13 Game Books You Must Own

A couple of years ago, I blogged about how every gamer should own a copy of Rick Swan's Complete Guide to Role Playing Games.  I still agree with this sentiment, but I would like to share another 13 books that every gamer should add to their library.  I'll be blogging about these books over the next few weeks, but I thought it would be good to point them out as a group now.  That way, we can hopefully talk more specifics later as I hope some of you will add a couple of these titles to your library if you haven't already.  These will by no means be the last books I mention, they just happen to be the handful that I grabbed off the shelf today.

Every gamer has an aspiration to design, and to design one must know what has gone before and get some sense of place within the hobby.  The following books are a great place to start:

1. Thirty Years of Adventure: A Celebration of Dungeons & Dragons: If you want a good glimpse of the game that launched our hobby, or at least the market for our hobby, this is a great place to start.  It is a "propaganda" piece, but it's still quite good.  I'll talk more about the strengths and weaknesses of this book when I get around to its post.
2. 40 Years of Gen Con: Robin Laws and Michelle Nephew give us a good collection that discusses the biggest gaming con in America.
3. The Complete Book of Wargames: Jon Freeman (aka John Jackson) gives an excellent overview of the War Game hobby at a time when that hobby was in an early transition.  By the late 80s, this hobby was nearly dead.  Today?  It likely has more players than ever, but its marketplace is very different.
4. The Fantasy Role Playing Gamer's Bible: Sean Patrick Fannon's excellent entry into the "so this is role playing and you should love it" library.  Try to get the purple 1st edition, the stick figure cartoons make the book.
5. Game Design -- Theory and Practice vol. 1:  There is no volume 2 to this book by Steve Jackson Games, but this is an essential addition to anyone's library.
6. Wargame Design: If you want to know the history of the gaming hobby, from its early Wargaming roots, this is a must own book.  The staff of SPI give a great overview of the hobby's founding, and present some good design guidelines.
7. A Player's Guide to Table Games: This is a great book to get your friends to bridge the gap from "mass market" games into "hobby games."  John Jackson (aka Jon Freeman) reviews and discusses everything from Monopoly to Sniper and the Sid Sackson revolution.  This book helps to demonstrate the Sackson/Euro link. 
8. Family Games -- The 100 Best:  This is one of two books that end up with 200 recommendations that every gamer should have in their library.  Trust me, these books provide a great "core" collection.
9. Hobby Games -- The 100 Best:  This is the second of the 100 Best books, and it contains titles that are less mainstream than in Family.  You should own every game in this book.
10. Heroic Worlds:  This book is a very good overview of the role playing game hobby as of the early 90s.  It is a vital research resource, and a good checklist for completists.
11. The Comprehensive Guide to Board Wargaming: Nicholas Palmer's essential introduction to the war game hobby.  It includes an overview of systems, and some puzzles to work out.
12. The Best of Board Wargaming:  A second book by Palmer.  This one contains more detailed reviews of games, and a good discussion of Simulation vs. Playability.
13. The Playboy Winner's Guide to Boardgames: Jon Freeman's reprint of John Jackson's book, and why I believe they are the same person.  You'll definitely read this one for the prose, as there are no pictures.  This book extends the discussion in Player's Guide to include RPGs and Squad Leader -- thus includes essay regarding Playability vs. Simulation.

Some Recommendations from Poul Anderson

Some time ago, Poul Anderson wrote a famous essay providing advice for would be authors of heroic fantasy. The title of the essay was "On Thud and Blunder" and that title became a descriptor for an entire sub-genre of mediocre and derivative heroic fantasy stories. In written form, "Thud and Blunder" tales would include the John Norman Gor novels (though those have additional issues as well), the Lin Carter Thongor tales, and the vast majority of Conan pastiches. In film, almost every heroic fantasy ever made -- with some recent exceptions -- falls into the "Thud and Blunder" camp. Kull, the Conan movies, Krull, The Sword and the Sorcerer and countless other films fall into this category. The recent Lord of the Rings and Harry Potter movies (among others) have managed to avoid the syndrome, as has the wonderful independent film The Midnight Chronicles by Fantasy Flight Games. One imagines that the upcoming Conan film will be no different from its predecessors in this way. It seems that whenever anyone writes a Conan story (no matter the medium), they use the old Frazetta covers as inspiration rather than Howard's work.

As an aside, Anderson mentions DeCamp as a fantasy author who managed to avoid writing tales of "Thud and Blunder." Those who are only familiar with DeCamp's Conan pastiches might find such an assertion baffling, as DeCamp's tales of Howard's barbarian are particularly bad, but those readers would be well served to read further into the library of DeCamp's work. Sprague was quite a wordsmith and when he wasn't busy unfairly damaging the writing reputations of talented pulp era writers, he was writing wonderfully fun and imaginative fiction. One might attribute the degrading of past authors by a talented author of one generation as a necessary "canonicide" by which one generation of writers asserts its talent and authority, were it not from the genuine pleasure that DeCamp seems to derive from reading the fiction of Howard and Lovecraft.

Adding to bewilderment in this regard is DeCamp's contemporary Lin Carter. Carter also enjoyed and promoted the virtues of heroic fantasy, and compiled wonderful collections of older fantasy writings. Carter's own attempts, like the aforementioned Thongor series, are nigh unbearable to read. Yet Carter's passionate, and articulate, introductions to his collections demonstrate that he could be a capable writer.

Maybe there is something about the heroic fantasy pastiche that brings out the worst writer in all of us, kind of like buddy heist movies can bring out the worst in screenwriters.

Back to "On Thud and Blunder" though...

The key tenant of advice that Anderson, who was a skilled author of heroic fantasy, gives to prospective authors is the need for verisimilitude in the presentation. Certainly fantasy tales will violate many of the laws of nature, but they should seem to take place in living and breathing worlds. Anderson provides several ideas for areas where authors might look to increase the realism of their world and the quality of their fiction. He recommends that authors think about the physical aspects of the environment (what lighting would really be like for example), the real politics, the role of religion, the realistic use of weaponry, and/or the lives of the common classes when they approach a fantasy tale.

When one thinks about it, the best fantasy stories are those that do just that. What draws me to George R.R. Martin's epic fantasy? His portrayal of political relationships. What draws me to Michael Moorcock's Elric saga? The living nature of the metaphysics and religion of the tales. Elric's actions have consequences and the religion of his people is a "living" thing -- quite literally. Tolkien was a wonderful practitioner of mythopoesis. Even when Tolkien's tales lacked "action," they contained deep realism.

Anderson's brief essay should be required reading for any fantasy author, and for most Dungeon Masters as well. Think about how much better your role playing game sessions would be if they took place in a living world. I often think that James Maleziewski's rejection of the "narrative" module model of rpgs, is that he wants to have room for a deep verisimilitude that is often included in "geographically" based adventures and lacking in "narrative" ones.

My only criticism of the Anderson piece are his uses of Society for Creative Anachronism activities as proxy for any kind of historical representation. These events have themselves become as divergent from the reality they seek to recreate as anything else. When one, as Anderson does, begins discussing chainmail constructed of hanger wire as analogous to real chainmail it is easy to see how the comparisons can begin to fail. Add to that modern metallurgy, which creates lighter and stronger metals, and the errors only begin to compound. SCA comparisons aren't useless, but they shouldn't be viewed as "accurate simulations" any more than an episode of "Deadliest Warrior" or a wikipedia article. Members of the SCA aren't typically Andre Marek who attempt to live their entire life as if they were in the middle ages. Speaking of Andre Marek, the Timeline film is a perfect example of how you can take a book which isn't "Thud and Blunder" and transform it into a "Thud and Blunder" tale in another medium.

I'd like to re-assert though that if you want to write fantasy, or if you are looking for game master advice, Anderson's "On Thud and Blunder" is must reading.

Continuing the Conversation -- New "Blogging Pulp Stories" Page Added

I will be resuming my [Blogging Northwest Smith] series of posts next week with the story "Yvala." I have very much enjoyed reading the stories and writing my thoughts about them, but work, school, and two and a half year old twin daughters have interrupted the process.

In honor of my renewed intent to fulfill the social contract I entered with you last year, I have added a page to this blog entitled "Blogging Pulp Stories." On this page, you will find a listing of all the Northwest entries. As time permits, I will add other stories to the list as well. After Northwest will likely come Jirel of Joiry -- might as well read more Moore as she has a wonderful voice. This will likely be followed by a foray into "lost" DeCamp. I recently purchased a copy of a UK issue of Unknown Worlds that contains the Sprague DeCamp story "Solomon's Stone," and I am itching to read it. In his book Fantasy Roleplaying Games John Eric Holmes mentioned the story as a "proto" rpg tale, and I have longed to read it since Holmes' mention.

One of the reasons I am looking forward to re-igniting this series is because of the tremendous influence these tales have had on the gaming hobby and on popular culture in general.

Now on the iPhone: Fighting Fantasy Gamebooks -- WARLOCK OF FIRETOP MOUNTAIN

Searching my through my favorite interwebs sites the other day, I stopped by the Official Fighting Fantasy gamebooks website and discovered, much to my pleasure, that Wizard Books was releasing several of the Fighting Fantasy titles as iPhone applications. The first book in the series to see release was the classic Warlock of Firetop Mountain, the book that started the whole Fantasy Gamebook phenomenon back in the 1980s when I was a wee lad.

The Fighting Fantasy Gamebooks were a book series created by Games Workshop co-founders Steve Jackson and Ian Livingstone (who are that rare breed in the gaming industry game designers and keen businessmen) that combined the reader interactivity of the Choose Your Own Adventure series of books with the game mechanics of early role playing games. Readers of Ian Livingstone's Dicing with Dragons (Signet), a book Livingstone wrote to introduce audiences to the role playing hobby, it comes clear that Livingstone was inspired by the solo adventures offered by Flying Buffalo in support of the Tunnels and Trolls role playing game.

Here's how Livingstone describes Tunnels and Trolls, one of four games he thought "worthy" of introducing neophytes to:

If Tunnels & Trolls (T&T) did not have one special feature (apart from the general ease of play), no doubt it would have achieved little in the way of popularity -- indeed, its author claims that it was originally designed purely for his own entertainment and that of his friends. Role-playing is generally a gregarious pastime -- one person is the referee and designer of the locations to be explored, and several more are needed as players. However, many people are keen to engage in role-playing but for one reason or another cannot participate in groups of like-minded enthusiasts. An isolated geographical location or lack of free time or transport, or work involving unsociable hours can all conspire to produce the solitaire role-player. In common with some other RPGs, Tunnels & Trolls has a considerable number of ready-to-use adventures, but, unlike most others, which are generally designed for normal group play, most of the Tunnels & Trolls adventures are specifically designed for solitaire play, and thus fill a distinct need in the role-playing market.

Emphasis mine.

Two things emerge from reading this paragraph. First, that Livingstone admires what St. Andre accomplished with T&T -- both in simplicity of rules and in innovation. Second, that Livingstone looks at role playing as an industry. That paragraph reads like part of a SWOT analysis someone might write as background for the introduction of a new product line. Livingstone and Jackson have always been at the forefront of new technologies when it came to integrating role playing and media. Interactive 900 line rpg adventures, video games, books, mass market paperbacks, board games, and miniatures war games are all in the line of products in which they have been directly involved. Now we can add to that long list -- iPhone application translations of their gamebooks.

While Livingstone and Jackson may have received inspiration from St. Andre's T&T both in the idea of a solo adventure market and the importance of simple rules, their Fantasy Gamebooks truly took T&T's solo adventures to the next level. Where the solo adventures by Flying Buffalo typically came in around 32 - 64 pages, the Fighting Fantasy Gamebooks were the size of full length paperback novels -- around 220+ pages -- something that enabled them to add greater narrative to the stories making for "deeper" interactive experiences.



Warlock of Firetop Mountain, which was drafted under the working title Magic Quest, was the first Fighting Fantasy Gamebook released into the market. It featured very simple rules, later products demonstrated how "deep" these simple rules were, and a relatively simple story. You were a warrior in search of wealth and glory who has climbed to the peak of Firetop Mountain in order to claim the treasure of the Warlock Zagor. You didn't have a very heroic motivation, and the world wasn't very well developed. The book was very much an early D&D style module translated into solo play. Go into a hole, kick down doors, kill things, and take their stuff. At least that's how it seems at first.

You see, there is only one real "solution" to the book -- other books in the series would have several possible solutions -- and it wasn't an easy solution to discover. You had to map your progress, especially considering there is a maze in the middle of the adventure. If you map it, the maze isn't complex, but if you don't...the frustration is substantive.



The latest application for the iPhone is a direct translation of this first gamebook -- a very good direct translation. I was able to use my old hand drawn map as I played through the encounters, and thus was able to find some nice enhancements and some minor glitches in the game.

I have to say that after playing one of these as an app, I'm going to buy whatever books they release in this format. It works better than flipping back and forth, and I can't cheat when fighting the battles -- it maximizes the play aspect by keeping track of all of the combat information and your equipment. The app limits your options to those you genuinely have available to you and you can't flip back and forth to see which choice is superior. You really have to play the game as it was designed.



I also appreciated the way that the app incorporated and enhanced the artwork from the original book. The app has the original line artwork from the book, but if you touch the images they get enlarged and become color images. The transformation from line art to color shaded art work makes for some very impressive images. The ghoul and the cyclops statue were two of my favorite images in the original, and they look even better in color.



As much as I loved playing through, I did notice two significant flaws -- likely corrected in the current updates. When I "lost a point of Skill" after looking into a portrait of the Warlock, I performed an action which should have returned the skill point to me -- in fact it should have returned up to two lost Skill -- but my skill remained at the lower rating. Additionally, when I acquired a magic sword, I was prompted to discard my current sword -- which was correct -- but the only sword listed in my inventory was the new magic sword and I had to discard it. This didn't affect game play, as the I still received the bonus for the magic sword even though I wasn't "technically" in possession of the weapon. These are two significant, but not overwhelming glitches in the game.

If you like Fantasy and want a fun application that is good for quite a few replays, you should purchase Warlock of Firetop Mountain for your iPhone. If you don't have an iPhone, you should buy the paperback which was re-released last September. On February 10th, the second Fighting Fantasy App Deathtrap Dungeon was released -- and bought by me.

Cinerati Book Review: The Mall of Cthulhu by Seamus Cooper

In the movie My Favorite Year, Alan Swann (Peter O'Toole), in quoting another actor, claims that "Dying is easy. Comedy is hard." While the origins of the quote are relatively unknown -- being attributed to several sources -- the spirit of the quote is none the less true. It is very difficult to write an engaging work of comedy of any length. Nowhere is this more evident than in comedic Science Fiction and Fantasy writers.

While there are those like Terry Pratchett, Douglas Adams, and Ernest Bramah who have written what many consider to be consistently high quality SF/F books of a humorous nature, the majority of genre humor writers fall into a trap that Jo Walton succinctly describes in a blog post on her love hate relationship with humor fiction. Walton argues that the majority of humor writing tries to hard to be funny and doesn't let the humor rise organically from the material, and she finds this very frustrating as a reader. As she puts it, "I hate things that are trying to be funny, rather than letting the humour bubble up from underneath." I agree with her sentiment, and I agree that this is a pratfall that too many writers fall into too easily.

It is a pratfall that Seamus Cooper risked falling into in his recent novel The Mall of Cthulhu. The novel, published by Night Shade Books this past June, attempts to use comedy to synthesize the mystery procedural with weird fiction.

The book's plot is relatively simple. Ten years ago, a college student named Laura Harker was saved from being turned into a vampire when a geeky folklore student named Ted charged into the vampire's den -- the Omega Alpha sorority -- and slew all of the undead occupants therein. This act of heroism shattered Ted's sanity, and led Laura to pursue a career in the FBI. Ted now works at a chain coffeehouse named Queequeg's hoping that the mind numbing routine of a service job will help him remain sane, and allow him to lead a normal life. Alas, Ted's fate -- and Laura's -- is not destined to be one of day to day doldrums. Ted has accidentally stumbled upon a group of modern day Cthulhu cultists who wish to use a shopping mall in Providence, Rhode Island as a nexus of power to summon the Old Ones to wreak havoc on the world.

As the back of the book describes it, "[Ted] and Laura must spring into action, traveling from Boston to the seemingly-peaceful suburbs of Providence and beyond, all the way to the sanity-shattering non-Euclideian alleyways and towers of dread R'lyeh itself, in order to prevent an innocent shopping center from turning into...The Mall of Cthulhu.

The book is an entertaining read that hits all of the right plot points for a first novel in a series of comedic weird tale procedurals. The two main characters, Laura and Ted, are extremely likable and Cooper's writing has us empathizing with them as real people in relatively quick order. Especially engaging, for me, was Cooper's ability to convey just how mentally damaging slaying an entire pack of vampires might be -- particularly when the person doing the slaying is an everyday kind of guy. Laura is also affected by the night of mayhem. Nearly being turned into a vampire by someone she was attracted to has had lingering affects on her ability to form long term romantic relationships -- she has a hard time trusting the women she meets.

As a procedural, the story works its way through the mystery at a nice pace and we get to see how Ted's impulsiveness -- and laziness -- interacts with Laura's trained professionalism and adherence to routine. It makes for some nice narrative tension when Ted gets into trouble and Laura comes running to help. Is she too late? The only real problem with the underlying mystery is that it opens feeling like a grand conspiracy and ends as what feels like a few guys with a chip on their shoulder acting out. I understand that mass conspiracies are implausible and unsatisfying, but so is a small group who don't seem capable of some of the tricks they pull early in the plot. I didn't need a huge conspiracy, but one that was a little bigger would have been beneficial. With that small complaint, the book's procedural elements were interesting enough to keep the reader engaged.

The book has a good pace, likable characters, and is an entertaining procedural. But...is it funny or does it fall into the trap of trying to hard to be funny? The short answer is both. At times Cooper has me laughing inside my head at one joke or another. It's pretty amusing to read about a character so disturbed by the mind numbing timelessness of R'lyeh that he begins kicking Cthulhu in the head in the hopes that the Old One will awaken. It's also funny reading about someone sitting in a dumpster, using a milk filled garbage bag as a pillow, while reading a version of the Necronomicon through the eyes of a character in a Sims-like video game. The book also avoids an over-abundance of puns. There are "easter eggs," to be sure, but Cooper refrains from making every other line of the book a pun.

The comedy does break down a little bit in three distinct ways.

First, there are both too many, and not enough, internet porn references in the book. Had Cooper used only a couple such references, they would have remained funny. Had Cooper tossed one out every couple of pages, they would have become funny again. Sadly, Cooper used them to the point where they lose comic value, without using them enough to where they become funny again -- though the foot fetish porn comment was in itself amusing.

Second, the commentary about Lovecraft's racism, and his "ambiguity," became tiresome. No one who has read any Lovecraft can walk away from his fiction without the strong feeling that Lovecraft had some peculiar ideas about race -- and likely eugenics -- but readers don't need to be reminded every chapter. Cooper attempted to use this conversation, as well as a couple of rough asides about role playing games, as witty banter -- banter that also served as an important connection between Lovecraft and the cultists -- but it gets a little over played. It might have seemed less overplayed if Cooper had included more specific examples of Lovecraft's racism by including quotes from stories where Lovecraft's racism really shines through. This is a place where it would have been nice to have been shown rather than told. Give the reader a couple of passages from Dunwich Horror and have your characters talk about how disturbing they were. The same can be said for the mocking of Lovecraft's use of "indescribable." Though it should be noted that Cooper does have a good comedic moment in R'yleh which is only made possible due to previous complaints regarding Lovecraft's prose. Once again, it would have been nice to get some more actual Lovecraftian passages. The purple prose might have been comedy enough all by itself.

Third, Seamus Cooper's attempts at political humor largely fall flat. The best political comedians skewer both those they agree with and those with whom they disagree fervently. Cooper's political jabs can be summed up as simply as Republicans underfund paranormal defense and Democrats fund it appropriately. Their was one gem of a joke where the post-94 Congress wanted to restrict a certain agency to using only "Biblical Based Defenses." Anyone who has read a Chick tract should get a good chuckle from that conversation, but by and large Cooper misses a couple of real opportunities for humor. For example, why wasn't Nancy Reagan's use of an Astrologer included? One can easily imagine a dozen jokes stemming from that concept alone.

What if Ronald Reagan, after he fired the striking Air Traffic Controllers, had the replacement military controllers have planes fly paths prescribed by the Astrologer? And what if those paths corresponded to a particularly dangerous summoning ritual? One could have a field day with that, as one could also have had a field day with Clinton needed a special anti-Succubus Secret Service Agent, or how Tipper Gore's anti-D&D statements in her book Raising PG Kids in an X-Rated Society led to some D&D obsessed "occultists" using a ritual they thought was fake against her? There is no limit to where these jokes could go.

Were I Cooper's editor, I would have had him unpack a lot of the political comments and have him transform them into more specific jokes. There's a lot of humor, on both sides of the aisle, to toss around and the book would have been better for it.

These complaints aside, The Mall of Cthulhu was exactly the book I needed when I read it. The book is an enjoyable and light-hearted yarn where underfunded, and under-powered, good guys have to fight against larger than life enemies -- including a hundred plus year-old sorority member vampire priestess named Bitsy.

Books Every Gamer Should Own: Rick Swan's The Complete Guide to Roleplaying Games

In November of 1990, the world of role playing games was still largely a mystery to the majority of mass culture. Most people "knew," thanks to the culture wars, that D&D was devil worship and it made you go crazy like Tom Hanks in "that" made for TV movie. There had been some products released in the 1980s that attempted to convey to the lay person what role playing games were about and what some of the best role playing games were. These products did a good job of introducing the concepts, systems, and assumptions underlying role playing games as a hobby. They also provided great information to those who wanted a better understanding of these games than the evening news was providing them -- sadly not enough people read these books and some of the misconceptions regarding rpgs linger into the modern day.

While the concept of what role playing games are was a mystery to the majority of the public, the vast array of products available and whether they were of good quality or not was largely a mystery to the majority of gamers. Unless you subscribed to THE SPACE GAMER, WHITE DWARF (before it became all Warhammer all the time), THE DRAGON, or some other gaming magazine -- most of which were fairly obscure and weren't available at your local bookstore (THE DRAGON being the exception) -- you had no source for thoughtful and accurate reviews. Since the creation of the role playing game hobby, circa 1973 with the publication of D&D, literally hundreds of new games -- in a wide variety of genre -- had been published. Some were still in print, others had come into print and faded away. Unless you had a phenomenal hobby store in your local community you were likely unaware of the majority of these games.



Into this product rich and information scarce environment arrived a perfect catalog for the role playing aficionado, Rick Swan's The Complete Guide to Role-Playing Games. Even if the "complete" in the title was a bit of an exaggeration, there were many games excluded from the book, the volume is was an invaluable resource for the gamer who wanted to know what was available in 1990 and whether it was any good or not. The fact that the book is topical today is a testimony to the insightful reviews provided by Rick Swan. The majority of the reviews are "true reviews" and not merely product recommendations. This is because the reviews don't merely provide a recommendation pro or con a particular product, they also give a glimpse into the history and mechanics of the game. One can determine whether a particular review is a "true review" or a mere product recommendation by asking themselves one simple question about the review, "does this review add value to the 'art' in addition to evaluating a particular product or work?" In the case of games, a "true review" would include meaningful discussion regarding game design -- from either a mechanical or narrative perspective. Many of the reviews in Rick Swan's book meet this criterion.

This isn't to say that I agree with every review, I don't, but it is to say that the vast majority of the reviews in this book are a worthy read for gamers of any generation.

An example of an argument that Swan presents in the book that has shaped the way I view my hobby (how often can you say a review has shaped the way you view a particular medium?) is this section of his review of the Dungeons and Dragons Game -- in this case the Red Box Basic Set and not AD&D:

Purists grumble that D&D isn't just simple, but simple-minded. The rigid character classes give players little freedom in customizing their PCs, and advancement by levels is arbitrary and unrealistic. The magic system and combat rules are illogical, Armor Classes represent the chance of being hit rather than offering protection from damage, experience points are meaningless and abstract, the adventures are juvenile... you get the idea.

These grouches completely miss the point. Complaining that Dungeons and Dragons is an unrealistic RPG is like saying that chess is an inaccurate wargame. We aren't talking about delving into the social structure of medieval Europe here, we're talking about tossing fireballs at lizard men and swiping gold pieces from ogres. Dungeons and Dragons provides a streamlined, easily mastered set of rules that emphasizes action and adventure. And as a bonus, it's an excellent introduction to the entire hobby.

This is only a small section of Swan's review of the D&D game, which he gives 3 1/2 stars out of 4, but within these two paragraphs you can begin to see an underlying philosophy of what role playing game design should focus on. In this case, the argument is that it is perfectly appropriate for a game to focus on fun at the expense of realism -- an argument that Gary Gygax often made in THE DRAGON while defending his creation. Amazingly, many of the criticisms launched at Basic D&D can be heard in the criticisms many people are making of the newest edition of D&D (4th Edition). It is often said that the game is overly simple, for MMORPG obsessed teens, for those too stupid to understand the complex rules of 3.5, and a score of other statements that echo the sentiments that Swan so easily pushes to the side. Like the Basic Set, 4e is an excellent introduction to the entire hobby.

As I wrote earlier, Swan's review of D&D is one of the things that helped shape my appreciation for the gaming hobby and helped me form my underlying philosophy. My philosophy is simple, the system should serve the intention -- an adaptation of form follows function. But in the case of my gaming philosophy, ornament isn't necessarily a crime -- ornament can be the purpose; and in the case of games the narrative "fluff" can be said to be the ornamentation surrounding the mechanical design. The ends of gaming is "fun" and though that word can have many definitions, it is the goal of the game designer (and the DM and players in interactive role playing games) to play toward the goal of fun. Needless to say, fun trumps verisimilitude at every turn in my gaming philosophy. I'm not a purist. I like elements of chance introduced into my games. But then again, much to the dismay of Adolf Loos, I adore art nouveau.

It is this love of "form follows fun," that also points to the review where I most disagree with Mr. Swan. He is unkind to the classic Pacesetter game Chill. According to Swan Chill is:

a horror game for the easily frightened...While most of Chill's vampires, werewolves, and other B-movie refugees wouldn't scare a ten-year-old, they're appropriate to the modest ambitions of the game...Though it's been out of print for years, Chill remains as popular as ever on the convention circuit. I'm not sure why...Chill is too shallow for extended campaigns and lacks the depth to please anyone but the most undemanding of players.

I guess for Mr. Swan it's okay for a fantasy game to be about throwing fireballs at lizard men, but it isn't okay for a horror game to be based on the Universal Classic Horrors or the glorious Hammer films. Mr. Swan, it seems, is only satisfied by the deeply nihilistic horror of the Lovecraftian kind exemplified by Call of Cthulhu where life is meaningless. Too bad, Chill has some wonderful fodder for the Game Master well versed in the classic horror tale who wants his players to be ghost hunters like the Winchester Brothers rather than gibbering lunatics who have seen what man was not meant to know. I have always been struck by how an individual can defend the simple gateway game on one hand, but then dismiss another because it isn't high art. And that criticism can apply to any number of critics.

Disagreements aside, the book is a wonderful and necessary edition to any gamer's library.

Science Fiction and Fantasy Pleasures of 2007

Yesterday, I posted my Science Fiction and Fantasy Pains of 2007. Now that is out of the way, I can write about the things that made me giddy this year. Tomorrow, I'll post about those things that I feel ambiguously about, but today is for happiness. Yesterday was doom and gloom, but today is joy and celebration. I encountered a lot of SF/F that I enjoyed this past year, in fact it has been a good year overall, and it has been hard to limit myself to just five pleasures from 2007. But rules are rules, and yesterday I wrote that I would provide five pleasures. So here goes. Be warned though, like the LA Times article that inspired me, some of the things that brought me pleasure this past year aren't exactly new (just new to me).

5) Mass Effect by Bioware: There are times when I begin to wonder whether a visual medium can convey the wonders I imagine when I read a good Science Fiction novel. Then there are the times that I am playing Mass Effect. Bioware amazed me with their groundbreaking Star Wars: Knights of the Old Republic videogame RPGs. I never thought they'd be able to top those games, or that anyone could for that matter. With KotOR Bioware out Star Warsed (I know it looks awkward, but it sounds cool out loud) Georged Lucas. Then they released Jade Empire and I was stunned. Jade Empire took the excellent non-combat resolution system from KotOR and overlayed an exciting, yet intuitive, action combat element. I'm not the most "1337" (that's leet or elite) of game-players, especially in 3D interactive environments, but I was able to excel at Jade Empire. The same has been true of Mass Effect. I may get pwnt (that's owned or easily and readily defeated by elite gamers) when I play Halo 3, but when I am battling the enemy in Mass Effect I feel extraordinarily proficient. That is the elegance of the combat system. My only complaints are that real life days aren't long enough for me to play this as much as I want and that the protagonist comes off as a bit of a jerk no matter what dialogue choices I make. This would be rated higher if it had come out sooner and I were deeper into the game.

4) John Scalzi's Old Man's War Series: Imagine if you took the Forever War, Starship Troopers, and Gulliver's Travels and you put them all in a blender set to liquify. That's what the Old Man's War series is like. I may be baffled that Scalzi is willing to offer whole stories from this series to his fans for free, sure in audio format (though you can read the text version here), but they are so good that I am tempted to send John money just to make sure he will continue writing. Not necessarily the Old Man's War series, I am satisfied with it as it stands, but other things as well. Scalzi has a wonderful writing style and his ability to convey humor and humanity in often horrible circumstances is remarkable. I cannot recommend Old Man's War, The Ghost Brigades, or The Lost Colony high enough. It is rare to find accessible, yet crunchy, SF these days, but Scalzi has managed to do just that. He even manages to make political commentary without being preachy. Now that's hard.

3) The Detective Inspector Chen series by Liz Williams: If you took Blade Runner and Neuromancer, shredded the books, and pasted them into a novelization of Big Trouble in Little China with a dose of Bridge of Birds for good measure, you might just get something similar to the Detective Inspector Chen books. Maybe close, but not quite. The books take place in a society where both technology and magic exist, the protagonist has a demon wife, there's an underground trade in souls, and the internet equivalent has servers that are slightly disconcerting. The stories are as fun as the covers are stellar. If you like the Dresden Files and Hong Kong cinema, give this series a look.

2) The announcement of the 4th Edition of the Dungeons and Dragons role-playing game: I know this was on my list yesterday, but as I wrote then, this is a pretty big deal and I'm pretty excited about it. Yes, I lament the fact that a couple thousand dollars worth of books I own are now "obsolete," but I look forward to seeing what changes are coming with the new system. I have always thought that the game was fun, but that it lacked in certain ways as an abstraction of fantasy fiction in general. Many of the new rules seem to be aimed at fixing this small flaw and making the game a more seemless simulation.

1) The Geekerati Podcast I do with Eric Lytle, Bill Cunningham, and Shawna Benson: What does this have to do with SF/F? Everything. I decided to put the whole podcast down as a single Pleasure because otherwise I would have had nothing but Geekerati episodes listed in my top five. Starting with our interview with Susan Palwick about her excellent book Shelter, which was one of my favorite SF reads this year, the show has had a number of excellent segments. I recommend you stop by and listen to our Tim Minear (of Angel and Firefly fame) interview, our interview with Marc Bernardin (the Highwaymen comic), our interview with Win Eckert (of the Wold Newton Universe), or our discussion of Beowulf. In fact, hang out on the site for a while and download all our episodes. You won't be sorry.

Ursula K LeGuin, Cory Doctorow, and Copyright

I have been wondering for some time now just how long the SF/Fantasy community will allow themselves to be swindled by Cory Doctorow's attempts to undermine copyright protections for writers. He's been incredibly crafty in his arguments. He has adeptly, and accurately, demonstrated how corporations often claim the copyright instead of the authors who created a product, but he uses this to shift the issue away from "creator ownership" issue into an "us vs. the corporate overlords" argument. Doing so he simultaneously points out a genuine injustice while misdirecting our ire toward the concept of copyright, which in fact protects creators (at least when corporate overlords don't hijack the rights). He has also pointed out that SF/Fantasy fans tend to both download and purchase hard copies of the things they like. In essence, the SF/Fantasy fan steals a peek, then buys the product, thus doing no "real" damage to the right holder.

I have never found Mr. Doctorow's arguments, and he has others, all that convincing. They seem to be overly concerned with "audience" rights and not with creator rights, which are necessary if people want to be able to make a living from this stuff. Certainly, there is some pretty wacky copyright legislation out there (lifetime plus how many years?), but that doesn't mean that the creator of a product doesn't have the right to profit from his or her creation. They should, and do, and current laws protect such rights.

In the past, the majority of the people I've read who seem to have any agreement with me have been corporate shills, and I don't want to just hang out with corporate shills -- or just them and Harlan Ellison (registered trademark) for that matter. So you can imagine my joy at finding that Ursula K. LeGuin also finds Mr. Doctorow's crusade a little too aggressive. It appears that Mr. Doctorow printed "in its entirety, a one-paragraph story that Ms Le Guin sent to the fanzine Ansible." LeGuin took issue and Mr. Doctorow eventually took action and apologized. You can read the original story at LeGuin's website.

LeGuin has accepted Mr. Doctorow's apology, but I'd like you to look at a couple of key phrases in Doctorow's apology which hint that he is also practicing more than a little self-righteous self-justification.

Andrew Burt, the person whom Ms Le Guin chose to communicate the matter to me, is someone with whom I had put in a killfile following an altercation. I delete all emails from him unread, and if he sent me a message, I did not see it.

Unless Andrew Burt (you can read a copy of a letter he wrote Jerry Pournelle here) and Mr. Doctorow engaged in a serious brawl, it seems a bit petty for Mr. Doctorow to have put his emails in a "killfile." I don't believe that Judd Apatow put Mark Brazill in his killfile, even after being told to "Get cancer." But I don't know the nature of the "altercation," I just know that Mr. Doctorow has used a word which has some heavy implications. Though given his frequent use of rhetorical techniques which might make Gorgias blush, I think it might be little more than a heated email/comment section/message board flame war.

In fact, it seems that Burt's major sin (according to the Doctorow piece) is that Burt believes in copyright protection, "Burt is the Science Fiction Writers of America VP who had previously sent a fraudulent takedown notice that resulted in my novel being removed from an Internet document server." So Burt tries to protect Doctorow's copyright, making an error that forces a takedown notice, something LeGuin describes as "An overworked committee mistakenly identified a few works, among many, as infringing copyright; the mistakes were promptly admitted and redressed, with apologies." That appears to be our "altercation." Which makes me think that Mr. Doctorow is a bit like Mark Brazill in all of this, even his apology seems snide and canned. This is implied by his assertion that, "My understanding is that she is unsatisfied and remains upset with me." When LeGuin is on the record as writing, "It may be a bit clouded with arguments and self-justification, but apologising is hard, and apologies are rare and valuable. I accept his in all good faith." Who seems to be the one most in need of justification here?

As for me, I agree with LeGuin's hope that, "In my view, the best thing that could come out of my brush with the Doctorow Doctrine would be this: the honorable reinstatement of the SFWA e-piracy committee, with an expression of appreciation from SFWA officers and members of the honest and effective work they have done for us for so long."