Here is an entry for the 200 Word RPG Challenge. It’s a game to play with my daughter, a serious scaredy cat. Whenever we play D&D she just wants to stay in the town and hang out with her mom or go to birthday parties. I’ve tried to turn that into a story telling game. All you need are a bunch of Shopkins to play. If you don’t know what Shopkins are, lucky you. (All you need to know this: The core mechanic of Shopkins is not knowing which one you’ll get.)
Grab four Shopkins for each player in the game and put them in a bag.
The youngest players draws a Shopkin from the bag. Everyone should say, “Happy Birthday!” Today is this Shopkin’s birthday party! On a sheet of paper write down her name. Place the Shopkin on the table: she’s waiting for her friends to arrive.
The player to the right draws another Shopkin from the bag. The first guest has arrived! Write her name down and flip a coin: on heads the guest is one of the birthday girl’s best friends forever; on tails she is a mean bully. Note this down. The players now act out a scene involving the party goers. If the birthday girl stands up to a bully during a scene the bully is now one of her best friends forever.
Continue to draw guests till you have drawn half your Shopkins. The next Shopkin drawn is the birthday girl’s mom. She’s got the cake. Everyone sing Happy Birthday!
Each Shopkin drawn after this point is someone’s mom. They are here to pick up their kid. Make sure they leave with a loot bag!
Players, don’t get too attached to your characters, because the game isn’t about them—the game is about the warren. Individual rabbits are cheap and the continuity of the warren is everything. Death is explicitly on the table and will occur as the fiction demands, so breed early and often. Your kits are your legacy (and the pool from which you will probably draw your next character).
Think of the game as a generational saga rather than an heroic narrative. Although your characters may well be leaders, poets, and scofflaws, they are still at the bottom of the food chain in a world determined to kill them. Perhaps their children can finish what you so bravely started. Generational play is great fun, and having a strong connection to the warren as a living community pays great dividends over time. You’ll start to care about its health and goals, and build a mythology around the exploits of previous generations. And, despite all these lofty assurances, in the end making up a new rabbit takes only minutes. - Marshall Miller, The Warren.
The Warren is a Powered by the Apocalypse game about rabbits—picture Watership Down.1 I’ve tried to play it a few times with my daughter, though without much success. My daughter is a scaredy cat. She doesn’t like games with conflict or danger.2 Most RPGs aren’t particularly interesting without either.
The Warren is full of writing I could imagine being pulled right out of an old-school D&D book. Stories about rabbits are often stories about survival and horror. Watership Down is very much in this vein. Your rabbits struggle against the world, and many will die so others may live. One can picture running some real meat grinder games playing a by the book game of The Warren.
I’ve wanted to run a session of this game with people closer to my age for a while now. Bully Pulpit Games has published several “playsets” (basically very terse setting documents) to help kickstart games of The Warren. They’re all quite good, but sometimes it’s fun to make your own.
Of course anyone can do anything he likes with Carcosa. There is no One True Wayism about Carcosa, nor is there an “Official” Carcosa. My attitude towards my creations is that of Gary towards D&D in 1974, not Gary towards AD&D in 1982. — Geoffrey McKinney on Dragonsfoot
World of Carcosa is a playset for The Warren that is set in the doomed world of Carcosa. If you have been reading this blog you know it’s one of my favourite settings for D&D. I’m not sure what the Venn diagram is for people interested in Carcosa and people interested in a game about rabbits. Perhaps it’s very small. This is for my people!
I haven’t had a chance to run this playset yet. Buyer beware!
A brief recap of one of our games: “I thought my daughter might like a game about rabbits. She was sent out for carrots and narrowly avoided an owl! That was too scary, though, so she decided she’d just play the predators and the rabbit she made is now a turncoat working with the humans after eating a soup that made her evil.” A few weeks later I tried playing with her again: “In this session she is searching for cutie rabbits to also convert to evil. She also travels in an invisible bag carried by her human friend so foxes and owls can’t get her.” ↩
The Cursed Chateau is a fancy book. Released by Lamentations of the Flame Princess early last year, I finally picked it up at the tail end of 2016 as part of a huge LotFP order. Written by James Maliszewski—of Grognardia fame—this version of the adventure is a new deluxe printing with layout and art by Jez Gordon.
The central conceit of the adventure is that players are magically trapped in a large haunted chateau by its former master Lord Joudain, a perpetually bored and tormented spirit. Joudain’s soul is trapped within the chateau, so he in turn traps passer bys to torment them for his entertainment. If the characters manage to be entertaining enough his otherworldly boredom will pass and he’ll be freed from his self-inflicted curse, freeing the characters as well.
This is a reasonably large adventure. The adventure site is quite big: there is a hedge maze that leads to the chateau, the grounds, and the chateau itself. There is a cast of NPCs, the former staff of the chateau, who now all haunt the place. Each is described with their backstory, a small stat block, and an illustration. (I should note here that my wife and I ended up being transformed into evil spirits by Jez: I’m the photo reference for Hervisse, my wife for Mondette.) There is a d100 random events table that helps drive the action during the adventure. As you enter rooms you’ll roll to see what weird thing is happening within, if one of the NPCs happens to be doing something within, etc.
The book opens with a discussion by James on funhouse dungeons, which one could imagine being posted on Grognardia in days gone by.
In a fun house, there’s often no way to determine what lurks behind the next door or down a nearby corridor and that fact irritates some players who value naturalism and rationality even in their fantasy. Without it, they argue, it’s difficult, if not impossible, to plan ahead or think strategically and thereby minimize the likelihood of their characters suffering some terrible fate. I’m sympathetic to this perspective and, in general, my adventure locales are fairly reasonable, even orderly places that “make sense”—which is precisely why a place like the chateau makes for a good change of pace!
I think how you feel about this adventure is going to depend on how you feel about funhouse dungeons. This adventure offers some clues about the nature of why the characters are trapped in the mansion, but it’s not particularly obvious. The means of escape isn’t really fleshed out to the characters either. I suspect most players will stumble about till they accidentally rack up enough misfortune to appease Joudain. Now, the adventure site isn’t completely arbitrary. The NPCs all have pretty clear motivations, and characters will likely learn of their various allegiances and squabbles with the other NPCs. The house is still a house, and laid out like one would expect a manor to be. Still, it’s a haunted: expect things to be creepy and confusing at times.
The interior art and layout is by Jez Gordon. I know I gush about Jez’s graphic design chops, but this book is another example of just how next-level the work he puts out is. The front end-papers feature all the maps in the module. The back of the book lists all the rooms with creatures within and reprints a few useful tables. This is a fairly text heavy adventure and it’s been laid out expertly by Jez. Everything is presented with an eye to what the two page spread will look like. Long room descriptions never spill over to the other side of a page. Some room descriptions in this module are very long, several paragraphs at times, so this is really a very impressive feat. This might be one of the best layouts i’ve seen of a D&D module, considering just how dense the text is. (Maze of the Blue Medusa, which I haven’t written about yet, is another good example of strong design and layout.) Jez’s work gets better with each adventure he puts out.
The book has a new cover by Yannick Bouchard, who has been doing a lot of work for LotFP recently. A fellow1 sits on a sofa, clearly bored, his arm draped around a skeletal ghost. A blood stained sword leans against a blood stained wall. It’s a great cover, very evocative.
I know most everyone involved in this books creation so calling this a review seems like false advertising. I generally only write about books I like, and I like this book. It’s one of the most beautiful RPG books I own. It’s been printed with gold as an accent colour: the pages shimmer! LotFP continues to put out solid books: they have one of the most interesting and diverse catalogs of modules of any OSR publisher.
The character on the cover reminds me of Kyle MacLachlan (of Twin Peaks), though maybe that’s just me. ↩
Breakout 2017 was a lot of fun. I’m glad I grabbed tickets a million years ago. (I wish I could remember how I heard about it now.) It’d been over a year since I last attended a big gaming event. The weekend was exhausting, but I got to try a bunch of games I’d likely have never played if left to my own devices. I also got to see a bunch of gamers I only know from the internet, and a few friends I don’t see nearly enough.
The organizers of Breakout are indie-gamers so that side of table top gaming was well represented. Lots of indie game designers and players are in attendance. If you want to play indie games this convention has you covered. There was also a really big contingent of people playing D&D 5e Adventurers League. My old DM from back when I was playing 4e public-play is a big part of that scene and was there as well so I got to catch up with him. If you were into boardgames there was an even bigger room full of people playing those. If you are the most hard core of old-school D&D nerds you might find the convention lacking: Kiel Chenier was the only person running anything old-school. Maybe that’ll change as the convention grows.
This was the biggest gaming convention I’ve been to. Of course, I basically go to none so maybe that’s not saying much. There were lots of people and lots of games, anyway. The old-school D&D conventions in Toronto (OSRCon and OSCon) are much more modest in their scope in comparison. This convention was big, but not overwhelming and annoying the way FanExpo has become.
I ended up playing 4 games while at the convention (2 games of Night Witches, a game of Apocalypse World, and a game of Swords Without Masters), and attended one panel. I spent the rest of my time hanging out and drinking beer. My advice to anyone attending a convention is to not go overboard with the gaming. I ended up with a few gaps in my schedule and it gave me time to relax and chat with the other people there. That’s often just as much fun as gaming.
The convention was well organized and well run. People were friendly. I had a nice time at all my games, and the people playing them were are all really welcoming. You can’t ask for much more than that.
After my Apocalypse World game I went to a panel discussion about GMing advice with Robin Laws, Matt McFarland, Anna Kreider, and a dude who wasn’t Emily Care Boss (who was sick). I enjoyed the talk, it was well done. The moderator Donald Fraser did a good job making the audience questions sound like they were all carefully chosen by him. I like when people are forced to write down their questions, thereby avoiding the risk of a crazy person rambling on.) Robin Laws is funny: I should check out his podcast. I had an hour break after the panel in which to have a beer and chat with John Willson about RPGs. While we drank Corey Ried popped by to say, “hey.” He was running the next game I would play, Swords Without Masters.
Swords Without Masters was written by Epidiah Ravachol. The only thing I knew about the game was that it was published in his zine, Worlds Without Masters. I had assumed it would be some sort of indie variation on D&D—that it was most definitely not. The game is firmly in whatever genre you would place Fiasco within. (I want to say Story Games, but that name feels meaningless: this game was also nothing like Apocalypse World.) Swords Without Masters is a story telling game. There is a loose framework of rules that exists to help give your story some direction.
Our session began with us figuring out what image best represented each of our rogues: Swords Without Masters is a game about rogues in the vein of Conan the Barbarian. I picked a classic Earl Norem Masters of the Universe painting—of course. Your character is a name and handful of narrative hooks—terse when compared to traditional RPG characters. It didn’t take long to get the game started.
We began on a battlefield surrounded by our enemies. A game of Swords Without Masters is broken up into a series of phases: Perilous, Discovery, and Rogue. We began in the Perilous Phase. As the name implies, this is when the characters face danger. The DM, called the Overplayer in this game, starts by rolling a pair of dice. Each die represents a mood, jovial or glum, so you better be able to tell them apart. The higher die’s mood wins, and the Overplayer begins narrating the hardships faced by the players keeping the mood in mind.
Corey didn’t waste time trying to front load a lot of explanation on the rules for the game. He’d tell us what we needed to know to keep playing. The game is simple to teach. In our first phase he let us know we could take control of the narrative by picking up the dice. There is a back and forth: the Overplayer narrating an escalating level of danger and destruction until the players jump in and push back. When you don’t have the dice your character can do whatever they want, but they ultimately need to be failing. Once you decide you’ve had enough of losing you can pick up and roll the dice. Your higher die becomes your tone. You tell the story of what’s going on, narrating how your character overcomes their obstacles in the style of the current tone.
I found the game challenging to play because coming up with an interesting story on the spot is tricky! (I’m both boring and unimaginative.) All of the players were initially hesitant about picking up the dice. This meant the situation we were in just got more ridiculous. By the end of the session we were more comfortable interrupting the Overplayer to take control of the action.
When you roll doubles your rogue is stymied. This means that whatever you had planned to do while in control of the narrative must fail. During this initial phase one player’s character was trapped while the other characters escaped. That’s how we chose to end the phase.
Stories need not be told linearly. We played the Discovery Phase next, travelling back to a time before the fighting when we were all imprisoned together. In this phase the rogues pass the dice around, rolling immediately, and narrating some new piece of information about themselves or the world. Whenever they do so they ask the Overplayer a loaded question about this discovery. (e.g. “Why didn’t my talisman protect me from the Titans?”) The Overplayed answers, thereby revealing more about the world and the conflict at hand. The Overplayer decides when this phase ends. When we played we usually ended things after each player had a turn sharing a discovery.
Our third phase was the Rogue’s Phase you take turns passing the dice around asking the other player how their character will accomplish some particular goal. (“How did you scale the unscalable wall?”) This phase is about highlighting how awesome your character is in the tone the dice command. You can also make demands of the Overplayer to learn more about the world and its other inhabitants.
The game continued on like this. The Overplayer decides what phases are played and in what order. During the game the players will write down the motifs they find most interesting about the story being told. There are also rules for tracking mysteries and morals based on your dice rolls. These are all called threads in the game. When you hit 9 motifs it’s time to wrap up the story. The players can now choose to reincorporate a thread into the story they are telling. Once they have done so they are no longer allowed to pick up the dice and drive the narrative. After all the players have reincorporated a thread into the story the game ends. This end game mechanic is smart: your story ends up feeling coherent because the conclusion draws from various threads raised earlier in the game. (Our game ended with us destroying the Arch-witch, though it took the sacrifice of one of the players to accomplish the goal.)
I find these narrative games very demanding. With traditional RPGs the story you tell is generally grows organically from play. (Well, at least in good games!) The scope of Swords Without Masters is so grand in comparison: I often felt stuck trying to come up with something to say or do. We were all quite over the top in how we played, but in hindsight we should have mixed in more modest and quiet questions and answers. I suspect if I had played more of these story telling games I’d have done a better job at that sort of pacing.
Having to narrate your lows as well as your highs is fun. The flipping of the tone from jovial to glum also works well. Your character sheet has a good list of words associated with each tone to help you when narrating. The loose structure helps ground what would otherwise be a bunch of people talking about how awesome their characters are—though there is definitely a lot of that going on.
I grabbed the game itself while writing this review. The rules are well written and clear. For each of the phases and rules I’ve mentioned above there are lots of examples of game play. There are also “advanced” rules that extend the game if you want something slightly more complicated.
This was a fun game to play, something I likely wouldn’t have done outside of a convention setting. (I liked having a chance to play all these different games while at Breakout Con.) This game will likely feel unsatisfying if you are looking for more objective challenges in your games than “tell a compelling story”. But, if that’s what you’re looking for this game works really well. Swords Without Masters feels different and novel.
My second day of BreakoutCon began with a game of plain old Apocalypse World. There are many games built on top of the rules for this game I often forget that underneath them all there is a game about playing horny people in the post-apocalypse. Our game was based on a one shot adventure written by Baker to introduce people to the game—his Keep on the Borderlands, I guess.1 At the start of the game we were asked if we wanted a game that was gonzo or serious. I think we were all on the fence and so ended up with something in the middle.
I wasn’t fussy at all about what class I played, so I let everyone pick their playbooks first (classes in Apocalypse World) and I picked the last one, a Skinner. My character was a hot singer whose gender was ambiguous, dressed in some haute couture whose origin and continued upkeep was unclear. You get to pick two moves when you start. I picked one that pushed my Hot stat to +3 and another move that sort of charms people who see me perform my art (singing). And then we started asking each other questions.
Apocalypse World has rules for building relationships between the characters that are great and seem like the most interesting innovation in the game. Each class has a series of questions you ask. Other players chime up to answer, granting you a history bonus with that player’s character. By the time everyone has asked their questions you have a web of interconnection between everyone at the table. Too heavy for the sorts of of OD&D games I play where I make characters in a few seconds and refuse to name them till they survive the session, but on the whole this wasn’t an onerous process at all. For games like 5e where you are likely to create characters you hope to have stick around for a while these sorts of mechanics should be stollen whole hog. (I can imagine questions for each of the classes in D&D.) This is the mechanic to steal from this game, not that 2d6 business. That’s pedestrian in comparison. Before the game had started there was already a little heat.
The set up for this one-shot involved everyone getting a letter that told them a little bit of the action and asked them to roll and see what the current deal was, a custom Apocalypse World move to start their game. These letters introduced additional backstory and adventure hooks. The hard holder failed their “love letter” roll so our game began with us trapped in our hard hold, surrounded by an enemy gang, with things looking bad for us. Also, a rival faction inside our compound split off and holed themselves up. Also, there were a bunch of spies working a against us inside the compound. Also, the mud flaps, weird fish people we were trading with, were suffering the effects of a highly contagious disease. Also, the worlds psychic maelstrom was fucking with several of the NPCs (and myself). Also, a whole other bunch of stuff was happening. I appreciate that there was lots of things for our characters to latch onto and explore, but it meant that a lot of the interpersonal adventure hooks we figured out earlier never really came into play. It was comical how zany and hectic the opening situation was. (Also, the villains name was Ambergrease, which I love.)
Unlike D&D where you usually adventure as a group, in this game all the characters were usually off doing their own thing. Everyone was running around trying to figure out how to make sure things didn’t explode. This felt a bit awkward at times: there were often long gaps between a player being called on to narrate what their character was getting up to rolling to see what was going on. We’d all listen to what the Chopper was doing, or the Angel, or the Brainer, and then wait for things to circle back to us. I personally don’t mind this: I liked being able to relax and listen to what was going on around me. There was always something going on.
The tone of the game was quite different than that of Night Witches. Failed rolls lead to more complications, but in Apocalypse World proper success would often be just that. My character began the game with a +3 Hot. This is pretty sweet, and made any actions I needed to take with my Hot stat an easy success. The starting stats in Apocalypse World (in contrast to Night Witches) produces fairly competent characters from the get go. My Skinner was amazing at being Hot. It was unlikely i’d fail if called on to roll against that stat. This encouraged me to deal with problems by using my ample hotness whenever possible. I don’t think this is that unusual: D&D and most games with stats will reinforce your character’s roles and personality by incentivizing moves that require a particular attribute. With this game those situations where we were pushed to leave our character’s comfort zone were usually more interesting, because these end up with the failures or partial successes that produce interesting plot twists. Night Witches scales everything down, and you can produce a lot of strife and conflict that’s also very quiet. With Apocalypse World to generate that same level of conflict felt like it required a whole lot of action to be going on. One thing we didn’t do in our one shot that I suspect would result in people choosing to use their less amazing stats is the rules for marking stats and advancement. The DM and the player you have the highest history with each mark one of your stats. When you roll a highlighted stat you mark experience. In this way the game can encourage you to not just use sex to get your way.
Apocalypse World looks to focused on producing narratively interesting situations. The problem solving in the game will usually require you to make one die roll, that leads to another, and another, and another. In the book they refer to this as moves snowballing. Trying to minimize how many rolls you need to make to accomplish your goals might be the approach to the game more tactically minded players take when playing. (How do I work the situation so my Skinner can seduce this person rather than threaten them with violence.) As far as I can tell you don’t give out bonuses for coming up with an amazing plan that ultimately requires you shoot someone, though perhaps the steps that lead up to you shooting someone might set things up so that you don’t need to roll to make that shot and execute them. There is a different sort of player skill at work. That said, my guess is people are playing Apocalypse World because they care more about interesting narrative than “winning”.
By the time our session was wrapping up we had maybe wrangled enough food to survive and held off the rival gang, but were likely in the midst of being overrun by infection disease and evil brain control. It was a fun game, and I’m glad I got a chance to finally play Apocalypse World.
I’ve had the book for several months now, having backed the Kickstarter. There is a lot to love about Apocalypse World even if you have zero interest in playing the game and think everything I’ve said thus far sounds dreadful. The book is worth owning for the DM advice. The book presents one of the best summations of how to run a sandbox game. (The Warren takes that advice even further) There are some OSR products I’ve seen recently that do a good job here, but I suspect many were inspired by how Apocalypse World presents its advice. The book is very practical in how it talks about running a game. The tone is conversational.2 The advice is direct. You do this and then you do this and then you do this. These are things I think other game publishers could learn from.
That said, I don’t think this is a good book to learn how Apocalypse World games work. Both Night Witches and The Warren do a better job of explaining the rules to their game (and games like them) than Apocalypse World does—in my opinion. Of course, Apocalypse World is a much heavier and more complicated game. Each playbook is quite different from the next. There are lots of moving parts in the game. (You can ignore what you find complex and the game will chug along just fine. We looked to have ignored a fair bit while playing our one shot.) The second edition book I own includes advice for hacking the game, which is likely also of interest to people who are game nerds.
Sometimes the tone is too conversational. “You are hot and you do this fucking thing you hot person.” The way the book talks to you can be annoying. It flies too close to the sun. I both write, talk, and sound annoying: there isn’t anything wrong with that. ↩
My first game at BreakoutCon was a session of Night Witches. Night Witches is an RPG written by Jason Morningstar. For those not familiar: in Night Witches you play Soviet fighter pilots in an all women bomber unit. The game was totally different than anything I usually play, and my first time playing a Powered by the Apocalypse World game. That first game was so captivating I ended up playing again the next day (continuing the action where things left off). I was positive about the game after reading it a couple years ago. Reading a game is miles away from playing a game. I feel I have much more to say about this game now.
Our session opened with a somewhat involved character creation process: we described our characters and answered pointed questions about their history as the DM narrated our travels to the front. (An example question is, “Why does the NKVD already have a file on you, and how did you get around that black mark to join the regiment?”) This added a small bit of colour to each character and helped differentiate what would otherwise be 4 generic Russian air women. My character was “the Raven”, which seems like the jerk archetype in Night Witches. When I play D&D my characters are usually generic adventure person until they starting doing something interesting. (At which point i’ll fold that stuff into their character.) I began this game with a rough sense of what the character might be like, which was useful since Night Witches is a game primarily about social interaction. Beginning the game with a blank character would have made playing difficult. When presented with conflict each player had a different approach they would take, coloured by the basic personality they had fleshed out during this in-game prep. As with D&D my character’s personality evolved through play: by the end of the second session my Raven was a full on Mean Girl.
As mentioned above, Night Witches is a Powered by the Apocalypse game (an Apocalypse World hack). Briefly, this means that the core mechanic of the game is rolling a 2d6 to perform certain actions. On a roll of 10+ you succeed: fantastic. On a roll of 7-9 you succeed, but some number of things will go wrong. Anything else is a failure: it’ll be bad. Night Witches plays with this formula a little bit, to great effect.
Night Witches is split into two phases. During the day you wander around base and interact with your comrades. At night you fly bombing missions against the Nazis. At first glance it might seem like the night missions are the important phase, but the bulk of your play will take place during the day. The night missions are a fairly structured mini-game: you roll to see if you find your targets and roll to see if you hit them. Complications in the mission might change this general structure.
The attack run move is a good example of how Night Witches rarely lets you “win”. Here are the list of complications when you make that move:
The damage to the target is not significant and it is your fault.
You fly through a storm of flak (triggers Enemy Fire).
A plane in your Section is damaged, GM’s choice.
You and your fellow airwoman are Marked.
On a 10+, normally a great success in Apocalypse World, you are required to choose 1 from that list. I can tell you from playing the game that all of those options suck. It’s easy to come back maimed or dead after a night mission.
The game does provide one way to help you succeed at night. During the day some of your moves will let you add points to the mission pool, which you can spend during the night to increase the results of your dice rolls. The consequences of failure during the night are so steep that trying to build up a mission pool is an important part of the game. This is what pushes you to act during the day. More so, getting these mission points is usually one option out of a few you pick on a successful roll. You will often sacrifice something to get them, which further drives conflict in the game.
A perfect example of how this works is the “Act Up” move. During the day you are going to be dealing with assholes: commanding officers, chauvinists, the secret police, etc. Your natural reaction as a player is likely to argue when someone starts an argument with you. In this game you are playing a women knee deep in a sexist society so it’s complicated. Whenever you act up you need to roll a 2d6 to see how things go:
Make someone do what you want.
Ensure that there are no consequences for Acting Up.
Add one to the Mission Pool.
On a 10+ you get to chose 2, on a 7-9 you get to choose 1. So, even rolling high you are faced with a tough choice: will you make a personal sacrifice to add to the mission pool? So much of the game is structured like this. As you play you end up picking up complications with each roll, success or failure. This is what ends up making the day phase interesting. You aren’t just loitering on a base with your buddies.
When I wrote about the game last one of my concerns was with how gamey it might feel.
Action is free-form until you do something that would require you making a Move. These are the pivot points in the game. Moves are specific: you eyeball someone or act out. There are a handful of moves each character can perform. The analog to characters classes in D&D are natures in Night Witches: someone has the temperament of a hawk, or an owl. Natures grant additional moves characters can learn as they level up. In this way the game feels similar to 4th Edition, with its discrete list of powers. I’m curious if this feels as stifling as I found it with 4th edition. Are players who are good at eyeballing going to constantly try and give everyone cut eye to get their way? (Maybe I just played 4e with goofy players.)
This didn’t feel like a real issue in our game. I thought the game played fairly naturally. We would all play to our characters strengths, for the most part. I was worried this would result in weird behaviour, but in play it generally meant the mechanics pushed our personalities in certain directions. The characters with high luck were brash and insubordinate, the characters with high guts were more likely to use their feminine wiles to get their way. I thought it worked well.
This game begs to played over several sessions. You develop all these relationships—friend and enemies—over the course of play. When that first game ended I really wanted to keep playing to see what would happen next. I think as a one shot the game might feel a bit unsatisfying.
As I have noted it’s a tough game. I can’t imagine how an air women from the first session would make it all the way to end of the war. Your characters have 4 harm—hit points—and when you use all 4 up you die. That’s not that hard to do. As you rest during the game you can reduce your harm. On the other hand your character also has 12 marks, which are permanent. Certain moves will ask you to mark one off. Another way to die is to pick the “Embrace Death and Face your Final Destiny” mark. After a few sessions that last mark is going to start getting harder to avoid. (My character ended the 2nd session with 4 marks.) I wonder if the game starts to feel unrelenting and nihilistic as your run a long campaign. (Perhaps that’s the point?)
Night Witches is an excellent game. It’s well thought out and put together. Of course, you have to be interested in playing a game about soviet air women or it’s likely going to disappoint no matter how well designed it is. I thought it was a neat game when I first read it, but playing it helped me appreciate that it is in fact a fun game and not just a cool art project or stunt. If you are going to play one game about Soviet women in an all women bomber unit during WWII make it this one.
Remember that the purpose of your prep is to give you something interesting to say when the next session starts. Remember that your NPCs are just not that complicated. You’re not holding back for a big reveal. You’re not doling events out like you’re trying to make your Halloween candy last until New Years. All your threats have impulses they should act on and body parts leading them around, so for god sake, have them act!
— Apocalypse World, pg 121, Vincent Baker
I am reading Apocalypse World by Vincent and Meguey Baker, which seems appropriate given the current state of world affairs. Sometimes I find the way it is written annoying, while other times I appreciate its direct and casual manner. On the whole the book is great and the advice scattered throughout can and should be picked up whole hog and used in your most oldest of old school D&D games. Apocalypse World tells you how to run a sandbox game without ever calling it that. The book seems quite revelatory, while managing to not take itself so seriously.
When I was running my Carcosa game I had a lot threats in the wilderness so subtle and so slow moving my players would often not bother investigating to see what was going on, or would get bored of the investigation and move on with their lives. Their biggest enemies were the Jale Slavers, dirt bags who kept on showing up in random encounter rolls, and The Dominant Reflection, an insane Bone Man sorcerer who they had inadvertently set free in the first session, and his cult. These two groups were antagonistic. Trying to deal with them was a clear and obvious goal. After they displaced the The Dominant Reflection the sessions that followed were in an awkward place where they was really only one enemy in play: they were on good terms with most everyone else they interacted with.
In hindsight I should have been far more pushy and straight forward with all the groups I had in play during that game. My Snake-Men from the distant past never once showed up in the game directly because I thought of them as ‘boss monsters’ to be encountered later. The players would see the aftermath of their actions, or stumble upon their army of Carcosan Zombie Men wandering the wilderness, but I never really gave them enough clues to indicate what was going on. Similarly I had a cult North of where the party spent most of their time, but because the party never ventured North after the early sessions this other faction just sort of sat fallow “exploring” a megadungeon the party didn’t care about anyway.
The advice I’ve quoted above seems simple and good. There isn’t much point preparing stuff just to have it sit fallow. Your NPCs Machiavellian plots are probably quite lovely, but I suspect at the table simple and direct action is likely just as much fun to play.
Broodmother SkyFortress: Buying any other adventure is just throwing your money away
Alongside Broodmother Skyfortress, the brains at Lamentations of the Flame Princess also published Blood in the Chocolate. Kiel Chenier did the writing, layout, and maps. The art is by Jason Thompson, notable for his Family Circus style maps of adventurers exploring infamous dungeons. The premise of the adventure is quite simple: you are a group of adventurers tasked with breaking into a mysterious chocolate factory run by a Spanish countess and absconding with details about her operation and samples of her ingredients. The most obvious inspiration for Blood in the Chocolate is Charlie and the Chocolate Factory, and there are nods to that story throughout the adventure.
If you have read any of Kiel’s other adventures I would say this one is more or less exactly how I would imagine a Kiel LotFP adventure might look like. There is violence and horror and sex, but it all comes off as fun and a little bit goofy. Also there is a hot fat woman.
I helped Kiel play test the adventure several months ago with his regular D&D group. We met up again shortly after the book was released to play the now completed adventure with the Toronto OSR posse (#torontOSR). Both games I played involved some amount of scheming to break into the factory, followed by sneaking about in search of clues for how this countess was producing her chocolate. In the second game a few of us were poisoned (a likely outcome in the factory) and so we spent part of the adventure trying to find a way to cure our compatriots of their creepy affliction. We managed to win over one of the pygmies, who was so enamoured with us he ended up helping us explore the factory and find a possible cure. (There are rules for how to win over the pygmies presented in the adventure.) Both times playing this adventure were a real blast.
Kiel produces well laid out adventures. This book continues that trend. Kiel’s books are great examples of what people should be doing with the works they produce. Like The Hell House Beckons, this adventure features cheat sheets for the rest of the book. The front end papers are basically the one page dungeon version of the adventure. The back end papers feature important random tables, and stats for the monsters you’ll encounter. There is also a handy pygmy tracker you can use to keep track the 150 pygmies the adventures may kill. The book opens with an overview of the module, advice for how to run it as a one-shot versus as part of an ongoing campaign, and an overview of the main villain and her army of pygmies. This makes up roughly half of the book. The second half is the adventure proper. There are cutaways of the map scattered throughout this section. Room descriptions are bulleted lists, and generally strike the balance between being terse, but not too terse. I do have the same gripe about room descriptions as I made in my previous two reviews: occasionally they spill over to subsequent pages. If you aren’t careful you might assume a room description is complete and not flip the page to see there’s more for you to read. That said, this is a small complaint and the layout is really is well done. This book feels designed to be picked up and run straight out of the book.
I like Jason Thompson’s art. The stuff that is going on in the book could be presented in a very graphic and gross manner. Thompson’s works convey it well but manages to do so in a way I think better suits the book. Many of his pictures are gross, but also not so gross. It’s a tricky line to walk and he does a great job. The PDF of the adventure also comes with one his walk through maps, which is, as always, fantastic.
Buy this already. It’s a good book and Kiel needs to eat. LotFP continues to kill it with their recent releases and this is really no exception. If you are bored or annoyed by some of the more avante garde adventures LotFP puts out, this is a nice solid dungeon crawl to win your heart back. Raggi is curating a solid set of adventures.
While 2016 might have been one of the shittier years in recent memory, it was seriously killing it when it came to RPG books. I continue to mostly read books coming out of the OSR. My favourite publisher remains Lamentations of the Flame Princess: they had a stellar year. Maze of the Blue Medusa was finally released and it’s so beautiful it’s unreal. Like last year, I did end up buying some “indie” games: Burning Wheel’s fancy new books], and some interesting looking Apocalypse World games, including the original game itself.
I buy a lot of RPGs, but managed to buy nothing from Wizards of the Coast. I feel like they are leaving money on the table by not catering to a wider variety of tastes with their work. They need an indie imprint.
I buy stuff when stressed and it’s clear I was stressed at the tail end of the year. I ended 2016 with far more books than I had planned to buy. My attempts to limit myself to a book a month has been one of my less successful projects.