Rethinking Dungeons & Dragons: An Alternate "Original D&D" Combat System

As you might have noticed, I've been on a bit of a Dungeons & Dragons history and prehistory kick of late. My past two posts have discussed articles from the old British Miniature Soldier Society's Bulletin and the Society of Ancients Slingshot Magazine and how those relate to the early development of D&D. I'll be returning to that series of pre-D&D influences in the British gaming scene soon, but I recently read a very interesting conversation over on the OD&D discussion boards regarding the combat system for David Arneson's Blackmoor Campaign.

As most of you know, Dungeons & Dragons is over 40 years old and though the game has changed a lot over the decades one thing has remained the same. In every edition since the Little Brown Books first introduced the "Alternate Combat System" the basic mechanic of the game has been for players to roll a Twenty-sided die to determine success or failure when attacking in combat. That term "Alternate Combat System" has always intrigued me. While the original Little Brown Books recommend using Chainmail as the combat system for D&D play, it isn't evident that this was the system that either Arneson or Gygax were actually using in their pre-publication D&D games. Writers like Jason Vey, Jason Cone, and Daniel Boggs (as Alderron) have all examined how to run D&D using the Chainmail system. Jason Vey's Spellcraft & Swordplay Core Rulebook and Daniel Boggs' Champions of ZED: Zero Edition Dungeoneering have gone even further an attempted to create and play games that are similar in style to the game David Arneson may have played in the pre-publication days of D&D.

The recent conversation on the OD&D discussion boards was started by Daniel Boggs who was inquiring what David Arneson's post-Chainmail game sessions might look like. According to Boggs' post, Arneson's crew may have played using rules adapted from an Ironclads rule set Arneson had designed for American Civil War ship to ship combat. I initially confused Arneson's Ironclad rules with Tom Wham's Ironclad rules and some large sum of cash spent at Noble Knight Games later, I discovered that these were not the rule Boggs was referencing.

The discussion board conversation inspired me to play around with a "pre-D&D-esque" combat rules set of my own based on a system of rolling 2d6-2 for the combat rolls. If you read the Boggs' led conversation, you'll see that 1-10 rolls (or 0-10 rolls) might have been used by Arneson's team. My goal here is to open a conversation and get feedback before playtesting. I'm in the process of adapting the Chainmail rules outright, but this would be another alternative system.

The original Chainmail man-to-man combat system, as Boggs/Vey and others have pointed out Chainmail has at least 3 combat subsystems, uses a comparison of a person's weapon and an opponent's armor to determine the to hit roll. For example (looking at the table below), a person with a dagger would need to roll a 12 on 2d6 to hit a person wearing Plate Armor and Shield. Any blow struck kills the target, or deals 1d6 damage in D&D's adaptation of the rules.

This is a very workable system that has a lot of granularity and is one that I'm looking forward to playing with my regular game group, but it is also one that is more "fiddly" and combat table based than many modern gamers are used to in their games. If you look at the table above, you'll see that Chainmail used an ascending Armor Class much like the modern game. This was reversed in original D&D and Armor Class was rescaled so that lower Armor Classes were better and Plate Armor and Shield was given an AC of 2, while No Armor was given an AC of 10.

Under a d20 system, I have come to prefer ascending ACs as being more intuitive for players, but in the system I'm about to propose I'm going to recommend keeping the reversed ACs of the Original Little Brown Books.

What is my alternative system? It's fairly simple and is essentially what was discussed in the OD&D boards. I want to experiment with rolling 2d6-2 where the characters hit if they roll less than the AC of the defender. You can see a breakdown of the probability of success below. I've selected "less than" rather than "equal to or less than" because I want to have some potential for automatic failure.

You'll notice that this system makes it very difficult to hit opponents with a good armor class. A player would only have an 8.33% chance of hitting an opponent with an AC of 2 (Plate Mail) and only a 2.78% chance of hitting an opponent with an AC of 1 (Plate Mail and Shield). This won't be too big a deal if GMs ensure that such armors are expensive and doesn't give too many creatures an Armor Class that low. Such a strong defense should be limited to Dragons and the like.

Now that I've established the base to-hit numbers, I've got two D&D related questions to answer.

1. How does level advancement affect to hit rolls for both monsters and character?
2. How much damage is done on a hit?
   

Keeping the basic classes of the first three Little Brown Books (Fighting Men, Clerics, and Magic Users), I think that these classes improve in their ability to bypass armor as they increase in levels by having the ability to modify the Armor Class they are rolling against. In essence, higher level characters are more able to see and exploit the weaknesses in armor and thus can treat Armor Classes as a higher Armor Class as they gain levels. I would propose an advancement that looks like the one below. Fighting Men begin play with a slightly better chance to hit opponents than other classes and start with a bonus where other classes have to wait and have a lower total bonus at higher levels. Keep in mind that the Armor Class Adjustment is added to the Opponent's Armor Class and not to the die roll. Thus a 13th Level Fighting Man would attack Plate Mail and Shield (AC 1) as if it was Leather and Shield (AC 6) and would hit that 58% of the time. This may seem pretty radical, but keep in mind this is a very high level Fighting Man and that it is only a single hit.

The second question is what to do about damage. In Chainmail a single hit equals death, but "Heroes" and "Superheroes" are able to take multiple hits before dying. This is reflected in the Little Brown Books in two ways. The first is the "Hit Points" with which gamers are well familiar. The second is by counting characters as multiple "Men" as they progress. A high level Fighting Man might eventually fight with the ability of "8 Men" at the "Superhero" rank. Essentially, the ability to fight as multiple people is reflected in the Hit Points of the characters as they have a number of d6 Hit Dice that are essentially equal to the number of "Men" the character can fight as. Given that all weapons in the Little Brown Books do 1d6 damage, each successful attack does enough damage to kill a level 1 character (1 Hit Die of 1d6 vs. 1 attack of 1d6 damage), it doesn't really matter whether you want each attack to do 1 "Man" of Damage or 1d6 of damage. It's only when you add the rules for Magic, and this is D&D after all, that it becomes evident that the damage should be 1d6 per hit.

But how many "attacks" does a character get? Looking at the Fighting Capability, you can see the references to a number of "Men" for each class. That's what I would use to determine the number of attacks. Yes, this means that I'd have a high level fighter making 8 attacks against opponents. You might think that this affects game balance, except when you compare it to the damage that high level Magic Users are capable of dishing out I think it's more than warranted.

These are some preliminary thoughts on a Alternative to the "Alternative Combat System" that captures a bit of the miniature inspired play while being a bit more freeform than a strict adherence to Chainmail.

What are your thoughts?

A Look at the First Flash Gordon Role Playing Game

I recently received my copy of the Flash Gordon Role Playing Game for the Savage Worlds system. I cannot be more excited to crack it open and try to convince my players to game in this wonderful setting. Like Shane Hensley (the creator of the Savage Worlds rpg), I am a huge Flash Gordon fan from serials to comics to 80s cult-classic, and am eager to see the setting emulated in a game system designed with this setting (among others) in mind.

Before I review the new game though, I thought I'd take a moment to reflect on the first Flash Gordon role playing game, a game that was among the first licensed role playing games ever published.

In the nascent days of role playing game yore -- 1977 to be exact -- Fantasy Games Unlimited published one of the first Science Fiction role playing games to hit the market with Flash Gordon & the Warriors of Mongo. The first two science fiction role playing games were TSR's Metamorphosis Alpha (1976) and Ken St. Andre's Starfaring (1976). Flash Gordon was one of a couple of games Fantasy Games Unlimited published that was co-written by Lin Carter -- yes that Lin Carter, the one who is responsible for most of Appendix N being in print -- with another being Royal Armies of the Hyborean Age.

Where Royal Armies was a set of miniature warfare rules set in the Hyborian Age, the Flash Gordon role playing game was an attempt to create an entirely self contained role playing game complete with campaign setting and campaign in one 48 page volume. That's quite a thing to attempt and I have been surprised at how well Flash Gordon accomplishes its goal -- especially given the low esteem in which the RPG.net review holds the game.

The book has its flaws, but it also has its brilliance. The flaws lie within the underlying rules for the conflict resolution system. The brilliance lies within the freeform campaign implementation system, a system remarkably similar to the Plot Point and Encounter Generation system mastered by Pinnacle Entertainment Group in their Savage Worlds series of games. More on this later. It's time to look at Flash Gordon & the Warriors of Mongo.

System Mechanics

In a brief note at the beginning of the book Lin Carter sets out his chief objective in the drafting of Flash Gordon. "My own personal debt to Alex Raymond, and my enduring fondness and admiration for Flash Gordon made this set of rules a labor of love. I was dead set against Scott's [Scott Bizar] first idea of doing a book of wargame rules and held out for adventure-scenarios, instead."

Carter wanted a game that was able to capture the excitement of the old Flash Gordon serial through the use of a collection of adventure-scenarios bound by a single rules set. Rules that were intended to "provide a simple and schematic system for recreating the adventures of Flash Gordon on the planet Mongo." With regard to their goals, Carter and Bizar both succeeded extremely well and failed monumentally.

The system is simple...and confusing...at the same time.

Characters roll three "average" dice for the following four statistics -- Physical Skill & Stamina, Combat Skill, Charisma/Attractiveness, and Scientific Aptitude. It's an interesting grouping of statistics that demonstrated FGU's willingness to look beyond the "obligatory 6" statistics created by TSR. The inclusion of Combat Skill as a rated statistic is in and of itself an interesting choice.

At no point is it explained what an "average" die is. Is an "average" die a typical six-sided die that you can find in almost every board game ever published, or is it one of those obscure and hard to find "averaging" mentioned in the Dungeon Master's Guide? The rules aren't clear regarding this, but the fact that "rolls of over 12 indicate an extremely high ability in the specific category" [emphasis mine] hints that it is the "averaging" die to which they are referring -- later difficulty numbers hint that it might be the regular dice that are used. The new gamer would have only this clue, but wargamers of the era would know that an "average" die was a sis-sided die with the numbers 2, 3, 3, 4, 4, 5 printed on it instead of 1 through 6. This die was used to reduce the influence of uncertainty on outcomes in wargames at the time. More recent games, like Warhammer, rely on regression to the mean and buckets of dice to reduce uncertainty. It may seem counter intuitive, but the more often you roll the less uncertainty influences outcomes because the likelihood that the total distribution of the rolls is normal increases.

Not that it matters much, as you will soon see.

After rolling statistics, players choose from one of the following roles -- Warrior, Leader, and the Scientist. This leads one to wonder which group Dale Arden fits, but that is another conversation entirely. The primary effect of choosing a particular roll is to add one point to the statistic most related to the profession.

These attributes are later used to determine success based on a very simple mechanic. Stat + d6 > TN. For example, if the players are in the Domain of the Cliff Dwellers it is possible that they will encounter the deadly Dactyl-Bats.



If the players decide that they want to fight off the Dactyl-Bats the success or failure of the action will "depend upon the military skill of the most skilled member of your group. Roll one die and add the result to your military skill. A final total of fourteen or greater is needed to drive off the Dactyl-Bats." Failure indicates the character is wounded and that the party must rest. It's a simple resolution, but one that lacks any significant cinematic quality. It feels awkward, and other mechanical resolutions in the game are similarly weak. Typical punishment for failure on an action is a loss of a certain number of turns. These turns are valuable as players need to recruit enough allies to defeat Ming before he has time to become powerful enough to squash any rebellion. While the statistics of the game are firmly rooted in roleplaying concepts, the resolution and consequence system still echoes board game resolutions. This is a weakness in this game, as is the inconsistency of resolution techniques. Fighting a Snow Dragon is resolved in a different manner than the encounter just discussed.

I imagine one could build a good game conflict resolution system built around the statistics highlighted in Flash Gordon, but this book lacks that system. I think it might be interesting to try to use a modified version of the Dragon Age pen and paper rpg system as a substitute for the mechanics in the Flash Gordon rpg. They are simple enough that it wouldn't require a lot of work. One could also use the OctaNe system if one wants to stick to the "narrative" feel that Bizar and Carter seem to have been attempting here. OctaNe succeeds where this game fails mechanically -- and OctaNe's system is ridiculously easy to learn and use.

Game Campaign System

This is where Flash Gordon really shines. The game's basic structure is that of a "recruitment" campaign where the players must journey from land to land -- based on how they are connected on an abstract schematic and not based on actual geography though the schematic takes those into account -- where they encounter various challenges and face various foes. For example, let's say our stalwart heroes find themselves in the Fiery Desert of Mongo. If they are mounted on Gryphs he journey will be easier than if they are not. It is possible, though not guaranteed, that the players will encounter Gundar's Gandits who will attempt to capture the players and sell them into slavery. The players may also encounter a Tropican Desert Patrol made up of troops loyal to Ming. The end goal of the area is for the group to recruit Gundar and his men, but that requires role playing and/or defeating the Tropican Desert Patrol. The description of the Desert and the possible encounters are abstract enough that they could easily inspire several sessions of roleplaying -- with a robust system like Savage Worlds -- all it lacks is a nice random encounter generator like the one found in The Day After Ragnarok to fill in the holes.

In essence, the Flash Gordon role playing game includes one or more major encounters for each geographical region of Mongo. As they players wander from place to place, they can/will face these challenges. What is inspired, and ahead of its time, about this structure is that the encounters are "story plot points" that must be achieved but can be achieved in the order of the player's choosing. There is room for exploration of the world at the same time that the players are succeeding at mandatory plot points. It is a narrative campaign without the railroading. Pinnacle Entertainment Group uses a similar structure in their Rippers, Slipstream, and Necessary Evil campaigns. It is a system that allows for narratively meaningful and fun play without the need for extraordinary planning on the part of the Game Master. All it lacks is a method, like the random encounter generator I mentioned above that is used by most plot point campaign systems, to fill in the scenes between the set pieces. Though it should be noted that there is sufficient information within the Flash Gordon rpg to easily construct a set of encounter generators with very little work.

Conclusion

Criticisms regarding the underlying conflict mechanical system, or lack thereof, are spot on when it comes to Flash Gordon. Character generation and conflict resolution lack any feeling of consequence or depth. BUT...If you want a campaign road map to use with another game system, preferably a fast-furious-and-fun one or a "narrativist" one, then this product is a deep resource. It will save you from having to read pages and pages of the old Alex Raymond strip in order to get an understanding of all of the minor details necessary for the creation of a campaign. You should certainly read the Alex Raymond strips, they are wonderful, but reading them should never be made to feel anything remotely like work. Bizar and Carter have done the work in presenting the campaign setting, all you have to do is adapt it to your favorite quick and dirty rpg mechanical set.

Shadow of the Demon Lord is Frighteningly Good [The Review]

Over the past couple of months, and I apologize for the slow blog pace, I've written a couple of articles that have referred to Robert J Schwalb's new role playing game Shadow of the Demon Lord. In the first article, I discussed how it was ironic that Robert's parents were so afraid of D&D's satanic material that he was "forced" to play Warhammer Fantasy Role Play. This is essentially the same as being upset that your kid is listening to Def Leppard and pointing the kid to Venom as a replacement. As was discussed in the comments to that, the whole "satanic panic" phenomenon was overblown, but I still find it funny that Rob fled Glasya to the open arms of Slaanesh.

This journey into the darker artistic and game mechanic influences of Warhammer Fantasy Roleplay are readily apparent in Shadow of the Demon Lord. The baseline setting of Rob's game is one of a world that is desperately in need of heroes, any heroes. When the world is about to be destroyed by a malevolent cosmic force, even blackguards, madmen, and murderers can be the world's saviors. The game is as grim and dark as any Games Workshop setting, but there is something that sets Shadow apart from other games in the GrimDark tradition. Where other games in this genre are nihilistic, where even the heroes are often corrupt and doomed to fail, Shadow's setting holds within it the glimmer of hope. It is just possible that these heroes, flawed as they may be, might save the world from the cosmic destroyer that has descended upon the world.

As grim as Shadow of the Demon Lord appears to be, it is at its core a heroic role playing game.

Let that sink in for a moment. This is a game where the spark of hope might bring light to the world. It is entirely possible that the heroes will fail, but it is also possible that they will succeed in saving it. Even if they don't end up making the world a better place.

It is this basic heroic theme, and game mechanics that support heroic play, that are why I think that Shadow of the Demon Lord is one of the best role playing games to come out in years and that it is one of the best introductory roleplaying games for young gamers ever to be published. In future posts, I hope to write about several campaign setting ideas I have for this rules set. Before that happens though, I'd like to discuss how Shadow of the Demon Lord's mechanics encourage a heroic style of play and how these mechanics set it apart from other role playing games on the market.

Attribute Scores are Low, but Meaningful

At first glance, the attributes that Shadow of the Demon Lord uses to describe player character capabilities appear to be identical to those of a typical d20 game and one might be forgiven for assuming that they represent scores from 3 (poor) to 18 (excellent). Such an assumption would be wrong. In Shadow of the Demon Lord, any attribute above 10 provides a modifier to die rolls equal to the attribute score -10. So a character with a Strength of 13 in Shadow of the Demon Lord has a +3 modifier, the equivalent modifier of a 16 in 3rd Edition D&D.  Beyond that, a character with a 13 Strength in Shadow of the Demon Lord can lift 250lbs with little effort and 500lbs if the character makes a successful "challenge roll." Player characters will rarely see attributes higher than 15 in the game, but since this provides a +5 modifier to any affiliated roll that is a significant bonus indeed.

Challenge Rolls Never Explode to High Values

One of the key mechanics to Shadow of the Demon Lord is the "Challenge Roll." Any time a Game Master believes that there is a "significant" possibility that the average person would fail at a task, the Game Master asks the player to make a successful challenge roll. For example, if a character wants to climb a wall the Game Master might ask the player to make a Strength or Agility Challenge Roll to see if the character was successful. All Challenge Rolls are made against a Difficulty of 10. That's right, every task has a base chance of success of 55% for a character with an attribute of 10. This default "ease" of success reflects the default heroism of the campaign and the fact that the player characters are something special. The roll against this value can be modified with bonuses and penalties or by boons and banes. Bonuses and penalties are directly added or subtracted from the roll and are typically determined by a character's attributes. On the rare occasion that there is a penalty, it is usually no more than -2 to a roll. The only times you usually see a penalty worse than -2 is due to a character's attribute score or because the penalty is affecting the Health score (Hit Points in other games). Circumstances don't tend to apply penalties to rolls, rather they tend to apply "banes." A bane is a variable roll which results in a negative number from -1 to -6 being applied to a roll (more on this in a moment).  The point here is that the base chance of success is 55% and rarely gets worse than 25% for non-combat actions.

Boons and Banes

In the discussion of Challenge Rolls, I briefly mentioned that the largest modifiers to success or failure are due to mechanics called "boons" and "banes." Quite simply, these are the bread and butter of the benefit/penalty effects of the game. Straight bonuses and penalties are typically the result of a character's attributes, but boons and banes are the product of circumstances. Is a wall slippery? Add one or two banes to the roll. What is a bane? A bane is a 1d6 roll that provides a penalty to a Challenge Roll from -1 to -6. This makes it sound as if a 2 bane penalty could be pretty severe, which would detract from my assertion that this is a heroic game, but it isn't as severe as it might seem at first glance. A 2 bane Challenge Roll rolls a d20 + Attribute Bonus against a Difficulty of 10 as normal, but applies a penalty of -1 to -6 based on the highest result of 2 six sided die. So for example, if a character was climbing a slippery wall and had a Strength of 13 that character would roll d20 + 3 as normal. To determine the effect that the banes have, the player would then roll 2d6. Let's say the player rolled a 2 and a 3. This would mean that the total penalty to the roll would be -3 and not -5 as one might imagine. The most a character will be penalized by banes in Shadow of the Demon Lord is -6. The inverse is true of boons. The highest benefit any number of boons can provide you is +6. This provides a nice range of possibilities, and a real possibility of failure, without every leaving the realm of "heroic."

Professions Matter, not Skills

In a move that runs against the trend of many modern role playing game systems, with the exception of "story games," player characters in Shadow of the Demon Lord do not have clearly delineated skills with a set bonus. What Shadow of the Demon Lord characters do have are "professions." Professions are broadly defined as "occupations, pursuits, and areas of knowledge" that can be used by players to justify gaining benefits (boons) on actions or the ability to succeed at a task automatically if it makes sense. Player characters start with two professions, even before they choose a character class, and how useful they are is limited by the imagination of the players and the restrictiveness of the Game Master. While I cannot see inside the mind of the game designer, the mechanic seems to be a combination of the Professions from Barbarians of Lemuria, Secondary Careers from Advanced Dungeons and Dragons, and the Areas of Knowledge mechanic from the classic James Bond 007 role playing game by Victory Games.

The use of the profession mechanic gives Game Masters a dial they can use to determine how heroic they want their game to be. Let's say that a player has the "Soldier" profession. In a free-wheeling and highly heroic campaign, a Game Master could allow this profession to add a boon to the following actions: attacks when fighting in coordination with others, detecting ambushes, concealment in an outdoor setting, and a host of others. In a less heroic campaign, the Game Master could allow for only some of those uses or even none. The key to a good game is to be consistent and to encourage your players to use professions in an active manner. A key question which might help determine the utility of the profession might include "what kind of soldier was your character?"

Classes are Like Careers

Robert J. Schwalb acknowledged the influence that Warhammer Fantasy Roleplay had on him and on the design of Shadow of the Demon Lord. While that influence abounds in the artistic style of the game, there is no place where the influence shows up more than in the game's use of character classes or "paths" as they are called in the game. There are four tiers of character in Shadow of the Demon Lord (Starting, Novice, Expert, and Master). Starting characters have experience in a prior profession, but have yet to choose any heroic paths. Once the characters complete their first adventure they are free to choose their first Novice path from the obligatory Magician, Priest, Rogue, and Warrior archetypes.

At each level, the character will either gain a path benefit or make a new path selection. Additional novice benefits are gained at 2nd, 5th, and 8th level. At 3rd level a character chooses an Expert path. These paths are more narrowly defined than Novice paths and include things like Artificer, Assassin, Berserker, and Paladin. The only prerequisite to choosing an Expert path is that it makes sense for your character. You can be a Warrior Artificer or Warrior Paladin. One of these paths may be more beneficial from a "min/max" perspective, but neither is forbidden. Unlike in Warhammer where you can only leave a career after completing all the advances and are limited to exit careers (unless you pay an experience point penalty), in Shadow of the Demon Lord you are free to choose any combination you like. This also applies at 7th Level when a character chooses a Master path. These paths are more powerful than those prior, and even more narrow. The Master level is also where you find the Bard option in this game.

The Highest Difficulty in Combat is 25

Given how flexible and "recommendation" toned so much of the game is, I found it interesting that the rule for Defense (the game's version of AC) was rigid. The book states, "A creature's Defense cannot exceed 25, even if weapons, armor, and other effects would increase it beyond that number." What this does is set a "cap" on difficulties and highlights the fact that the characters are already amazingly capable. Between the 25 cap and the 10 baseline, you have variation of difficulty but one that fits within a reasonable range. A character with a +1 bonus from Strength and a boon might just be able to hit that Dragon in combat. Given that characters will rarely have an attribute above 15, this highlights the system's intended focus on maximizing boons in play.

Heroes Always Go First

Shadow of the Demon Lord has an interesting initiative system for combat. Players can choose to use "fast" actions or "slow" actions. If the player chooses to use a "fast" action, then his or her characters can either move or use an action/attack. If the player chooses the "slow" option, the character can move and act. The round is divided into the Fast component and the Slow component with player characters acting first in their respective phases. This allows players tactical options while minimizing the number of die rolls needed in the game. Opponents could technically go first in a round, but if they do their actions may be less efficient. The same goes for players. It's an elegant system that highlights the heroic underpinnings of the game.

System Can Be Used for Multiple Genres, But is Generic Not Universal

Shane Hensley is fond of describing his Savage Worlds role playing game with the phrase, "generic, not universal." What Shane means by this is that Savage Worlds can handle any genre you want, but that characters made for a Superhero game won't necessarily be convertible to a Fantasy setting. This is because the "range of probabilities" for both games are the same, but the effects that that range emulates are different. For example, in the core Savage Worlds rulebook a d12+3 Strength can lift a certain amount of weight, but in a Superhero setting that same score can lift more than in another setting. Similarly, the foundational mechanics of Shadow of the Demon Lord are elegant enough to emulate a wide variety of genres. You could use the mechanics, almost unchanged, to run a Superhero game, a Modern Espionage game, or a Martial Arts Chambara/Wuxia action fest. In each setting the characters would have similar statistics, but they would not be transferable because a 14 Strength in an Espionage game isn't the same as a 14 Strength in a Superhero game. Given the underlying base ranges of Difficulty (10 to 25), a Game Master should keep in mind what level of challenge these describe in the milieu being emulated. In a Superhero game, the Hulk holding up the mountain is a level 25 challenge which a Game Master might even limit to certain paths. In an Espionage game, that same level might be what it takes to lift a car off of a person trapped underneath it.

Final Thoughts

Shadow of the Demon Lord is a very well designed game. Whether you want to use it with its core setting, or hack it to fit your own preferences it can provide years of entertainment.

In the coming weeks I plan on posting several short conversions of the game to other genres...yes, more family friendly ones at that.

The list includes:
1) Shadow of the Avatar
2) Shadows over the Galactic Empire
3) Shadow of Professor Destruction
4) Big Shadow over Little China

B.A.T. Undercover -- A Gumshoe Setting

B.A.T. Undercover -- Gotham's Secret Weapon

Imagine if you will a world where a young Bruce Wayne, after seeing his parents murdered by a low level mob enforcer is saved from a similar fate by the Green Lantern (aka Alan Scott). The sympathetic Scott, and his friend Ted Grant, help Bruce to overcome his grief. While under the mentorship of Ted Grant, Bruce remembers a small detail that he shares with a sympathetic Detective James Gordon. Due to advancements in forensic investigative techniques, this clue allows Gotham P.D. to catch the man who murdered the Waynes. Young Bruce gets a glimpse of how effective police work can save his city and he embarks on a new career, but he also learns how even those with great power - like Green Lantern - cannot be everywhere at once. Superheroes need the aid of everyday citizens, like Ted Grant and James Gordon, who are willing to stand against injustice. 

Bruce Wayne uses his vast fortune to support anti-corruption political candidates (with a keen eye for discerning the deceptive), set up homeless shelters, supports education in hard hit communities, and scholarships for highly skilled people to enter law enforcement.

Early attempts to assassinate Young Bruce are thwarted by his Butler Alfred, a man of a particular set of skills, who trains the young man in Tradecraft. Bruce is trained in several martial arts by Ted Grant. As a teenager, Bruce uses his skills to aid police in investigations and to help Gordon root out corrupt police. By the time Bruce Wayne graduates from Gotham State University with several Masters degrees in Criminology, Chemistry, and Forensics, the Gotham PD is largely a clean law enforcement agency. There are still corrupt cops, politicians, and businessmen operating in the shadows, but many of the foes an older Bruce Wayne would battle against are his allies in this world. He'll need these allies because threats like the organized crime, Solomon Grundy, Killer Croc, the KGBeast, the Brotherhood of Evil, and the vampire lord Ra's Al Ghul's League of Assassins threaten Gotham and the world. It is in this setting that the Bureau of Advanced Tactics (B.A.T) fights the enemies of mankind.   

This setting is perfect for the GUMSHOE game system designed by Robin D Laws and expanded upon by Kenneth Hite and others. In addition to the OGL documents, a pile of DC Comics, and a stack of Man from U.N.C.L.E./NCIS/24 dvds, it is recommended that you purchase the Night's Black Agents and Mutant City Blues role playing games.

Key GUMSHOE rules for use in B.A.T. Undercover:

The MOS rule from Night's Black Agents. This rule is similar to the Area of Knowledge rule in the classic James Bond 007 role playing game published by Victory Games and allows for each of the Player Characters to have a moment where they really shine in each adventure.

Players choose one or more Backgrounds, and given the secretive nature of B.A.T. they all have Cover 10 and Network 5 at the beginning of character creation.

Players receive Health of 4 for free. Given the action orientation of the base "Shadows"  setting, Stability is not used. Though if you wish to play an "Arkham" mode, characters start with Stability 4 for free.

Depending on the number of players each player gets a number of build points to spend on investigative abilities (the numbers below are for a "Shadows" setting game and would be slightly lower in an "Arkham" game).

Players receive 70 points to spend on General Background abilities and should have at least one skill rated at an 8 signifying an area of specialty where the character is one of the best in the world.

The THRILLER Combat rules from Night's Black Agents are highly recommended as are the MASTERY rules from Double Tap.

Super Powers from Mutant City Blues should only be allowed for FOES of the Player Characters and reflect the types of foes the characters might face. These are threats that are too powerful for normal Gotham PD officers, but might also be beneath the notice of Cosmic Heroes like Green Lantern.

The B.A.T. Undercover Team:

Bruce Wayne (aka The B.A.T. Man) -- Bruce Wayne (35) is the founder of the B.A.T. team and has dedicated his life to following the legacy of his idols Alan Scott and Ted Grant. He will do whatever it takes to fight corruption in Gotham and provide hope to its residents. He understands that one of the keys to this endeavor is citizens being able to trust that their police department is there to protect them. That is why he partnered with Commissioner James Gordon to create a secret squad within the Gotham PD that fights the foes normal police officers cannot, and who work in the shadows allowing regular cops to take the credit for taking down corruption. He is highly skilled in Forensic investigative techniques, Tradecraft, and the Martial Arts.

Edward Nigma (aka The Cryptographer) -- Edward Nigma (35) almost became one of Gotham's greatest enemies. Having discovered that cheating could help him get ahead as a young man, he used his talent for mathematics and riddles to hack into the computers of the wealthy elite and those he believed thought too highly of themselves. His hacks would make the computers and finances of such individuals unavailable unless they could solve a puzzle and unlock their information. Edward's college roommate Bruce Wayne discovered what Nigma was doing and convinced him that Nigma could find more challenging puzzles fighting against criminal entities who used arcane ciphers to hide their communications. To Nigma's delight, he discovered a world of truly challenging puzzles and talented foes and agreed to turn himself into the authorities based on a plea negotiated by Wayne Enterprises attorneys which required him to aid Gotham P.D. as an alternative to prison time. It took a while to convince Nigma to make the deal, but then he encountered a H.I.V.E. cipher and his obsession with puzzles took over. Nigma is now the programming and computer expert for B.A.T.

Selena Kyle (aka The Cat) -- Selena Kyle (35) was a young girl living on the streets when she witnessed Bruce Wayne's parents being murdered by a mafia enforcer. She expected the situation to end like all other such situations; no witnesses, no real investigation of related crimes, and no justice. She was surprised when Detective James Gordon took on the case. She wasn't surprised that Gotham PD would investigate the murder of wealthy citizens. She expected that the PD would want to look good, but she never expected that the investigation would expand into the criminal underworld's engagement in human trafficking in the poorer neighborhoods. Gordon took the investigation where it led him and brought justice not only to Joe Chill - the Waynes' murderer and Falcone enforcer - but also brought light to the connection between the Falcone family and their human trafficking violations. Gordon became a father figure to the young Kyle and she has used her talents for Stealth and Observation to aid the team in fighting the threats that Gotham faces.

Jack Laffer (aka The Joker) -- Laffer (40) is the team's resident "class clown." A former chemical engineer who was in desperate straits when he discovered his wife was pregnant days after losing his job at ACE chemicals. Knowing how desperate he was, the Falcone family met with Laffer in an attempt to convince him to aid them in a raid on ACE chemicals. College Student Bruce Wayne had been observing Falcone activities and recognized the difficulty of Laffer's position. He had his friend Ted Grant - who was working with Gotham PD as an undercover muscle for the Falcones - visit Laffer and convince him to work with Organized Crime Task Force Commander James Gordon to stop the crime and bring some of the Falcone family to justice. Laffer agreed, but corrupt cops within Gotham PD informed the Falcones who sent hitmen to kill Laffer's family. Ted Grant overheard the assignment and was able to intervene saving Laffer's family. While the ACE chemicals raid was a bust, Laffer found that there those in the city who could be trusted. Thanks to a generous research grant from the Wayne Foundation, Gotham PD had a new secret position for a Forensic Chemist under the direct supervision of James Gordon open up and Laffer was offered the job. Ted Grant arranged for Laffer and his family to be "killed" and enter the witness protection program. Laffer ads his unique sense of humor to the team and expertise in Chemistry of all kinds.

Dick Grayson (aka The AcroBAT)

Helena Bertinelli (aka Huntress)

Stephanie Brown (aka The Robin)

Just an idea, but it's working its way into a campaign setting for my group.

GRIMM -- Genre Show with Geeks on Staff

I've been a big fan of GRIMM since it first aired a couple of years ago. Sure, it started as a monster of the week show, but it quickly progressed into a monster hunting cop procedural that featured a grand conspiracy and a shadow war between monsters, royal families, and the mysterious Grimm. When the show first came out, there were some among my friends who called it a Buffy rip off. To a certain extent it is. The show's creator was a first season screenwriter on Buffy, but like a lot of shows made by Whedon alum this show is out-Whedoning Whedon. Tim Minear's (Firefly, Angel) show American Horror Story is a wonderful creepy ride, Once (Andrew Chambliss, Jane Espenson, others) has a great following, Arrow (Drew Z. Greenberg) is one of the best super hero shows ever to grace the airwaves -- all of them are outperforming the Whedon produced Marvel's Agents of S.H.I.E.L.D. in either ratings or storytelling. It's a testimony to Whedon's ability to forge creative talent, but it's also a testament to how much those older Whedon shows owed to talents other than Joss.

Now that I've stirred the pot, and guaranteed that I'll receive at least 3 death threats, on to the main point of the post...one of the reasons that GRIMM - and possibly the other shows - are out-Whedoning. I think it's because the shows are written by geeks. Now's when you come in and say...but Whedon is a geek. No he isn't, at least not in the way he once was. Whedon is now a big name with big expectations, expectations he delivers on the big screen, and that leaves him less time to be a geek than he'd probably like. He's producing several projects. Do you have any idea how time consuming that is? A friend of mine was an assistant to a screenwriter who writes comic book movies...and is a huge comic fan. You know how you are 6 months behind on your reading? This writer was years behind because the writer was writing. It's hard to be a geek/fan when you are busy creating content on a massive scale. That's what Whedon is doing, he's juggling several projects. He was a geek, but now he's too busy...in my opinion.

That brings us to the staff of GRIMM. They might be busy, and writing is difficult and time consuming, but they aren't "running a media empire" busy. That leaves them more time to maintain their geek hobbies. It's kind of like how attorneys need to do continuing education, only way more fun. If you don't spend time feeding the geek, it atrophies. So...how do I know that the staff of GRIMM is comprised of at least one geek who's relatively up to date on continuing education credits?

It's because of a Twittersation I had with the "@GrimmWriters" today. My wife and I just watched the first two episodes of this season and we were struck by how D&D inspired the first monster of the season looked.

Image Source NBC.com

I mean...that's a pretty D&D monster. So D&D that it's not in the SRD. This led me to post a tweet which received a quick response from the writer's room.

.@ChristianLindke and we stuck @clairecoffee in a dungeon. Her Perception roll wasn't great, but hopefully she took the Trap Sense feat.
— The Grimm Writers (@GrimmWriters) November 7, 2014

In addition to earning my permanent allegiance to the show, this tweet confirmed my suspicion in the best way. It was a great moment of fan interaction. It also makes me want to stat up the Gedachtnis Esser for Savage Worlds or d20 Modern. It also demonstrated just how geeky the writer's room (or at least the assistant responsible for the tweet) is.

Image Source NBC.com

Oh...and it might just be hinting that the @GrimmWriters need to do some continuing education and buy the 5th edition rules.

THE LAST PARSEC is Fast, Furious, Fun and...Family Friendly?

I want you to try a little mental experiment for me. I want you to imagine the typical setting for the Savage Worlds role playing game. Have you got it set in your mind? Good. I want you to picture a scale of 1 to 10 and decide how "family friendly" you think the setting is -- and by family friendly I mean "ages 8 and up." Did you come up with somewhere between a 4 and a 6? That's what I initially came up with myself. After all, this is the game that has a number of high concept horror inspired game settings and is from the same minds that created the Horror Western RPG Deadlands.

But that's not really a fair assessment of the Savage Worlds game and the settings it has to offer. While the Deadlands game, and setting, may have been inspired by a painting of an undead Confederate Soldier, Pinnacle Entertainment Group has created a number of settings that are just right for ages 8 and up family fun. Set aside Rippers, Weird Wars, Evernight and Necropolis for a moment. Those would get at least a PG-13 from the MPAA for "thematic elements." We can even set aside Necessary Evil as a "12 and up" Comic's Code Approved version of Supervillains that is just outside the kid friendly zone. Even doing that, we have some great settings available for kids to play with their parents. Slipstream is a perfect combination of Flash Gordon style action and Planetary Romance. Then we have 50 Fathoms a mash up of Pirates of the Caribbean and Pirates of Darkwater that should make any Gen X (or older Gen Y) parent's heart swell with nostalgia. It's clear that Savage Worlds has some settings that are perfect for the family game night.

Add to family friendly settings a rules set that is flexible, promotes storytelling interaction, and is easy to learn and you have one of the best introductory role playing games on the market today.

As a parent of 6 year old twin daughters, I am always on the lookout for games that I can play with them that have enough "genre geekdom" to keep me interested but aren't so grimtastic that the twins have trouble sleeping at night. The two Savage Settings I've already mentioned certainly meet the mark, but it looks like we can add another to the list with Pinnacle's upcoming setting The Last Parsec. The Last Parsec is Pinnacle's latest science fiction setting and it draws from a deep well of science fiction stories to present a straight forward SF setting that doesn't reach to horror for high concept additions. I had a chance for a quick Q & A with Jodi Black of Pinnacle as well as some of the designers of The Last Parsec to see just how well this setting would fit in with my scheduled "dad and the twins Saturday afternoon tabletop session."

When I think about the kinds of settings that Pinnacle and Savage Worlds are famous for, I tend to think of high concept "horror +" games like Deadlands, Necropolis, and Evernight. How is The Last Parsec different?

 “I'd say The Last Parsec is more focused on exploration and discovery than on "fighting back the darkness," which is the general theme attached to settings like Deadlands and the Weird Wars line. And even though the setting assumes player characters are affiliated with JumpCorp, within that framework just about any character type can flourish. So games can revolve around exploring the unknown, military action, or even commerce.” – Matt Cutter, author of Eris Beta-V for The Last Parsec

The more I read about The Last Parsec, the more it seems it might be a good fit for family gaming. This seems to me to be especially true in a post-Guardians of the Galaxy environment. GotG fans should be able to find a lot to like in TLP. Was this intentional, or happy coincidence?

“Coincidence, I'm afraid. But I have three kids -- my 10-year-old son cajoled me into taking him to see Guardians of the Galaxy -- and if they were to play in my setting, Eris Beta-V, I'd want my kids to take away the message that it's not productive to judge people on their appearances. JumpCorp can be the bad guys and a seemingly sinister, rediscovered alien species can be good guys.” – Cutter

Shane has stated in the design diary for The Last Parsec that Pirates of Dark Water and the animated Sinbad movie inspired him to create the 50 Fathoms setting. What are some of the "kid friendly" stories that inspired The Last Parsec?

“There's definitely some of Heinlein's Starman Jones in there, where even a simple lass or lad can study hard, take a job with a space corporation, and blast off for the stars.” – Tim Brown, author of Scientorium for The Last Parsec

Shane briefly mentioned John Carter in the design diary for TLP, will there be rules for Planetary Romance in the setting?

“There are rules for romance? Where can I find these?” – Brown

Jodi Black had some words of her own about the setting:

Romance is really about building relationships in game, and most experienced GMs weave interesting tales with the NPCs she offers to the characters. Recurring "romance" themes like the bad guy with a heart of gold, or the good gal with a dark secret...you'll find those in The Last Parsec (heck, any setting). But they're secondary to exploration and adventure. 

The GMs in my home group know they need to include some romance to make me happy as a player. Not one-shots so much, but for a memorable campaign that's usually a theme for everyone's characters. And it's not as much about the characters getting married at the end of the story, but of the process: ask him out for coffee, enjoy dinner out together. Actually, dinner out is a dangerous thing in our home games. Usually it get interrupted by an adventure!

Disney's Treasure Planet is one of the Black family favorites. It has aliens, discovery, and reuses the plot from Stevenson's Treasure Island in a new and interesting way. It's a shame the movie didn't do well, because I'd love to see more classic literature imagined as a space adventure...but then again, since those *aren't* in the public eye, any GM worth her salt can use those plots and themes for their kids and it's completely new!

Finally, not to be part of your story naturally...but we're releasing a One-Sheet for The Last Parsec today (hopefully) or tomorrow: Untimely Discovery by John Goff. There's a moral quandary in there that I think would be excellent for a kids game: What would it be like to be arrested for what you thought about? do "bad" kids deserve a second chance? One of the best things about roleplaying is the conversations after, and tying the fantasy into the real world. :)

I'm very excited about this setting and the thought of a game that has echoes of Treasure Planet or even The Black Hole (not mentioned but clearly another inspiration for TLP) gets my endorsement. 

I was surprised at Tim Brown's answer to the Planetary Romance question though as it is a noble genre as old as Sword & Sorcery and equally rewarding.

Take a moment to back this great project and join me in the ranks of Savage Fandom. Savage Worlds is fast, furious, fun, and family friendly.