Geekerati Video: Chatting with Alan Bahr About Swords of Meropis and Tabletop Role Playing Games

 Alan Bahr is publisher and lead designer for Gallant Knight Games and his company recently launched a crowdfunding campaign for a storytelling game called Swords of Meropis. Alan was inspired by Sword & Sandals films like Jason and the Argonauts and wanted to make a game that captured the feel of those classic fantasy tales.

In this interview, I chat with Bahr about the inspiration behind Swords of Meropis and the basic mechanics underlying this storytelling focused role playing game. Bahr is no stranger when it comes to designing games focusing more on interaction than on tactical combat, but this is one of his first designs that fully utilizes what I call a “player focused” storytelling approach.

It’s an approach that really came into design focus with Better Games’ series of Free Style Role Play games in the 1990s. While there were some earlier games that incorporated storytelling elements, like Greg Stafford’s inspired Prince Valiant Story-Telling Game (originally published in 1989), the Free Style Role Play system games like Conrad’s Fantasy, Where Fools Dare to Tread, and Good Guys Finish Last by Better Games really pushed the boundaries of player agency and narrative focus in a way that would be immediately recognizable to a player of Apocalypse World and other modern storytelling focused games. Better Games were a major contributor in the Southern California gaming scene in the 1990s and their ideas were ahead of their time.

Just take a look at this character sheet for their horror game Where Fools Dare to Tread.

Since this is a starting character, there are no numbers on the sheet except for the task resolution chart. As the character gained experience, the only numbers you would see would be bonuses, such as a +1, to the skills. I’ll be doing a deeper dive into the mechanics of Better Games’ Where Fools Dare to Tread in my extended analysis of Candela Obscura by the Critical Role team, but you can easily see how cutting edge this game was mechanically.

Alan and I don’t discuss Better Games in detail, but it is a game in the same vein as Alan’s design for Swords of Meropis. The focus is on player agency and storytelling, but with mechanics that allow for solo gaming as well as troupe based play.

Check out the conversation. We talk about a lot more than his upcoming game and our discussion ventures into how while we often hear and see role playing game play presented as art, we don’t often enough think about game design as art. Just as live streaming performances and home games are moments of theatrical art, so too is good game design an example of artifice.

Take the time to watch and/or listen and please make sure to share if you enjoyed the discussion.

Planescape: Torment Returns on April 11th

When Bioware released Planescape: Torment in December of 1999, they did so just as 2nd Edition Dungeons & Dragons was gasping its last breath. Planescape was an odd choice to base a large scale computer rpg upon. The setting was unique, creative, exciting, and critically acclaimed, but it wasn't a particularly high volume selling setting for TSR. Add to this that Wizards of the Coast had just purchased TSR in 1997 and the Planescape setting, like many other D&D/AD&D settings, had been partially released to the wilds to be curated by fans. The game and the IP were languishing in limbo, even as the D&D brand would be resurrected shortly by the release of 3rd edition.


It may have been an odd choice, but it ended up creating a brilliant result. Planescape: Torment leveraged Bioware's Infinity Engine to create an rpg experience unlike any that had been produced to date. Most of that experience was rooted in the surreal qualities of the Planescape setting which may not have been a bestseller, but it was a magnificent creation. David "Zeb" Cook and his team of creative talent that included James Ward, Dana Knutson, and Tony DiTerlizzi combined their talents to produce an innovative and interesting sandbox. A sandbox that Chris Avellone and team explored with inspired creativity. Planescape: Torment is the Infinity Engine game I've played through most frequently, and given the strength of those titles that is saying something.

On April 11th, 2017 game developer Beamdog will be releasing a visually updated version of the game for both the PC and Tablet. Do yourself a favor and pick it up when it comes out.

Hedgehobbit Discusses VanGrasstek's DUNGEON -- An Early Indie RPG

In addition to work, TA-ing, grading, and working on my prospectus, I've been toiling around with creating rules that approximate how I would have played D&D if I had been an adult when the original Little Brown Books were published. I've been reading and re-reading the Chainmail rules and reading sections of the original D&D rulebooks to get a sense of how I would have understood those rules if I had never played the game, no one was there to teach me the game, and all I had was these physical documents from which to develop a game. It's an interesting challenge, but it's the challenge that many early gamers faced.

I've been a fan of the fanzine Alarums & Excursions since it was first introduced to me by Gary at Aero Hobbies. Gary, who is sadly no longer with us, was a central figure in the Southern California role playing game scene. His gaming group is responsible for the creation of the Thief Class for D&D, think about that the next time you backstab someone in game play. When I walked into Gary's store, I was new to the Los Angeles area, but he quickly made me feel at home in this metropolis and introduced me to a number of wonderful people. He was a one man social network, and the issue of Alarums & Excursions he first handed me was like a social network in print form. Prior to reading this issue, I had heard of the zine but I had no idea what to expect. What I found was that it was like reading the best parts of a very creative discussion forum, a forum where people didn't hastily respond and thus where the worst of forums rarely reared its head.

What most amazes me about Alarums & Excursions is the creativity, this is especially true in the early issues. Reading the first few issues of the zine - and I'll be discussing my adventures reading the zine in detail in a series of posts - I was struck by how varied the interpretations of how to play D&D were. I'm not saying that I was struck by the differences in "house rules," though those are remarkable as well, rather I was struck by how differently people interpreted the rules of the original books. The early 70s was truly a time when everyone was playing a different version of D&D, and that makes the era all that more exciting to me.

So I want to try to capture some of that magic. I want to play D&D as I "would have" played it if I'd been around then to do so. What would my D&D have looked like? In order to help me on this quest, I've read a couple of other attempts to create rules for "Playing D&D with Chainmail" and I'll share my thoughts on those when I share my version of how to do just that. I've also been reading Craig VanGrasstek's rules for Dungeon  written in 1974. VanGrasstek's rules, discussed in the video by Hedgehobbit embedded below, are one player's attempt to reverse engineer D&D from a playing session.

Let me repeat that. VanGrasstek's rules are a reverse engineered version of D&D based upon his experience in a gaming session. That's how explosively creative and desiring of new kinds of play the 70s were, it's also what we see a lot of today in the DIY game community. Reading VanGrasstek's rules have given me a sense of the kinds of things that get "lost" in interpretation, and I'll be keeping those in mind as I design "How I Would Have Played LBB D&D." I think it will be a fruitful exercise, and I hope that I'll be able to convince my gaming group into giving my LBB D&D a try. Maybe we can even see a bunch of different versions of D&D in our group and try them all.

Exciting News from the New TSR - The Publishers of Gygax Magazine

I recently received an email from the new TSR discussing their scheduled lineup of new products and it is a real doozy.

When I heard that a rag tag band of old school gamers and old school game company employees had acquired the trademark to the name TSR, I was a bit skeptical. This skepticism remained even after they announced the production of a new gaming magazine entitled Gygax Magazine. My skepticism was primarily rooted in the fear that the new company, which was clearly going to be an OSR (Old School Renaissance) inspired venture, would err too much on the side of D&D OSR and not be a celebration of the entirety of Old School Roleplaying games. My skepticism soon translated into enthusiasm when I received my first copy of Gygax Magazine. Where I had expected a magazine dedicated to various D&D clones, and would have enjoyed those articles as I am a fan of D&D retroclones, what I received was a magazine that included articles covering a wide variety of games and genre.

It was like reading Dragon Magazine during the period when Dragon was more than just a house organ. Gygax Magazine is more the Dragon that published "Crimefighters" than the magazine that dedicated itself to "all 2nd edition all the time." The magazine continued its strong mission of supporting multiple genres, even as the company has had to negotiate some legal obstacles and the loss of some key partners, but the end of the legal battles (and the loss of Luke an Ernie Gygax as partners) resulted in the company deciding to end future publication of Gygax Magazine.

These recent obstacles had me once again worried about the future of the company, but then I received an email about their projected lineup and my excitement has returned.

This year, TSR plans the release of three lines of products.

The first is a line of adventure modules designed for use with a variety of old school game systems. This line of adventures is called, fittingly for one which is supporting multiple systems, the Pantheon Series.

 

As you can see from the image, the Pantheon Series will include Fantasy (Multisystem), Science Fiction (Metamorphosis Alpha), Superheroes/WWII (Godlike), and Espionage (Top Secret).  The lineup of authors includes highly regarded designers from the early days of gaming and support for an interesting set of games. The first adventures in the series were originally published in Gygax Magazine, but future entries will be original to the series. I think that this is a bold move by the company and will test how much newer gamers are willing to support the more free wheeling support fostered in the early days of the hobby.

Next on the list of products is a more conservative, but equally anticipated, 5th edition D&D adventure series. The series opens with Trouble at IronGarde Watch by Frank Mentzer and James Carpio. Mentzer was the editor of the classic BECMI edition of Dungeons and Dragons and has a wonderful sense of what makes a great fantasy adventure.

 

TSR's next offering demonstrates their willingness to fully commit to being an rpg publisher. Code Name: ACRID HERALD is a brand new Espionage role playing game designed by Merle Rasmussen, the designer of the classic first edition of Top Secret for the original TSR. The game is in its early stages, and the title is only an internal playtesting title, but I look forward to seeing what wonders lie in store. When Top Secret was first published, role playing games were young and Espionage wasn't a widely accepted game setting. Modern gamers, and game play styles that are more story oriented, provide a richer environment for Espionage games. The current spy game market has some excellent entries, but there is room for a new player if the game hits the right sweet spots. I'm looking forward to what Rasmussen has in store.

Cancelling AD&D? RPG Rumors Circa 1986 -- Different Worlds #44

I'm a big fan of Tadashi Ehara's now defunct gaming magazine DIFFERENT WORLDS. Over its tenure, the magazine was published by a couple of companies including Chaosium and Sleuth Publications. According to a pre-publication solicitation letter (available here), the magazine was originally slated to be entitled DM. The change was likely due to concerns over TSR's trademark of DM/Dungeon Master. Regardless of the reason for the change in title, I think that DIFFERENT WORLDS better suited the content of the magazine than DM ever would have. The magazine was a gem. Like Steve Jackson Games' magazine SPACE GAMER, Ehara's magazine covered the entire roleplaying game hobby. As I've written before, issue #23 of the magazine is maybe one of the most important magazines ever written about the origins of Superhero Roleplaying games. For those who want to understand the history of RPGs, DIFFERENT WORLDS, SPACE GAMER, and ALARUMS & EXCURSIONS are three of the most valuable resources that the aspiring historian can find. They really help to cut through a lot of the community gossip about a transitional era in the hobby.

Speaking of Gossip, DIFFERENT WORLDS featured an excellent gossip column written by the pseudonymous Gigi D'arn (clearly a Gary Gygax/David Arneson reference). I've written speculation about the identity of this columnist before, and I'm still pretty sure that she was a real person and that the Chaosium staff added to her actual letters. There are just too many little tidbits of SoCal culture, which was booming at the time as an RPG hub, for me to believe otherwise. The column was filled with a great deal of speculation, some true, some pure fiction, and all fun to read.

There are a couple of pieces of gossip/rumors in issue 44 that stand out and need attention. In fact, they are rumors that I'd like to hear more from the gaming community at large about, and I'll be asking around to see if there is any merit to them.

First and foremost - actually quite shocking - really is a claim about ADVANCED DUNGEONS & DRAGONS. According to Gigi, "Rumour thinks TSR is unhappy with the ADVANCED DUNGEONS & DRAGONS game line and is considering dropping it. GARY GYGAX meanwhile is starting his own company, Infinity Games, in New Jersey. Will he take the license with him?"

I wonder if this is true. 1985 saw the publication of UNEARTHED ARCANA and ORIENTAL ADVENTURES for the AD&D game, but the mid-80s was also the era of the publication of the Basic, Expert, Companion, Master, Immortals rules for D&D. It was a time when the D&D brand was divided among two sub-brands and a time when there was great potential that one brand was cannibalizing the other. From my experience, the D&D brand was putting out a lot of great material at this time. According to GROGNARDIA 1986 saw the release of a number of BECMI products and 1987 saw the production of the first Gazetteer products for the D&D brand - some of the best products ever released for D&D.

If I were to guess, I'd say the rumor was true and that core rule book sales for AD&D had dropped. I would argue that this is why we saw a 2nd edition of AD&D released in 1989. An edition that may not have happened at all if not for the success of the Forgotten Realms Setting. My thought is that the Forgotten Realms setting, written for AD&D, was so successful that management decided to do a new edition of the game for increased sales. I'd like to know if this is correct or not though.

The second interesting piece of gossip/rumors is that J.D. Webster, the creator of the Finieous Fingers cartoon strip, was a carrier fighter pilot. This is apparently true.

A Glimpse at Wargames Past

Back in that annals of time before I played my first session of D&D, there was a wargaming company called SPI. That company was eventually -- and some would argue tragically -- purchased by TSR the roleplaying game giant before that company was purchased by Wizards of the Coast...and so on. The company produced a number of classic wargames and was renowned for its tremendous output and for the overall quality of its games. You can still buy many updated copies of their games from Decision Games and find many of their lost classics on eBay, some at a reasonable price.

Non-miniature wargaming is an interesting hobby. It can be exciting, but it can also be daunting to try to attempt a new player to join in the joy of Kriegsspiel. Perusing the internet this evening, I found this old short video by SPI promoting the hobby. Check out the game around 1:10. How can you look at that set up and not think to yourself the following? "Man! Damn casuals don't know what they are missing!"

All I know is that I cannot wait until History and Mystery are old enough to give these great old games a try. Maybe I'll start with Strike Force One. It's recommended at the end of the video, is still available from Victory Point Games, and I own a copy.

[Gaming History] Star Frontiers -- A Look Back at a Classic SF RPG

When TSR released the Dungeons & Dragons role playing game in the early 1970s, they created a new mode of gaming the role playing game.  What is interesting is that they failed to rapidly follow up the success of their "fantasy" themed role playing game with a succession of game releases in other genres.  While many of the first role playing games were shallow imitations of D&D...some were even Vacuous to use Gygax's terminology, it was other companies who first entered the marketplace with non-fantasy RPGs.

It wasn't long after the publication of D&D that Ken St. Andre drafted a set of rules for a science fiction themed role playing game entitled Starfaring, and Marc Miller published Traveller in 1977.  Where Starfaring was whimsical, and is a quintessentially 70s artifact that feels a bit like John Carpenter's Dark Star the rpg, Marc Miller's Traveller set the standard for science fiction rpgs.  In fact, Traveller truly set the standard for any rpg product line that was going to compete in the rpg marketplace.  Marc Miller's creation had a large following among the Space Gamer readership, and the publication of support materials for the game led to the growth of FASA -- one of the classic old RPG companies.  Traveller's success extends to the present, and Marc Miller currently has a Kickstarter campaign that promises a new edition that harkens to the old version.

Even though Traveller established science fiction as a viable genre for role playing games, it took TSR five years after the release of Traveller before they released their SF entry into the RPG marketplace, the Star Frontiers game.  When Star Frontiers came out, there were those who tried to compare it to Traveller, but I have always felt that the comparisons were slightly off base as they represent different kinds of SF.  Traveller's rules and back story, as well as the overwhelming influence D&D had on the early RPG market, gave the game a specific feel.  Characters created in the game are typically former military who are now retired, or as James Maliszewski has pointed out a good many were former Mercenaries.  Traveller campaigns had narratives along the lines of the Firefly television show, though it would be more chronologically accurate to say that Firefly has a Traveller feel to it.  Traveller's own backstory was heavily influenced by Asimov's Foundation series with it's dying empire.  Traveller campaigns were often gritty SF adventures filled with mercenaries and retired Imperial Officers spanning the Spinward Marches in pursuit of wealth and notoriety.

The D&D influence could also be seen in many Traveller campaigns, where players essentially wandered around the galaxy as pirates raiding Imperial space ships for their loot.  This isn't to say that all Traveller campaigns were "spacey dungeon crawls," the official adventures certainly weren't, just that some people played it that way.

The science fiction background of Star Frontiers was quite different from that of Traveller.  Where Traveller took place in a galaxy dominated by an interstellar Empire in a fairly settled area of the galaxy, Star Frontiers took place on the Frontier of civilization where a major corporation "Pan Galactic Corporation" -- later multiple corporations -- was sponsoring the exploration and attempting to profit.  The Pan Galactic Corporation had come into existence to promote exploration and trade among four major alien races -- Human, Vrusk, Dralasite, and Yazirian.  These races have only just begun to interact with one another, and have banded together on the Frontier of explored space.  At that Frontier, they soon discover a new enemy...an enemy that threatens to destroy any civilization that chooses to explore the Frontier.  That enemy is the Sathar, a wormlike race with hypnotic powers on the edge of explored space.  The exploring races have only recently completed their First Sathar War, during which they formed the United Planetary Federation, and are now having to deal with terrorist attacks and sabotage by agents of the Sathar...agents from among their own people.  In response to the Sathar's new warfare strategies -- espionage and terrorism -- the UPF has formed the Star Law Rangers who track Sathar agents and attempt to foil their plots.

The universes of the Traveller rpg and the Star Frontiers rpg have parallels in history.  One is of an empire in decline, the other is of mercantilism on the rise.  The tones of the settings are very different, but so are the rules.  Where Traveller characters are retired from former professions and already have a number of skills at which they are proficient -- especially if the characters were generated using the Mercenaries or High Guard supplements -- Star Frontiers characters are relatively inexperienced.  Even in the Expanded Star Frontiers rules, the characters have training in only two major skills -- and that training is at the lowest level.  The characters start near penniless and are in need of employment.  Players can be thankful that the Star Law Rangers are always looking for recruits, that the corporations are always looking for someone willing to risk Sathar attack while exploring planets on the Frontier, and then there's always the possibility of playing a group of Sathar agents...

Star Frontiers is a game that has a background that is rich in ideas for development...but it is also a game where one has to dig in order to find these ideas.  Trying to find out the history of the Star Frontiers universe is not an easy task.  Prior to the publication of Zebulon's Guide to Frontier Space there was not a clear timeline of the development of civilization.  One had to induct heavily from the introduction in the Basic Game rule book, read and reread the racial descriptions, and scour every module for minutiae to get a sense of what was going on.  Zeb's Guide did some of the work for you, as it advanced the timeline to a point after the modules and to a point where the Sathar had developed mind controlling organisms that latch on to the victim's back to take over the nervous system (fans of Puppet Masters and Iron Empires take note).  Taking the Frontier beyond an outline and into a fleshed out campaign setting takes time, but it is worth it.

I've read the rules many time, but have never actually played the game.  It's an easy system, though I've recently come up with an even simpler version of their Basic Rule with my own Extremely Basic rules, but I might just use the setting and play the game with another game's rules set.  Maybe d20 Modern/Future, they did write a Star Frontiers setting section for the d20 Future book and had a web expansion with stats for the Sathar, maybe Alternity, or Savage Worlds.  Heck...I might just use the Traveller system for it, when I get my copy of the 5th edition.  It's a great game too.

[Gaming History] Power Gaming -- Boot Hill NPCs

As a fan of Westerns, I've always wanted to play Boot Hill. I've owned a copy of the Second Edition of the game -- the one that came in the box and was published in 1979 -- for many years, but I have never had the chance to sit down and actually play a session of the game.

This isn't to say that the players I have gamed with over the years haven't been up for Western themed gaming.  I've played sessions of Avalon Hill's Gunslinger (not an rpg) and sessions of Deadlands.  We've always had a good time.  I've just never had a chance to play Boot Hill.  This being the case, it wasn't until recently that I began to read the rules to examine them for play.  The Old School Renaissance, combined with the recent release of Dungeon Crawl Classics, got me into a nostalgic mood.  So the other day, I opened up the rulebook to learn how to play so I could pitch a session to my gaming group.

The first thing I noticed was that while Boot Hill is a role playing game, it is largely a Tactical Tabletop game.  The campaign elements while "role playing" oriented also allow for players to play against one another -- but doesn't require it.  Some players will play "law men" and others "outlaws."  This isn't to say that one couldn't create a more "PCs are a team" style campaign, just that the rule book is written to allow for player dictated storylines where other players can react.  The campaign system is set up so that the individual players can play their own individual stories regardless of other players' activities. I think that this mode of campaign play is interesting and definitely echoes the style of a Braunstein game more than the D&D rules did.  

One of the things that many in the OSR community find appealing about old school games is the lethality of the systems and the lack of "superheroic player characters."  OSR players often want the characters played by players to feel some what mortal.  This sentiment likely stems from the fragility of 1st level characters in D&D, especially Magic Users who are notoriously fragile at low levels.  PCs in a 1st edition D&D game are often one small mistake away from death.  In fact, in the first D&D rules set while characters where rated for their physical and mental attributes, having highly rated attributes had little effect on game play in comparison to later games.  A Fighter with a high Strength score gained very little immediate benefit from the score, though that character would gain experience more rapidly than his/her compatriots.

It didn't take long for that to change though. It was in the Greyhawk supplement that added ability score modifiers for combat.  And once a character's strength score affected one's combat ability, every player wanted to have a higher strength score.  After all, who doesn't want to hit opponents 10-15% more often and to deal 2 to 6 more points of damage per hit?

The 1979 rules of Boot Hill definitely demonstrate the transition from ability scores being primarily a measure that influences speed of advancement to things that immediately and directly affect combat.  D&D used a bell curve that was close to a Normal Distribution with a range of 3 to18.  The bonuses roughly falling along lines of standard deviation especially in the Moldvay/Cook edition.  Boot Hill, on the other hand, has different distributions for Non-Player Characters and Player Characters based on percentile rolls.

Player Characters are far more proficient than randomly generated NPCs.  Take a look at the following two tables illustrating the probability of a character having a specific "Speed" rating.  The first illustrates the chance of a randomly generated NPC having a given modifier.  These range from - 5 to +22 and 0 is described as "average" in the descriptor.  The second illustrates a Player Character.  Once again, 0 is "average."

NPC Speed Probabilities

PC Speed Probabilities

Two things stand out to immediately.  The first is that the character generation system doesn't generate "average" characters on average.  An NPC has only a 10% chance of being "average," and has a 15% chance of being "above average" or "fast."  PCs are even more powerful than NPCs, as they are completely incapable of being "average."  Given that the -5 to +22 is a modifier to initiative, and that one sees similar though not identical distributions for Gun and Throwing Accuracy, one wonders why the game's mechanics didn't scale down toward average actually meaning average.  This could have been done by deciding that a majority of NPCs have a speed of x, and that the majority of PCs have a speed of y.  The speed of x could have been called average and have provided no bonus or penalty.  Instead, Boot Hill uses a counter intuitive system where an average roll (50.5) results in a "quick" NPC (+4) or a "Very Quick" PC (+6).

A part of me could forgive the non-intuitive use, if it wasn't for the section of the rules listing "The Fastest Guns That Ever Lived."  According to this chart, Billy the Kid has an unachievable Speed of +23 and even Ike Clanton has a +12.  All of the "Fastest Guns That Ever Lived" are extremely fast and seem to me to reflect a kind of power creep in the rules.  What is most remarkable is how many of these characters have Speeds of 18+, with many having more than 22.  One might say, "but they are the 'fastest' aren't they?"  Okay, but does the name Bob Younger really bring to mind speed with a pistol?  Besides, the point of having these gunslingers listed is for use in the game.  If all of them are so quick, then there is no real distinction among them.  The slowest of the fastest guns has a +6.  Why not set +6 as average?  It seems to be the average of the NPC distribution -- or at least close.

I can say that the first thought I had looking at these numbers was that none of my players would want to even try a character who didn't have at least a +9 in their Speed Stat.  I think that a system having bonuses that directly affect the probability of actions makes players more likely to worry that their stats aren't high enough, and to try to power game a system.  As time has gone by, I'm becoming more convinced that maybe statistics should matter less mechanically than they do.  Players might obsess a little less about what their Speed score is if they aren't worried about someone with a +25 (Wes Hardin) bringing the gun to bear.

Oh...and the list completely leaves out Bass Reeves.  How can you leave out Bass Reeves?

D&D Next: What Replaying Warhammer Quest Taught Me Regarding Nostalgia, Fun, and Expectations

For the past twelve years, I have been playing roleplaying and board games with roughly the same group of people.  We have a couple of core members and have had a couple people wander in and out of our group, but by and large it is the same group of players.  The group has a high level of commitment from the players, so much so that one of the group regularly plays via Skype even though he has moved 6 hours away.

While the majority of our game play consists of two D&D campaigns -- one 3.5 and the other 4e -- I like to bring in some board game play, playtesting, or one-shot adventures from time to time.  Sometimes this corresponds with one of the unwritten rules of our group.  For example, when someone new joins the group at some point we will arrange for that player to experience some Moldvay/Cook Basic D&D goodness.  It is one of the two gaming rituals our group has. 

The first -- much to Steven Schend's dismay -- is that all new members of our group must watch the video that accompanied the TSR Dragon*Strike game.  Players who can endure that video and laugh will likely fit in well with our gaming group.  If you haven't experienced the 33 minutes that is the Dragon*Strike video, it's kind of like The Gamers only it wasn't trying to be a comedic look at the hobby.  As I mentioned earlier, the other is that that player will eventually play in a Moldvay/Cook era adventure.

The first time I ran a Basic D&D adventure for the group, I used the Keep on the Borderlands module.  The players prepared themselves for adventure and started off toward the Caves of Chaos.  On the way, they encountered a mysterious hermit.  Within 5 minutes -- real time -- the entire party had been killed by the hermit and his pet mountain lion. 

Last year, I ran another session.  This time I used one of the "Black Box" era modules, The Eye of Traldar.  I selected the adventure because the black box era modules were more narrative and story oriented than some of the early D&D adventures, and because I thought it would be less lethal than Keep.  The player's rolled up their characters, a fighter, a cleric, an elf, and a magic user, and we discussed their character backgrounds.  As this was a black box adventure and it took place in Karameikos, I pulled out my Karameikos Gazetteer and we added backgrounds for all the characters and created a back story describing why this band of merry adventurers were adventuring together.  This done, we began the first encounter of the adventure and rolled initiative.  Within seconds the magic user was dead, and the other characters started to worry.  The magic user's player experienced immediate and serious disappointment.  He had taken the time -- about half an hour -- to come up with a background, only to see that character killed off in a random fashion.

Needless to say, this was not a very satisfactory experience.  It's one of the reasons that, as much as I love the Mystara setting, I don't run a Moldvay/Cook campaign.  Character death can come seemingly at random, and that can be a serious downer for some players.

A similar thing happened three weeks ago when I pulled Warhammer Quest off the shelf and set it up for the group.  We were down two players, so the four of us made for a perfect WQ party.  We set up the game, made our characters, and started our cooperative dungeon crawl.  At first, we were having a good time.  We were all laughing at some of the absurd encounters and marveling at how hard the game was.  We were also experiencing some pretty bad rolls.  Then we hit one hallway and the world fell apart.  Our wizard rolled a one in the power phase, creating an additional foe, on repeated occasions.  We were swarmed by hostiles, and our Elf was brutally murdered.  It was a disappointing end to what had been two-hours of enjoyment until that point. 

Like The Eye of Traldar and Keep on the Borderlands, Warhammer Quest is an adventure game with a default setting of Hard.  In fact, it seems that this is the default setting for many of the games of the early rpg era.  No one would say that Call of Cthulhu is a storytelling game of heroic achievement and guaranteed success.  Paul, over at blog of holding, has a recent post describing the design philosophy and play philosophy of some designers during that era.  To quote him:

 In OD&D, there's no guarantee that things are fair. One of Gary's and Rob Kuntz's favorite stories, says Mornard, was Clark Ashton Smith's The Seven Geases, in which (spoilers ahead) the hero survives a horrible death at the hands of seven different monsters only to die meaninglessly slipping from a ledge. That was one of the seminal texts of D&D, said Mornard, and one of the stories it was designed to model. "The story that D&D tells," said Mike, "is the story of the world. Heroes aren't invincible."

The thing is, that I don't really like that kind of game.  I don't like whimsical and meaningless deaths for player characters.  This is especially true for games where character creation is a long process where significant narrative choices have been made.  The player quickly becomes attached to the character, and to have that character "meaninglessly slipping from a ledge" is unsatisfactory to most players.

Geoff Engelstein describes why this is true in a recent article on The Dice Tower podcast entitled Colonoscopies and Game Design.  In the podcast, Geoff discusses the psychology of pain and how people who experience pain -- say the pain of a colonoscopy -- will evaluate how much pain they felt by taking an average of the most pain they felt and how they feel at the end of an event.  If the moment of most intense pain comes at the end of a event, or play of a game, then the experience will be negative.  If the end of an experience is pleasant -- even though the moment of highest pain was the same or worse -- the over all experience will be viewed as a positive one.  It's funny how the psychology of the mind works isn't it.

What this means for those old games where death comes easy and the default setting is Hard, is that whimsical death's can still occur but that they should occur as part of a process and not as an ending.  It also means that if whimsical death is a possibility, one should not be encouraged to come up with detailed backgrounds for characters as those are a part of the playing process too.  If 30 minutes of game play are taken up with coming up with a background, and those 30 minutes are followed by 30 seconds in which your character is brutally cut down, then that isn't a very satisfactory experience.

Whatever direction D&D Next goes, I think that it needs to keep in mind this part of human psychology.  If death is to be whimsical, then find a way to make death a middle part of the process.  Encourage multiple characters like Paranoia or make character creation so quick that new characters can be inserted instantly.  You won't get very "narrative" games with rich character development, but you might get some fun ones where players vent out their own secret desires.

Personally, I hope that D&D Next falls somewhere between 3.x and 4e with regard to ease of death.  One might add more specific "knock out" rules, or rules for defeat without death, but I would be disappointed to see a return to a game set on Hard.  Those already exist, as do games on Easy.  I want to see a game set on Normal where death is a possibility, but where it isn't the only or primary signal of a failed endeavor.

Agent 13 Returns -- Pulp 2.0 Reprinting Classic TSR Pulp Title

My good friend, and former Geekerati Co-host, Bill Cunningham recently announced that his independent publishing company Pulp 2.0 will be republishing the Agent 13 novels that TSR printed in the late 80s. The Agent 13 character was featured in a trilogy of novels written by Flint Dille and Dave Marconi, in a set of comic books, and in an excellent Top Secret S.I. setting/supplement.

When Bill told me the news, I was extremely excited. I have been a fan of the Agent 13 character for some time and the Agent 13 Sourcebook is one of my prized gamebook possesssions.

I only hope that Bill and Flint will be releasing/licensing new RPG or Boardgame material based on this great character.

You can read the full press release below (I don't normally cut and paste press releases, but Bill covers all the bases).

Pulp Publisher to Collect the AGENT 13 Novels by Flint Dille and David Marconi

Los Angeles, CA - Pulp 2.0 Press CEO Bill Cunningham today announced that the company has signed an agreement to redesign and republish the adventures of the classic pulp character, Agent 13,  created and written by Flint Dille (Transformers G1) and David Marconi (Enemy of the State). This Pulp 2.0 collector’ edition titled The Agent 13 Dossier will be exclusively in print, and will collect all three of the original Agent 13 novels as well as exclusive features disclosing the secrets behind the mysterious Midnight Avenger.

Agent 13 was originally published in 1986 by TSR in a trilogy of novels - The Invisible Empire, The Serpentine Assassin and Acolytes of Darkness.  The character spawned a set of graphic novels drawn by artist Dan Spiegle (with covers by Jeff Butler) as well as a role-playing game and comic. Kidnapped as a young child in 1907, a gifted boy was brought to The Shrine, the hidden headquarters of the ancient organization known as The Brotherhood. His past memories were erased, he was assigned the title Agent 13 and trained as an assassin and agent in clandestine operations. He became the best disciple and would have risen high in the ranks of the Brotherhood, until he discovered its true evil nature under its cadaverous leader, Itsu - The Hand Sinister. Fleeing The Brotherhood he is hunted by their ninja-like agents, and begins a deadly cat-and-mouse contest against the organization. He fights back, forming his own group of allies against the Brotherhood who dare to plunge the world toward war.

“Agent 13 is Dille and Marconi’s love letter to the pulps, cliffhanger serials and comics. We at Pulp 2.0 are ecstatic to present our readers with these great pulp adventures in an exclusive collector’s print edition,” said Pulp 2.0 CEO Bill Cunningham.  “I remember reading... okay devouring these books when they first came out, and I’ve always loved the world and characters that Flint and David created.  To be able to design a new edition to share these rare novels and the secrets behind Agent 13 is an honor.”

“We were sitting in Flint’s living room one day, and we started jamming ideas back and forth. Flint was a big fan of the pulps and he showed me some of the old materials he had. He had a book featuring the old pulp covers that we looked at that was very inspiring. I had just written some screenplays for Warner Brothers and had good relationships there, and said that if we came up with an interesting story/pitch about this stuff, we can possibly set it up as a screenplay to write.’ So we originally developed AGENT 13 as a studio pitch to set up as a film, and spent quite a lot of time developing the story and characters as we pitched it around to the various producer/buyers around town,” said co-creator David Marconi.

“Then, when the movie wasn’t getting set up as quickly as we hoped, but the story had progressed to the level where we had all the characters and everything else worked out, we decided to just write the book. Flint  had access to Random House through Gary Gygax and TSR, so we were able to get a publishing deal, and dove straight into Agent 13 novel world. Which at the end of the day, was more fun in that it allowed us to go much deeper into the characters and backstory which can’t be explored in great detail in a 2 hour script format.”

More details will be forthcoming as the project progresses. The Agent 13 contract was negotiated on behalf of the creators by Howard Bliss of Union Entertainment.

About Flint Dille:

Flint Dille is a living embodiment of Transmedia. His career started by turning toys into TV Shows with G1 Transformers, G.I. Joe, Inhumanoids and Visionaries.  He has designed games with Gary Gygax and written movies for Steven Spielberg. Flint has sold game design documents as feature films - Venom  (Dimension 2006) and Agent In Place (Lionsgate 2010).   Flint directed the interactive movie Terror T.R.A.X., Track of the Vampyre which became a television pilot for Fox as well as Dragonstrike, one of the first hybrid film projects.  

Flint has twice won 'Game Script of the Year' (Riddick: Escape from Butcher Bay (with JZP) and Dead to Rights and was nominated for Ghostbusters and Dark Athena.  He has worked on crown jewel franchises including James Bond, Mission: Impossible, Tiny Toons, Batman: Rise of Sin Tsu (Guiness Book of Videogame Records for creating the first Batman villain outside of the comics), Superman, Dungeons & Dragons, Teen Titans and Scooby-Doo.

He has a degree in Ancient History from U.C. Berkeley and an MFA from USC.  Currently, Flint is teaching a class on Alternate Reality Games at UCLA.  His follow up book to The Ultimate Guide to Video Game Writing and Design is about Transmedia.

About David Marconi:

A native of Highland Park, Ill., Marconi was passionate about film making from an early age.  After winning several high-school film making competitions, Marconi was awarded an Alumni Merit Scholarship to attend the University of Southern California's Film School.  Upon graduation, landed his first job as Francis Ford Coppola's assistant on The Outsiders.  

Working closely with Coppola, Marconi "cut his directing teeth" watching Francis direct both The Outsiders and Rumblefish. In 1993, Marconi wrote and directed his first feature, The Harvest, (Columbia TriStar).   The film premiered in the 'official selection' of the San Sebastian Film Festival and went on to win numerous awards in International Film festivals.

The success of The Harvest brought Marconi to the attention of  Simpson/Bruckheimer who commissioned Marconi to write his original screenplay Enemy of the State (Disney) starring Will Smith and Gene Hackman.  Marconi continued  creating tent-pole action films for the major studios; WW3.com (which served as the basis for the Die Hard sequel; Live Free or Die Hard ) (Twentieth Century Fox,) Perfect Suspect for Chris Rock (Twentieth Century Fox,) and the high-tech., science fiction epic; No Man's Land.  (Dreamworks.)

Most recently, Marconi was a featured guest speaker for IADC, International Attorney's Defense Council, and the Department of Defense Cyber-Crime Conference where he lectured on his film Enemy of the State and how it relates to privacy concerns and cyber-warfare in a post 9-11 world.  2011 will mark Marconi's second foray behind the lens as a writer/director with his new feature film; INTERSECTION, a gritty thriller currently in pre-production being produced by Luc Besson, the director of THE PROFESSIONAL, FIFTH ELEMENT and Europa Corp.  Holding duel citizenship for the US and EU (Italy,) Marconi divides his time between Los Angeles and Europe.

J is for Justice Inc. and James Bond

Two of the -- about 6 -- game designers that I credit with helping to lift role playing games out of the ghetto of the dungeon crawl and into the world of narrative play are Aaron Allston and Greg Gorden. To this day, I still love a good dungeon crawl, but it was designers like Allston and Gorden who showed me that role playing games could be an immersive, interactive, narrative experience that would last for years. They did this by designing games that provided excellent advice for game masters and designing mechanics that fostered/supported narrative play.

I mentioned that Allston was one of the first people to review the Champions role playing game in my H is for Hero System entry. Allston was a quick convert to the system, but he also became one of its biggest promoters and one of Hero Games' better freelance game designers. His Strike Force sourcebook is one of the best super hero game campaign guides ever written, and its advice for running gaming sessions/campaigns are valuable for game masters running any gaming system. In 1984, Aaron Allston and Mike Stackpole (who had also worked on Mercenaries, Spies, and Private Eyes) joined the staff at Hero Games to design a role playing game that would allow players to experience the pulse pounding action of the pulp stories of the early 20th century. The book is nearly flawless in its presentation and design. The mechanics are clearly presented and are able to simulate the wide array of stories that were featured in the pulps.

But the greatest asset of Justice Inc. isn't the rules, it is the Justice Inc. Campaign Book. This booklet is a fantastic collection of essays that discuss how to run a role playing game campaign. The book covers everything from Crimefighting, Espionage, Action and Horror to Spicy Stories and Science Fiction. It truly covers the pulps as a whole and doesn't get caught up in the erroneous mindset that pulp only equals "The Shadow" or "The Spider." Those are great characters, to be sure, but the pulps include Robert E. Howard, C.L. Moore, H.P. Lovecraft and others. The stories run the gamut of genre, and Allston and Stackpole know their stuff. The advice in this 80 page book belongs in any game master's library.

Especially useful are the "Secrets of Successful Gamemastering" listed on pages 6 and 7. The list is short, but it cuts right to the point. The list is as follows:

1) A Gamemaster is an entertainer.
2) Be fair.
3) Be firm and consistent.
4) Be flexible.
5) Use dramatic license.

It was the first rule on that list which was mind-blowing to me when I first read it. It was a direct argument against the "DM is God" mentality that was prevalent during the early era of role playing games. It put the onus on the GM not to just "challenge" the players, or to crush them at a whim, but instead to make sure that the players are having fun. To quote the discussion after the rule, "The thrill of discover, the heart-pounding moments of suspense, and the laughs from humor beat the hell out of the drudgeries of constant warfare and treasure harvesting." It is a mantra that I have tried to live up to for years. Sometimes -- as is the case with some of my 4e sessions -- I fail, but I think that my Eberron players have had some pretty good times and have some stories to share.

Rising up from the ashes of the acquisition of SPI by TSR in the early 1980s, Victory Games -- made up of former SPI employees -- released the James Bond 007 role playing game in 1983. After TSR had purchased SPI, TSR largely ignored SPI titles and it seemed that the acquisition had more to do with limiting competition than acquiring useful IP. Ironically, it was the Lorraine Williams era of TSR that re-released a lot of the neglected SPI titles. But if TSR had never purchased SPI, then Victory Games would never have been created and it is possible -- just possible -- that the James Bond 007 game would never have been designed and that would be a shame.

Gerard Christopher Klug is credited with "Game Design, Development, and Project Coordination," but anyone who is familiar with the old SPI/Avalon Hill system of designing games knows that it is likely Gregory Gorden and Neil Randall (credited as "system development") who did the bulk of the innovative work on this project. Those who are familiar with Greg Gorden's other work -- DC Heroes, Deadlands, Torg, Star Wars and a host of other games -- can see his influence all over the place.

There is a lot to like in James Bond 007. It has an easy to use rules system and some of the best adventures ever written for any game, but the contribution that altered the way that I viewed role playing games -- and informs my sentiments against "roll a skill check for everything" or "If the player doesn't know/ask it then they don't know/can't find out" mentalities of many GMs -- was their Fields of Experience mechanic. You see, in the world of James Bond, there are some things that the characters just know, and Gorden and crew came up with a system to emulate it. It isn't anything fancy, but it was revolutionary then -- and is still revolutionary as Robin Laws' Gumshoe system demonstrates for modern gamers. Put briefly, "There are no dice rolls involved when a character uses a Field of Expertise in play. He either knows the information required or how to perform the task, or he does not. A Field of Expertise will always fall into one of two categories -- information and performance." The GM notes go into even greater detail about Fields of Knowledge recommending that GMs use mechanics to step in to help when players don't ask questions.

A lot of "mystery" adventures bog down in rpgs because the players fail a roll, or fail to "look under every nook and cranny of a room." In the world of James Bond, if the character had the Forensics or Cryptography Field of Knowledge that was enough to keep the ball rolling. Give the clues. Don't interpret them for the players, but let them have the information themselves. Sometimes, their own interpretations end up being better than your original idea and can take adventures down entertaining paths. This was the kind of play recommended by James Bond 007, and it was so different from the puzzle-deathtraps -- like Tomb of Horrors -- of other games that it changed the way I play forever.

Both of these games are sadly out of print, but you can find them at fairly affordable prices on eBay. I cannot praise them highly enough.

D is for DragonQuest

In 1977, Simulations Publications Inc. (SPI) published a booked entitled Wargame Design: The History, Production, and Use of Conflict Simulation Games. This book is one of the great artifacts of the wargaming hobby and is an invaluable resource that provides accurate historical information about the state of the wargaming industry up to 1977. At that time, SPI had unit sales of 420,000 games a year to an audience of approximately 100,000-150,000 active gamers (Dunnigan, 140). The average cost of a war game at the time was $8 (in 1977 dollars), meaning that SPI had approximately $3.36 million in annual sales. According to the Bureau of Labor Statistics, this is about $12,272,400 in 2011 dollars.

By any standard, SPI was a big business in a small market -- they held a 50% market share by units sold and a 43% market share in percentage of cash spent by gamers. But 1977 was a time of massive transitions in the industry. At that time 10% of wargamers were "miniature" gamers -- in addition to being general wargamers -- though given the cost of miniatures and supplies, these individuals made up 30% of the money spent on war games. This was also the time of the rise of a new kind of game, the fantasy role playing game. 1974 had seen the publication of the first printed role playing game, Dungeons and Dragons, and that game was altering the gaming landscape forever.

Roleplaying games expanded the gaming market from the small community of 100,000-150,000 gamers, to a community of millions of gamers. By 2000, there were over 2 million people playing table top role playing games on a monthly basis. Modern sales figures for individual role playing game companies are nigh impossible to find. The revenues are either unpublished -- because the majority of the companies are privately owned -- or they are buried in consolidated reports like Hasbro's annual report. Chris Pramas estimated that the RPG industry had annual sales in the $30 million range in 2008. That number seems off by a wide margin for a couple of reasons. First, that would mean that the RPG industry is about the size of the wargame industry in 1977, which means that all the growth in the market since 1977 has collapsed -- assuming inflation adjusted dollars the market in 1977 was approximately $25 million. Second, according to their financials, Games Workshop -- a major fantasy miniatures gaming company -- reported £126.5 million in revenue in 2010. This signals that miniatures gaming has exploded since 1977 as a part of the market. One imagines that role playing games lag behind the miniatures market by a significant margin, but this hints that the market may be larger than Pramas fears. There are currently 49,983 members of Wizards of the Coast's "DDI Subscriber Group" which is a good estimate of the number of people who are subscribers to the site's functions. These subscriptions alone provide somewhere around $5 million in revenue. It is likely that the majority of these subscribers have purchased physical products in the year as well. I would guess that the entire rpg market is somewhere skyward of $50 million -- a little better than Pramas' guess. At least, I hopes so because a lower figure would mean that his company Green Ronin -- who publish a number of the best games in the market -- are tragically under appreciated by the market. Needless to say, the market has expanded as these figures don't include the modern war game market -- which is probably similar in size to the 1977 market -- the board game market (Settlers of Catan alone has sold more than 18 million copies), trading card games, or computer rpgs. All of these are descendants of the old wargaming market place.

For the most part, SPI was a smart company and realized that the market was in flux and that these newfangled role playing games and miniatures games were where the market was headed. They gathered together some of their best and brightest game designers (Eric Goldberg, David James Ritchie, Edward J. Woods, Greg Costikyan, and Redmond A. Simonsen) and produced their own role playing game. The resulting product, DragonQuest was published in 1980 with much fanfare, but less than stellar reviews.

[15.2]A character who is adjacent to, but not in the Attack Zone of, a Hostile character may employ actions A, B, C, D, E, F, H, J, L, M, P, Q, R, S, T, or X.
He could not implement Action G or W. Further, while he could Fire, he could not Fire at an adjacent character. He could also Hurl a weapon, but, again, not at an adjacent character. -- DragonQuest First Edition pg. 20 Rule 15.2

Forrest Johnson reviewing the game for in Space Gamer magazine, had the following to say:

"1.784 DESIGN IN HASTE, REPENT AT LEISURE. With all its talented staff, SPI has managed to do what companies like TSR and Metagaming did with lesser resources -- mess up a promising new system...DRAGONQUEST is not your dream game, And appearing in 1980, it is at a competitive disadvantage. But it was put together by professionals. Despite its faults, it still presents a pleasing contrast to the sloppiness of TFT, the illogic of D&D, the incoherence of C&S. It borrows good ideas liberally from the older systems, and offers some new innovatiosn of its own. Furthermore, the planned supplements, if only half of them see print, will make this an incredibly rich game."

The Chaosium affiliated magazine Different Worlds in its 11th issue wrote that the game, "functions as a FRP game the same way a sledge hammer functions as a mousetrap. Both get the job done, but the effort involved in getting it to work is not worth the end result." This review prompted a response from designer Eric Goldberg which stated, "while mice have escaped from conventional mousetraps, none have survived being spattered about by a sledgehammer."

SPI published the combat rules for DragonQuest as a stand alone game entitled Arena of Death in SPI's in house Ares magazine in its 4th issue and later as a stand alone boxed game. The first edition combat rules were bogged down by the fact that the rules structure and design was modeled after traditional war game presentations and not on the more narrative presentation of role playing games. As such, the combat rules were difficult to understand and very mechanical in play. DragonQuest included many innovations in its magic system and its skill system, as well as its universal attribute test system, but the combat system of the first edition was arcane and overly complex. SPI quickly responded to the need to improve the game and released a second edition in 1981 -- one year after the original. One name stands out among those added to the list of "Game Testing and Advice," that I believe made all the difference in the world. That name is Greg Gorden. Gorden is one of the best designers in the business, and the changes between the two editions -- in addition to seeing Gorden's later work -- lead me to believe he was a major influence in the second edition.

[15.2]Figures with a modified Agility of 22 through 25 are allowed one extra hex of movement when executing any of the following actions: Melee attack, Evade, Withdraw, Pass, and Retreat.
Thus Eaglewing the Elf, whose modified Agility is 25 due to the lack of weight he carried, his natural Agility and his bonus due to being an Elf can move three hexes while preparing his Tulwar instead of two. -- DragonQuest 2nd Edition page 16 rule [15.2]

The second edition of the game kept all of the interesting quirks of the first edition, but cleaned up the play of the combat system -- and made some other minor tweaks as well. It also added images of miniatures in use during play and clearer examples of game play. The game seemed ready to take the market by storm. But then TSR -- the publishers of D&D -- purchased SPI on March 31, 1982. With that purchase support for DragonQuest was minimal at best as TSR focused on their own games instead of the old SPI games. There were about 6 articles supporting DragonQuest published in Dragon magazine, but the "rumored" 4th rule book for the game Arcane Wisdom never hit the stands. It wasn't just TSR's lack of interest in DragonQuest that led to the lack of support. It was also the fact that when TSR bought SPI, most of the key SPI designers left the company to work for a new company called Victory Games. Gerard Klug, John Butterfield, and Greg Gorden all went to work for the new company. Within a year of their leaving TSR/SPI for Victory Games, these designers created the James Bond 007 role playing game which built on some concepts presented in DragonQuest, but completely abandoned the old school war game rules presentation.

TSR eventually published a cleaned up and revised 3rd edition of DragonQuest in 1989, but for all of the improvements it made to the mechanics of the game it lost some of the flair of the original. Gone was the "College of Greater Summonings" with its demon bound magicians, and in was a lighter tone similar to many of the "Culture Wars scared" products TSR was publishing at the time. The 3rd edition is a good rules set, but if you're going to play the game you should also have a copy of the 2nd edition. The rich feel of the game's magical colleges is one of the best features of the game.

DragonQuest isn't without a literary legacy either. James Barclay's "Raven" stories are based on his own DragonQuest campaign.

Roleplaying Evangelism -- Hasbro Targets Young Audiences

Last, I commented about my belief that if the roleplaying hobby wants to remain vibrant and "alive," it will need to recruit younger gamers. The alternative is for our hobby to age with us and fade into the mists of antiquity. When I was growing up, TSR specifically targeted younger gamers with the Moldvay/Cook "Basic" line of D&D products, the Fantasy Forest and Dungeon! boardgames, action figures, and a Saturday morning cartoon.

During the 90s, TSR largely abandoned products designed to appeal to young audiences and shifted to a tone somewhere in the PG-13 range. While their misguided attempt to disassociate themselves from Culture Wars criticisms regarding the games occult content through the removal of the words "Devil" and "Demon" from their early AD&D 2nd edition products might lead one to believe that the company had become "kid centric" as a whole, this belief would be in error. The 90s saw TSR produce the Ravenloft line of horror fantasy products (PG-13 horror to be sure), the Birthright fantasy setting (a slightly darker and more political setting), and the Dark Sun apocalyptic planetary romance setting (Dark Sun as planetary romance deserves a whole post of its own). The only real effort to attract young gamers was Troy Denning's "Black Box" D&D Basic set, a set that happens to be my favorite introduction to the hobby ever written. Denning, who left TSR during the Gygax era to be one of the founders of Pacesetter, is an old hand at writing "new gamer" friendly products and his "Black Box" was a doozy (it too deserves its own post). Aside from this product though TSRs products were aimed squarely at mid-teens and higher. Mystara, Spelljammer, and Dragonlance were for the mid-teens, while Greyhawk, Forgotten Realms, Birthright, Planescape, and Dark Sun were for older audiences. Heck...Planescape has wonderful content that is borderline R rated fantasy. This list doesn't include their X-Files inspired Dark*Matter setting for the Alternity game, that was R for sure.

To some gamers, the fact that TSR wrote so much PG-13 material might make the company seem too "kid oriented." I'm not one of them. When I say that gaming companies need to recruit younger players for the health of the hobby, I mean 8-10 year-olds. This audience was abandoned by TSR in the 90s, to the detriment of the hobby. Pre-90s TSR, for all that grognards think of it as a more "hard core" era of the company had corporate policies directed specifically at attracting younger audiences. To quote a Kevin Blume interview in THE SPACE GAMER #63, "The demographics are moving younger...Our major grouping seems to be from eight to 22...We, ourselves, have adopted a code of ethics and conduct similar to what is used in the comic book industry...People can holler censorship if they want, but that type of material will not be allowed at Gen Con, and the yptes of products that promote sex, nudity, and violence and so forth [sic] are simply not appropriate for this audience...our marketplace is composed of an awful lot of younger people."

Compare Blume's description of the hobby in 1983 with today's gaming audience. It matches the Games Workshop audience, who due to specific outreach (without overt censorship BTW) have managed to increase the number of young players, but it doesn't match other aspects of the roleplaying game hobby.

This is why I was so happy last week when I saw that Wizards of the Coast, in coordination with Moonstone Publishing, had released a free introductory adventure specifically targeted at younger players. This adventure, The Heroes of Hesiod, is based on the Young Reader novel Monster Slayers by Lucas Ritter -- the novel itself is an extension of Mirrorstone's excellent and successful "Practical Guide to" series of books which includes the best selling A Practical Guide to Monsters.

Wizards aggressive recruitment of younger gamers has also prompted them to publish a D&D version of arguably the best "mass market" miniatures game ever published -- Heroscape.Heroscape Master Set 3 Game. 

If our hobby is to continue to grow, or sustain itself as a mature marketplace, products like these and Faery's Tale Deluxe by Patrick Sweeney, Sandy Antunes, Christina Stiles, and Robin D. Laws need to be produced. As gamers, we need to encourage and support these efforts as much as we fight against them censoring down the product lines for adults. There is nothing wrong with hobby gaming becoming such a mature market that there are separate product lines for kids, teens, and adults. All that matters is that all of the product lines are of good quality and that companies and fans support them when they are. It was tragic that Wizards didn't support the Knights of the Silver Dragon series in the same way that they are supporting the "Practical Guides" line -- an article in Dragon Magazine is not as aggressive a marketing effort as coordination with libraries and well produced online content.

The funny thing is that the "Practical Guide to Monsters" that was successful enough to prompt this expansion, was itself an extension of the Knights of the Silver Dragon series of books.

Show your support and download The Heroes of Hesiod and play it with your kids/younger friends.