A fellow over on Reddit asked for feedback on a campaign in which an ancient curse prevented anyone from gaining XP and advancing past 1st level — a “world without heroes”. My random thoughts:

First, experience points are an abstract mechanic that represents the ability for people to learn and grow as individuals. If the world is literally “no XP is ever gained by anyone, ever” then, in terms of the game world, that means a world of horrible, almost automaton-like stasis.

Of course, if people can never learn anything more than the knowledge they’re born with, the human race is basically reduced back to base animals. So let’s make an exception for kids: If you’re a kid, you can still learn and be educated. But once you hit 16 or 18 (or whatever arbitrary age you want to set), the curse takes effect and the light in your eyes is snuffed out.

This opens the door a bit for child prodigies: The exceptional few who can achieve more than 1st level before they turn 18 and the curse hits them. Most of ’em still won’t get far, but you might get the occasional 3rd level character running around just to ease things up in your world-building a bit. (This could also give you a mechanism for your PCs: They’re actually just exceptional 16 year olds. But the clock is ticking for them: At 18, the light goes out. If they’re going to find a way to reverse the Curse, they’re going to have to do it before they join the grey mass of inertia-driven grown-ups around them.

SURVIVING IN A WORLD OF MONSTERS

The typical PC races are going to have a real tough time of it if the world is filled with CR 2-20 encounters and they’re all stuck at CR 1. Although the other races are also limited by the Curse, even something as simple as an ogre has a huge advantage in terms of natural selection in this world.

The obvious solution is that the PC races need to either transform themselves into something more powerful or they need to make powerful allies. A few possibilities off the top of my head:

(1) Most of the successful city-states have made pacts with demons. Basically, an entire city will auction off its souls to a demonic patron and that patron will, in exchange, protect them. A few “soul-free” might cling to the edges of civilization, but the lands of the civilized races have become dark and perverted places — a patchwork of demonic alliances waging fruitless and endless proxy wars.

(2) Vampires vs. Werewolves. Cliche? Sure. But undead and lycanthropic plagues are one of the few ways for humans to empower themselves in this milieu. Expect to see cities where vampires rule openly as an elite caste and freedom fighters attempting to overthrow the vampires willingly infect themselves with lycanthropy in order to have the strength to rebel.

(3) Or, vice versa, the nobles are all lycanthropes who, once per month, invoke their ancient rights of sanguis nocte and hunt through the city or countryside to feast upon their subjects.

(4) Or perhaps it’s a world in which human cities are built around plateaus of step-pyramids in which almost constant human sacrifices are carried out as part of the ritual magic required to keep the vast undead armies protecting the city under control.

(5) Dwarves survive because they have hidden themselves away behind vast layers of stone. Their cities are laced with countless traps — an endless layering of defenses which only fuels the well-earned dwarven paranoia. (Because they know, deep in their hearts, that some day a darkness will creep into their cities and they will be powerless to stop it. And the deeper they delve away from the terrors of the sunlit world, the closer to that darkness they come.) The rigidity of their caste structures coupled with the effects of the Curse over long centuries have reduced the majority of the dwarven population to an autonomous hivemind. (Ever read Snow Crash by Neal Stephenson? Think about he describes the form human civilization took before we gained individual consciousness.)

(6) Things are not pretty for the elves. The woods they once ruled are filled with powerful dangers  they are no long capable of mastering and the ancient demesnes that once swore fealty to them are now more powerful than they. They are a broken and scattered people with no homeland to call their own.  It is said, however, that in the earliest days of the Curse some of the elves crafted refuges upon the Ethereal Plane before their craft was utterly lost to them. Its hard to say what may have happened to those trapped within,  having no way to return to the Material Plane when the arts of magic required for the passage were lost to them.

I had mixed feelings coming to Big Eyes, Small Mouth: A Universal, Japanese Anime Role-Playing Game. First off, I’m a huge fan of anime. But having seen Ranma 1/2, Slayers, 3×3 Eyes, Kamui, and Mai (among many others) I know that if you’ve got a universal anime game what you’ve really got is a universal game, period. If you strip the affectation of the animation away from anime you’ve stripped away the only common element which binds all of it together – and since I don’t spend my game sessions madly sketching animation cels…

On the other hand I had heard nothing but unreserved praise for the game (except for a handful of people who had never laid eyes upon it declaring that they “don’t do anime” – the loss is theirs, of course). So, like I said, I came to BESM with mixed feelings.

I’m happy to say that not only were “they” right, but I was right, and Mark MacKinnon was right when he said that the game was “easy to learn, fun to play, and in the spirit of anime”.

To understand how all these contradictions resolve themselves you first have to understand how I feel about “universal games”. Many have said that a “truly universal” roleplaying game is impossible. When some people say that they mean that no single game engine can satisfy everybody. This is true. When some other people say that they mean that no single game engine can model at multiple levels simultaneously – a simple engine cannot adequately model ultra-realism; a complex engine cannot adequately perform when asked to run fast and furious action. This is also true.

But when some other people say that a “truly universal” roleplaying game is impossible what they mean is that no game engine can model all possible genres.

This is false.

(Actually all of these statements except the first are false if you expand them to include meta-systems in addition to systems proper. A meta-system such as FUDGE, for example, which gives you systems to modify the system itself can easily modulate itself to handle multiple levels simultaneously.)

It is false because it has been done quite successfully several times. GURPS and Hero, for starters, are both very successful at being universal engines – they just suck at being simple systems.

Which brings us back to BESM, which succeeds quite handily at being a universal anime game by giving us a set of rules which is quite adept at modeling the type of reality postulated by about 95% of the anime out there (it can model the other stuff, too, it just won’t be quite as good at it). You end up with fast, furious combat. You end up with simple, but richly developed characters. You end up, in short, with a very good game which is capable of not only handling your favorite anime – but just about any other story you care to throw at it. Sure it’ll handle some things better than others (the same way that GURPS handles modern day realism better than it will ever handle super-heroes or Hong Kong action flicks), but it will handle it.

THE BASIC SYSTEM

BESM is simple. Dead simple. Character creation:

1. Assign Stats. Roll 2d6, add 10 and distribute the points between your Body, Mind, and Soul stats.

2. Character Attributes. Take 10, 15, or 20 points (depending on the level of campaign your GM wants to run) and assign them to your attributes. These are things like “Extra Attacks” and “Own Big Robot (OBR)”; the more points you assign to each one, the more signficant that attribute is.

3. Character Defects. Take up to 3 defects (each worth either 1 or 2 bonus points, depending on their severity, which can be spent on other things).

4. Derived Values. Calculate your Combat Value, Health, and Energy Points from your basic stats and attributes.

(There are actually eight steps to character creation outlined in the book – I’ve omitted the ones that are purely conceptual in basis.)

Taking actions? Make a stat check by rolling 2d6 under your stat (modified by the difficulty of the situation). Combat? Initiative is determined through a die roll compared to your Combat Value. You can take one offensive and one defensive action in a round. To attack you roll 2d6 under your Combat Value. To defend you roll 2d6 under your Combat Value (negating damage). Damage equals your Combat Value plus the Weapon Damage Value. Mental combat is essentially identical with a couple of twists.

That’s basically it, folks. It don’t get much easier than this.

ANALYSIS

Before going any further, let’s get the bad stuff out of the way. First, while the art in the book is good, it is not great. Considering that the game is entirely built upon the precepts of a visual medium this was a little disappointing, but not heartbreaking. It’s clean line art and, like I said, is good. It just ain’t Takahashi.

Second, I consider the summary of all physical characteristics into the Body stat to be a mistake. I can name quite a few anime titles off the top of my head (Ranma 1/2 and Project A-ko for example) in which a massive, physically powerful character is laid waste by the quicker, faster main character. This is moderated somewhat by some elements of the attribute system (such as “Extra Attacks”), so it isn’t a complete killer.

Speaking of “Extra Attacks”, however, brings me to my next objection. Each point you put into “Extra Attacks” only gives you one extra attack and defense in a combat round. Since you can only put five points into an attribute this means you can’t get more than six attacks in one round. Considering that Ranma can throw a couple hundred punches in the blink of an eye I found this tough to swallow. Sure this can be moderated, once again, if you begin to bring some other attributes into play (such as “Massive Damage”) and fudge around the edges – but now we’re edging more towards the power meta-system of Hero, and that’s painfully out of place in a game this simple.

And as long as we’re obsessing over the attribute system, let me point out the final injustice of all. Most of these attributes are very loose in describing what their actual effects are. This is understandable considering the breadth which must be covered by fairly simple categories. (“Item of Power”, for example, describes the Level 3 as being “item offers a good advantage to the character.” This is differentiated from Level 4, which “offers a great advantage to the character”.) My objection, as noted, is not this level of abstraction – rather it is the last attribute listed in the book: Unique Character Attribute. This is “covers” anything “not detailed above an anime character might possess”. While an understandable kludge (you can’t be expected to list everything) the insult is rubbed in when a list of twenty or so examples are then given. Considering how vague some of the preceding attributes were (others were quite concrete – like “Extra Attacks”) what was the point of this list?

Another minor quibble would be the partial randomization of attributes. As a general rule I dislike this. In specific I find it rather bizarre in this system, which is designed with open-ended interpretation in mind (note the vague, guideline-like nature of the attributes) to suddenly tie itself into the need for randomization. You trust your players to know the difference between a “good” item of power and a “great” item of power, but not enough to responsibly handle the point totals for character creation? On the plus side, there’s an optional rule that fixes all this.

Alright, that’s all the bad stuff out of the way. It makes quite a list, but you can ignore most of that because the system’s too simple for you to be sweating the small stuff. The cool things about this game far outweigh the bad.

First, as I’ve mentioned before this is a simple, elegant system. If you’re looking for a simple system which is also fairly rigid and objectively consistent you don’t want to look here (although you might want to take a look over at Unknown Armies, which has done that very well). This is a simple system which provides you with a very rough guide to how things should go – it is a framework on which stories are draped. It is just enough removed from cops and robbers that you’re not going to get into arguments over whether or not you were shot, but it also hasn’t become so formalized that the rules seriously bind you into much of anything. Sometimes that’s just the type of balance you need. And BESM finds that balance very, very well.

Second, this is a very well put together manual. It is very short and undersized, but that’s okay considering how simple the rules are (and the price – you aren’t being overcharged for the material). MacKinnon has done a simply brilliant job of organizing the material in a logical order and then, for added goodness, isolating the important information into two flow-charts (one for character creation and one for action resolution) and a single table (of weapon damage values). You can run the game from those three single-page references and never have to look at the rules. On top of it all a readable, clear font was used.

Third, there’s a lot of good stuff crammed in there besides the game. You’ve got an introduction to anime and roleplaying; plus a section on advice for players and GMs; a nice summation of anime adventure settings and adventure themes set in each of those settings; a bibliography of major anime series; a list of anime resources; a few optional rules; biographies of the creators; and (perhaps the most important test of all) a thorough, complete index.

All in all, Guardians of Order should be very proud of its first foray into publishing a roleplaying game. The game itself is good and well worth the money, but by including an extensive index and demonstrating more than competent organizational skills they’ve proven that they are capable of turning out high quality product in the future. I look forward to taking a look at their Sailor Moon game as soon as I get a chance.

CONCLUSION

What I think BESM would really excel at is as a introductory roleplaying game. The subject matter (capable of covering everything from Pokemon to Sailor Moon) is something which easily captures the attention of young children. The rules are simple and easy to learn, plus a strong emphasis is put on character over hack ‘n slash play (this is one of the few books that includes a section on player advice, instead of just GM advice). The book itself is cheap enough that you can easily afford to buy multiple copies for a group you’re interested in converting.

Beyond that, though, BESM is simply a very good game. It is far too simplistic, in my opinion, to successfully support a long-term campaign, but I will definitely be giving it consideration the next time I sit down to design a one-shot or short series. At fourteen bucks I don’t think you can go wrong here – whether you like anime or not. (And if you don’t you’re not hurting anyone but yourself through your sad negligence of an amazing medium. “Time spent watching anime,” as MacKinnon says, “Is time well spent.”)

Style: 4
Substance: 4

Author: Mark C. MacKinnon
Company/Publisher: Guardians of Order
Cost: $13.95
Page count: 96
ISBN: 0-9682431-0-X

Originally Posted: 1999/04/26

It’s strange looking back at the earliest days of Guardians of Order, as we all began to figure out that this plucky little upstart was bringing something really special to the industry. Sadly, we also couldn’t foresee their eventual downfall. They came close to nailing something really special… but somehow they just missed it.

The second edition of Big Eyes, Small Mouth remains one of my “generic triumvirate”: If I’m looking for a generic system to run something, the first games I look to are BESM2, Hero, and D20. (It used to be BESM2, Hero, and Silhouette. But I haven’t run anything using the Silhouette system in over a decade.)

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

The Eclipse Phase universe, like a lot of science fiction universes, features faster-than-light travel (in the form of the Pandora Gates) and FTL communication (in the form of quantum-entangled transmissions). If relativity is true (and, in the real world, we have copious evidence that says that it is), then this is impossible.

This tends to get hackles raised from those who are unhappy with a universal speed limit, but this Wikipedia article gives a pretty good explanation of why FTL causes time travel. There’s really no way around it: If FTL communication is possible, then Alice really will receive an FTL reply from Bob before she sent the original FTL message. And once you can do that, it’s trivial to create causality violations. (Particularly if we replace “FTL message” with “FTL travel” so that Alice can go some place, come back before she left, and shoot herself in the head.)

The realities of relativistic speeds are deeply unintuitive to us, but they are no less real because of that. Without getting elbow-deep in the math so that we can really grasp what’s happening, we’re not going to spontaneously discover something that the last five generations of very clever scientists have overlooked. There is no easy escape hatch.

But recently I was drawn into a discussion of how the FTL “realities” of the Eclipse Phase universe could be handled. Here a few approaches you could take:

OOPS…

I guess relativity was wrong after all. Oops.

There’s really no way to pull this off without ignoring a century of scientific data, but we’re just going to ignore that: FTL works and there’s no causality violation because, ta-da, we said so.

To be fair, general relativity and quantum mechanics are fundamentally incompatible with each other and something’s going to have to give if we’re ever going to reconcile those theories. It could be the light speed limit that’ll need to be jettisoned (although it’s entirely unclear why or what form the resulting scientific theory would take).

This is, basically, the approach Eclipse Phase takes: QE-based communication alone completely ruptures relativity at a local and immediate level. Ergo, relativity must not be true. Fly, Skylark, fly.

MUST… GO… FASTER…

But let’s wave our hands a little faster.

It turns out that hyper-luminal drives actually increase the local speed of light not just for the ship, but for all spacetime within the light cone of that ship. There are no causality violations because the ship never actually goes faster than light (just faster than light was going last week), but suddenly the radio waves from Earth are reaching Mars much faster than they were before. In fact, it turns out that most of the dark energy in the universe is just a by-product of extragalactic FTL civilizations and tachyons are basically a form of interstellar pollution.

For the purposes of Eclipse Phase, let’s just ignore QE-communication for the moment and focus our attention entirely on the Pandora Gates. It turns out that this “speeding up the speed of light” effect of hyper-luminal travel is heavily gradated due to the vast distances being traversed by the Gates. But people begin to suspect what’s happening when scientists begin detecting small “speed-ups” in interplanetary communication systems. (And it’s possible the scientists weren’t the first ones: There have some anomalous trades on the Planetary Stock Exchange that could only be possible if someone knew they could take advantage of discontinuities in communication speeds.)

OUT OF THIS WORLD

Or maybe causality violations resolve themselves through some variant of the many-worlds hypothesis: Alice leaves at FTL speeds, returns before she left, and then shoots herself in the head. But causality isn’t violated because Alice the Murderer can still trace her personal timeline into a different world where the shooting never took place.

The universe where this happens, however, is a complete disaster: Causality may not technically be violated as it leaps from one spacetime to another, but from a local perspective it’s shredded into pieces. The solar system becomes filled with nonsensical events that we can’t really comprehend: Revolutions are thwarted before they started, but then instantly won by time-traveling revolutionaries who blah blah blah, my brain hurts.

Interesting thought experiment, though: What does the universe where Alice the Murderer zoomed off at FTL speeds look like? Well, in that universe she simply disappears the minute she turns around and violates causality (having skipped into a different universe where her return isn’t an immediate paradox). In this scenario you might actually end up with a very large number of universes which this causality-violating Alice simply “skips through” creating ghostly, quantum-froth blips as she sequentially violates causality in one after another. (Once again, we could hand-wave violently and pretend these causality-busting events are happening around us all the time and are the source of dark energy or quantum manifestations or any number of things.)

But here’s the important bit: In the universe where we sent Alice away at FTL speeds, she simply vanishes and we will never see her again. If she turns around and tries to come back, she (and anyone else trying that stunt) will vanish into an alternate dimension never to be seen again.

In the Eclipse Phase universe, though, we’ve been doing this for awhile now: We send Alice out at FTL speeds through the Pandora Gates and we bring Alice back at FTL speeds through the Pandora Gates. Everything seems fine. But then we crack the science and discover that Alice can’t come back: When she comes back, she flips out of this dimension and is never seen again.

But if Alice can’t come back… who the hell is the “Alice” who came back through the Gate? What the hell is the Alice who came back through the Gate?

In my last review of a Field Report — Psi Laws — I pointed out that the great strength of the format was that it allowed Andrew Bates (Trinity’s creator and line developer) to explore themes and concepts which would otherwise be difficult to do in a standard roleplaying sourcebook. Psi Laws was an excellent example of this. So is the Media report.

Rick Jones takes a very good look at one possible course of evolution from the modern media of today to the future media of tomorrow – blending film, television, and the internet (along with a number of others) into a future of a fragmented OpNet and “the miracle of holovision”. The use of the Field Report motif of the product being a “real” Aeon Trinity field report to its field agents allows Jones to take a very subtle approach to what is far too often treated in a cavalier manner. As a result you end up truly believing that the pastiche of media forces he describes could actually exist.

If nothing else this product is a useful addition to your Trinity collection because it helps you make greater sense out of other Trinity products. That seems a little odd at first, but you need to realize that significant portions of most Trinity products consists of media excerpts of one variety or another (artifact storytelling is the technical term for this) – hence the Media field report serves as a guide to those excerpts.

The one major drawback of the Media field report, however, is that it pulls a Verhoeven. Paul Verhoeven is the director of Robocop, Total Recall, and Starship Troopers (among others). Anyone who has seen these films know that they hold a single trait in common: They all use fictional commercials and television programs as means of advancing a story or introducing a setting. The thing all of these fictional programs have in common is that they’re all cheesy – looking more like paraodies of television commercials rather than actual television commercials. Although some of the visual elements of programs covered in the Media field report are actually quite good (Retrospective with Warren Shaw — a news program whose dead host was replaced with a sim of himself — is a good example), others are quite pathetic (Tuna Sandwich and Jake Danger: Aberrant Hunter). This is a prime example of how poor visual presentation can spoil an otherwise decent product. Since the book deals with the media of the twenty-third century the fact that that media comes off looking hokey cheapens the whole thing.

In any case, although this Field Report doesn’t quite live up to the reputation of the others so far due to its poor visual performance, it is still worth $5 – particularly for Jones’ excellent work. It would take a lot more than this type of minor foul-up to make these products worth less than their dollar value.

(For those of you who are following the developing meta-story for Trinity check out the sidebar on pg. 15. It kinda ruins the mystique of this being an “actual” field report – but that’s a pretty juicy tidbit they’ve decided to give us.)

Style: 4
Substance: 5

Author: Rick Jones
Company/Publisher: White Wolf
Cost: $4.95
Page count: 25
ISBN: 1-56504-771-0

Originally Posted: 1999/04/26

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

This site is currently getting bombarded with spam. The Akismet filter is catching most of it, but the spam filters are filling up faster than I can review them. This means that the spammers appear to have figured out how to beat the math captcha. I’m not sure if I’ll be switching to a different captcha or simply removing the captcha entirely.

Either way, this means that if your comment hits my spam filter (i.e., doesn’t show up within 5 minutes of you hitting the “post” button) then it’s almost certainly been lost forever. This generally only happened about once every six months, so I’m not too worried about it. But I hate to see anyone take the time to write up a response to something and then have it disappear into the ether. Please e-mail me if you’re having persistent problems with a particular comment you want to make.

I’m also testing out a social sharing bar that will appear at the bottom of each post. What do you think?