Numenera - Genesis of a Campaign (Part 2)

WARNING: This post contains spoilers for my upcoming Numenera campaign. Players: stay away!

In my campaign's first post I described the basic premise of the campaign. From the get-go, even before I considered using a network of transdimensional gates as a clothesline where to hang the player characters' stories, I decided I wanted to include a powerful artifact. And where there is a powerful artifact, you can bet there are all sorts of factions trying to get their hands on it.

This being Numenera, the artifact is called the Eye of Azhura. The players will find a mystifying veil of stories and old wives-tales surrounding the Eye of Azhura. Most of the people of the Ninth World is superstitious and understands little of the technology left by the super-advanced civilizations of old. They know what trickles from the distant past in musty old tomes and oral tradition. It's a powerful gem or perhaps the eye of a god that unleashed divine wrath and brought the dead back to life. At this moment, I'm still playing with the form these legends will take, but it won't be a gem except in the minds of the people who tell these tales.

Taking inspiration from one of my favorite settings of 80s, Shadow World, published by Iron Crown Enterprises, the Eye of Azhura is an energy source placed inside a shrine to power a force field around the Earth that protects it against energy forces inimical to all life. In fact, there are two Eyes of Azhura: one on the north pole and the other on the south pole. How does this tie with the network of gates? As the player characters explore the tower structures, they learn about the Eyes (perhaps both the artifacts and the gate structures were created by the same civilization) and that others also seek to control the towers for their own ends including a group of voyagers from the stars stranded on Earth long ago who seek a functioning power source to restart their ship and leave the planet. This, of course, poses a problem since the removal of either Eye will deactivate the Earth shield, thereby exposing the planet to deadly energies.

Since I like to complicate things, not all of these opposing groups want or seek the Eyes. Some just want to reach far away places through the gates for their own purposes. Some are just in it for the numenera. I don't want to turn this into an epic affair with whole armies battling for a powerful artifact. I want to keep low-key approach with a small cast of player and non-player characters. Numenera runs quite well by introducing little by little the sci-fi elements. When the players look around, they will be knee-deep in transdimensional gates, powerful structures filled with ancient machines, an artifact that is a power source of a planetary force shield, visitors from the stars and ancient space ships. I like where this is going so far.

Next...

In praise of Grognardia

I don't remember how I came across Grognardia, James Malizsewski's blog about old school gaming. I don't even remember if I learned about the blog's existence before I began playing AD&D 1st edition two years ago or if I was surfing the web looking for old school gaming advice after I started playing AD&D 1st edition. What I can say with certainty is that Grognardia was a source of inspiration and entertainment for a good many months, mostly between 2010 and the end of the blog in 2012. I was reading it even before I knew what OSR (Old School Renaissance) was. I wasn't part of that movement. My reading of the blog was more of an attempt to learn about that nebulous period (for me) that encompasses the origins of the hobby, from circa 1974, to the mid-1980s.

I came relatively late to the hobby around 1989 with Frank Mentzer's Dungeons & Dragons red box and skipped right to Middle Earth roleplaying game (MERP), then Call of Cthulhu. I never played Advanced Dungeons & Dragons regularly, except for the occasional one-shot scenario during the second edition years. Fantasy-wise I was mostly a MERP and Warhammer Roleplaying game fan, although most of my hobby time was devoted to Call of Cthulhu. My serious involvement with old school gaming, to the extent that involvement implies not only playing the game, but also reading about the early days and its key figures, began in 2010.

In the end, it matters little how I discovered Grognardia. What matters is that the blog was my go-to blog for a few months. It was inspirational reading and many a night I spent pouring through hundreds of articles. I learned more about funhouse dungeons, what particular historical context a certain module was published in, who some of the most influencial figures of the early days of the hobby were, and many other facts. I learned to what extent the Dragonlance modules influenced TSR to go from a dungeon-oriented model to a story-oriented module, I learned some entertaining facts about those who tackled the legendary Tomb of Horrors and something about the history of the long lost Greyhawk campaign.

Its influence on the whole OSR movement, of which James Maliszewski was a fierce proponent, is undeniable. Now that the blog seems to be dead, I join others like Once More Unto the Breach in remembering. Would you care to share some of own your memories about Grognardia?

Numenera - Genesis of a Campaign (Part 1)

WARNING: This post contains spoilers for my upcoming Numenera campaign. Players: stay away! This is the first in a series of posts where I describe the genesis of my campaign and what sort of events I'm planning.

In about three weeks, I'm running my first Numenera adventure. Hopefully, it will be the beginning of a campaign. As experienced GMs know, a campaign doesn't require complex plots or even any long-term planning. You just need the player characters, an introductory adventure and things will develop from there. The players will immediately begin to develop their own plans either from scratch or from previous events, and I just have to develop things from there. I could make an episodic campaign, where each adventure is unconnected from previous ones, a picaresque story of sorts, with the PCs wandering the setting, getting into all sorts of mischief. However, I decided to create a connecting thread, something that provides a rationale for all that is going on.

Inspiration can come from unlikely places, and this one jumped right out of the Dungeon magazine pages, namely issue #10, volume II, March/April 1988. It's called Secrets of the Towers. I would hesitate to call this an adventure. Rather, it's a series of short descriptions of the eponymous towers, twelve in all. The premise is that there are twelve magical towers scattered across the world. They are ancient structures (at least 2000 years old) that once formed a quick transport network via magic portals. Now, you are beginning to see how this could easily be transplanted to the Ninth World. The towers become structures impossibly old. The 2000 years become millions of years and the structures true purposes are all but lost in time. They don't even need to look like towers.

Each tower vignette in the article includes a short description of the place (easily expanded) and some antagonist that is also interested in the place. For instance, in tower one, it's an orc shaman leading a band of orcs. Again, this can easily be changed into humans or margr or other abhuman interested in the tower (or, in Numenera, structure).

I'm still collecting my thoughts about this, but already ideas are flowing. The structures are nothing but a mcguffin that propels the campaign forward. What happens in each location or in-between is what's important. Since the towers can be placed anywhere in the world (after all, they are connected by transdimensional gates), I can lead the player characters to wherever I want and drop any adventure in their path. For instance, let's say they activate the portal in tower one and travel to tower two but a malfunction deactivates the gate in this tower leaving them stranded away from home. They can search for a power source for the tower, leading to all sorts of interesting side-plots or return home, which can also lead to all sorts of adventure or any other thing I can think of. I can even place a tower outside Earth or in another dimension. There could also be a number of opposing factions vying for control of the structures.

Does it matter what the towers do or that the player characters are able to find them all or even control them all? Not in the least. As I said, it's only a plot device to keep the campaign going. It's also a source of numenera and even these can be potential story hooks. In the end, what matters is the journey and not the destination.

Next...

Combat: The bane of roleplaying?

One thing I hear a lot goes something like this (not exact words): "We were roleplaying the scene when suddenly combat broke out. After we killed / drove off / defeated the enemy, we resumed our roleplaying of the scene."

I am always perplexed by this way of thinking. It's not universal but it's more frequent than we think. What does it even mean? People are roleplaying their PCs' interactions with NPCs and when combat starts, roleplaying ceases to be and it all becomes a tactical / mechanical game? Is combat mutually exclusive from roleplaying? In my opinion, no, and it's a fallacy to play any roleplaying game based on this false assumption. It's true that I see this more often in games like D&D and GURPS where the rules that govern combat are more complex and extensive, so there might be a reason why people stop thinking in terms of roleplaying during combat when they are forced to micromanage an endless rooster of mechanics. On the other hand, it's perfectly possible, and even preferable, to maintain a modicum of roleplaying during physical conflicts of any sort.

People who consider combat extraneous to roleplaying are splitting up what are essentially two complementary elements. Everything should flow naturally from one scene to the next, and roleplaying should be always on the forefront. After all, if roleplaying is acting like a character would in any situation, why would the character stop acting the way he does in combat? In the reality of the setting, does the character thinks in terms of turns, rounds, the mechanical bonuses of his sword or the level of the opponent to determine spell resistance? No, he thinks in terms of moments, of how sharp or strong his sword is or how tough or mind-resilient his opponent is. He would think in terms of the elements natural to the setting. The mechanics don't exist in the setting, though they exist in the game to define what is permissible in the setting.

This is why so many roleplaying games take the time to encourage the players to describe their actions in combat, to embellish what is happening. Otherwise, combat turns into an exercise of cold management of mechanics and bonus crunching. And this is why so many players complain that combat cease to be roleplaying and turns into a boring tactical conflict. There's nothing wrong with tactics. It's even encouraged in some systems. What I contend is that both can coexist.

Perhaps it would be more helpful to think in terms of social and physical conflicts. These terms do not preclude roleplaying, so they are not so restrictive in the mind of the players. In both types of conflicts, rules are called for and applied. I roll Persuasion to convince an NPC of something he does not believe in (Social) and I roll my Sword to attack an NPC who doesn't want to be hit (Conflict). In both cases, I'm acting against an NPC and that NPC is an obstacle to what I want to do. In both cases, I always consider what my character is doing or thinking before I act. And this includes speaking IN CHARACTER. The character shouts orders to his men in combat, he/she runs to a beloved friend to protect him from the orcs and he cries in anguish when an ally falls down.

To sum up: combat is not a game apart from the main game, where the act of roleplaying is diminished or even banned, not matter how tactical it gets. It should be an opportunity to highlight those traits that are not evident in more social occasions ("I hunger for the blood of fallen enemies"). It should be as heroic or as grim as the game allows and encourage roleplay in that sense. It should also be acting in character. Remove roleplaying from combat and you're just using mechanics and moving pieces like a chessboard. In this sense, it ceases to be a roleplaying game. You might as well be playing a boardgame.

What do you think?

Numenera - First Impressions

Last Saturday I got to run a small session of Numenéra. In case you have been living under a rock, Numenéra is the new roleplaying game by Monte Cook. Set a billion of years in the future, after the rise and fall of nine unimaginably advanced civilizations, the game is about a world littered with these pieces of numenera - remnants of technology from those previous civilizations - that the people of this age don't fully understand and consider to be magical. The premise is the third law of Arthur C. Clarke: "Any sufficiently advanced technology is indistinguishable from magic". I won't review the game here as I'm sure a Google search will return a number of good reviews about the system.

The system is simple and flexible. It won't be to everyone's tastes, especially if you like your systems more complex, but it gets the job done and in an extraordinarily efficient manner. After a few rolls, in the demo session I ran, the players were using the system without checking the rules within minutes of play. It faded into the background allowing us to focus on the story. The fact that the GM NEVER rolls the dice alleviates some of the burden of running the game. Every action in game is rolled by the players, even those initiated by NPCs. The PC wants to attack someone, he rolls the attack. The PC wants to avoid being seen by a guard, he rolls his stealth. The NPC attacks the PC, the player rolls defense. The NPC wants to sneak by a PC, the player rolls to spot the NPC, and so on. In play, it's runs very smoothly.

The system goes something like this: whenever a PC tries to do something that needs rolling, the GM chooses a difficulty from 1 to 10. In turn, the player must roll the same or higher than a target number equal to that difficulty times 3. So, trying to climb a wall with a difficulty of 3, the PC must roll 9 or higher (3x3=9). And this goes for every thing in the game. NPCs have levels which determine how hard is to target them or how difficulty it is to evade their attacks. For instance, if a level 2 NPC attacks a PC, the player must roll 6 or higher to avoid the attack. If they player wants to attack, he must roll 6 or higher. Remember that the players always roll. Since the players can change the difficulty using a series of mechanics such as skills, equipment or by spending points from their attributes pools, they are always in control of how difficult the task is.

Making NPCs is as simple as the GM noting down: Korr Vehn, village leader, level 2. Since the NPC level determines everything mechanically pertinent about the NPC from health to difficulty numbers for and against the PCs, the GM only has to focus on the visuals, bringing the NPC to life.

The setting is the highlight of the game. The blend of medieval technology with the remnants of numenera bring a sort of surreal quality to the world. The players, and by extension the PCs, never know what they will find around the corner or over the next hill. They could find a metal dome with all sorts of odd machines inside or a cube of energy floating in the air with a person frozen inside. It provides a sense of wonder and mystery which encourages the players to explore. In the demo session, the adventure started with a typical "go there and deliver something" quest but it turned into something more as the numenera became more and more pronounced. The players are constantly reminded that they are not in a standard fantasy world. That priest tower may be stone and mortar but is surely protected by a force field or an automaton or a deadly cloud of nanites. The villagers are plagued with strange dreams that may be data being wrongly transmitted by a malfunctioning machine that the PCs must repair.

Even the creatures remind us that the Earth we know or any other fantasy setting. There are no orcs, dwarfs, dragons or elves. There are no horses. Instead people ride aneen, a long legged quadruped creature. In play, the players loved this strangeness, the blend of sci-fi with fantasy, or sci-fantasy. To sum up: it's a game well-worth playing and I'm looking forward to start my campaign soon.

New Year Resolution

It's true that as 2012 came to an end I began to really consider GURPS as a viable alternative to my previous gaming choices. It's also true that 2012 was not a good year in terms of gaming, not because I had any lack of player (if anything, I had too many players), but because, for one reason or another, every game fizzled. I won't go back to that subject. You can read all about it here.

I read GURPS 4th edition cover to cover. I enjoyed it but as I began preparing my space opera campaign, I realized I was wasting an ungodly amount of time wrestling with the mechanics. I could just sketch the beginning of a campaign and let the players loose with the rules to create anything they wanted within the premise of the game: a ragtag band of misfits wandering the galaxy, treading the fine line between law and crime. Not unlike Firefly or Traveller. However, I knew that none of my players had read the Player's Guide, so it would take God knows how much time to finish their characters by having them pick and choose from the hideously enormous list of advantages, disadvantages and skills. For the neophyte, it can be a daunting task. I set out to prepare templates of occupations instead, so I could pare down the list of available choices to only those I deemed appropriate to the genre. And the more I did this, the more I felt the need to do something else.

GURPS is a very fine system that does what it sets out to do. It just isn't for me. When I waste more time thinking about the mechanics and how to translate into numbers what my imagination creates, it isn't for me. Almost all roleplaying games have this element of conversion from imagination to mechanics in one way or the other, but I'd rather  spend more time conjuring  people, places and plots than defining what are the appropriate skills for a space academic. I even tried to switch to swords & sorcery with GURPS Conan as it's a genre close to my hear, but I felt that trying to pare down the list of skills to maintain the fast-paced tone of the stories was inglorious. I ended up cutting out almost half the list (do people really need business acumen in S&S?) and the more I cut, the more I wanted to cut. Savage Worlds does it so much better with only half a dozen skills.

Looking back to what I most enjoyed playing in 2012, AD&D 1st was at the top of the list. I only played about half a dozen sessions using the venerable Keep on the Borderlands, but they were immensely enjoyable. I never held the players hand or led them by the nose, they showed lots of creativity in dealing with the NPCs at the fort and the obstacles outside, the thief with 3 hp was having lots of fun just surviving combat, the ranger wanted to kick the bad cleric's ass and take the magic plate mail for himself and overall the level of excitement was high. We ended up cutting it short because of a rules lawyer and a whiner. I had to let these two go and, in retrospect, the whiner was whining because his expectations of what an AD&D 1e game ought to be were different from the group's. By the end of it all, much time had been wasted dealing with internal conflicts leeching most of the fun from the game.

We fumbled the rest of the year but nothing was as fun as those first months when the group adventured in and around the lonely keep on the borderlands. I kept the core group so I decided to make my New Year resolution: to play a campaign of AD&D 1e for as long as it was fun. Will I be able to do it? I am not averse to accepting new players but I have to be more picky. There's a huge disconnect between old school gaming and player's expectations nowadays so I have to be totally open when explaining the gaming style I want for my campaign. I will blog about my experiences as the campaign develops. What's your New Year resolution? Tell me what do you intend to accomplish this year in your hobby?

The True Master

For a few weeks I have been avidly reading stuff about The Tomb of Horrors, that most classic tournament module, reviled by some and praised by others. One thing they all agree on is that the module is a real meat grinder, although some spout that it's an unfair scenario that tricks the players into certain death while others defend it can be "won" by a careful and methodical approach and by ingenuity. I think the picture below summarizes it best. It certainly made me smile.

Trying a New System: GURPS

As I approach the end of the year, I review the last twelve months in game terms. The truth is I didn't play a whole lot. The first few months are a blur, then I started a Deadlands Reloaded campaign which didn't end well and then a short hiatus from September until now during which I ran a short Eclipse Phase one-shot. It was not a very productive year in terms of roleplaying games, which was worse than last year (at least, I completed a short Trail of Cthulhu campaign).

Between March 2011 and today I have played The Complete Masks of Nyarlathotep for Call of Cthulhu (which ended abruptly), Cthulhu Apocalypse for Trail of Cthulhu (successfully completed). Our group tried Primetime Adventures in a steampunk setting. The system didn't work for us. We also tried Strands of Fate and never made it past the first session. This year I returned to a more classic system with the aforementioned Deadlands Reloaded for Savage Worlds. We played around 6-7 sessions, before I pulled the plug.

Now, I find myself reading GURPS aka Generic Universal Roleplaying System. I think I've been trying too hard to find a game that suited my group's tastes. We never played more than a half a dozen sessions of a particular system, and I attribute that to the disconnect between us and the systems we have tested so far. It's not that my group is devoid of creativity and imagination. It's just that some systems are ill-suited to our playing style. The bottom line is: our group enjoys classic systems, you know, the ones where the game master really acts like a game master, by introducing scenes and directing the story (don't confuse this with railroading), and running the world with the players playing their characters and influencing the world through their actions.

Of all the systems we tried this past year and a half, only Savage Worlds and Call of Cthulhu fall into this category. And, in the former, I ended the campaign abruptly for reasons that have nothing to do with the system qualities and everything to do with the awful "railroadiness" of the published campaign we were playing (The Flood, if you must know) and, in the case of Call of Cthulhu, the campaign just fizzled when one of the players couldn't play anymore.

Instead of trying to find the perfect system to play (whatever that means), I tried to find the perfect system for us. And that system, ladies and gentlemen, is GURPS. Yes, the venerable and old generic system from Steve Jackson Games finally fell into my hands, I read it from cover to cover (actually, from covers to covers since the system is two books) and I really enjoyed it. In fact, I am running a fantasy one-shot called A Caravan to Ein Arris, which was included in 3rd edition, now made available for free in SJG site and the group is involved and having a lot of fun. I'm already planning a space opera campaign, a steampunk campaign stealing ideas from our PTA game and a cyberpunk campaign.

The main reason to use a generic system is one of practicality and convenience. Each time I want to play a new setting, I have to read a new system. Sometimes, this means reading a 300-page rulebook for a campaign that may or may not materialize. This way, even if we only play a one-shot or a small campaign, we can relax in knowing that the rules won't change and the players won't be forced to learn a new set of rules for our next campaign.

So, from now on, this blog won't be so focused on AD&D. You'll read a lot more about GURPS and my experiences with the system as I develop the campaign. But I also intend to cover many RPG topics as suit my tastes. Hopefully, our group will have fun once again playing and I can write here on a regular basis.

Literature: The Savage Tales of Solomon Kane

I really like the Savage Worlds system a lot. It may seem odd starting a review of The Savage Tales of Solomon Kane with this statement but it's all connected. A few years ago, I did not know the Solomon Kane stories, even though I knew who Robert E. Howard was. Pulp fiction was not something I dwelt upon as I was rather focused on Call of Cthulhu and, especially, it's iteration Trail of Cthulhu. As I said before, I tend to gravitate towards books that I can use to actually feed my inspiration on what I'm currently playing. Then, quite by accident, I found an enthusiastic review on the net by one Kurt Wiegel about a "then unknown game to me" called The Savage World of Solomon Kane. I don't know if it was Kurt's genuine excitement about the game or the theme of the game itself, but something struck a chord.

I immediately snatched a copy and proceeded to devour it from cover to cover. It was an absolutely awesome game, using the Savage Worlds system and the Solomon Kane setting. As I prepared my first session, and persuaded my players to try the game, I started reading all of Robert E. Howard's stories about the 16th century puritan who stomps evil with a sword, a gun and his righteous fury. In one fell swoop the game introduced me to Savage Worlds and to the worlds of Robert E. Howard: Solomon Kane and, later, Conan, El Borak and his Mythos tales. And we go back to the beginning: I really like the Savage World system. But this isn't about the system, but rather about the literary source.

The Savage Tales of Solomon Kane collects all of the eponymous character's tales, included some unfinished fragments. And like Howard's more famous character Conan, these tales are excellent in their simplicity. Plots are not complex, but the stories are good in evoking mood and atmosphere. Solomon Kane is a puritan who wanders the world, fighting evil. Howard is a master of wedding vivid descriptions of places with the complexities of his character's behavior. It seems, at first, that Kane is a rather straightforward character, who just slashes his sword at anything who is even remotely evil, but he is driven by an inner force, something he can't quite explain, a restlessness that impels him to wander the world. And even though Kane is a rather religious fellow, who considers other races inferior (yes, the most dreaded racist overtones in Howard's stories are also present here), that doesn't stop him from accepting the aid of N'longa, an African shaman.

Some of the tales are set in the black forest in Germany and England, eliciting a Gothic atmosphere of horror. In a few short sentences, Howard evokes the darkness and mystery of medieval Germany. His best tales, however, are set in Africa. Here, we find significant similarities between elements in Conan's and Kane's stories. There are ancient civilizations of primeval evil, sorcerers and sorceresses of dark power, supernatural creatures and pulse-pounding action. There are hints that Conan and Kane share the same literary universe as Howard mentions Atlantis in one of Kane's stories. The tales set in Africa allow Howard to go wild without the constrictions of historical research. This isn't Africa from the real world but some fantastic realm of adventure and fantasy. It's a pulp dream come to life.

Of course, this being Robert E. Howard, there is racism but Kane is different. He is unconsciously drawn to Africa. He views himself as a kind white savior and his best ally his a black shaman who offers him a magic staff to aid him on his quests. This isn't an amoral character like Conan, but someone who will help anyone. It is very definitely a good character.

Like the Conan anthology, the Kane's stories are arranged in chronological order. The last one, a poem, depicts an elderly Kane returning to his home and a long lost love, and it goes a long way about hinting at what makes Kane tick and what he has lost in the process. I highly recommend this book to anyone who is not only a fan of Robert E. Howard, but to anyone who enjoys a good pulp adventure yarn.

Strands of Fate and Other Things

The last entry of my blog was posted on May, 16th, more than a month ago. It was so little ago and so long ago. Much has changed since then. Life intruded for once, and the group changed for another. It is one of the vissicitudes of life. Nowadays, groups are less static than they were a few years ago, or at least mine is. The core group remains unchanged but others come and go. Either family, work or any other element forces a change. In other cases, I burn out of a particular game.

Let's face it, I was never a single-game player. I like to play things, I like to try out new things. Not everything suits me, but had I the time, and more money than I could shake a stick at so I wouldn't have to work, I would buy a lot more than I have gathering dust on my shelves. And I would play a lot more. Don't get me wrong. This is not a compulsive desire to have something that looses its appeal once I buy it. I genuinely enjoy reading new systems, to try out new things, to change genres, much like I never go see the same movie genre all the time.

Change is good, at least for me. It keeps me from burning out. And so, taking a break from out game of AD&D, we decided to try other things. I am a fan of wuxia (chinese martial arts fantasy), and I love the Chinese mythology and ancient culture. I have played Chinese-themed games in the past like Qin or Weapons of the Gods. One of my best campaigns was set in ancient china during the Warring States period, so when some of my players began pressuring me start a new wuxia campaign it was just a matter of finding out the best system to do it.

A few years ago, I became also a great fan of FATE, but none of the current iterations of the system were quite what I was looking for: Spirit of the Century is pulp in the 20s, Diaspora is hard sci-fi and the Dresden Files is urban fantasy. Only Legends of Anglerre with its fantasy tropes could fill the void, with enough changes and adaptation as it is more suited to any type of classic fantasy campaign. Then along came Strands of Fate, and I glimpsed immediately all sorts of potential genres that could be emulated by it. You see, Strands of Fate, or SoF for short, is FATE-based, highly changed generic system. I created several characters in several genres and I like the result. The players seemed curious enough to try it.

So, a new page turns. Gone are the days of warriors and wizards, of orcs and goblins, of fallen kingdoms and might realms, of worlds of dragons and dungeons. On a more specific note, I will expand the blog to talk about anything game related, not just AD&D. I love roleplaying games too much to limit myself to one specific topic. So, while I may be playing a particular game, in any given time, I will talk about anything that strikes my fancy. I also enjoy writing on this blog (more than I anticipated). That's one more reason to keep it going. I hope you continue enjoy reading it and enjoying it as much as I do writing it.