A Game a Day, for a Week?! What is this Madness?! #RPGaDAY Day 6

While all of the #RPGaDAY prompts are thought provoking, most of them fall into the realm of "realistic." Today's prompt is the rare exception. Autocratik's question of the day is, "You can game every day for a week. Describe what you'd do." First, that's a wonderful fantasy. I wish I had the time to game every day for a week, RPG game that is. I'm pretty sure that I could find a way to fit in a game a day if I really tried. It's just that the gaming would include things like Solitaire/Patience and a couple of quick Dice based games from Reiner Knizia's essential book of dice games. As for role playing games, that would be impossible...or would it?


I'd have the friends/family I gamed with rotate the GM role when it's needed.

Here's what I imagine I'd be playing during this mythical week of a game a day.

1) The Prince Valiant Role Playing Game.

 

Have 10 minutes and a small pile of quarters? Then you can learn to play this game and get playing.

2) The Pokemon Jr. Adventure Game 

The Pokemon Jr. Adventure Game is a fantastic starter RPG and it's one that I'd like to play a little bit more. The "Pokemon Emergency" box set comes with a complete mini-campaign.

3) Chill

 

Quick and easy, this game can be played straight out of the box and the very simple introductory adventure allows for a lot of role playing while also making it easy for the novice game master to run.

4) Home by Jim Pinto

 

The rule book is 32 short pages, all it requires is a deck of regular playing cards, and it's the first in Jim Pinto's very thematic and dramatic Protocol series of games. I'd love to play a few of these with my group, and a game fest like this would be the perfect opportunity. Oh, and I'd have the US version published with the Spanish cover.

5) Arena of Khazan by Ken St. Andre

C'mon, there is no way I'm getting a group of gamers over every day to play and Ken St. Andre's Arena of Khazan is one of the best, and most replayable, solo dungeons ever written.

6) DC Heroes by Mayfair Games

In order to expedite play, and get straight to the action, I'd use the "Exposed" starter adventure included in the 2nd edition boxed set. It's a commentary on reality tv culture, in the case of the adventure of Geraldo Rivera, but it is surprisingly topical. It's also funny, has a great mix of heroes, and ends up with a smashingly fun free for all.

7) Tails of Equestria 

A family friendly role playing game designed by the creator of the Mordheim skirmish miniature game? Yes please! This game is wonderfully easy to pick up and play and has a core mechanic that inspires creative thinking. It's also a great first game to GM.

New 'Warlock of Firetop Mountain' Video Game Available on Steam

When the first 'Fighting Fantasy" gamebook The Warlock of Firetop Mountain was published in 1982, it helped to create an entirely new entertainment market. Fighting Fantasy gamebooks built upon the innovations of earlier interactive fiction like the Choose Your Own Adventure series and the solo role playing game adventures designed by Ken St. Andre and his compatriots for the Tunnels and Trolls roleplaying game.

Taking these two literary innovations as their inspiration, Games Workshop founders Ian Livingstone and Steve Jackson created a line of books which contained both the narrative adventure and the rules for a complete role playing game. The game rules were simple, but very flexible. Throughout the series, Fighting Fantasy authors have found ways to add on subsystems that have allowed the basic mechanics to cover various magic systems, super powers, chambara-esque samurai abilities, science fiction, werewolf transformations, and much more. A complete history of the line of books can be found in Jonathan Green's excellent book You are the Hero! Green is the author of several books in the series and a fan turned professional.

The plot of The Warlock of Firetop Mountain is simple. You are a hero, or at least an adventurer, who seeks to locate and acquire the Warlock of Firetop Mountain's fabulous treasure. The adventure itself was quite challenging and required players to carefully manage resources, develop mapping skills, and have more than a touch of luck. As difficult as the adventure was, it helped to spawn a total of 57 sequels and numerous books by competitors. Additionally, Warlock as been adapted as a board game, a D&D compatible adventure module, an interactive kindle book, and a couple of video games. Some of those games captured the excitement of the original, while others were less successful.

Tin Man Games recently released a new video game adaptation of the book and the results look promising. Rather than merely "converting" the book to graphic form, it appears that Tin Man has followed the lead of some of the best books in the Fighting Fantasy series and used the book and the rules as a skeleton on which to build a meatier product. This looks to be especially true with regard to the combat system. It appears that they've added maneuvers and other options to make the game more appealing to the modern PC gamer.

 You can see the framework of the original system, but options like "quick jab" and "piercing strike" add options unavailable in the original print book.

The game is currently available on Steam for the reasonable price of $19.99.

Have a look at the trailer and see if you want to risk the dangers that await you in Zagor's mountain stronghold.

Sorry Gaming Paper, But The Game I'm Most Pleased I Backed on Kickstarter Is...#RPGaDAY2015 [Day 2]

The first "patron" project I ever backed was Wolfgang Baur's first  Kobold Publishing product. There was a time that I backed every one of Baur's projects, but as he continued to publish primarily for D&D 3.x and Pathfinder at the same time that my bookshelves overflowed with material for those games I moved on to supporting other projects. I missed out on some excellent products, but I'm only going to play those games -x- times and I have more material then I will ever need.

I backed my first Kickstarter project in 2010 and in doing so began a fandom journey of directly supporting projects that I believe in before they are published. I became a non-profitsharing venture capitalist. I decided to be more than a consumer and to support the companies and creators I admire by backing their projects. Note the word I used there, backing. I didn't say "pre-order" their games because that isn't what Kickstarter really is. Yes, that is often what it ends up being for some companies, but that isn't the only thing a backer is. I'd have backed some of the projects I did solely for a T-Shirt or button that proclaimed I was a backer. That first Kickstarter project that I backed was Erik Bauer's Gaming Paper Adventures project. With it Eric left the realm of selling gaming accessories and entered the realm of game designer. Erik is one of the nicest guys in the industry and a natural salesman. I've called him a gaming huckster in the past, and I meant it in the nicest and most William Castle way. In addition to being a great salesman, Erik is a great guy. I'm proud to have supported his project. It's probably the "product" I'm most pleased to have backed, but since it's a supplement it isn't technically a game . So it isn't the game I'm most pleased I backed.

The game that I'm most pleased to have backed is Deluxe Tunnels and Trolls. There are so many reasons that I'm pleased to have backed this game. First and foremost is that Tunnels and Trolls, along with various Fighting Fantasy and Lone Wolf game books, was the vast majority of role playing game play that I participated in as a kid. Without those and Bard's Tale, I likely would have stopped playing games after my first session. My first experience had been with a "killer DM" and it hadn't been much fun, then I encountered a Ken St. Andre solo module and it was salve to my wound.

Don't get me wrong, Ken St. Andre is a "killer DM," his adventures don't suffer fools and they don't suffer the wise either. They are brutal, but they are never cruel and never seem unfair. When Ken kills one of your characters in a horrific fashion, you end up laughing with him at the absurdity of the situation. The worlds of Ken St. Andre, and his fellow Trolls, are imaginative to the point of psychedelia. They are a patchwork of everything wonderful in fantasy. They are Michael Moorcock meets Disney meets Harryhausen. They are creations of pure joy and excitement.

Add to Ken's literary patchwork the wonderful artwork of Liz Danforth and you have a perfect example of why role playing games caught on in the first place.

For a long time, the 5th edition had been my "go to" version of the game. There had been a 7th edition published by Fiery Dragon that updated some rules, and had a nice packaging, but it lacked a little of what made the original so magical. That little bit was the touch of Ken St. Andre's imagination and Danforth's editing and artwork. Liz Danforth edited the classic 5th edition and was brought back for the new Deluxe version of the game. It's taken a few years for this version of the game to be fully developed, but what I have experienced so far captures that early magic.

Tunnels and Trolls was the second role playing game to be published and it laid the foundation for today's OSR movement. Whenever I buy a new OSR product, I'm reminded of Tunnels & Trolls and that's a good thing. 

#RPGaDAY #3: First RPG Purchased -- Tunnels & Trolls 5th Edition

It happened approximately one month before the Great Sweet Pickles Bus War of 7th grade. My friend Mark and I had been competing over who could purchase the most Michael Whelan covered Elric novels and who could purchase the most obscure role playing game. Given the number of game stores in Reno, NV at the time and the purchasing power of 7th graders, the phrase "obscure roleplaying game" is better defined as "a game not published by TSR."

Mark struck first with his purchase of the Tunnels & Trolls 5th edition rules from Flying Buffalo. I was really impressed when Mark showed me his copy and I knew that I had to find my own copy - and get some of those "solo dungeons" that used the Tunnels & Trolls system. It didn't take long for me to find the rules and copies of Arena of Khazan, City of Terrors, and Beyond the Silvered Pane. Before I knew it, I was enjoying hours upon hours of role playing fun. I had a file card case full of combatants for Arena of Khazan, and a handful of characters who survived long enough to become precious to me.

While there are some detractors of the Tunnels & Trolls game system, I have always thought that the game was not only enjoyable but also innovative.

1. Liz Danforth's art and editing in the 5th edition of the game set it apart from many other publication of the era. The 5th edition is a truly professional edition and prior to the soon to be released "Deluxe Edition" it has been my go to edition of the game.
2. Ken St. Andre's version of the Saving Throw as presented in T&T has had a deep influence on the gaming industry. Where D&D at the time had saves for "spells," "poison," and "rods, staves, wands" T&T had a system that used a character's attributes against a target number. It took D&D several generations before they adopted something similar with the 3rd edition rules set, and completed the transition with their own 5th edition. Prior to 3.0, stat checks in D&D were typically "roll stat value or less on d20" and 3.0 changed that to roll d20+stat modifier vs. target. T&T's system uses a simple formula [15 + (level of challenge x 5)] - Statistic = Target Number on open ended 2d6. Dan Eastwood does a nice statistical breakdown of the system here.
3. The concept of exploding dice was new with T&T and though T&T explodes on doubles where some other games explode on largest value, it isn't hard to see the influence of T&T.

As I mentioned earlier, Moldvay Basic was the first rpg game system I owned, but T&T 5th edition was the first edition that I spent my own allowance on. It was my first purchase, and it is still one of my first loves. I might just crack open that file card case this evening.

Simulation vs. Playability: The Background Discussion for a Blog Series

Over the course of the next few weeks, I will be discussing how some games balance their desire to simulate a certain activity with the need for a game to be playable. Most of the posts will be dealing with role playing games, but I might wander into wargame territory from time to time.

Let us take as a given for the purposes of our discussion that, with the exception of purely abstract games, most games are a simulation of some central conceit.

For example, both Chess and Men of Iron are to one degree or another simulations of medieval warfare. Men of Iron has what Elias, Garfield, and Gutschera (2012) would describe as higher "intensity" of the medieval warfare conceit than Chess, but both do share that central conceit. On the Elias, Garfield, and Gutschera "Scale of Intensity for Conceits," Chess is rated a 3 (Very Light Conceit) while Men of Iron would likely be rated around an 8 (Simulation, but with many sacrifices to gameplay).  As a further illustration Tic-Tac-Toe rates a 1 (Purely Abstract) and Squad Leader ranks a 10 (Full-on Simulation).  This might make one wonder where Advanced Squad Leader would rank, but I digress.

I understand that there are those who may disagree with the initial premise that "all non-abstract games are a simulation" either as a mere tautology, and others who completely disagree with the premise as an a priori. I believe it will prove useful for the series of discussions I hope to have about role playing games as simulations of the various subjects they address.

The framing of games, and in particular role playing games, as simulations should not be confused with Ron Edwards' GNS (Gamist, Narrativist, and Simulationist) system of game play analysis. As I interpret GNS Theory as a theory of play that can inform design and not a theory of system deconstruction and design. As Ron states in the above linked essay, "These terms, or modes, describe three distinct types of people's decisions and goals during play." These are player goals toward which games may be designed, but in my opinion a "Simulation" is not the same as a "Simulationist" game. 

To illustrate, the excellent Narrativist game The Extraordinary Adventures of Baron Munchausen is a simulation of storytelling as the good Baron himself might engage in it. It is not a simulation of the Baron's adventures, though James Wallis considered making a game where players could enact those adventures, it is instead a simulation of storytelling in a particular style. Another example of a game that is a simulation of storytelling is Tales of the Arabian Nights. Both Baron and Arabian Nights simulate the activity of storytelling within their conceits differently, but in the end the game play of both are best described by the stories created within the rules of the game. There is a reason that Wallis calls these kinds of games "Story-Making" games. So it's possible to have simulations of storytelling that results in story-making which in the end results in storytelling when the results with game play are shared.

Okay, enough of the metaphysics of games being simulations. Let's move forward please -- ed.

Games are also about fun, and to be fun games must be playable. This is as true of role playing games as it is for any other kind of game. As Robin Laws says in his masterwork Robin's Laws of Good Game Mastering, "Roleplaying games are entertainment; your goal as GM is to make your games as entertaining as possible for all participants." 

The key part of that statement is "as possible for all participants." Because players come to a gaming table with different "ideas of fun" as highlighted in Edwards' GNS theory, roleplaying game design must make decisions between the level of depth of simulation and the playability of the system. Some players find granular verisimilitude and accuracy of representation entertaining. For these players reading Chapter H of the Advanced Squad Leader rulebook is as much fun as actual game play. Other players might enjoy quick systems or systems that foster the creation of narratives.

Historically, one of the conflicts that has resulted from the attempt to design "good" games is a tension between "realism" and "playability." In Issue 8 of MOVES magazine (1973), Victor Madeja argued that "Commercial wargames fail to accurately represent modern war. Although no game will ever recreate the confusion, horror and destruction of war, we should at least expect a wargame to partly simulate the decision-making process involved in actual battle. Instead we have chess-like caricatures of reality. What semblance of realism we were led to expect is sacrificed on the altar of playability" (Emphasis mine). For Victor, there was a clear distinction between realism and playability and he thought that games at the time leaned too much toward playability and not enough toward actual simulation .

You can purchase access to the first 60 issues of MOVES magazine for the very reasonable price of $19.95 at Strategy and Tactics Press.

By Issue 14 of MOVES (1974) John Hill, the eventual designer of SQUAD LEADER, addresses the conflict by stating, "One of the hardest problems facing any war game designer is the careful balancing between playability and realism. Actually, any reasonably competent wargamer could probably design a realistic 'simulation,' but to design a good game is something else. As an example, 1914 was an excellent simulation of corps level fighting of that era, but as a game it was worthless -- it couldn't be played." John Hill would eventually go on to become an advocate of what he called "abstraction." This was a controversial game design philosophy in which the designer cared less about "what actually happened" and more concerned with the "effects" of what happened and how to model those effects. So, for Hill the fact that gunfire affected morale was more important than modelling the specific physical effects of bullet trajectories. Examples of "abstraction" designs in role playing games include D&D's "hit points" and the "effects based design" of CHAMPIONS.

The tension between simulation and realism is one that has been discussed in role playing games since the origin of the hobby. In the Advanced Dungeons and Dragons DUNGEON MASTERS GUIDE, Gary Gygax writes, "Of the two approaches to hobby games today, one is best defined as the realism-simulation school and the other as the game school." -- You can see in this discussion the origins of Edwards' GNS theory. -- "AD&D is assuredly an adherent of the latter school. It does not stress any realism (in the author's opinion an absurd effort at best considering the topic!). It does little to attempt to simulate anything either. ADVANCED DUNGEONS & DRAGONS is first and foremost a game for the fun and enjoyment of those who seek to use imagination and creativity...As a realistic simulation of things from the realm of make-believe, or even as a reflection of medieval or ancient warfare or culture or society, it can be deemed only a dismal failure...Those who...generally believe games should be fun, not work, will hopefully find this system to their taste."

In his paragraph on design intent, excerpted above, Gygax clearly puts himself in the "abstraction" design camp. His discussion of Hit Points in the DMG also makes this clear, whereas those who criticize hit points or how armor "makes it harder to hit and doesn't stop damage" fall more into the simulationist camp. I would like to say that I disagree with Gygax that his game "does little to attempt to simulate anything." I would argue that it is simulating heroic fantasy, but it is doing so from an abstractionist position. It's a small distinction, but not an unnecessary one.

As an aside, most gamers or designers are a combination of abstractionist/simulationist. Ken St. Andre, the designer of one of the most abstractionist rpgs I have ever played, doesn't like armor class systems because they don't simulate what he wants. This is the case even though his TUNNELS & TROLLS combat system sacrifices specificity for playability and speed of play.

When it comes to the tension between "simulation" and "playability" there is not a procedural definition of what is right or wrong. What is right or wrong doesn't even depend on what is being simulated. What determines whether it is better to favor simulation or playability is how that decision works within the rules set and the goals of the game itself. Sometimes it is important that a game be a good simulation of what it is trying to represent. CHAMPIONS is very much an "effects based design" system in character creation, but its combat system simulates the panel to panel flow of comic books extremely well. VILLAINS & VIGILANTES has a random character creation system that favors simulation -- though it also includes GM "rulings over rules" -- over abstraction as it defines specifically what Flame Powers and Ice Powers do and how they work rather than define effects and have you decide what matches what. Both are good games.

In the coming weeks, I'll be looking at some games and how they address the Simulation/Realism vs. Playability/Abstraction conflict. I'll be starting with VILLAINS & VIGILANTES and how it emulates Force Fields and Telekinesis in its simulation of super heroic conflict. While I think that the V&V system overall is quite good, I believe that the designs of these two powers demonstrate good "simulation" on the one hand and "awkward" simulation on the other.

I'd like to leave this conversation with two quotes for Will Hindmarch and Jeff Tidball from their Things we Think About Games.

1) Theme and gameplay are two different things.
2) Balance is not the same thing as fun.

Elias, George Skaff. Garfield, Richard, and Gutschera, K. Robert (2012), Characteristics of Games. Massachusetts Institute of Technology Press.

[Gaming History] Ace of Aces Seeks a Triumphant Return

I have always had warm feelings for Rick Loomis' game company Flying Buffalo.  When I was a young gamer whose pool of friends included few other rpg/wargame players, I spent many an enjoyable hour playing the solo adventures for Tunnels and Trolls that Flying Buffalo published.  I watched as their product lines improved in quality with the addition of the Blade subdivision and its line of well designed and attractive supplements.  I have always believed that a part of this improvement should be credited to Dave Arneson who may have provided some underwriting for this project, as he did many others after his settlement with TSR.  At a minimum Arneson wrote one of the better supplements for their Mercenaries, Spies, and Private Eyes games.

To me Flying Buffalo is the Oakland A's of the Adventure Gaming hobby.  Loomis has been innovative in many of his ideas, and has used his vision to purchase the rights to some excellent games, but he has never had the budget to bring his vision to full light.  After all, Flying Buffalo were at the forefront of the Play By Mail hobby (essentially creating the genre post-Diplomacy), the rpg hobby itself (with the release of Tunnels and Trolls), the creation of the solo game book hobby, and their purchase of the rights to publish the innovative flip book games like Ace of Aces designed by Alfred Leonardi and published by Nova Games.

Nova Games itself has heavily influenced hobby gaming.  In addition to the excellent Ace of Aces game, and the Lost Worlds combat book spin offs, Nova was responsible for the first edition of the now classic Axis & Allies game.  The Nova edition of Axis and Allies received a less than sterling review in Fire and Movement issue 27, which stated that the game would be better as a beer & pretzels game by a publisher like Milton Bradley.  That review couldn't have been more prescient, as by 1984 Axis & Allies became one of the "big" three Milton Bradley "Gamemaster" series board games.  The "Gamemaster" series of games essentially created what we now refer to as the "Ameritrash" game.  These are highly thematic games that have a complexity that falls somewhere in the middle of Risk and the easier "chit and token" games of a publisher like Avalon Hill or SPI.  When the Mildotn Bradly version came out, the reviews were quite different than the early F&M review.  To quote Warren Spector in The Space Gamer 72, "WOW! Make that double WOW! ...If any adventure/wargame company had released Axis & Allies it would probably sell for three times what it costs from Milton Bradley.  As it is, it can be yours for a measly 15 bucks if you shop around. So what are you waiting for?"

Like Axis & Allies, the Ace of Aces game seeks to provide game play that satisfies what was a new kind of gamer, and a demographic that makes up a large number of gamers today, the gamer who wants an easy to play game that is deep and has high replay value.  Where Axis provides game play at the most abstract of levels and covers all of WWII on one map, Ace of Aces provides game play at the most granular level.  It is a battle of one German biplane against one British biplane.  It is Rickenbacker versus Richtofen, Snoopy versus the Red Baron -- and it plays in about 15 minutes. When Nick Schuessler, Steve Jackson Games' resident war game guru in the 80s, reviewed the game he wrote, "All of the praise for this unique gaming system has been well deserved.  Simply put, AofA is the most innovative thing to happen to the hobby since Tactics II."  Given that Tactics II effectively created the war board game hobby, that is high praise indeed.


It is a magnificent game, that is sadly out of print and that would make a great iPad/iPhone app.

Do you hear that Rick?  This game is perfect for the iPad/iPhone without any alteration.  None.  Make it now.

As I mentioned, the game is out of print, but it doesn't have to be that way.  Rick Loomis is attempting to print a new edition of the game through a Kickstarter that is pretty close to meeting its funding goal.  The KS doesn't have a video attached to it, but the game's creator Alfred Leonardi has released a tutorial video.  As you can see by watching the video, it is more of a play through video than a tutorial.  But it does provide an excellent primer for how quickly the game plays.  In the video, two total neophytes play a full game in under 10 minutes.

Unlike other recent videos by more tech savvy companies, this tutorial is a bit crude.  But it does have it's charm.  The Ace of Aces game was also given a stellar review and recommendation in the most recent issue of Battles Magazine (number 8).  Would that the Flying Buffalo Kickstarter had the graphic design of that magazine, the game would certainly already be funded.  

Go! Now! Back this project!  Let's play an Ace of Aces tournament at Gen Con 2013. 

Trying to Stand Out in a World of Kickstarting Awesome

Where to begin...where to begin?

I have long been a big believer in independent projects and fan supported endeavors, especially in the hobby gaming community.  It seems to me one of the best ways to ensure that the projects we want continue to get made, especially when "start up" costs would be too expensive to raise otherwise.  Pre-funding projects allows gamers to become a kind of venture capitalist, angel investor even, in some exciting products.

I was one of the first patrons of Wolfgang Baur's excellent Open Design Project.  I interviewed Wolfgang for my Geekerati podcast and am a long time subscriber to his Kobold Quarterly.  I think what Wolfgang has been doing for the gaming community with his "Switzerland of the Edition Wars" magazine and projects, is a great service.  He not only produces fantastic gaming products, but involves the community in those projects as well.  If only he would recognize me the next time I introduce myself to him at a con... ;-)

I have also been a long time customer of the Indie Press Revolution.  While not as "venture" oriented as the Open Design project, IPR has helped a lot of games that might otherwise have been overlooked get release and play.  It was the first place that I saw "Spirit of the Century," a fantastic game by Fred Hicks' company Evil Hat Games.  I like to think that my friend Eric's successful creation and launching of "Race to Adventure" started with my purchase of SotC and my excitement about the company.  I take no credit for Eric's game itself, I just imagine that I motivated a handshake that led to gold.

I really have to thank Ken Hite for pointing me in the direction of IPR and the games it offers, so ultimate credit for the handshake would transfer from me to him anyway.  I also have to thank him for directing me to Pelgrane Press and their Gumshoe product line.  I've been pre-ordering -- a kind of venture capital/patronage -- the games in their line for a couple of years now, and have been impressed every time.  I also have to thank James Maliszewski -- who I discovered at IPR -- for pointing me in the direction of a number of other independent projects in the Old School Renaissance/Revolution (OSR).  Thanks to James, I have ordered the White Box of Sword and Sorcery and Delving Deeper -- a product that I have been waiting for quite some time to examine.

And prior to Kickstarter, word of mouth through blogs and whispers at conventions and in game stores was really the only way one could find out about exciting projects that needed "pre-release" support.  In the past couple of years though, as Kickstarter has grown and along with it the number of successful projects -- Kickstarter has become a go to place for exciting gaming related products.

Which is why last March, my business partners and I at Twin Suns Entertainment decided to launch our initial product offering on the site.  Our vision was to make a documentary film that told a surprising tale about the people who play role playing games, a tale that broke stereotypes.  We wanted to show the world that gamers come in all stripes, from students to professors and from attorneys to screenwriters.  Gamers come from all walks of life, and the only real stereotype about gamers is that they enjoy games.  That had been our experience and we want to share that with the world.

We also want to do it right...which isn't cheap.  We want to follow a number of gamers (say four) in their day to day lives, gamers on different coasts with diverse backgrounds.  We also wanted to interview experts and visit the homeland of gaming...Wisconsin, as well as a couple of major conventions like PAX and GenCon.  Add visits to major publishers to this mix, and the travel expenses get pretty high.  But we want to do it right, and that means a pretty sizable budget of $41,000 or so.  That isn't huge by film making standards, but it's pretty big for a first Kickstarter project.  This is especially true when it comes to competing in a saturated market, by which I mean a market saturated with projects worth backing.  I would have to be arrogant and ignorant to think that our project was the only project worth backing.  I think our project is the best idea of all time, but I am still dumbstruck by the awesome that emanates from the minds of my fellow gamers.  Let me give you a few examples of what I have recently supported...if you are interested in everything I support you can check out my profile.  Oh...and not all of what I am currently backing is game related.  There really is a ton of great stuff out there.

So, here goes.  I have recently supported:

1. Xombie: Death Warmed Over by Epic Level Entertainment.  Epic Level produces the very funny web series "Dungeon Bastard," and I loved the original Xombie stuff so this was a natural for me.  I would love it if Cindi Rice would participate in our documentary.  The Dungeon Bastard himself has agreed to let us invade his life, but to share with others the journey from game creator to television producer is one I would love to provide.
2. Random Dungeon Generator as Dungeon Map   I think the coolness of this project speaks for itself.
3. Dwimmermount -- I told you I love James Maliszewski's stuff.
4. Free RPG Day Adventure from Gaming Paper -- I have supported every one of Erik Bauer's Gaming Paper forays.  He's one of the nicest guys in the industry, and a Friendly Local Game Store owner.
5. Geek Seekers starring Monte Cook and Jen Page.  
6. Tales of the Emerald Serpent -- A fiction anthology from Scott Taylor of Black Gate Magazine.  It harkens back to the old Liavek, Thieves' World, and Wild Cards anthologies.  I cannot wait.

And that is just a smattering.  There is a ton of great stuff out there.  You should support it.  

I'd love it if you'd support us in our project.  We've lined up some great participants who include the following:

• John Rogers -- the creator of the Leverage TV show, author on the Blue Beetle comic book, user of unobtainium before Avatar, and player of Savage Worlds, D&D, and other games.
• Ashley Miller -- screenwriter on Thor, and X-Men: First Class.  He and his group play an interesting mash up rpg that I hope I'll be able to share in more detail with you.
• Cam Banks -- the creative force behind much of what Margaret Weis Productions is putting out these days.  His evolution of the Cortex system into the Cortex Plus system with games like Smallville, Leverage, and the Marvel RPG is quite remarkable.  
• Matt Forbeck -- If credit for me even attempting a project in the gaming industry belongs to anyone, it belongs to Matt.  He is an incredibly nice guy, and is attempting a challenging project of his own.  He's trying to write 12 books in 12 months and to become a modern Walter Gibson.  Though he will have to become a professional grade magician -- you know card tricks etc. -- to truly match Gibson.
• Ken St. Andre -- Not only was he the inventor of two of the earliest role playing games ever written -- Tunnels and Trolls and Starfaring -- he's offered to host a session of T&T at GenCon for us this year.
• David Nett -- David is the creator of the entertaining webseries about gamers Gold: The Series.  It's not everyday that someone tries to make a dramatic comedy about our hobby.  He did, and with Night of the Zombie King -- the second Gold offering -- he accomplished that task with style.

We've got some great people involved in our project.  We are looking for more.  We hope that we can get Wil Wheaton or Felicia Day to participate.  They are in our neck of the woods after all, but they do have their own exciting projects lined up.  You might have heard of it.

It's pretty hard to stand out in a world of awesome, but that's what we are hoping to do.

A is for Armor -- Simulating Armor in Role Playing Games

In the almost 40 years that role playing games have been around, a number of traditional mechanics have evolved in order to simulate how armor protects individuals in combat situations. For decades people have debated the merits of the various systems and which more realistically emulates the underlying "physics" that ought be emulated by a rules set -- the important word being "ought." The mechanical preferences of players and systems is in part due to the fact that different games not only represent different time periods, they also represent different genre that often have very different levels of lethality when it comes to the combats being simulated.

Though there are countless ways that armor can be emulated, I have found that there are four basic mechanical structures that have been used to simulate the effectiveness of armor in combat.

1) Armor Class systems. The first role playing game to utilize an Armor Class system was the Dungeons & Dragons role playing game -- the first role playing game. In a "pure" Armor Class system, the armor the character is using affects how difficult the individual character is to hit in combat. In these systems, characters in better armor are harder to hit than characters in "worse" armor. Also factored into a character's Armor Class is how agile a character is, and thus how adept they are at physically avoiding damage. The system used in Dungeons & Dragons has its roots in the combat resolution matrices used in classic wargames like Gettysburg -- the so called traditional CRT. These tables compare an offensive skill value to an opponents defensive value and provide a numerical value representing the probability of scoring damage on an opponent. Just as a tank in Panzerblitz might have a defensive value of 6, a warrior in an Armor Class system might have an Armor Class of 6.

The average damage that any character receives during any given combat round can defined by the following linear equation:

Damage = (Probability of an attack hitting)*[average weapon damage + damage bonus] + 0

2) Damage Reduction systems. For many, the abstract nature of an Armor Class system seems less than intuitive and is less than satisfactory. To some, it doesn't seem intuitive that armor "makes you harder to hit," instead in can be viewed as reducing the amount of damage that a particular attack does when it hits. The first role playing game to use a Damage Reduction system was Tunnels & Trolls -- the second role playing game published. Damage Reduction systems vary in their complexity and end results. In some systems like The Fantasy Trip or Dragonquest, armor not only reduces the amount of damage your character takes from a blow, but it might actually decrease your own combat effectiveness as the system emulates how much a bulky suit of armor might affect your own combat capabilities. In these systems, there can be certain suits of armor that render certain weapons entirely ineffective as the maximum damage they can cause is less than the Damage Reduction value of certain suits of armor. This was not the case with Tunnels & Trolls, but has been for others.

The damage that any character receives during any given combat round can defined by the following linear equation:

Damage = (Probability of an attack hitting)*[average weapon damage + damage bonus] - Damage Reduction

3) Armor Penetration systems -- A modification of Damage Reductions systems are those systems where armors have an Armor Value that must be exceeded by a roll of a weapon's Penetration die. The innovative RPG Dragon Warriors uses this system for its damage determination. In this system while the value of the protective value of the armor, and the damage rating for any weapon, is static, the chance that the armor prevents damage is a variable number. In this case, the armor doesn't prevent the character from being "hit," nor does it reduce the amount of damage done. Instead, the armor acts as a barrier that either blocks all the damage of a "hit" or none. Like the earlier Damage Reduction system, there are circumstances where a given armor might be impossible to penetrate with certain weapons.

The damage that any character receives during any given combat round can defined by the following linear equation:

Damage = ((Probability of an attack hitting)*[Probability of weapon bypassing armor's Armor Value])*[Weapon Damage].

For example, Sir Hereward has a 50% chance of hitting Ambassador Vyle with his longsword. Sir Hereward is attacking with a longsword (d8 penetration and 4 damage), and Vyle is wearing chainmail (AV = 4). Assuming that Sir Hereward has no bonus to his penetration roll from Strength or magic, his longsword would penetrate Vyle's chainmail on a roll of 5,6,7, or 8 on an eight sided die (50% of the time)his average damage to Vyle would be:

Damage = ([.5]*[.5])*[4] or an average of 1 point of damage per attempted attack. Any successful attack would automatically do 4 points of damage.

4) Combination Systems -- the majority of the remaining systems appear to be combinations of the above mechanics. The Palladium Fantasy Role Playing Game uses a variation of the Armor Class system with the addition of the damage armor blocks being absorbed by the armor which can be destroyed if it takes enough damage. The GURPS game uses a Damage Reduction system that also includes a "Passive Defense" system that allows for armor to make an opponent miss outright. The Hero series of games -- because of its effects based nature -- actually uses both systems. One could represent Armor in Hero as either reducing the chance to hit, or reducing the amount of damage done -- though the system always includes some element of a Damage Reduction system. This is also true of Green Ronin's excellent Mutants & Masterminds game system (and their True 20 system as well), which uses both an Armor Class system and a Damage Reduction system and can have armor simulated either way. Games like Mayfair's sadly out of print DC Heroes role playing game have armor work in a modified Penetration system.

From the above discussion, you can see that regardless of the expressed preferences of those who use Armor Class Systems, Damage Reduction Systems, or Armor Penetration Systems, the average damage per attempted attack can be expressed in a similar linear equation for each. That equation being:

Damage = [chance of doing any damage]*[average damage] - Damage Reduction. Even D&D uses this equation, it's just that the Damage Reduction is always equal to zero. The Advanced Dungeons & Dragons game did attempt to add some granularity to this linear equation through the use of a weapon vs. armor modification chart which added or subtracted from the probability to hit based on which weapon was being used against which specific armor. This system wasn't widely used for a number of reasons, not the least of which were that it was unduly complex and that it didn't include sufficient modifications for weapon use against monsters.

As an aside, one could argue that DC Heroes is one of the few games that breaks completely free of the simple linear damage equation I gave above. It still can be represented in a linear equation, but the variables are modified based on a hit and damage resolution tables that aren't purely linear in its expressions.

Which is your preferred Armor simulation system?

Are there any simulation methods I left out that you admire?

Gaming with Ken St. Andre at Gen Con

A couple of posts ago, I mentioned that some of my first gaming experiences were running "solo" runs of characters through The Keep on the Borderlands. These sessions amounted to me rolling up 5 or 6 D&D characters, covering up the DM map of the Caves of Chaos to hide parts of the map my characters couldn't see, and resolving the mechanics as much as possible.

I had a good time playing this way, though it was nowhere near as fun as playing with friends, and the temptation to "cheat" was surprisingly small. This is likely due to two or three factors. First, I wasn't very personally vested in the personality of any given character. They were ciphers to me. They were about as real as your average RTS "trooper." Second, playing a dungeon solo made the game essentially a logic puzzle with a relatively simple solution -- only the "mechanics" made things difficult. Third, there was very little reward for cheating and the emotional reward for succeeding without cheating outweighed the reward for cheating. Besides, the punishment for failure was making more characters who could then be run through the adventure. It was a fun solitary activity for someone who had friends, but very few who played role playing games.

While I enjoyed running these solitary adventures, there did seem to be something lacking. They were logic puzzles without an "antagonist." In a normal logic puzzle it's your mind against that of the puzzle's creator (with only one solution), but in these solitary runs there were many possible solutions and there didn't feel like there were any "stakes" to the playing. Given enough time using modules written for groups as solo endeavors, I would have likely stopped gaming altogether.

Then I met Mark Williams. Mark had come to Reno from Chicago and he and I shared a lot of interests. One of these interests was role playing games. We became fast friends, but friends who began to compete with each other regarding who could find the next cool thing. Mark was the first to discover Michael Moorcock. I was the first to discover the Fighting Fantasy Gamebooks -- which looked to be the ultimate solution to the solo game experience. (Point of fact, I still highly recommend them.) Then Mark discovered something "better." He discovered the Tunnels and Trolls role playing game which supported both group and solo play, and had some very well designed solo adventures. The humor in the game appealed to our middle school minds -- I still find it appealing -- and the adventures were more "adult" than those in the Fighting Fantasy gamebooks, which made them perfect young boys amped up on teenage hormones.

These solo adventures did vary in quality, but there were a couple that stand out as some of the greatest modules ever written -- City of Terrors, Arena of Khazan, Overkill, and Sewers of Oblivion provided me with hours and hours of enjoyment. What was more, when I played Arena of Khazan it felt like I was playing against someone -- someone with a cruel and darkly humorous mind. The author, Ken St. Andre, killed scores of my characters as I attempted to explore the stories he drafted for players like me. I loved every minute of it. Often "losing" in a Ken St. Andre, or Michael Stackpole, written adventure was more fun than "winning." They were great fun and they are very much responsible for my love of the gaming hobby, as they embody one of the things that the hobby is about -- creating communities across distances.

I had always wanted to game in a "face to face" experience with Ken St. Andre as my game master. I had imagined the dozens of devious devices he would use to bring about my characters' demise. At this year's Gen Con, I finally got the chance when Ken set up a quick pick up game on the floor of the Exhibit hall while he was taking a break from his hard work at the Flying Buffalo booth.

My friend Eric and I, along with a couple of other eager players, sat down with Ken for a brief and fun filled adventure. Typical of a St. Andre adventure, the plot was straightforward and to the point. A wizard had summoned a group of "heroes" from Earth's famous GenCon to help him reacquire the source of his magic. We had only our wits to guide us as we ventured into a goblin lair to help this mysterious magic man acquire an item of great power. Personally, I question how eager we were to help a man we knew nothing about, but as gamers we were used to making snap decisions based on Fantasy tropes "in character." Why not do them ourselves.

Our group did quite well for some time, carefully navigating a couple of Ken's tempting traps. It looked like we all were going to actually live through the adventure. Then came the final puzzle. Ah yes, the final puzzle. It was so obvious, but I knew better than to assume the obvious. Ken had killed me -- in his printed modules -- for assuming the obvious in the past. There had to be some trick, and so our party numbers quickly dwindled as we engaged the puzzle. Eric's character died, a young player's character died, my character died. Then someone assumed the obvious and solved the puzzle.

It was great fun, with a great group of players -- for the most part. There was one player who had the common gamer "I want to be the best and will use the rules however I can to maximize potential for success" attitude. Didn't he know that he was playing Tunnels and Trolls? This game is about whimsy and fun, not about "success." He took things far too seriously, and play suffered briefly for his sternness -- only briefly. By the end, I think he was actually catching on.

Some day I'll do a statistical analysis to show how the rules of T&T actually discourage power gaming, but that is for another time. Let's just say that playing in a Ken St. Andre written/run game is like adventuring in an L. Sprague DeCamp "Enchanter" Story and not like adventuring in a world of Tolkien, Moorcock, or Howard. Fun and humor are the first rules, winning and "drama" are for other writers.

My brief experience with Ken was everything I hoped that it would be and it recaptured the joy that the solo adventures had brought me as a young man. I was simultaneously experiencing fun and nostalgia at the same time, quite like that a fan would experience when his/her childhood baseball team wins the World Series. I both enjoyed the moment, and the memories it brought to mind.

It's rare that we get to thank those who have created the games, movies, books, or shows that we have enjoyed in a personal way. We are often limited to the formal "signing" booth or some other constructed moment that may or may not be remembered by the creator. I'd like to take this time to thank Ken for a great time, both at GenCon and 20 years ago.

Some Thoughts on Tunnels and Trolls -- Why It Matters

Those who play Role Playing Games as a hobby know that it isn't always easy to find a group of like minded enthusiasts in order to form a regular "gaming group." As the hobby has expanded, gamers have been able to scratch the RPG itch by playing single player computer RPGs like Baldur's Gate and Planescape: Torment, video game console rpgs from Dragon Warrior to Dragon Age, or Massive Multiplayer RPGs like World of Warcraft and Dungeons and Dragons: Online. (You can watch videos for some of these games below.)

There hasn't always been such a rich market of available distractions for the gaming hobbyist. In fact, if you were a gamer in the early 1980s -- particularly a young gamer for whom college was a mere aspiration -- there were really only three solutions. You could used the "random solo dungeon" tables in the Advanced Dungeons and Dragons Dungeon Master's Guide, you could play a Fighting Fantasy Gamebook, or you could play a Tunnels and Trolls solo adventure. As I mentioned earlier, if it hadn't been for Tunnels and Trolls your only option would have been the "random solo dungeon" tables in the DMG.

Tunnels and Trolls provided a much needed service for the gaming community with its solo adventures. Not only did they provide the inspiration for the excellent Fighting Fantasy Gamebooks, but the T&T solos provided hours of entertainment in and of themselves. They also demonstrated how the T&T rules system was an ideal RPG system for solo play. T&T's rules were simple, quick, and abstract, three things that are essential if one is trying to create a game for solitaire play. The early T&T solos were fairly crude in their presentation and content, particularly when compared to the Fighting Fantasy (and later Lone Wolf) Gamebooks, but as first movers they created a wonderful sub-category of adventure gaming -- one that I still enjoy today.

Buffalo Castle, the first solo module, was written by Rick Loomis of Flying Buffalo Games and is a very basic -- though sometimes wildly chaotic -- dungeon crawl. The castle's denizens don't make much sense, and "your" motivation for adventure is pure "profiteering" of the kind common in early RPG adventures. But there is something to be said for entering a room that Tardis-like is larger on the inside than the castle that surrounds it -- a room filled with a herd of buffalo. One imagines that Loomis' work in the Play-by-Mail marketplace may have been a part of his inspiration in drafting a solo adventure.



Ken St. Andre's Deathtrap Equalizer Dungeon quickly adapted the solo module format in a manner that attempted to increase repeat play. The module is best described as a "Gonzo Romp" adventure where death or success can happen at the turn of a page, and where the author punishes readers almost on a whim.

It wasn't until Ken St. Andre's Arena of Khazan and Michael Stackpole's City of Terrors that the solo reached a level of sophistication that made replay not merely fun, but more rewarding that playing through the adventure a single time. I still find myself returning to the Arena of Khazan in the hopes of attaining wealth and glory -- or freedom if I happened to have been "recruited" as a new gladiator like Spartacus in the new Starz TV series.

The solos are worth a look and a play through both as artifacts of the history of RPGs and as experiences on their own -- especially the later modules where narrative components become more important than the first few. I've never quite been convinced that T&T works well as a "group" game, its combat system lacks a kind of "cinematic granularity" that feeds the imaginations of the players with whom I have typically played. But I think that it has some core elements that could be translated into a great group game. This is especially true of T&T's underlying "Saving Throw" system, which I'll be examining in a couple of upcoming posts.



While D&D's influence on computer/video games is undeniable. One should not overlook the influence that T&T and its solo adventures had on that field either. Ken St. Andre worked on the classic video game Wasteland, which was the inspiration for the Fallout series of video game rpgs. Ian Livingstone, of the Fighting Fantasy gamebooks series, went on to develop a video game version of his own Deathtrap Dungeon with a little video game company he co-founded. It's called Eidos. Maybe you've heard of it. They did a little game called Tomb Raider.

Indie Game Designer James Maliszewski Interviews Role Playing Founding Father Ken St. Andre

The Role Playing Game hobby is approaching its 40th anniversary. Like any phenomenon that has been around for any good length of time, the hobby is beginning to see the passing of its founders. Over the past couple of years, several of the founding fathers of role playing have passed away: Gary Gygax, David Arneson, and Tom Moldvay to name just a few.

It is odd that Cinerati did a blog post for both Gygax and Arneson, but not for Moldvay. It is true that Gygax and Arneson invented Dungeons and Dragons, and thus the RPG hobby, but it was Tom Moldvay who made the game fun to play and was among the first designers to show me that D&D could be about more than "kick down door, kill monster, loot stuff, repeat." His design work on Isle of Dread too the adventure out of the dungeon and into the world, it also added more "story" to the experience. Then came Castle Amber, maybe the single most important module in D&D history. Without this module, there would have been no Ravenloft and Mystara would be a much less interesting world. Moldvay used the works of Clark Ashton Smith as an inspiration for the module and demonstrated completely how a module could be used to tell stories. Player's of the module are even treated to a nice "Fall of the House of Usher" moment. Moldvay's career in gaming was an important one, to the hobby in general and to me in particular.

It was an oversight that I didn't blog a nice obit for Moldvay, it is unforgivable that I never wrote any posts praising his work -- a situation that will be corrected soon enough. We too often forget to write about those who work in the gaming industry while they still live -- I have yet to find a recent update or post on the internet regarding J. Eric Holmes who wrote the first Basic Dungeons & Dragons book. In today's information age, it is baffling that we don't keep better track of gaming's founding fathers.

This is what makes James Maliszewski's recent interview with Ken St. Andre for Escapist Magazine such a treat. Where Gygax and Arneson are the founding fathers of the tabletop roleplaying hobby, Ken St. Andre is arguably the founding father of the roleplaying game industry (a title he likely shares with Rick Loomis). His Tunnels and Trolls was the second roleplaying game published and its publication turned rpg gaming from a monopoly into an industry -- that's quite an achievement. St. Andre's Tunnels and Trolls has, like D&D, gone through a number of editions. While it has never achieved the popularity of the flagship of rpg gaming, T&T still has an active and loyal group of followers -- many of whom meet up at Ken's Trollhalla website to chat about gaming, play online games, and generally geek out.

Ken St. Andre is still very much with us, though he did just finish a series of treatments for prostate cancer, and will likely be around for years to come. This is great for the members of Trollhalla, like me, but it is articles like Maliszewski's that expose more gamers to the thoughts of Ken St. Andre. I don't agree with all of Ken's design philosophies, but he is certainly one of the game designers whose contributions I return to again and again.

Jody Drew Me a Custom Troll for Trollhalla

One of the advantages to having a multi-talented wife is that when you ask if she might have the time to draw a troll dressed like Sherlock Holmes for you to submit as a profile picture on a website -- you get one with lightning speed.

I have recently joined the Trollhalla community. Trollhalla is a website created by Ken St. Andre, the author of Tunnels and Trolls (the second published fantasy role playing game), as a place where supporters of the Tunnels and Trolls game can come together and chat while simultaneously supporting the game they love. As many of you know, though I am a huge fan of the King Kong of mass market role playing games, I am also a very big supporter of smaller press and independent game designers.

I have always thought that much of the most innovative developments in gaming come from the smaller companies. In fact, one of the reasons I like the King Kong of the industry so much is that each edition of that game has responded to innovations in the gaming industry -- either by altering mechanics or hiring people who were innovative designers for smaller companies. The most recent giant behemoth shows influences from a number of my favorite games -- Feng Shui, Savage Worlds, and The Burning Wheel among them -- and I eagerly await seeing how the next "mutation" of D&D incorporates current developments like the "how to run mystery scenarios" systems of the excellent Gumshoe system.

But my support for smaller companies is not the only reason I am surprised that it took me over 25 years to find this group -- they subscribed to a fanzine by Ken before the internet. No, I should have found this group much earlier because when I was younger Tunnels and Trolls was the game I played more than any other. There was probably a time when I had nearly memorized all the encounters in The Arena of Khazan, and my 3x5 library of gladiator npcs for that adventure easily numbered in the hundreds.

When I was young, as today, I liked playing fantasy rpgs with friends. But I also liked playing baseball, playing soccer, wrestling, dating, and I had a part-time job. Marathon gaming sessions with friends were something one could only really do during winter and summer breaks. Tunnels and Trolls solo adventures were something I could do right after I finished my homework and they were a lot more entertaining than a lot of prime time television.

So here's to T&T and Trollhalla, stop by if you want to chat with some people who are enthusiastic about a very fun game.

Now to email Ken to see how I can submit the image.