I am usually in and out of London to see my brother. In past years I’ve returned to Toronto disappointed to learn if I had planned my trip a little bit better I would have been in the city for Dragonmeet. So this year I planned better: I booked a trip around the weekend Dragonmeet was taking place.
Dragonmeet is one of the big RPG conventions that takes place in London. Smaller and more indie that the bigger UK Game Expo. I was in attendance for the first Dragonmeet at its new home, the totally soulless Excel convention centre. Past attendees told me they missed tight narrow hallways of the hotel in Hammersmith that used to be the conventions home. Breakout in Toronto feels like it might be a bigger convention, but Dragonmeet has a far bigger OSR presence. I got to see all my G+ bros!
Dragonmeet has far more vendors that Breakout. Apparently it was twice as big as past years. They had two big rooms of the Excel centre filled with stands. The vast majority of vendors in attendance were indie. It was nice being able to wander around and see people I know in attendance. I was excited to finally meet the infamous Grey Wizard. Paolo and Eric were sharing space together, the first people I saw when I arrived. Just a little past them was Zach from Soul Muppet Games. I got to see their cowboy game in the flesh, and am now wondering I made the wrong call not grabbing a copy. The book was gigantic and looked cool. Daniel was working the Igloo Tree & Melsonia Arts Council, which was where I also finally met Luke Gearing. We discussed the whacky world of Over/Under.
I was mostly hanging out with my Warhammer World posse of Chris and Patrick, wandering the convention with the two of them, watching people muscle Patrick out of the way to tell Chris Bastionland changed their lives. James Young was there with some of his gamer crew, and we would stop and chat whenever we saw him again. David Black arrived a little after lunch with his wife, and joined us for a short while. I stumbled upon Johan Nohr. Next to him was Chris Bissette! I saw so many people I’m already starting to forget them all. The whole convention was the fun experience of wandering a little bit and seeing someone you know.
Would love to come back for Dragonmeet again, certainly a good reason to find yourself in London. Salute in April is the other convention that seems exciting, and is conveniently in the Spring. Paolo’s LasagnaCon in August is probably the most tempting—if only for the food.
Space Gits an odd duck of a game by the man himself Mike Hutchinson. Mike asks the question, “can you model a game around drunk-ass orks being drunk asses?” I would have to say the answer is a resounding yes: this game is inspired.
Before we get to the game, let’s talk about the rule book. This was another book waiting for me in my brother’s flat. A small A5 hardcover I’ll be able to smuggle back to Canada with whatever I end up grabbing at Dragonmeet. Mike did the layout himself and it’s impressive. The book is neat and tidy, easy to read, but with lots of flourishes that give the impression of drunken ork messiness: crumpled paper backgrounds, edges and borders that are almost always some sort of torn paper effect, etc. The miniatures and their photography by Tyler Russo (Billion Dollar Clown Farm) are fantastic, as one would expect if you’ve seen his YouTube channel. He did a great job converting minis for this game. Till Förster’s illustrations complete the package. Absolutely frenetic art. I’m happy I grabbed the book.
Mike opens the rule book with a discussion about what he was going for with the game. He does something similar with Hobgoblin, though the discussion comes at the back. I suspect he appreciates his audience is likely a non-trivial number of indie gaming nerds who want to know how the sausage gets made. You can read the rest of the rule book with their goals in mind. Perhaps the clearest form of expectation setting. (I am reminded of Apocalypse World and its progeny that love to make the point of the game particularly explicit.)
Players take turn alternatively activating models. Each model can scoot, shoot or boot. The games central conceit is centred around dice moving dexterity. Your orks will build a tower of dice when they activate or take hits. When you move your orks around you must move their dice tower along with them. Knock over their tower, the ork has fallen on their ass and their activation ends. Opponents can steal bottle caps from fallen orks, the games currency and how you score to win. This is the boot action. Bottle caps are scattered over the board when you start the game. Scooting is how you move. It will involve dexterity as well, though more likely luck. You roll your orks movement dice into the play area. The ork will move the number of inches indicated on the dice, directly towards the dice. Movement neatly models the drunken meandering motion of the orks. If you bump into a bottle cap you will pick it up. If you bump into an orc you will fight. Shooting is a similar sort of action. You roll dice into the play area, and your ork will fire their gun in the direction of the dice, but this time the distance their bullets travel are dictated by the weapon they use. The die’s value needs to beat the target’s toughness to score a big hit, otherwise the target takes a weak hit. Hits cause an ork to gain more dice for their dice tower.
After 30 minutes to police show up to break up the party. Players create a siren dice pool that starts with 2 dice. Before players activate they’ll add a dice to the pool and roll all them all. If they roll triples the game ends immediately. (The game will certainly end after 13 activations, as it’s impossible not to roll a triple after that point.) You can pour yourself another beer and play again.
Space Gits is such a unique and unusual game. I can’t think of another skirmish game I own that attempts anything like this. I won’t pretend to have been interested in a dexterity based skirmish game, and likely wouldn’t have picked it up if not for the fact it was made by Mike Hutchinson. Everything he’s produced seems particularly interesting. I’ll need to write about Hobgoblin at some point. A game I’ve actually played! As it stands I was at a pub drinking an ale and reading this book, so this is the review you get.
I mail a lot of books to my brother in the UK. There were a few books waiting for me when I arrived in London this morning. One of those books was Chris McDowall’s latest war-game, MAC ATTACK. This is a 6mm scale sci-fi war-game, essentially Chris’s take on the venerable mech game. These sorts of games are typically quite crunchy, so it’s interesting to see how Chris distills battling mechs to its true essence. I had expected the book to be bigger. It’s a cute little thing. An A5 perfect bound softcover. You can pack this in your backpack without breaking a sweat.
The rules for MAC ATTACK are captured over four pages that open the book. The first introduces some core concepts of the game, in particular motion and heat, two attributes of each mech. (Or should I say MAC? I won’t, but these things are called MACs.) Motion tracks the sort of movement the mech has made: faster movement makes you harder to hit, but also makes it harder for you to hit other mechs. Heat tracks how hot your mech is getting. If it hits 6 you overheat! The second page explains how battlefields and terrain work. The third and forth page are effectively the rules for the whole game. He’s done it again!
A turn in MAC ATTACK is broken up in to 4 phases. An initiative deck is created with each unit being assigned a card. Draw cards to see who gets to activate. During the move phase you’ll move your mechs, and in the process assign them their motion dice. Depending on the sort of movement action they take, they might gain some heat. The movement phase is followed by the attack phase. The initiative deck is shuffled and the players once again draw cards to see which unit will activate and fight. To fight you will roll a number of attack dice dictated by your mech’s weapon. The target number to be rolled on each dice is determined by summing both units motion dice. The roll can be modified if the target is crashed, in cover, or inside a building. A 1 is always a miss, a 6 is always a hit. Hits are assigned to the various modules that make a mech, which will destroy them over the course of the game. Hits that would hit a destroyed module instead cause internal damage to the mech. This feels like a pretty elegant combat system. Once all the mechs have had a chance to activate in the attack phase, you will destroy any mechs who have taken more internal damage than their class. You’ll learn what a mech’s class is by turning the page and reading the rules for making MACs. Dealing with damage in this way means you’ll never have your mechs blown off the board before they have a chance to cause some damage themselves. The turn closes with a cooldown phase. The mechs all lower their heat score based on their mech’s class, modified by whether they have radiator or coolant modules, or are sitting in water. And that is that! The book concludes with pages and pages of advanced rules, variant ways to play, etc, if you want to expand on this simple base.
The next few pages cover building your mechs, buying the weapons and hardware that will make each unique. There are several factions described in the book. The lore for the setting is basically a couple pull quotes per faction, their example units, and the (amazing) art from Amanda Lee Franck. It’s impressive how you can get across within those tight constraints. Like the Doomed, the expectation is you’re kit bashing your mechs, taking Battletech minis and mixing them with junk you have laying about your house. The game also has rules for taking your little epic scale infantry and tanks, perfect if you’ve picked up Legion Imperialis like myself.
Rather than bespoke scenarios, Chris has a scenario generator like War Cry, where you will generate your deployment, victory conditions (for each side) and a twist. You could use the generator, and the advanced rules at the back of the book, to come up with interesting narrative scenarios.
I’ll need to figure out the simplest way to get this game to the table. Maybe I can find some mechs in the used bins at the Sword and Board? Maybe I can use some Tyranids as Kaiju? I’ll have to report back once I’ve played the game. (It does have solo rules, so you don’t even have to play with any other dorks.) This is the first mech game I’ve read that feels compelling enough to play. Most feel way too fussy. I think that’s the mouth feel most people want with these sorts of games, but this feels like it might be a good compromise. You have a lot of granularity still, but seemingly without a lot of the complexity. Will have to play and see if that is how it all pans out.
When I first started this blog I had a periodic series of posts where I would highlight blogs I thought were cool. At some point I likely switched to just linking to cool blogs on G+ (and eventually Twitter and BlueSky). Dungeons of Signs, by Gus, was one of the blogs I thought people should know about many years ago. That blog is a classic. Gus stopped updating that Dungeons of Signs a few years ago, after becoming disillusioned with both the world and the OSR. But you can’t stop a man from talking about dungeons, so he returned with a new blog, All Dead Generations. This blog is mostly long essays about how to design good dungeons. There is lots of great advice here. Most recently, he shared a post on alternative obstacles to monsters in dungeons. It’s a good sample of the sort of stuff he’s been thinking about over the last few years. There is much more to read if you enjoy this post. He goes hard.
Zedeck Siew has finished his RPG about the background characters you find in the world of Warhammer 40,000. Your characters live in servitude to five Space Marines aboard the Warmask of Gloriana, where your characters are tasked to ferry them to their next engagement. Chapter Serfs is exactly the sort of RPG I love: to the point and focused. There are just enough words and no more. The setting of this ship is brought to life via a couple sentences afforded to each of the possible backgrounds for your characters, the rules themselves and what they tell you about the world, the leaders of the various factions aboard the ship and the tasks they will ask you to perform, etc. The ship is mapped out for the players to explore. This is all a self contained game, ready to be played. My friend Tim shared his thoughts about it as well for Wargamer.
Friend of the #TorontOSR, Jonathan Benn, writes about his approach to creating dungeons. It’s been interesting to see Jon get more and more interested in the OSR and old-school play. This blog post is nice solid advice for people new to creating your own adventures.
I finally took my posse of Heretic Legion models and played a game of Trench Crusade with Raff at the Sword and Board. Trench Crusade was created by Mike Franchina, the main artist for the game. The rules were designed by the legend himself, Tuomas Pirinen, of Mordheim fame. There is so much to love about this game, where to begin?
Trench Crusade takes place in an alternate version of earth where rogue Knight Templars open a gate to hell and the the next 800 years or so are all about people fighting demons and that sort of nonsense. The game’s present day is 1914, the start of our WWI, just another day in this worlds never-ending war. Mike Franchina’s artwork helps bring the setting to life, elevating it beyond just another Weird World War sort of game.
The rules for the game are nice and simple. There is a single resolution mechanic: roll 2d6 and try to score above a 7. A 12 is a critical success. The number of dice you roll can be modified based on a model’s profile, equipment, situational rules, etc. In such cases you’ll add additional dice to your dice pool. The rules refer to this as +DICE and -DICE. A +1 DICE and a -1 DICE cancel each other out, so you’ll end up with a pool that contains 0 or more +1 DICE or -1 DICE. This then works like advantage or disadvantage in D&D: you will roll all your dice and take the highest two, or the lowest two, depending on the make up of your dice pool. This is the roll you’ll make to shoot or attack. You’ll also make a roll like this when taking ‘risky actions’, like trying to climb a wall or make a diving charge. If you shooting or melee attack is successful, you will make a similar roll on an injury table. Rolling a 9+ takes a model out of action. A 7-8 will knock the model down. A 2-8 will also cause the model to gain a blood token. These can be spent to modify die roles. The opposing player can spend them to make your unit less effective in combat, or make their own units more effective when targeting that model. All in all it’s a nice and tidy system: it’s fast to play.
There is almost no looking anything up, no complicated tables, etc. There is far less rolling lots of dice to accomplish nothing, a common feature of Mordheim. You don’t have to track wounds, as there is no hit points. Tougher units will have an armour score that reduces the results of the injury die, making them more likely to survive. The blood tokens act a little like wound markers, as a unit with blood tokens will be easier to kill in subsequent attacks, but it’s dynamic and not a sure thing. In our game we I was constantly spending the tokens I had inflicted on Raff’s elite demon monsters to make them less effective in combat, trying hard to keep my little heretic troopers alive. I also managed to get some lucky rolls, resulting in one of troopers almost killing Raff’s super-demon. That model is Tough, so when it would be taken out of action the first time it’s simply knocked down. It got back up and demolished that little trooper on its next turn.
We played a one-shot, but as soon as it was done I wanted to start a campaign. The rules look very similar to Mordheim. The models in your warband can get injured, explore, level up, buy new equipment, etc. I’ll need to dig into all of that later. The book also has a healthy set of scenarios that look quite good. The default assumption is players will play 12 games in a sort of escalation league, the last game being the final free for all conclusion to the campaign. You start the campaign with a 700 ducats spending limit, and a limit of 10 models on your team. You end the campaign with a limit of 1800 and 22 models. You could field quite the platoon.
The rules are available online for free—fantastic. The digital rule book takes advantage of the format, with hyperlinks to help you navigate through the document with ease. There is way finding in the left side margin of each page, to help orient your place in the book, but which also serve as hyperlink navigation through the book. The layout and design is lovely. The rules are well written and clear. There is a simple presentation of the rules that takes up about 8 pages and explains the whole game. This is followed up by a longer presentation of the rules which goes into a little more detail, providing additional clarity and examples. The simple rules are likely all you’ll need to read to play if you’re familiar with war-games, or need to refresh yourself on how the game works. Seeing a rulebook like this from a small indie company makes Games Workshop’s “we only sell you overpriced hardcover books that are out of date when you buy them” stance extra annoying.
I currently have enough models to do about 800 points. Evan kitbashed a Commando for me, which I’ll need to prime and paint. I want to try and kitbash more troops as well. Get to a point I could field a bigger posse for a bigger game.
I’m hopefully we will start a campaign in the city, and I can experience the fuller game. This game certainly is meant to be experienced as a long running campaign. That said, as it stands the rules work well for a fast standalone game. This is a solid skirmish game. Well worth checking out. I mean, it’s free!
I participated—and I use that term most loosely—in Sam’s epic online play-by-post “war-game”Over/Under is officially over. I look forward to all the dissertations about the game in the years to come. There were thousands of players, no doubt everyone experienced the games in ways that are unique to them. I would engage as I did at the start, showing up when I see we’ve all been tagged and posting a salute emojis. I also had a small running personal gag of joining people’s semi-private threads (like the Tempest’s Master of Arms’s office) and excusing myself when people started having private conversations. Other people went all in, playing the game non-stop for basically a month.
I jokingly described the game to friends as follows: [Over/Under] was basically a giant free form LARP, where everyone was gay for each other. And then deep in the background … a war-game—way, way deep. Obviously there was lots going on, but it’s wild just how much the game seems to have gotten away from its creator’s original vision. I picture myself as the player Sam likely imagined: I would check in a few minutes a day; vote when I needed to vote on the bosses initiatives; post random in-game messages here and there. There wasn’t really anything to do if you weren’t a boss. The players that dominated the game went a completly different route. They filled the giant void left by Sam with so much stuff. There were gambling dens, bars, tabloids, cage fights, new unofficial factions, Ponzi schemes … and lots and lots of doomed romance. The mod announcements as the game progressed were mostly about the doomed romance.
It’s kind of incredible this game worked at all. Lots of cooperation from lots of people to essentially not break Kayfabe. Early in the game someone set one of the bars on fire. One of the few times I was around to help with something happening in the game. Except, you couldn’t actually set a bar on fire in the game, restrain or injure another player, etc. Everyone just had to agree, this is what’s happening, let’s see how it all plays out.
Despite morphing into this free-form RPG LARP thing, it does feel like there is something essentially OSR about this whole affair: the void left by the rules was the game. I am curious if the game would have worked if Sam had tried to provide mechanical incentives for the plebeians on the side-lines, versus just the bosses. I don’t think you get the magic of this game without the rules void. Is Over/Under the best argument for System Doesn’t Matter™? Someone else can make that case!