Tagline: Possibly the funniest gamer-related cartoon of all time, Knights of the Dinner Table has well-deserved its position as a cult classic. All true gamers should be reading this. Hoody hoo!

I would now give the title of “funniest gamer-related cartoon of all time” to the early strips of Order of the Stick. I have long since let my subscription to Knights of the Dinner Table lapse, but these early strips are still hilarious good fun.

Although this review purports to focus primarily on the reprint volume Bundle of Trouble it’s really going to be a general assessment of the Knights of the Dinner Table (KODT) strip as a whole.

KODT debuted in the pages of Shadis several years ago when its creator, Jolly Blackburn, was still serving as the editor of the magazine he had created. Jolly would eventually leave Shadis and KODT would make the transition to the back of Dragon Magazine. More recently KODT has become its own stand-alone comic/magazine and is now well over the twenty issue mark. The first few issues have become scarce and impossible to track down, which brings us to Bundle of Trouble — a reprint volume of the first three issues.

Although gamer-oriented comics have had a place in the hobby for years, KODT was the first strip to truly take the humor of those strips out of the game settings and place it on the gamers themselves. It focuses on the escapades of B.A. Felton, the GM, and his players: Bob Herzog, Dave Bozwell, Brian Van Hoose, and (more recently) Sara Felton (B.A.’s cousin). In addition, a large supporting cast has been established, including Gary Jackson (the creator of the HackMaster(TM) game); Nitro Ferguson (infamous for his LARP involving steam tunnels and college students); and Weird Pete (everyone’s favorite game store owner and Keeper of the Lore).

It has become clear over the years of KODT’s growing popularity and success that Jolly Blackburn has successfully tapped into the gamer’s consciousness. His strips repeatedly strike far too close to home not to elicit peals of laughter while raising the question, “Where has he hidden the camera he’s filming my gaming group with?” Again and again Jolly succeeds at pinioning the classic stereotypes and realities of gamers in a hilarious fashion. His quirky, amateur style – which he constantly pokes fun at himself – only serves to heighten the effect. It has well-deserved its reputation as a cult classic and is quite possibly the funniest gaming-related comic every produced. All true gamers should be reading this strip, and Bundle of Trouble would be an excellent place to start.

Hoody hoo!

Style: 5
Substance: 5

Author: Jolly Blackburn
Company/Publisher: Kenzer & Company
Cost: $9.95
Page count: 96
ISBN: n/a
Originally Posted: 1998/12/14

No offense to my former self, but this is a terrible review: It summarizes content without explaining why the summary is significant, and it spends far too much time saying “it’s really funny!” without explaining why I think it’s funny. It starts to pull itself together in the last paragraph, but then abruptly stops instead.

Ah, well. Can’t win ’em all.

On the other hand, I am going to go pull my collections down off the shelf.

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

End of the Adventure – Alex Drummond

Is this an illustration of an aquatic adventure or an urban adventure?

Given where the PCs are heading, maybe it’s the start of a wilderness adventure.

(Memo to my players: This may constitute minor spoilers. Also, you’re all going to die.)

A couple of other random thoughts here: First, a lot of modern gaming is predicated on the philosophy that failure isn’t fun. I, on the other hand, think that failure can be entertaining. And I think it also sets up greater opportunities for entertainment down the road.

Second, what I love about this illustration is that it dares to dream big. And I hope it will dare you to dream big, too. I think orcs in a 10′ room are great; I think gritty fantasy is cool.

But every so often you’ve got to release the kraken, right?

Part of my general dissatisfaction with Geoffrey McKinney’s Carcosa is certainly due to a difference of opinion when it comes to methodology.

First, whether we’re talking hex keys or dungeon keys, I’m extremely skeptical of key entries that consist of nothing more than a list of monsters. This is particularly true of published products, and yet a depressingly huge number of Carcosa’s key entries consist entirely of things like “17 Diseased Guardians”, “13 giant lizards”, and “5 Mummies”.

It’s bland and it’s boring. It’s also virtually useless.

Unfortunately, this generally remains true of Carcosa‘s key even when more details are proffered. For example, massive chunks of the book consist of, “[Settlement type] of # [type of human] ruled by [insert title], a [alignment] [level] [class].” (For example: “Village of 400 Green Men ruled by ‘the Peerless Will,’ a neutral 8th-level Fighter.”) And even more are dedicated to describing the particular physical characteristics of various Spawn of Shub-Niggurath, all of which were generated using the charts found at the back of the book with no additional creative thought applied whatsoever.

And that, ultimately, is probably the biggest indictment against Carcosa’s hex key: Virtually all of it could have been more usefully rendered as a half dozen random tables.

Second, even when the hex key shows greater creativity, it usually takes the form of material which is non-actionable during an actual game session. For example, hex 2004 is keyed:

A Brown Man, dressed in immaculate white robes fringed with golden embroidery, rests quietly by the side of the path. He acknowledges with a barely perceptible nod. It would be wise to return this show of respect with a dignified bow or curtsy.

… or what? He’ll attack? He’ll shed his skin and reveal himself to be a Spawn of Shub-Niggurath? He’ll curse them? He’ll turn out to be a demi-god? He’ll betray them to their worst enemies?

The argument can, of course, be made that the purpose of the key is merely to serve as a creative seed for the GM. But, if so, why is McKinney so delightfully enamored with the words “cannot” and “never”? Let’s proffer hex 2105 as an example:

Drums, the clash of war cymbals, and the deep clangor of a mighty gong can be heard coming from the desert. The sounds taper and crescendo with the bluster of the wind, but their source can never be found.

Even if this wasn’t the umpteenth time I’d read some variation of “there are mysterious sounds and you can never figure out what they are“, you can’t try to defend half the hex entries by saying “just ideas to develop” while the other half of your hexes are trying to stifle the development of those ideas.

I recognize that many of these elements are historic qualities of classic hex-based supplements like the Wilderlands. But Carcosa is a particularly bland and repetitive instantiation of the form, and I also think 1976 was a long time ago. Similarly, while I may find Palace of the Vampire Queen a fascinating historical oddity and revolutionary for its time, anybody trying to sell me a dungeon designed like that today is not going to win my applause.

TO THE GOOD

One point of particular interest in Carcosa are the sorcerous rituals. These have received a good deal of attention because many of them require specific vile acts in order to perform them (murder, rape, and so forth), but that’s largely a tempest in a teapot. (Although the critics would lead you to believe that they’re graphic snuff pornography, the reality is that the vile acts — while specific — are not detailed or described in any sort of lurid detail. If rape or violence against children are trigger words for you, you should probably avoid this book. Otherwise, you’ll find more graphic stuff in a Clive Barker, Jacqueline Carey, or Stephen King novel.) What I actually find interesting about the sorcerous rituals is that they provide an innovative method for motivating and directing the exploration of the hex map.

For example, the Approach of the Farthest Rim, “can be performed only in the lost fane in hex 2401”. Whether the PCs are trying to stop a sorcerer performing this ritual or playing villains attempting to complete the ritual for themselves, this kind of specificity will drive them out into the wilderness of Carcosa: They have to find that fane. In fact, even if the ritual is not being performed (by the bad guys or the PCs), learning the details of the ritual inherently provides a hook: What else might be inside the fane?

That’s a clever structure for delivering scenario hooks and I’ll almost certainly be lifting it in the future.

In a similar vein of derived utility, the random charts for Spawn of Shub-Niggurath, Space Alien Armament, Random Robots, and Mutations are all fairly well done.

All of this, unfortunately, is fairly brief in character and scarcely justifies the purchase price for Carcosa. Which regrettably brings us…

TO THE FURTHER BAD

Overwhelmingly, my disappointment with Carcosa stems from the lack of anything truly weird or creative in the setting. The book bills itself as a “Weird Science-Fantasy Horror Setting” and I was expecting a creative burst of the unique, the bizarre, and the alien. What I got instead was “9 Tyrannosaurus Rexes”. (And, no, occasionally adding the words “mutant”, “radioactive”, or “fungoid growth” to the tyrannosaur doesn’t actually make it notably more interesting.)

Adding to the supplement’s weakness is the extremely questionable quality of McKinney’s house rules. Basically, the book starts by detailing a lengthy system in which you use a d20 roll to randomly determine what type of dice you roll before rolling them (d4, d6, d8, d10, or d12). If you squint hard enough, you can almost have this make sense for Hit Dice (which McKinney has you re-roll at the beginning of every combat), but when he goes on to do the same thing with weapon damage (so that every time you make an attack you roll one of every die type and then use the d20 to determine which of the other dice count) all you can do is start backing away slowly.

Unfortunately, you won’t be quick enough to avoid the next page where he lays out the statistical analysis which demonstrates that, on average, all of this extra complexity and dice rolling has virtually no effect whatsoever.

And then there’s a whole related mechanic where you have to keep track of multiple hit point totals for each character… But I digress.

Finally, although other options are proffered, the supplement largely bills itself as a place to run full campaigns. (The book even includes an introductory adventure.) But there’s no place on Carcosa that’s accessible to new characters. Virtually every keyed encounter in the book is aimed at mid-to-high level play. (And most of those seem to be heavily inspired by the Tomb of Horrors “save or die… actually, screw it, just skip the save: you’re dead” school of design.)

For example, the starter adventure is set in hex 2005. Despite being specifically and explicitly aimed at 1st level characters, this module includes random encounters with 10 HD monsters. (And the hexes immediately surrounding hex 2005 are no better: Hex 2004, for example, contains five aggressive 10 HD monsters. If you follow the standard hexcrawling practice of automatically triggering the keyed encounter when the group enters a hex, anybody who strays too far north during the intro adventure is going to get TPK’ed.)

IN SUMMARY

There’s really no question that Carcosa is a truly gorgeous volume. Lamentations of the Flame Princess have lavished the volume with fantastic illustrations by Rich Longmore; the paper is thick and luxurious; the binding is superb; the layout and cross-referencing are excellent. (The PDF is somewhat flawed by the decision to de-synch the page numbers and make it unreadable on e-readers and tablets, but this is somewhat compensated by the encyclopedic cross-linking.) It even comes with a cloth map, which — as an old fanatic of the Ultima computer games — is a decision I absolutely adore.

But, ultimately, all of this glitzy extravagance surrounds a hollow core. Most of the book is nothing more than rote mediocrity, large chunks of the rest are unusable in any form, and, when all is said and done, you will come away with nothing more than a dozen or so decent ideas that might be useful if you polish them up a bit. That’s a good showing for a blog post, but for a $40+ supplement? It’s a disappointment.

Style: 5
Substance: 2

I lost all of last week to an incredibly nasty bout of ill-timed flu. Since I had a backlog of material scheduled here at the Alexandrian, you probably didn’t even notice (assuming you would care), but things will probably be a little sparse around here for the next week or so as I try to get back on top of things.

Among the things I’ve fallen behind on are the preview materials for Legends & Labyrinths. Things are really starting to heat up behind the scenes now and I want to share as much of that excitement with you as possible. Expect more of the Art of Legends & Labyrinths series in the next few days as I get them queued up.

If you’re looking for even more preview material, you should head over to our Facebook fanpage: Starting later today, we’ll be previewing all the spells from the Legends & Labyrinth Grimoire!

Based on feedback from the Black Book Beta, the spell lists have been modified (mostly to focus them a bit more). The Grimoire selection has ended up being heavily based on the original spell lists from 1974-1976 — partly on the theory that “if it was good enough then, it’s good enough now”; mostly from the practical discovery that those lists match pretty closely to what people think of as the “important spells” of the game.

Some of the spells will look pretty familiar (there’s only so much you can screw up with arcane lock), but others (like detect magic) might surprise you in how they’ve been stripped down and reworked to be both easier to use in play and more evocative. Let me know what you hate; let me know what you like.

Open the Grimoire!

Check out Putting a Bullet in Descriptive Text from Charles Ryan.

It closely matches how I prep descriptive text for my own sessions. And, as you can see in Complex of Zombies, I actually push this philosophy even further: Every aspect of an encounter area is keyed as a clearly titled and easily identifiable “chunk” that allows you to instantly grasp the entirety of even the most complex areas in a single glance.

I’ve been thinking about writing a longer essay of my own on this topic for awhile, and I probably still will at some point. But, in the mean time, check out Ryan’s piece.