The Fantasy Trip Kickstarter: A Good Deal?

After 35 years, Steve Jackson of Steve Jackson Games has finally re-acquired the rights to The Fantasy Trip, the tactical fantasy combat and light roleplaying game he developed in 1977.

The Fantasy Trip is comprised of a number of game books:  Melee, a game of tactical man-to-man combat; Wizard, a game of wizard duels;  Advanced Wizard, additional rules for Wizard characters; In the Labyrinth, role-playing and world building rules; Advanced Melee, expanded man-to-man combat rules;and 11 or so setting and pre-programmed adventure books.

The rights to The Fantasy Trip were owned by Howard Thompson, the President of Metagaming, and when Metagaming folded in 1982, Howard demanded an outrageous price from Jackson for the rights to the game, which Jackson refused to pay.  Thus, the game ceased to be published or officially supported after 1982.

The game retained a cult following, however, and people continued to play and support it.  Dark City Games even developed its own similacrum of The Fantasy Trip, called Legends of the Ancient World, and published numerous additional pre-programmed adventures, including The Dark Vale, which I previously reviewed on this blog.

Jackson recently took advantage of a copyright law that permits a creator to re-aquire the rights to their intellectual property after 35 years.

Steve Jackson Games is currently running a Kickstarter to fund the production and distribution of a revised version of the game.

In considering whether the new Kickstarter for The Fantasy Trip is a good value, I looked at the original price of the various game books, and applied the inflation incurred during the intervening period.  The original publication years, price and the inflation based on the US Consumer Price Index are indicated below.

The basic pledge for The Fantasy Trip is $60, and it included, as of the Kickstarter launch, the material from all five of those publications. Using the above amounts, you are paying less, in today's dollars, than the cost to buy the original five game books when they were published back in the day.

Of course, this price is before shipping, but then you also need to factor in the extras that are being provided with this new printing, including dice (not included in the original game), a box to hold the game in, melee character pads, two sheets of mega-hexes, proper indexes in each book, and Tollenkar's Lair, Death Test, and Death Test 2 pre-programmed adventures (which are an additional $10 each of added value).  All of those extras add $40 of overall value, and more stretch goals are yet to come.

If you have never played The Fantasy Trip before and are interested in the game, or if you have the gamebooks and want a cleaned up version of the game to play again, you should check out the Kickstarter.

In Search Of Canon

WOTC's November 19, 2013 release of the re-mastered Original Dungeons and Dragons white box has been on my mind of late. 

Two books, which some consider so-called OD&D canon, were casualties in that release, having never made the final cut: Chainmail and Swords & Spells.  Tis a shame, since Chainmail germinated, and provided the original mass and heroic combat rules to, Dungeons and Dragons, and Swords & Spells was the progeny of Chainmail, filling the same role in OD&D, in updated fashion.

It may be that Chainmail's omission from the re-mastered release resulted from lingering doubts over copyright ownership.  But that rejection hardly seems plausible in the case of Swords & Spells, coming after the original LBB's and first four supplements, and undeniably a property of Gygax and TSR. 

Few would argue S&S is as useful as Chainmail, or, for that matter, the other supplements that were included in the re-master and release.  Still, the omission of both Chainmail and S&S reminds me of the scene from The Da Vinci Code, where, at the Council Of Nicea, the Christians debate and resolve which of the theological positions and gospels will be included in the Bible.  S&S should have been included, despite its lesser popularity and questionable rules-heft, if, for nothing else, historical value.

I'm no slave to so-called canon, of course.  I consider most any publication released during that initial blossoming of role-playing creativity a worthy addition to the game, just as I see modern attempts to graft to and restyle the original and reimagined rule-sets laudable. 

But there is, you must admit, something particularly charming and magical about the earliest D&D-esque publications, unstructured and divergent and un-self conscious.  Publications like the Arduin Grimoires.  Or the Little Soldier Games booklets. 

LSG's 1977 The Book Of Sorcery, authored by Dan Bress and Ed Konstant, was one of several non-canon OD&D sources that were whole-heartedly adopted as canon, at least among the role-players with whom I was acquainted. 

In the modern nomenclature, The BOS would be styled as fluff, rather than crunch, since BOS was rules-light, but flavour and idea-heavy.  There were rules, like the one below, enumerating the consequences of mis-cast spells, but much of The BOS was like the passage above, providing interesting flavour to the dangerous art of spell casting.

The early days of D&D were punctuated by the promotion of all manner of magical items and role-playing approaches.  The BOS pitched its own brand of magic item creation, as evidenced by the following passages, for communing instruments, rings of invisibility and enchanted swords.

I liked The BOS, Arduin Grimoires, and other non-canon D&D books as much for the art as the text.  Even now, I find the art in The BOS particularly creepy, and because it was by artists other than those in the TSR stable, the art brought a different esthetic to our game.

The BOS, and it's sister book, the Book Of Demons, contained quite a few images of demons and undead in unlikely situations and poses.  That art fostered a rather grim mood and lent itself to gritty, horror-filled D&D games.

 

 

One of the features of those old, non-canon D&D books was their similar shape and binding to that of the TSR publications.  The Arduin Grimoires and Little Soldier Games books were the same size as the TSR books, and fit conveniently within the White Box.  All the more reason to use all of them in your D&D games.

 

It's encouraging to see WOTC's issuance of re-mastered copies of the original D&D books, despite the regrettable absence of Chainmail and S&S.  And doubly encouraging is the recent, parallel re-publication of some of the non-canon third-party materials.  Hopefully modern and nostalgic gamers will discover those third-party materials and incorporate them into their re-discovery of Original D&D.

Paizo: Pathfinder RPG Beginner Box

It's unlikely you'd ever catch me playing Paizo's Pathfinder RPG. Roleplaying being what it is, I can't say never: social will always trump system. But as the natural heir to Dungeons and Dragons 3.5, Pathfinder holds little allure for me.

It's the granularity. Like its cousin DnD 4.X, character generation and development is far too detailed, and i'm predisposed to viewing Pathfinder RPG as too much determined by character skills, scores and abilities; too little by player skill and role-playing.

So, given my obvious pre-disposition and therefore lack of interest in this game system, why bother purchasing and reviewing the Pathfinder RPG Beginner Box? Two reasons. First, the shallow one: with certain exceptions, I really like the art of Pathfinder. I am a big fan of Wayne Reynolds, and the stable of other Pathfinder artists seem to maintain the same high standards. Second, I wanted to see if this Beginner Box set would moderate my pre-disposition against the Parthfinder RPG.

The Pathfinder Beginner Box retails for $35, compared to $20 for the DnD 4E Red Box starter set that was published by WOTC roughly a year ago. The Pathfinder box is 9" x 12" x 2.5" deep, and includes a one-page welcome page, a single-page advertisement for Pathfinder RPG and Pathfinder Society, a 64-page Hero's Handbook, four pre-generated characters (corresponding to the four characters pictured on the side of the Beginner Box), four blank character sheets, a 96-page Game Master's Guide, a 24" x 30" fold-out battle mat, a complete set of polyhedral dice, and 90 cardboard monster and character stand-up pawns.

Considering the breadth of contents, the Pathfinder RPG Beginner Box compares very favorably to the DnD 4E Red Box Starter Set. Add to the above the following: the Pathfinder set allows you to go from levels 1-5, while the 4E set only allows you to go to level 2; Pathfinder includes another 64 pages of gaming material; Pathfinder includes stand-up, rather than flat, pawns; and the Pathfinder box is sturdier and more visually interesting.

With 64 pages of game material in The Hero's Handbook, Pathfinder goes into far more detail than Red Box regarding character creation. Paizo provides a solo pick-your-path adventure and an example of play in the Hero's Handbook.

The game mechanics suffer from the same malady as 4E: too many rules and too much dice-rolling. On the other hand, the art is amazing, and there's so much of it that it almost becomes a distraction from learning the rules. Paizo has gone all out here, though I couldn't say whether some or all of this art is recycled from other Pathfinder products.


Four pre-generated character sheets are included in the Beginner Box: Ezren, Valeros, Kyra and Merisel. The Beginner Box includes four cardboard standup pawns for those characters, but you can instead buy a set of pre-painted miniatures, which, at $12 for the complete four figure set, has higher production values and is more modestly priced than any pre-painted plastic figures heretofore produced by WOTC.

The 96-page Game Master's Guide delves into areas completely ignored by the equivalent Dungeon Master's Book found in the 4E Red Box. Most startling is significant page count devoted to gamemastering, building your own adventures, environments, magic items and random encounters. Pathfinder is noted for its prolific publishing of pre-scripted adventure path products, so devoting page count in the Game Master's Guide to building your own adventures is laudable. Like the Hero's Handbook, the Game Master's Guide is heavily illustrated: I will hazard to say that every page has some manner of illustration.

The Pathfinder battle mat is superior to the 4E Red Box effort. It feels heavier and is plasticized to stand up to more wear. And the cardboard pawns in the Pathfinder Beginner Box can be slipped into round plastic bases so they stand up. The Red Box equivalent are poker chips with pictures on them.

If you are playing DnD 3.5 or 4.X and looking for something just a little bit different, the Pathfinder RPG Beginner Box may be just your ticket. This is good value for $35. Indeed, the gorgeously illustrated cardboard pawns are almost worth the price of admission alone.

For those that prefer old-school gaming, there is little here to convert you to the dark side. But if you're like me and have more money than sense, or want to support the underdog, you might consider buying the Pathfinder RPG Beginner Box. While i'm unlikely to play Pathfinder, I don't regret this purchase.

Joining The Grindhouse Gang

I'll freely admit, i've been jealous of those of you whose Lamentations Of The Flame Princess Weird Fantasy Role-playing Grindhouse Edition has already arrived. My jealousy has since turned to joy: My Grindhouse Edition arrived today!

Cunning, Comedy, Casual Cruelty?

If your answer to this question was The Dying Earth RPG, you'd be right.

The Dying Earth RPG is a role-playing game intended to emulate the world -- and words -- contained in Jack Vance's Dying Earth series of novels and short stories. You'll note that I did not include "Combat" in my alliterative title. I did this for a very simple reason: The Dying Earth RPG actively discourages you from engaging in mortal combat, and the game system reinforces that by making combat very deadly. You only need to take a couple of blows before your character is out-of-commission, or more likely, dead.

What then is The Dying Earth RPG about? It's about clever repartee, social combat, cunning subterfuge, laughter, and casual cruelty.

Clever Repartee

The principle game mechanic of nearly any role-playing game is the system governing the accumulation of experience points. Experience point award mechanics are important in role-playing games, as they are the mechanism permitting character upgrades. The experience point mechanic of an RPG is thus a powerful communicator of what is expected of a Player. In The Dying Earth RPG, experience points are ONLY awarded for clever repartee. No experience for combat. No experience for treasure. Just witty dialogue, elegantly framed in the Vancian style, and delivered with impeccable timing. Therefore, The Dying Earth RPG is a game like no other: it is a role-playing game to its very core.

Social Combat

I'm not a big fan of social combat systems. My reasoning is that those combat systems either encourage conflict between players (PvP conflict typically happens as a matter of course, but i'm not interested in encouraging it) or govern the interactions between player and DM (in which case, as a "fair" DM, you should be able to judge when you have been verbally bested and concede defeat, without having to resort to a die-roll). The Social Combat system in The Dying Earth RPG is based on dice pools. Each player (and any encountered NPCs) has a dice-pool made up of d6's, and can continue spending dice from their pool until they or their opponent has exhausted theirs. Scoring a 1-3 means failure, while a 4-6 means success, with the 1 and 6 being catastrophic failure and incredible success, respectively. Depending on your roll, your opponent may have to expend more, or fewer dice, to respond to your success or failure. This mechanic feels artificial to me, as I would rather engage in the actual role-playing, of two combatants trying to convince the other of the superiority of their position, but the dice-pool is a reasonable substitute, for those who are uncomfortable "talking with funny voices".

Cunning Subterfuge

Like the characters in Vance's Dying Earth books and short stories, each of the Player's characters are lazy, self-absorbed, covetous, avaricious, and arrogant. So are most of the NPC's they encounter. Therefore, the game resolves around the planning and execution of cunning strategems to gain wealth, comfort, power, prestige, fineries, and delicious food, with as little effort and risk as possible.

Laughter

As was mentioned earlier, experience points are awarded for clever repartee. This is accomplished through a mechanism whereby the DM provides several Vancian phrases to each player, prior to the start of the game session. They must weave those phrases into the game at some point during the session. For those who deliver their line, at an innapropriate time, no experience points are awarded. For those lines delivered when appropriate, but eliciting no positive response from the other game participants, one experience point is awarded. But when the line is delivered, and elicits positive responses, propels the adventure in a humorous or unexpected direction, or garners laughter from the other players and DM, two or even three experience points are awarded by the DM. Therefore, Players are encouraged to ham it up, directing the in-game conversations in such a way as to allow for the delivery of their appointed lines.

Casual Cruelty

Casual Cruelty, or "man's inhumanity to man", is a common theme in the tales of the Dying Earth. You see this in the Liane the Wayfarer stories, or in Cugel's treatment by, and of those he encounters in "The Eyes of the Overworld". The author of The Dying Earth exhorts the DM to insert scenes of casual cruelty (sparingly), establishing the nature of the cruelty, and allowing the imaginations of the players to fill in the horrifying details. He opines that a successful scene of casual cruelty will nag at the players after the game, as they think more fully of the implications.

The Dying Earth RPG allows you to run the full gamet of emotions during a role-playing session, from hilarity to horror. The Dying Earth RPG is clearly not for your typical hack-n-slasher, and is more appropriate for your more cerebral gamer. What I love about this game is its respect for the Vancian source material, and its overt discouragement of mortal combat, which is a refreshing change from the direction Dungeons and Dragons has recently been drawn to.

Playing Dead Characters: Delian Book Of The Dead

All this talk of Arduin over at Jeff's Gameblog has me thinking about another set of old-school, gonzo, D&D-compatible rulebooks : The World Of Delos.

Ben & Mary Ezzell wrote The World Of Delos game supplements in the 1980's, and dedicated their "Planes of the Afterlife" section of The Delian Book of the Dead to Arduin's author, Dave Hargrave.

The cover art of The Delian Book Of The Dead ("the Dead") is by Roland Brown, who also provided the cover and interior art for Arduin's The Lost Grimoire IV. The cover of the Dead shows a deceased Amazon, heavily armored, lying upon a funeral bier, attended to by the Grim Reaper, as her spirit slowly rises from her body.

The 145 pages of the Dead cover a lot of novel role-playing territory, as does the entire World Of Delos book series. The Dead provides rules for a new class, the Archaeologist (intended to emulate Indiana Jones, Rick O'Connell and other egyptologist-type characters from film and literature), a long section of helpful tips and adventure locations for prospective tomb-robbers, six pages of magical doors, windows and mirrors to delight, confuse and confound your players, 10 pages of gems, including a description of the possible magical uses for each, several pages on unique magic arms and armour whose benefits and drawbacks go beyond mere combat adjustments, potions and poisons of uncommon use and effect, a long chapter on the variety and ecology of Delian spiders, a section on the acquisition, care and feeding of strange pets, and an adventure that takes you through several "Planes of the Afterlife" in search of an artifact that may lead the adventurers to a most singular conclusion.

In addition, the Dead provides a new character class: Phantoms. Phantoms are former player characters, whose deaths came violently, suddenly, or prior to the completion of some important quest, and are thus unable to leave the prime material plane until their unfinished business is concluded.

I must admit, the idea of player characters as Phantoms has a certain allure. I am reminded of the old 1978 film, Heaven Can Wait, if in title only. In that film, the incomparable Warren Beatty plays a narcissistic and reckless football quarterback, whose guardian angel transports him to heaven before his time. Due to the mix-up, Beatty's spirit is sent back to Earth. Unlike the Phantom class, where he would exist as spirit, he is placed in the body of a wealthy, recently-murdered industrialist, until St. Peter can find a suitable replacement body for Beatty, with hilarious and sexy results.

The allure of the Phantom class is that it allows players to continue playing a favorite character, but at the same time honoring the old-school tradition that, once you're dead, you're dead.

The mechanics are relatively straight-forward. If a character dies, the player may choose to roll to see if there is sufficient purpose keeping her from ascending into the afterlife. She combines her Int, Wis, Level and prime Attribute, which is her base percentage chance to remain on the material plane. That score is modified by other variables, for example, whether the character was on an important quest before her passing, whether her belief system included an afterlife, whether her death was violent or sudden, and so on. If the player rolls percentile dice and the result is lower than the final number, her character can come back as a Phantom.

Phantoms lose all of their prior class abilities, and start as 1st level Phantoms, with their own experience table, and additional hit-points and special abilities gained at each subsequent level. Phantoms are invulnerable to normal attacks, although they are susceptible to magical weapon and spell attacks, and are doubly vulnerable to attacks from the undead. At first level, they are unable to impinge upon the prime material plane, other than being visible in darkness, and can only communicate telepathically. They recover hit points normally, but if the Phantom should ever be reduced to 0 hit points, the character immediately and unavoidably ascends to the afterlife. Some of the special abilities that are gained by higher level Phantoms include the power to become material, cause fright, telekenesis, teleaudience, detect poison, project cold, and control flames.

Part of the limitations of the class is that the Phantom must never stray from the purpose for which she remains on the material plane. For example, if the party was on an important quest when she died, the Phantom must continue towards that goal. If the party abandons the quest, the Phantom must continue on. As another example, perhaps the purpose of the Phantom is to protect her friends, Then if the friends die, she would ascend to the afterlife. Another purpose of the Phantom might be to avenge her own death. In that case, once her killer died, her purpose would be fulfilled and she would leave this world.

The chapter on Phantoms concludes with some suggested reading for playing and refereeing with this class: Blithe Spirit, by Noel Coward; Hamlet and MacBeth, by Shakespeare; Immortality Inc., by Robert Sheckly; Brief Candles and Happy Returns by Manning Coles; and Topper by Thorne Smith.

Holmes Basic DnD: Experience Points

All this talk on the interwebs about what image most captures your conception of Dungeons and Dragons has me thinking about the Basic Dungeons and Dragons rule set, edited by Dr. J. Eric Holmes.

Published in 1977, the illustration on the box cover of Holmes D&D was the first full cover treatment, that I had ever seen, of a D&D encounter between adventurers and a dragon. It blew my then 11 year old mind, and was the subject of much day-dreaming.

The cover, by David Sutherland III, shows two adventurers -- a blond, pointy-hatted wizard, and a heavily-armed and armored fighter, aiming his bow and arrow -- confronting a roused red dragon lying atop an immense hoard of treasure. The wizard is holding a torch and casting a spell with his wand, as the two stand in an archway made by two pillars. The final encounter in the Dungeon, or at least the most rewarding, if the adventurers are successful and cart all of that treasure back to town!

Holmes D&D is, arguably, the most flexible of all iterations of Dungeons and Dragons. I say this mostly because it is incredibly rules-light, being only 48 pages of rules (for character levels 1-3), compared to the 64 pages for Moldvay, and Mentzer, D&D rules. It's "lean-ness" provides more opportunity to "play it your way", but Holmes is explicit in encouraging that freedom.

"A final word to the Dungeon Master from the authors. These rules are intended as guidelines. No two Dungeon Masters run their dungeons quite the same way, as anyone who has learned the game with one group and then transferred to another can easily attest. You are sure to encounter situations not covered by these rules. Improvise. Agree on a probability that an event will occur and convert it into a die roll -- roll the number and see what happens! The game is intended to be fun and the rules modified if the players desire. Do not hesitate to invent, create and experiment with new ideas. Imagination is the key to a good game. Enjoy!"

Holmes had his own idea of regarding the purpose of adventuring in D&D. He has this to say about the course of an adventure, and the rewards to be pursued.

"Many gamers start with a trip across country to get to the entrance of a dungeon. A trip apt to be punctuated by attacks by brigands or wandering monsters or marked by strange and unusual encounters. The party then enters the underworld, tries to capture the maximum treasure with the minimal risk, and escape alive."

Holmes, like other editors of D&D rulesets, encouraged players to recover as much treasure as possible, while avoiding any associated risks. While no definitive directions were given on the proportion of treasure to be awarded (compared to the amount of experience that the characters were expected to receive as a result of defeating monsters) Holmes does provide us with a sample dungeon, stocked with denizens and loot. In that dungeon you can recover 4500 gp worth of treasure, and obtain 750 xp from monsters, in addition to recovering two scrolls, a +1 dagger and two magic swords. The experience points from monsters equals 15% of the experience points. Therefore, 85% of the experience is derived from the treasure (not counting the magic items).

Mentzer D&D: Experience Points

Every version of Dungeons and Dragons, along with most of the other competing fantasy role-playing games, provide their own take on the awarding of experience points. I've already covered the rules for awarding experience points in The Fantasy Trip, The Arduin Grimoire, Dragons At Dawn and 4E game systems.

The 1983, Mentzer version of D&D (a series of D&D rulebooks sometimes referred to BECMI) provided another take on the awarding of experience. It is interesting to see the evolution of experience awards. Although Mentzer D&D still focused on experience for treasure and monsters defeated, the explication was becoming ever more specific.

"Did you notice that you get a lot of experience for treasure, and not much for killing monsters? It's better to avoid killing, if you can, by tricking monsters or using magic to calm them down. You can sometimes avoid the risks of combat." (Players Manual, page 12)

As has been explained better elsewhere, the reward systems of early versions of D&D were all about searching for and looting ancient treasure hoards (that were often also guarded by fell beasts). If the looting of the treasure could be accomplished without having to face the "risks of combat", all that much the better.

And speaking of treasure, in Mentzer D&D there was a 1 in 6 chance that treasure would be in an otherwise empty room, a 2 in 6 chance of treasure in a trapped room, and a 3 in 6 chance of treasure in a room occupied by monsters.

2010 WOTC 4E Red Box: A Review

Would it be vain to suggest that the old school community is having a measurable impact on the marketing efforts of Hasbro and Wizards Of The Coast? While its certainly comforting to imagine that the design and distribution of the new 4th Edition Dungeons and Dragons Essentials Starter Set (4E Red Box) is a reaction to the blossoming of the old school community, it is just as likely that the look of the new 4E Red Box is simply a clever marketing ploy by WOTC, to get those parents who fondly remember D&D to buy a copy of this new D&D game for their kids.

Whatever the reason, the announcement of a new 4E Red Box several months ago provoked old-school and new-school fingers to race furiously across keyboards. Those groups alternately predicted that the 4E Red Box heralded the end of civilization, or a new golden age of role-playing.

Having recently purchased a copy of the 4E Red Box, I thought some might find it useful if I shared my thoughts regarding this product, now that the game is "in-hand."

The 4E Red Box is $20, is 9" x 12" , and is 2" deep, but don't let the depth of the box fool you into thinking you are getting 2" worth of gaming materials. WOTC could have made the box 1" deep and still have provided all the materials in the box. A 1" high, sloped, cardboard boxliner (sloped so the dice fit inside) reduces the interior depth of the box, so the enclosed materials won't flop around. Inside, you will find two 8.5 x 11" booklets (a 32-page players book and a 64-page dungeon masters book), a set of black dice with white numbers, a sheet of cardboard counters representing characters and monsters, a double-sided battlemat, four character record sheets, and several sheets of power cards.

The production quality is top-notch, as one would expect from Wizards of the Coast. The booklet artwork is full-color and bleeds to the edge of the pages. The cardboard character and monster counters feature art typical of 4th Edition D&D. WOTC has recycled the crossroads battlemat, appearing in other 4E products, but the reverse battlemat reveals a dungeon, designed specifically for the 4E Red Box. While only four character sheets are provided with the game, WOTC gives permission to photocopy the character sheets for personal use.

The Players Book is simply a two-column choose-your-own-adventure book consisting of 100 entries (with the manual being 32 pages, that works out to 3 entries per page). In making several adventure decisions, those 100 entries take you through 4th Edition D&D character creation. For example, your first choice, upon being ambushed, is to determine whether you wish to cast a spell, heal a comrade, sneak around the attackers, or confront them in mortal combat. Depending on which choice you make, this determines your starting character class. During three in-book encounters (two combat and one information gathering), you make additional choices about your alignment, starting weapons and equipment, ability scores, healing surges, and powers or spells. Once you finish the Players Book, you are encouraged to gather three or four friends, and have them walk though the included adventure to create their own characters.

There appears to be very little resource management in the 4E D&D. Neither the Players Book nor the Dungeon Masters Book provide any lists of equipment for purchase. Every character is assumed to have all of the materials he or she needs for adventuring (rope, torches, etc.). The resource management in 4E is all in about your hit points, healing surges, and powers.

The 64-page Dungeon Masters Book provides additional encounters and advice on how to run encounters. By the end of the encounters outlined in the Dungeon Masters Book, each of the characters should reach 2nd Level.

Is this boxed set worth $20? If you are interested in playing 4E D&D, and have never played Dungeons and Dragons (or any role-playing game) before, it is, and may be the product for you. But, while the contents of this boxed set are quite nice, if you have played role-playing games before, you don't need to buy this product. The character generation in the Players Book is oversimplified, and you don't need 32 pages and 100 entries to accomplish this exercize. It should take someone, with even a passing familiarity with role-playing games, no more 2-3 minutes to make the choices that might take 15-30 minutes following the examples in the Players Book.

If you are someone who played D&D 20 years ago, and want to get back into the "most recent" version of the game, this product is still probably not for you. Wait for the other more comprehensive D&D Essentials game materials. Understand though, that this is not the D&D you played in the 1980's, or even the D&D you played in the 1990's. 4E is an "encounters-based" game, with experience doled out for completing quests assigned by the referee, battling monsters, and participating in "skill-challenges", where you roll dice against a certain skill, in order to continue the adventure.

Did the 4E Red Box convince me to play 4E? No. It reminded me why I lost interest in 4E to begin with. But that doesn't mean that it is not right for you. If your favorite part of D&D was engaging in combats, participating in heroic quests, and obtaining magic items, and least favorite was role-playing your character, solving puzzles, exploring abandoned ruins, and managing your material resources effectively, then 4E is worth checking out.

BX Companion: A Review

One of my fellow old-school bloggers recently remarked that its feels like a second golden age for Dungeons and Dragons. That comment was made in relation to the explosion of available rulesets, accessories and adventures compatible with early versions of D&D. In some ways, we are now experiencing an embarrassment of riches in the old school community.

One has to look no further, in verifying this observation, than to such newly-published works as James Raggi's Lamentations of the Flame Princess Weird Fantasy Role-Playing, Rogue Games' Shadow, Sword & Spell, or JB's B/X Companion.

While the former two are stand-alone games, JB's B/X Companion is intended to supplement the 1980 Moldvay/Cook Basic and Expert Dungeons and Dragons rulesets, thus provoking the title of this book, the B/X Companion.

When first published in 1980, the B/X D&D rulebooks promised a companion-level supplement would follow. That companion supplement was never published, due to the replacement of the B/X with a 'kiddified' BECMI set of D&D rulebooks. JB has corrected that oversight, by publishing his own version of a companion rulebook.

While ownership of the original B/X rulebooks is not absolutely necessary to get value out of the B/X Companion, it is presumed that a purchaser will also have a compatible basic/expert ruleset, such as Labyrinth Lord or some other similar game, in order to use this book for gaming.

The cover of the B/X Companion, by Brian DeClercq, fits in perfectly with the Moldvay/Cook rulebooks. The three adventurers from the covers of the B/X rulesets are shown, in a fitting homage to the original 1980 Erol Otus covers. The rulebook itself is 64 pages, the same size as the Basic and Expert books, and features 25 excellent interior B&W illustrations by Michael Cote, Kelvin Green, David Larkins and Amos Orion Sterns.


Above is an example of the interior artwork. The illustration is by Michael Cote, showing three adventurers, standing before a bas-relief that reveals a battle between themselves and a one-eyed, tentacled monstrosity. If you enjoy the artwork, above, and the illustrations from the original B/X rulebooks, you're in for a treat with the B/X Companion. The artwork in the B/X Companion captures the same feel as the artwork from the original books. JB was most fortunate to have such a diverse and talented group of artists providing him with illustrations for this rulebook.

The Companion title of this rulebook, refers (of course) to character levels 15-36, since the original B/X rulebooks only covered characters levels from 1-14. In early versions of D&D, high level play was not restricted to combat with larger and more dangerous monsters, although JB covers that ground in the B/X Companion. In addition to those sorts of adventures, the B/X Companion also provides rules for running Dominions, commanding armies and engaging in mass combat, and travelling to other planes.

The rulebook is laid out in a 2-column style, in keeping with the presentation of the original B/X rulebooks, and is well-written. It includes rules for advancement for the various classes, descriptions of high-level magic-user and cleric spells, additional advice on adventuring, new combat rules, along with a mass-combat system, new high-level monsters, additional magic items, dominion creation and management, advice on designing high level adventures, and rules for travelling to other planes.

All that in a scant 64 pages.

Among my favourite parts of this rulebook are the mass combat and monster sections. The mass combat section feels true to the role-playing conventions of Dungeons and Dragons, but also utilizes a wargame system that provides a sufficiently abstract combat resolution, in order to ensure mass-battles do not become bogged down in the minutia of individual combats. The section on monsters provides several novel creatures, such as animals of legend, jubjub bird, and ruinous powers.

At $28, this rulebook is expensive. But for sheer nostalgic bliss, fused with broad applicability to old-school and B/X gaming, the B/X Companion rulebook has few peers.

Labyrinth Lord: Advanced Edition Companion

I'm such a Libra. I'm still on the fence when it comes to which retro-game is my favorite. I like Swords & Wizardry because it is the closest to original Dungeons and Dragons, and is incredibly rules-light. On the other hand, Labyrinth Lord is (in my mind) a superior implementation of B/X.

Happily, I don't have to choose between the two, I can have both! I picked up a copy of Advanced Edition Companion (AEC) for Labyrinth Lord from my FLGS, The Sentry Box, yesterday. As an active proponent of the FLGS system, I waited for it to arrive at the store. This meant having to wait an extra couple of months, compared to those of you who ordered it directly through Goblinoid Games or Lulu. For some reason The Sentry Box only ordered one copy, so my apologies to those of you in Calgary who were waiting for it to arrive: you'll have to ask Don to bring in another copy for you! I have not had a chance to dig into AEC, but I intend to give it a closer look on Sunday.

Here's a photo of my Swords & Wizardry boxed set, along with my Labyrinth Lord and Advanced Edition Companion books.

I also picked up used copies of DA3 and DA4, Dave Arneson's City of the Gods and The Duchy of Ten for Blackmoor. The two of them were too shy to pose for a picture -- perhaps they will discover their courage tomorrow.

Wanderer RPG: Traveller Fantasy

Of course, Wanderer RPG, is not, as far as I know, in production, although you just know that some DIY publisher would have a runaway OSR hit on their hands (that is, by selling at least 100 copies) if they actually published a playable version of a Traveller-based Fantasy game.

I won't rehash the genesis of this Wanderer RPG mock-up. You can find several threads talking about it on various role playing boards. Over at the OD&D board, they have a thread devoted to the creation of Wanderer RPG. There are several threads speculating on what Wanderer RPG would look like, over at RPG.net here and here. There is even a thread on the travellerrpg boards which you can find at the link here.

In a fit of nostalgia, I just broke out my old Traveller LBB's. Ah, the memories.

My Whitebox Arrives!

Actually, my Whitebox arrived last week, but i'm busy enjoying its old-school goodness at the moment. It contains the character booklet, Matt Finch's Quick Primer, some graph paper, a book of spells, a treasure booklet, and as a bonus, an adventure entitled The Vile Worm of the Eldritch Oak. The box is very nicely done, with art on the sides and top, and the text and illustrations in the booklets are clear and crisp.

Each booklet is approximately 24 pages, so this is truly a rules-light game, upon which you can add your own house-rules. The adventure is approximately 16 pages, more of a mini-adventure, but I think it is perfect for a new DM, with just the right number of illustrations and background. It should take you at most two sessions to finish this adventure.

It's great to have this game in booklet form, and with the spell book separate from the character booklet. I much prefer the individual books for players, separate from the world building books, as it contributes to the sense of mystery, by players not having access to the bestiary and treasure lists.

I've thrown a copy of Philitomy's Musings and Chgowiz's S&W Reference Sheets into my box as well. Philotomy's musings is a valuable resource for the DM, as are the reference sheets.

I have ordered a second boxed set, along with some extra character booklets. I can hardly wait until those arrive, so I can give each of the players their own character reference booklet.

The Arduin Grimoire As ODnD Supplement

Reading and reviewing Dragons at Dawn led me to reminisce about another rule set, that also held itself out as a complete game system, but was really best used as a supplement to original Dungeons and Dragons. That other rule set, is, of course, The Arduin Grimoire.

Much (but not enough) has been said about The Arduin Grimoire. Authored by Dave Hargrave, who sadly passed away in 1988 (at the age of 42), the first three Arduin Grimoires were published in 1977 and 1978, some three years after the release of original Dungeons and Dragons. Like Dragons at Dawn, the Arduin Grimoire provided a myriad of alternate and supplementary rules and campaign suggestions, but Arduin was infinitely more extensive and table-laden. The first three Grimoires -- The Arduin Grimoire, Welcome to Skull Tower, and The Runes of Doom -- were nearly 100 pages each: the later six Arduin volumes were even longer.

But unlike Dragons at Dawn, the Arduin Grimoire (at least the books I have had access to) was, to put it politely, of uneven quality. For every blinding insight or brilliant suggestion, you would encounter some text equally execrable. But Hargrave never gave up on even his ugliest creations, often pleading with his readers to give his ideas a try, as it was only in the crucible of a role-playing campaign that the true value of his creations would be revealed.

Although this set of books was, and still is, passed off as a complete game system, it was born from Dave Hargrave's experience running original Dungeons and Dragons. It could be said, then, that The Arduin Grimoire is an example of OD&D house-ruling run-amok. A train-wreck perhaps, but a glorious one! While much of his material was largely derivative, there were some unique inventions sprinkled throughout his works, enough that many gamers considered his Arduin Grimoire to be part of the OD&D canon. TSR was not impressed with how close Hargrave hewed to their intellectual property, including explicit mentions to OD&D in his rulebooks, and famously slapped a cease & desist order on him. That resulted in the removal of any mentions of D&D in The Arduin Grimoire, although it probably did little to dampen its' sales. In some cases he simply whited out references to Dungeons and Dragons in his books, replacing those references with phrases such as "most often used ruleset".

The 12 black & white illustrations for the first Arduin Grimoire volume were created by Greg Espinoza and Michio Okimura. The above Greg Espinoza illustration appears on the back cover of the original Arduin Grimoire. I love Greg Espinoza's illustrations: there is a darkness, energy, and tension to them, absent from much of the modern art being produced for more recent versions of ye aulde game. The female in the above illustration first appeared top-less: even the intransigent Dave Hargrave was cowed into covering her nakedness in his subsequent, censored editions. As for the fighter in the background, opening the chest of treasure, he was reportedly modelled after Clint Eastwood.

And in case you doubt my objectivity with regards Arduin, I am happy to quote from someone else that you may, given the circumstances, feel has little to gain from extolling Arduin's virtues and vices. Jonathan Tweet had this to say about Arduin:

"Arduin's appeal isn't in its elegance, its comprehensiveness, its game balance, or its presentation. It's the author's enthusiasm that counts. Hargrave loved running his Arduin campaign, and the books read like the campaign notes of a manic DM. He often refers to his own campaign and how he makes rulings, runs combat, handles treasure, etc. Hargrave's enthusiasm is contagious.

The good folks of Emperor's Choice have reprinted the Arduin trilogy, so this piece of RPG history is available again. They've reprinted a later edition from 1981 or so. It has references to Dungeons & Dragons edited out, and it has better art than the original. (The bare-breasted woman on the back cover, however, got a leather bra for the second edition.)"

Dragons At Dawn RPG Review

While I was hoping to read a few more reviews of the new Dragons at Dawn RPG before I made the plunge and purchased it myself, my curiosity finally overcame my legendary steely resolve. I downloaded the $8 pdf version of Dragons at Dawn yesterday, and spent a couple of hours today immersed in 60-pages of Arnesian game design.

How does one review a role playing game like Dragons At Dawn? That was the question plaguing me as I prepared to write this blog entry. Several approaches seemed equally appropriate. I could review this game as a exercise in historical archaeology. In doing so, I would want to determine whether the author of Dragons at Dawn (D.H. Boggs) accurately captured the essence of Dave Arneson's gameplay. Alternately, my review could compare and contrast Dragons at Dawn to original Dungeons and Dragons. In applying that approach, I could alternately reveal where "Gary Gygax played it wrong" and where "Gygax provided a much needed tune-up". Or, I could evaluate Dragons at Dawn as a set of rules that must succeed or fail on its own merits. That would require me to consider this rule-set, in comparison to other recently and professionally produced role-playing games. Or I could acknowledge Dragons at Dawn as a labour of love by a die-hard D&D fan, and review it as a DIY effort. That would result in a different set of expectations, regarding completeness and usability. As a further alternative, I could review this as a supplement to an existing game, namely original Dungeons and Dragons. That approach would require that I consider how this adds to the already existing body of rules. I could also apply some or all of those five approaches. The later would result an extremely long post, and likely more research on the part of yours truly (particularly as regards number one).

Before I go any further, I need to say the following. What D. H. Boggs has done, in recreating the original Dave Arneson fantasy rules, is to be applauded. Dragons at Dawn is a superior effort. The author has recovered an important part of the history of Dungeons and Dragons. This offering informs our understanding of the original rules, as well as Arneson's First Fantasy Campaign, thus enriching our enjoyment of the game. This is well-worth the $8 investment.

In the end, I decided to review Dragons at Dawn as a supplement to the original Dungeons and Dragons game. In choosing to review it as such, I acknowledge that I am ignoring the stated intention of the author of Dragons at Dawn, to produce a complete system that represents the Arnesian approach to game play. While that intention is laudable, readers demanding that his effort be wholly successful, in a slim volume of 60 pages, seem unreasonable, when you consider that Gygax was afforded more than 250 pages to produce the original Dungeons and Dragons and the first three supplements.

As a supplement to original Dungeons and Dragons, Dragons at Dawn is a resounding success. It covers (in greater and lesser detail) such topics as cooperative versus competitive play between players, alternative classes such as the Merchant and Sage, variant multi-classing rules, an attribute-based task resolution system, rules for gaining further education and skills, fixed hit points by level, monsters as characters (including increasing their levels), adventure and setting design, random chance and fortune cards, a complicated morale-check system, a flowchart and matrix-based combat system, a spell creation system, non-adventuring experience acquisition suggestions, broadly applied alignment-based magic item rules, recommendations on tracking game time, and equipment lists that have ranges for the cost of various items.

Considered as a variant or augmentation to original Dungeons and Dragons, Dragons at Dawn offers a lot. Peppered throughout the booklet, you are further provided with nuggets of wisdom, being quotes from Arneson himself, culled from various interviews and forums. Those are a welcome addition, illuminating Arneson's gameplay approach and accumulated wisdom.

I am not qualified to comment on whether Boggs has fulfilled his stated goal, of faithfully recreating the game as played by Arneson, others, closer to Arneson can provide that assurance. I will also not wade in on whether or not Gygax got it right in original Dungeons and Dragons. As a collaborative exercise, original Dungeons and Dragons will necessarily contain a synthesis of their two game approaches. As for completeness and usability, the slimness of this volume almost necessitates its' use in conjunction with other gaming materials. But as a supplement or variant for OD&D, and as an illuminating look into the original fantasy campaign, you would be well-served by including this volume in your gaming collection.

War Of The Angels: Todd Lockwood

In addition to his Orcus illustration, of which I earlier professed my fondness, Todd Lockwood produced several other pieces of black and white art, appearing in Dragon Magazine in late 1980.

Sixteen years later, Todd Lockwood would become better known for his color illustrations, having been instrumental in defining the look of 3rd Edition Dungeons and Dragons art.

In the process of discovering his later body of work, I came across another black & white Tom Lockwood illustration, which I believe is entitled War of the Angels. His mastery of light and dark, evident in the Orcus illustration, is re-affirmed in this piece.

Sadly, my ambivalence towards the "modern" D&D rulesets interfered with my appreciation for the artwork being produced by the Todd Lockwoods, Fred Fields and the other, later, D&D artists. While the early illustrators, like Dave Sutherland, Erol Otus and David Trampier will always strongly define the visual representation of D&D for me, its great to see that other artists like Todd Lockwood had a connection to the early days of the hobby, and, even then, made a strong impact on what I thought D&D was meant to "look like".

Dungeons And Dragons: The Age Of Conan

There are several fellow-travellers in the old-school blogosphere who are posting about and playing Dungeons and Dragons, with a decidedly 'sword and sorcery' bent. Akrasia immediately comes to mind, as does Jason Vey of Elf Lair Games.

Both have posted their FREE versions of sword and sorcery house rules. You can find Akrasia's via a link on his blog.

Jason's version of sword and sorcery rules is a Conan mash-up for original D&D. You can find both his free Conan rules, and a sword and sorcery magic supplement here. Scroll down near the bottom of the page for both booklets.

Old School Products Storefront

Clearly i've been living in a plastic bubble for the last several months. I did not know about this.

Someone has gone, and done-set-up an Old School Renaissance storefront at Lulu, and several of your favorite bloggers and OSR publishers are participating in that publishing group.

What a great way to cooperatively promote the old-school products and approach to gaming!

ODnD: A Product Of Its Time

In posting over the last several days, about the original Dungeons and Dragons booklets, I have remarked that the original booklets contain a certain style of presentation that is unmatched in the retro-clones. That is both a good and a bad thing.

It is a bad thing in the sense that the Gygaxian style of writing (described by many as being florid), flowing through the oDnD booklets, has been lost in favor of a much more precise and workmanlike method of presentation in the retro-clones. The original oDnD booklets were at times frustratingly vague. Other times the rules were bordering on the inscrutible. But those very features provided room for limitless imagination. The precise language of the retro-clone is like Tylenol: it takes away the fever-dream of oDnD.

On the other hand, there are certain passages in the oDnD booklets which need no duplication. ODnD was a product of its time. It was also a product of a particular sub-culture, which may have been extant within the world of wargaming. This passage, in particular, is, today, absurdly comical, though at the time it may have elicited a chuckle (but more likely groans) from its readers.

"DRAGONS: These additional varieties of Dragons conform to the typical characteristics of their species except where noted. There is only one King of Lawful Dragons, just as there is only one Queen of Chaotic Dragons (Women's Lib may make whatever they wish from the foregoing)." Greyhawk, p.35

That is one passage that the retro-clone authors can safely ignore in their recreationist efforts.

Dungeons and Dragons: Forbidden Lore

Earlier, I mentioned Philotomy's Musings, a pamphlet designed for original Dungeons and Dragons. In my search for a re-statement of Chainmail, I also came across Forbidden Lore. Scroll down to the bottom of the page, and you will find a pdf copy.

Forbidden Lore is a free, 16-page booklet, authored by Jason Vey of Elf Lair Games, and designed to clarify and bridge the combat rules in Chainmail and original Dungeons and Dragons.

Even if you do not own Chainmail and original Dungeons and Dragons, this pamphlet is well-worth a look: it quotes from the original documents, and makes some compelling arguments about the relationship between those two early rule-sets.

Chainmail includes three competing and largely incompatible combat systems: one for mass-combat, another for man-to-man combat, and a third for fantastic combat. The author suggests (and quotes liberally from original D&D to evidence) that all three combat systems should be used, but that use of any particular combat sub-system depends on the situation. An attractive argument, for many old-schoolers, although the rpg game-design history of the last 30 years has been to replace sub-systems with unified systems.

While I have some minor quibbles regarding some of the extrapolations and interpretations Jason has made in Forbidden Lore, overall this is a very compelling analysis of Chainmail and oD&D. This is a valuable (and free!) resource, and should be read by anyone who is interested in the early design of original Dungeons and Dragons.