints at a nice balance of drama, and Hugo Weaving adds some additional geek appeal.

If the trailer is any clue, then The Wolf Man will stand next to Sommers' The Mummy as a film that captures the old while adding new inspiration.

Fantasy Flight Games Publishing 3rd Edition of Warhammer Fantasy Roleplaying Game -- And You Thought 4th Edition D&D Was Controversial

In 1986, there were few games that could compete with Dungeons & Dragons for a share of the Fantasy themed role playing game marketplace. Other than a few successful (but niche) games like Runequest and Dragonquest, most Fantasy themed rpgs were pretty much D&D rip-offs. 1986 was the year that all changed. Steve Jackson released GURPS and Games Workshop -- a giant in the fantasy miniature wargaming field -- released Warhammer Fantasy Roleplay.



Warhammer Fantasy Roleplay (WFRP) had the subtitle "A Grim World of Perilous Adventure," which turned out to be something of a vast understatement. Where other games tried to compete with D&D by giving the characters played by gamers more powers in a familiar system, WFRP made the characters more human. In AD&D, there are points in character advancement (an rpg term describing how characters acquire new spells and combat efficiency as they gain "experience") when the threat of character death lessens. This is never the case in WFRP. D&D is a game of kicking down doors and killing orcs. WFRP was a game of giving a second thought to being anywhere near the door. "Can't we just get the city guard to go instead," is a phrase frequently uttered by WFRP characters. WFRP's mechanics helpt to create narrative tension by having high levels of character vulnerability.

Add to the narrative tension and easy to learn system based on, but very different from, the system used in the Warhammer Fantasy miniatures game and you had a game destined to find an audience. When looking at the 1st edition Warhammer Fantasy miniatures rules one could still see reflections of TSR's Chainmail miniatures game. In fact, were it not for knowing how to play Warhammer I probably still wouldn't understand how to play Chainmail. By the time those systems were extrapolated to create WFRP, there is almost no relation to any form of D&D. Where D&D was chart heavy and had little granularity when it came to the skills characters possessed as unique individuals (only Thieves have any skills worth mentioning in early D&D), WFRP had a task resolution system based directly on the capabilities of the characters and the skills they possessed.

WFRP was cutting edge game design at the time -- it includes design elements influenced by Traveller among other games -- and added some elements that still influence modern game design. Some WFRP skills can only be described as "proto-feats" given the way they influence play. WFRP was a breath of fresh air, but it didn't stay in the limelight long and seemed to wither for a while. Then in 1995, James Wallis' Hogshead Publishing re-released the game for a new audience and reprinted some of the more difficult to find books for those of us who loved the game but had lacked well stocked game stores in the 80s. It should be noted that one of Wallis' current projects is an equally valuable reprinting of the wonderful Dragon Warriors rpg through his Magnum Opus Press. But the Hogshead renaissance was too short lived and as the rpg market became overwhelmed with D&D fever in the wake of D&D 3rd edition in 2000, WFRP fans were left wondering if they would be left out in the cold.

That wonder was answered in 2005 when Green Ronin, under license from Games Workshop, designed and released Warhammer Fantasy Roleplay 2nd Edition. The game remained close in design to the original rpg, but added some new design elements and tried to clean up some ambiguities. It was also a marvel to look at.



Green Ronin's revitalization of WFRP contained the great strength of being largely compatible with the previous editions, but it also suffered from one major weakness. That weakness? That the game was largely compatible with the previous editions. This meant that the game, while easy to learn for an rpg veteran, isn't new gamer friendly. While the books are beautiful in art and layout, there was no "basic set" boxed edition targeted at the new gamer. WFRP 2e was targeted and marketed at an existing market -- those who love WFRP. This is too bad because while the list of "those who love WFRP" has been relatively stable over time, the list of "those who love Warhammer related products" had grown significantly.

This was in no small part because Games Workshop had worked very hard to make the Warhammer Miniatures games (both Fantasy and 40k -- their SF game) easier to learn and quicker to play. Warhammer Fantasy Miniatures and Warhammer 40k hit their "mechanical arcane density peak" in the late 80s with the release of the Realms of Chaos books. After a complex edition of miniatures rules, comprised of several dense volumes of rules, Games Workshop began to make their rules clearer and quicker to appeal to new gamers. They also made the games more modular and began a release cycle patter of "Core rules, Army Lists, Campaign Settings, Spin Off Tactical Game, New Edition with new sculpted minis." The system has worked very well and while Wargamers grumble about the cost and edition creep of Warhammer, it has become so constant as to be a hobby in itself and not a real uptick in anger.

Quicker, cleaner, easier, the tabletop wargame had that philosophy, but the rpg didn't. At least it didn't until last week. Fantasy Flight Games, the current holders of the WFRP license, have announced a new edition of the WFRP game.



As it is only four years since the triumphant return of the game in a new edition, the new release had more than its share of disgruntled detractors. Add to the short time frame between editions that a) WFRP gamers tend to favor a particular style of "old school" gameplay, b) the general environment of new edition anger permeating the internet due to other games new editions, and c) the high cost of an introductory box set, and one can see why there has been a little bit of an internet hubbub about this game.

But the game does need a new edition that appeals to a larger audience, if the game wants to expand the rpg marketplace and not merely peel off another segment. Looking at the components below, I think this might be the game to do it. It uses self explanatory dice, character cards, and comes in a boxed set. These are things that made Heroquest, Heroscape, and Runebound popular games.





If you add to all the pretty bits an engaging, clear, and quick to play rules set that has some depth with regard to rounding out character concepts you might just have a game that can bring some new gamers into the hobby. Oh, and if the rules are good enough, you may just be able to win over many of those who love WFRP already.

Time will tell, but I am excited.