The Alexandrian

Archive for the ‘Reviews’ category

Tagline: Hogshead is quickly becoming one of those companies I continually look to because of their consistent high quality. Hogswash, their sorta annual “newsletter/fanzine/thing”, not only helps you to keep an eye on them, but also has some pretty solid material in it.

Hogwash 4 - Hogshead PublishingI got subscribed to Hogwash one day while I was perusing Hogshead’s website. It wasn’t particularly difficult – all I had to do was drop them an e-mail with my home address in it and, before I knew it, I had the current issue of Hogwash (#4) sitting in my mailbox. Hogwash, you see, is a “newsletter/fanzine/thing” for Hogshead – it’s self-promotional content is rather high, so its distributed freely.

So why am I reviewing a “newsletter/fanzine/thing”? Because, having read it, I want to encourage all of you to drop Hogshead a line and get subscribed to it. And why do I want you to do that? Basically two reasons.

First, Hogshead tosses interesting tidbits of free game-stuff into each issue (mini-modules, monster write-ups, etc.). This is the “substance” of the issue, and it’s quality makes it well worth the handful of minutes it will take you to read through it. Its more than worth the price (since there is no price).

Second, Hogshead is quickly setting itself up as one hell of a fine game company. It’s finally beginning to produce original material for their licensed Warhammer Fantasy Roleplaying line of products (having gotten almost all of the original line back in print), and the stuff that’s coming out looks like its going to be absolutely fantastic. On top of that they’ve released The Extraordinary Adventures of Baron Munchausen (which I’ve reviewed elsewhere). In the near future they’ll be releasing Violence (by anonymous author who we all know) and Puppetland (by John Tynes), among other projects. Hogshead is hot, and Hogwash is an excellent way to keep an eye on the company.

Let’s take Hogwash 4 as an example. It was released in August 1998 (but I didn’t get it until just a couple of months ago, when I signed up). If you had gotten it in August 1998 you would have been treated to a sneak preview of The Extraordinary Adventures of Baron Munchausen, Marienburg: Sold Down the River, and the Enemy Within campaign.

The main substance of the issue is a mini-module for WFRP, Bad Tidings, set in Marienburg and written by James Wallis. For eight half-pages, James packs in a lot of plot and background (involving a murder mystery, a Chaos cult, and even a handful of interesting adventure seeds). Very nicely done, and well worth the absolute nothing you paid for it (since, even if you don’t like the world of WFRP, it’s easily adaptable to any fantasy campaign).

In addition an “exclusive interview” discussing The Extraordinary Adventures of Baron Munchausen (which is as cleverly done as the game itself), and a two page article explaining the changes which Hogshead will be making to the legendary Enemy Within campaign. Plus you get the “Not the WFRP FAQ” FAQ, and a rough pencil preview of the cover to Marienburg: Sold Down the River.

All in all, I strongly advise signing up for a free subscription.

Style: 3
Substance: 4

Author: James Wallis
Company/Publisher: Hogshead Publishing, Ltd.
Cost: Free!
Page count: 16
ISBN: n/a

Originally Posted: 1999/07/26

I really miss Hogshead. They were daring and clever and James Wallis was always marvelously kind to me as both a reviewer and a freelancer. James’ is still around, of course. You can find his blog over here, and he continues to share marvelous games with us on an entirely-too-infrequent basis.

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

Tagline: Heavy Ordnance is an irreverent little game with a strong set of mechanics and a quirky sense of humor. Best of all… it’s free!

“On this playground, dumb luck carries a gun…”

Heavy OrdnanceWith the dawn of the Internet millions of creative souls who had never before been able to distribute their creations beyond a select group of friends suddenly found a cheap and inexpensive way of distributing them to millions. I think it can be safely said that the online RPG community remains one of the most vibrant creative communities around – due, in no small part, to the fact that RPGs have been on the ‘net far longer than most of the people reading this review have. I could wax into nostalgia at this point regarding long hours spent combing through FTP sites for fan-produced AD&D supplements, but I won’t.

It comes as no small surprise that among the many fan-created RPG products which have found their way onto the ‘net, homebrewed systems should be among them. It has often been said that there is not a serious gamer alive who has not, at some point in his life, modified his favorite game or endeavored to create a brand new one. Previously these things were played by you and a few of your close friends (if you were lucky), and did little else. Now you can type them up and post ‘em – and many have done so.

It also comes as no small surprise, however, that a good 95% (if not more) of these systems are of more than questionable quality. Even if the engine is good, the setting usually isn’t. (Or vice versa.) On the other hand, there are exceptions.

FUDGE, of course, remains the pre-eminent example of how a good “freebie” system can make the transition into a “serious system”, being the first such system to be “picked up” by a publishing company and published in actual book form (by Grey Ghost Games). Designed by Steffan O’Sullivan with help from Usenet newsgroups, FUDGE was the original modular system – GMs are expected to swap in and out whatever components of the system they want to use and to modify it all to their heart’s content. Someday I’ll get around to giving FUDGE the review it deserves, but until then I’ll attempt to control my passion about this game.

But there are other games (including many which have not been picked up by “legitimate” publishers) on the ‘net which are worth a second look… perhaps even some play time. Heavy Ordnance is one of those.

SETTING

Disclaimer: Heavy Ordnance is not real. It should not be treated as such. The people here in aren’t real, demons aren’t real, and the author in no fashion condones the use of firearms to solve conflicts with K-12 instructors. Of course, if they’re drooling acid and eating your best friend’s brains, come back and talk to me. We’ll see what I can do…”

You are a prepubescent teen. The meat loaf in the cafeteria has suffered a runaway nuclear reaction and the fallout is that anyone who has hit puberty has been possessed by demons whose meals consist of a single course: Human brains. Fortunately your school was built next door to the National Guard base and you managed to break in and load yourself down with some serious armaments. Naturally you know how to use all these things… you’ve played DOOM.

“Believe it or not, but there is the opportunity for some kind of plot in Heavy Ordnance. It’s not all blood and guns (yeah, sure, right, whatever…). You’ll have to do some work, but a game of Heavy Ordnance could be quite enriching. (chuckle)”

Heavy Ordnance, as you can tell, is an irreverent game. It’s setting isn’t designed to make sense, it isn’t designed for epic campaigns, and it isn’t designed for “serious roleplaying”. It’s designed to be fun. And it works. If you’ve read the comic strip Sluggy Freelance (and if you haven’t, you should) then you know exactly where this game is at. Now that I think about it, adding a psychotic bunny might be enough to make Heavy Ordnance a perfect game. But I digress…

The first two paragraphs in this section basically tell you everything there is to know (although there are several interesting points which I’m not going to mention because they’re of a spoiler nature). This is laid out in a couple of teaser paragraphs at the beginning, a relatively large section on the world background (a significant chunk of which is dedicated to a “wouldn’t it be neat if…?” series of adventure seeds), and an intro module — “Stupid is as Stupid Does” — wherein the PCs go on a combat mission to the junior high to see if there are any enclaves of resistance left there. (Actually “Stupid is as Stupid Does” is a sequel to the generic first adventure wherein the PCs play through the cafeteria blowing up and the first appearance of the demons, which is merely outlined for the GM.)

SYSTEM

Most systems for freebie games are one of three things: (1) Rip-offs; (2) Bad; or (3) Both. Those that fall into the first category aren’t exactly heinous offenders considering that a good 75% of all games have systems which are “ripped off” from other sources. Those that fall into the latter can usually be replaced easily enough with something else if the background makes it worthwhile.

Heavy Ordnance’s “Reflex System”, on the other hand, is generally quite good. Although it does have a handful of drawbacks and design flaws (which are noted below), it is peppered with good, original ideas.

The other nice thing is that after ever single rule (and I mean every rule) an informative and humorous example is given. Kudos.

CHARACTER CREATION

Character creation in Heavy Ordnance has always stuck in my memory for the following quote: “Due to the intensive study methods employed by the American school system, characters in Heavy Ordnance are amazingly skilled for their age. (You there, stop laughing, this is serious!)” It doesn’t really have much to do with the system itself, but it does (in the quirky, humorous style which is found throughout the game) explain the type of characters you’re going to end up with at the end of your character creation session.

The first thing that becomes obvious is that this is a dice pool system – your attributes and skills give you a number of dice which you roll (this is discussed in more detail below). One of the more interesting concepts in Heavy Ordnance, however, is the method by which this is handled: Attributes and skills are not quantified by a number of a dice; rather they are quantified by “pips” – a number between 1 and 150+. The number of pips you have then determines how many dice you get for that attribute or skill. A table is provided on your character sheet for easy reference, but it breaks down like this theoretically: For 10 pips you get 1d. To get additional dice you have to get n+10 additional pips, where n is the number of pips you had previously. Hence at (10 + 20 =) 30 pips you get a second die; at (30 + 30 =) 60 pips you get a third die; and so on.

This is nice. It allows for a dice pool system without the extreme coarseness of character advancement which is typical of a basic dice pool system. Additionally, it avoids the clunkiness of dice pool systems which have you assign different numbers of “points” to different elements in order to gain additional dice during character development. Plus, it is a tiered system so that it becomes more difficult to advance the more skilled or talented you get.

The next thing you have to determine is you age – which you simply pick. The game notes that if you’re older you can pick on younger kids; but that if you’re older you are that much closer to turning 14 and becoming a slavering, brain-eating demon. Part of me wishes that they had made this concrete (so that picking an older character would give you higher attributes and skills, for example); another part of me realizes that this would be ridiculous. Heavy Ordnance doesn’t exactly lend itself to campaign play, so the “threat” of turning into a demon in a year isn’t a threat at all.

You nine attributes – three Mental, three Physical, and three Averaged. Mental and Physical attributes are generated randomly by rolling 2d100 and dividing by two. The Averaged attributes are associated to one Mental and one Physical attribute – add those together and divide by two to arrive at your Averaged attribute.

Once again I’m of a mixed mind on this. As a general rule I really hate random character generation. On the other hand, for some reason it didn’t really bother me too much in this case. Possibly because of the throw-away, one-shot nature of Heavy Ordnance.

Skills are allocated, with each player getting 200 pips to distribute through them. There is a limited sub-skill system whereby the primary skill is rated based on the total number of pips (for example: Linguistics, 30 pips, 2d), while the pips are then distributed between the various sub-skills. For each set of 10 pips in a sub-skill you subtract one difficulty from any action attempted using that sub-skill (for example if you put all your Linguistic pips into Spanish and were attempting to speak to a Frenchman your difficulty might be 9; but speaking to a Spaniard your difficulty would only be 6). A relatively clever system, in my opinion, with many of the advantages of a skill-tree without the bureaucratic hassle.

Exceptional and Detrimental abilities bear a strong resemblance to the Advantages and Disadvantages of games like GURPS and Hero, although in this case the game designer has apparently decided to take a day off and leave things in the hands of the GM: The players come up with concepts and the GM assigns point values. The number of points a character has in Exceptional Abilities must equal the number of points he has in Detrimental abilities.

The most interesting section of Heavy Ordnance character creation are the personality quantifiers: Morality, Method, and Drive. Each of these is a dichotomous set of traits (Morality: Charitable-Selfish; Method: Conformist-Rebel; Drive: Pacifist-Militant). These are used in two ways: First, they are actually very useful in determining how a character will react to a particular situation – far moreso than an AD&D-style alignment system (they are greatly helped in this because they are not supposed to be a dogma of any kind). Second, they are used for determining when Hero Points (you may know these by the names of Luck Points and Fudge Points from other systems) at the discretion of the GM.

All in all this character creation system is clean, fast, and creates exactly the right kind of characters in exactly the right way for Heavy Ordnance. Plus it coins a couple of original ideas, and modifies old ones. Two definite thumbs up.

BASIC RESOLUTION MECHANIC

The biggest weakness of Heavy Ordnance is its resolution mechanic – largely because it’s showing its age. That’s kind of a weird thing to say about a five year old game, but Heavy Ordnance is a dice pool system which still suffers from the complete lack of statistical coherence which the early Storyteller system did – while even White Wolf has moved on and fixed many of those problems. Perhaps it isn’t entirely affair to hold a 1994 game to modern standards, but since I am writing this review today and not five years ago I don’t think I’m really being that unfair in noting the problem.

On the other hand, Heavy Ordnance does take advantage of some unique properties of an unfixed dice pool system which – if they had fixed it – they would not have been able to do. All in all, I’d have to say it ends up being a pretty fair trade-off when all is said and done. But then statistical coherence and accuracy has never been a high priority for me, particularly in games of this nature.

The basic resolution mechanic is this: The GM sets a target number. You roll a number of dice equal to your Attribute + Skill. Each die which is higher than the target number is a success, the others are failures. Each action takes one “round” of variable length (anywhere from a few seconds to hours to days, depending on the action) – this is primarily important for combat and extended actions.

First Complication: One die in every pool is the Fortune Die. If a roll of 10 comes up on the Fortune Die it counts as a success and you roll it again – if a success is rolled you add one to your total number of successes, raise the difficult by one, and roll again. You repeat this process until you roll a failure, at which point you stop rolling. If, on the other hand, a roll of 1 had come up on the Fortune Die you would roll it again – if a failure is rolled, you subtract one from your total number of successes, lower the difficulty, and roll again. You repeat this process until you roll a success (which does not count), at which point you stop rolling. Disregard any 1’s rolled while rerolling a 10 (although it still counts as a failure and you stop rolling).

Second Complication: Opposed actions are resolved by having both participants roll. The greater number of successes succeeds.

Third Complication: Extended actions (which take place over a long period of time) are resolved by the GM setting a specific number of necessary successes and having the player roll until they get that number of successes. Teams of characters may be able to work together to get the necessary number of successes, where appropriate.

Fourth Complication: To attempt multiple actions in a single round (or simultaneously at any time) you can split your dice pool. Only one Fortune Die is rolled, and the player decides where successes are added or subtracted.

I’ve always loved the elegance with which a dice pool system handles extended actions and multiple actions. Say what you want to against the statistical variance, you just can’t find a more intuitive way for handling those situations.

(Having said that, of course, I realize that it will now be a matter of minutes before someone does just that.)

COMBAT

Heavy Ordnance really shines in combat. It’s here where the system makes some serious claims to innovation, creating a nice, smooth system with a ton of tactical options.

Initiative. After declaring actions for the round, everyone assembles their dice pool (based on what action they’re taking). To determine initiative you then bid dice from your dice pool. For example, imagine that you’re squaring off against a demon. You bid one die to gain initiative. Then the demon bids two, so you bid three and get to go first. The trick, of course, is that the more dice you bid the lower your chance for ultimate success. When I first read this I was disappointed – it seemed like a bit of a gamist trick, with no correlation to reality. Then I realized that it was modeling the results of rushing an action. This is strengthened by a complementary system which allows you to raise difficulty to get additional dice. The dice you bid are placed in the “hero pool” (see below).

Overall I like this system: It connects skill to initiative, plus the bidding mechanic is an interesting idea. On the other hand, there are a couple of problems I have with it. First, the system isn’t entirely clear on whether or not you can raise your difficulty to get additional dice without actually bidding those dice on initiative – nor is it entirely clear (given the statistical nature of a dice pool system) what impact it would have. Second, while the system works very well for one-on-one and small group situations, as the number of combatants increases the system becomes crippled – if you’ve got, for example, ten combatants (a not unlikely figure when you total PCs and NPCs together) to determine clear initiative lines for everyone involved will exhaust everyone’s dice pools. The solution to this (undiscussed in the rulebook), I think, is to only worry about initiative between discrete groups in combat (hence you only worry about whether you or the demon you’re fighting goes first; not whether or not your friend who’s fighting a different demon is going before or after you). This only breaks down if a “chain forms” – you’re attacking a demon who’s attacking your friend, who’s attacking another demon, and so on (i.e., any situation where you can’t break the combat down into discrete groups).

Basic Combat System. Combat action resolution is identical to normal action resolution – roll your dice pool and count successes. The system is unclear about how you assign a target number for the roll, but apparently it’s left to the GM’s discretion based on the situation.

If you hit successfully you roll an additional d10 and compare it to a hit location chart (broken down into “Head”, “Torso”, “Abdomen”, “Left Arm”, “Right Arm”, “Left Leg”, and “Right Leg”). The most interesting part of this mechanic, though, is that additional successes allow you to “bump” your result – changing where on your target you hit by “one location”. The only confusing thing about this is that the language they use is imprecise, so you have to interpolate in order to conclude that “one location” refers not to the order on the hit location chart, but on the human body – thus you bump from “legs to abdomen” not “legs to arms” (which is the order they appear in on the hit location chart). I really like this system, which eliminates the need for a clunky “aimed shot” mechanic. The only problem is that you need to interpolate the damage system to realize that the hit location system is generalized for all types of combat, not just for the ranged combat section under which it is first described.

Finally damage is determined in one of four ways: (1) For ranged weapons you roll a die type which corresponds to the weapon you’re using (1d8 for 10mm pistol, 2d6 for a 12-guage, etc.) and then add your successes; (2) For Hand-to-Hand situations your damage equals your number of successes; (3) For Melee weapons your damage equals your number of successes plus a static damage modifier based on weapon type; and (4) Explosives have a die-rating like a ranged weapon and also a radius stat (e.g. a grenade has 4d6,2). This means that the grenade does 4d6 damage within two yards, and at every multiple of that radius (4 yards, 6 yards, etc.) the grenade will do one die less of damage (3d6, 2d6, etc.).

However, it isn’t quite as simple as you think. Each location has a number of hit points equal to the number of dice you have in the Well Being attribute – so if you have 2d Well Being, you have 2 hit points in each location. The type of damage in a location you take is based on the multiple of your hit points – for any amount less than your total number of hit points you’re Scratched; for any amount up to 2 times as many you have a Flesh Wound; 3 times as many and you’re Injured; 4 times, Seriously Injured; 7 times, Critically Injured; 10 times, Area Destroyed. For some reason the easy reference chart for this isn’t duplicated on the Character Sheet; it should have been. In any case, the system works like a charm – an intuitively clever handling of hit location damage. About the drawback is that the term “hit points” is misleading and unnecessary.

Ranged. Ranged Combat is the most basic combat resolution – declare action, form dice pool, determine initiative, roll, bump hit locations if necessary/wanted, and determine damage. Done deal. From a defensive standpoint, you cannot dodge a bullet – however, if you get initiative you can dodge the barrel of the gun with an Agility-Gymnatics roll, opposed to the shooter’s roll.

Automatic Fire is handled quite well. For a single target shot you determine how many rounds you want to/can fire in that round and then roll for the first shot. If that is successful, roll one die for every additional bullet that was fired against the same difficulty – your number of hits equals your first bullet plus the successes in the second group (so, essentially, 1 + your number of successes in the second roll). Hit location is determined by the first roll, bumping as appropriate.

Spraying an area is slightly different. You get a number of dice equal to the number of rounds you’re firing, and then subtract one for every 10-degrees of arc you’re attempting to cover. Roll these versus a difficult two higher than normal, divide successes evenly among the possible targets. Note that you aren’t using the dice from your dice pool, although these are still the dice you bid with for initiative (one die must remain at the end of initiative bidding). At first I thought this was unfair, then I realized that suppressive fire doesn’t take any time to set up (with aiming) – you just squeeze the trigger.

Explosive are also dealt with in this section, however, and they aren’t handled so well. The damage mechanic is simple and intuitive (as noted above), and a I like it a lot – the only problem is that the system doesn’t tell you how to determine how many yards away an explosive device is from a successful throw. I can think of several potential systems for resolving this, but this is a painful oversight.

Hand-to-Hand/Melee. Hand-to-Hand and Melee combat are only differentiated by the way damage is figured (dealt with above). They are both determined in the same way as basic ranged combat, with one catch – you can spend dice from your dice pool to raise the opponent’s difficulty on a one-to-one basis (spending one die, for example, would raise an opponent’s difficulty from 6 to 7). This is a really incredibly clever way of handling it: You want to go with an All-Out Defense? Just put all your dice into raising the other guy’s difficulty. All-Out Attack? All your dice into the attack. Plus any mix between those extremes.

Armor/Cover. Basically this simply absorbs damage (having a specific point rating depending on the type of armor/cover involved) – since a hit location system is used there’s no need for any frills here.

Hero Points. The dice you (and everyone else) bid at initiative are put into a “hero pool” for that round. By spending a hero point you can pick up that hero pool and add it to your roll for that round. Hero points are also the mechanism for character advancement – by spending one hero point you get 1d6 pips to spread around your skills and attributes.

MISCELLANEOUS STUFF

A few small points which I’ve discovered have been left over and don’t really fit in well anywhere else.

First, I am reviewing the PDF version of Heavy Ordnance. I don’t think that makes a whole lot of difference to this, but I thought I should mention it.

Second, this entire manual could have used a good editorial check. There are proliferous spelling and grammatical errors. I’m not one to get overly touchy about this sort of thing, but this was so over the top that it occasionally interfered seriously with my ability to enjoy the book.

Third, the cover art (by Lee Harrison) and general layout is superb. It captures the attitude and spirit of the game perfectly, drawing the reader into the product in a way few freebie RPGs have managed (and which many commercial ones completely fail to do). The interior art by Christopher Blankley (the author) takes the form of gag-line comic strips drawn from the source material. Their artistic quality is… uh… questionable, but they are quite clever – although their humor is several years out of date. (Barney jokes? Oh well, it was 1994.)

CONCLUSION

Heavy Ordnance is a really fun game. It seems to be possessed of much the same dynamic as Paranoia (although the PCs don’t die routinely and the humor is of an entirely different flavor) – you usually play it for one-shot fun, but occasionally a decent-sized campaign will tickle your funny bone as well. I think it would probably be ideal as a relaxing back-burner campaign setting you could step back to you while relaxing from your more intensive campaigns.

On top of that, the rule system (while possessed of editorial flaw and a couple of drawbacks) is fun, creative, and innovative. It’s a perfect match with the setting.

And hell, it’s free, so at the very least you should take a look for yourself.

Style: 4
Substance: 4

Author: Christopher Blankley
Company/Publisher: Reflex Systems
Cost: Free!
Page count: 50
ISBN: n/a

Originally Posted: 1999/07/26

“As a general rule I really hate random character generation…” Well, 1999 me is obviously not the me of today. Last year I actually spent a significant chunk of time trying to figure out how to randomly generate characters for Shadowrun as part of my aborted efforts to structure an open table for the system. The obvious disadvantage of a random system, of course, is that it doesn’t allow you to design or play the character that you want to play. And sometimes I really like to have that level of control over my PCBut I’ve also come to appreciate that random character generation (a) radically speeds up the process by which new players can be introduced to a system and (b) can serve as a really effective improv seed that you can use to create stuff you’d never dream of on your own.  (Like, say, the OD&D character at my open table whose background included being cursed by a witch to have two hearts because he had broken hers; the strain of the second heart was the explanation for his incredibly low Constitution score.)

I always wanted to play Heavy Ordnance, but I think I missed my opportunity. This is a game that would have been a lot of fun when I was still a teenager. As a thirty-something? Not so much. If I did play it, the game would be a very different kind of fun — a nostalgic sort of fun as opposed to a purely gonzo escapist sort of fun.

I’m also, unfortunately, uncertain where you can obtain a copy of Heavy Ordnance these days. It used to be hosted on a number of different sites, but they appear to all be defunct. If anyone knows how to get in touch with Christopher Blankley, I would be more than happy to host his games here on the Alexandrian if they can’t find a home anywhere else.

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

Inception - Christopher NolanI recently watched Oblivion, which is a mediocre science fiction film starring Tom Cruise. It features a soundtrack which was apparently written by someone who watched Inception the night before and just couldn’t get it out of his head. So when I came out of the theater that night, I decided that I needed to watch Inception to clear both the mediocrity of Oblivion’s hackneyed score and the mediocrity of its hackneyed science fiction.

This, in turn, resulted in me diving inadvertently back into online discussions concerning the “true meaning” and “hidden depths” of the film. Some of this stuff is basically people saying “you may not have noticed that Rosebud is a sled” and some of this stuff is people saying “you may not have realized it, but Rosebud is actually a shapeshifting alien from the planet Vulcan”; but some of it is actually interesting insight into a movie which is not particularly complex but is remarkably rewarding in its depth.

Something that appears to have been completely overlooked, however, is the true nature of Cobb’s spinning top: Cobb describes this as his “totem”, but it notably doesn’t work like any other totem in the movie. There’s a theory that Cobb’s real totem is actually his wedding ring (which would presumably have some feature on its inner side that only he knows the feel of), but whatever his real totem is (if he has one) is largely inconsequential to the issue of the spinning top.

The short version: Cobb is not using the top as a totem in the same way that everyone else in the movie is.

See, a totem tells you if you’re in someone else’s dream. If you’re in someone else’s dream, they (or their architect) can’t properly realize your totem within the dream and you’ll be able to spot the inconsistency. (Saito does the same thing, albeit inadvertently, with a carpet near the beginning of the film.)

Cobb, however, is not using the top to test if he’s in someone else’s dream: He’s using it to test if he’s in his own dream. He’s not afraid of being hijacked by another dream team; he’s afraid of losing himself in his own personal Limbo. A traditional totem doesn’t help you with that because if you’re lost in your own dream you know what your totem feels like and you’ll simply create it for yourself. What seems to be true in the movie is that both Cobb and his wife have created a subconscious compulsion for themselves (probably using techniques similar to those which militarized Fischer’s unconscious): If they’re dreaming, their subconscious will cause the top to spin forever without falling over.

To sum up: When the other members of the team use their totems, they’re checking to see if they’ve been hijacked into another person’s dreams. When Cobb uses the top, he’s checking to see if he’s gotten lost in his own dream.

Review: Man of Steel

June 30th, 2013

Man of Steel - Zack Snyder

This is not a good movie.

It’s not necessarily a bad movie, either. But it’s definitely got mediocrity written all over it.

Chris Sims at Comics Alliance had the particularly keen insight that Superman in Man of Steel only does what other people tell him to do. This is problematic because the movie is ostensibly about Superman being a leader: People in the film keep saying that in different ways over and over and over again. But this contrast between what the movie wants to be and what the movie actually is reveals the fundamentally incoherent storytelling that ultimately renders Man of Steel into nothing but sound and fury.

(It’s very pretty sound and fury, mind you. It has arguably the best aerial superhero fight in film history. The actors give strong performances. There are a lot of really great moments. But it all signifies nothing. And none of it holds together.)

SPOILERS AHEAD

Let’s take a moment to further consider the whole “let’s completely screw up the character of Pa Kent” thing that the film has going on. Pa Kent is supposed to be the guy who teaches Clark Kent how to be Superman. But in this film Pa Kent is the guy who teaches Clark to not help people; to not become Superman. He literally tells him that it’s better to let people die because if he ever reveals himself humanity will turn on him.

Not only is this inherently unethical and immoral and banal; it also turns out that Pa Kent is a moron because that is the exact opposite of what happens.

Whether you like the traditional interpretation of Pa Kent is, of course, a matter of opinion. But on a basic, structural level the film objectively fails on this point: It continues to hold Pa Kent up as a paragon of wisdom and insight, despite the fact that every single action he takes in the film is shown to be the immoral cowardice of a mistaken fool.

(There’s also the fact that the entire first half of the movie seems to be structured around the idea of Clark making a choice to either reveal himself or keep himself hidden. But then, in an astonishing act of deprotagonization, that decision is taken away from him when Zod shows up and outs him to the planet. In fact, the last thing we see in that abandoned arc is Superman convincing Lois to not reveal his presence…. so I guess this is actually the story of how Clark Kent doesn’t become Superman?)

Here’s another deep structural problem with the movie: Massive human casualties with no emotional reaction from Superman. Then, at the end of the film, four people are threatened by Zod’s heat vision and Superman is abruptly forced to kill Zod. Snyder had an opportunity here to tell a coherent story about Superman as a character and as a human being. Instead he just tacked that story onto the end of the film. It’s lazy filmmaking. (And it’s further broken when the film cuts abruptly from the emotional aftermath of Superman’s decision to a cheerful set of mostly comedic interludes.)

I’ve seen some people attempt to defend the movie on this point by claiming that there wasn’t any time for Clark to have a reaction to the casualties. But they’re kidding themselves: There’s time after the battle in Smallville. During the battle with Zod they have a whole conversation. And it’s also a film, which means that you can choose to structure that final battle to show us Superman taking actions to help bystanders or pulling his punches because it would mean innocents getting hurt.

But the most telling moment in Snyder’s failure here is actually the scene immediately preceding the fight with Zod: Superman lands in the middle of horrific devastation…. and has absolutely no reaction to it whatsoever. Instead, he makes out with Lois while standing on the ashes of 10,000 dead.

There are a lot of other nits that could be picked. (You have an entire film built, albeit poorly, around the death of Pa Kent in a tornado. The special effects you use  for the erasure and second death of Jor-El resemble a tornado. But you structure your film so that Superman never gets to have a reaction to it? Bizarre. And why does the entire staff of the Daily Planet evacuate the building only to run directly towards the giant machine of death?) But when the entire backbone of the movie is broken in multiple places, the smaller problems are really inconsequential.

Tagline: Larry Elmore, Margaret Weis, Tracy Hickman, Don Perrin, and Lester Smith. Need another reason to take a look? Sovereign Stone has all the makings of being the first major “generic” fantasy game in over a decade. Need more? You do? Jesus Christ, does nothing satisfy you?

Sovereign Stone Quickstart - Corsair PublishingSovereign Stone is set in a world created by Larry Elmore, with a system designed by Don Perrin and Lester Smith, which will have fiction written about it by Margaret Weis and Tracy Hickman.

If you’ve ever been a fan of AD&D or TSR during the past twenty years those names should look fairly familiar to you – Larry Elmore is renowned in the industry for his fantasy and humor artwork; Margaret Weis and Tracy Hickman wrote the Dragonlance Trilogy (and its sequel, Legends — some of the only gaming-related fiction to be taken seriously); Don Perrin and Lester Smith are well known for their system and supplement design. It’s one of the most impressive development teams of proven talent to ever coalesce in this industry. The excitement with which I’ve looked forward to this project can be favorably compared to my reaction when I learned that Robin D. Laws would be developing Hero Wars or when I got a chance to playtest Tribe 8.

The Quickstart Rules I am reviewing here for the game are, I believe, no longer available. So why am I offering this review? Because Sovereign Stone is scheduled to be released at GenCon this year, and this review should appear just a week or two before GenCon hits – it’ll give you something to look forward to.

And you’ll definitely be looking forward to it. These Quickstart Rules have only whetted my appetite and added to my excitement. Few people can design a piece of cover artwork as well as Larry Elmore can, so from the very moment when I first slid these out of the plain white envelope they arrived in I knew I had something special in my hands. Elmore’s art continues inside this well-designed and edited package, along with Stephen Daniele and Joy Marie Ledet. Although these latter two are not at Elmore’s level of artistic talent, their work is in a very complementary style – lending a book an artistic cohesion which is sometimes lacking even in graphically well-developed works in the industry. This is kind of unsurprising considering that this is an RPG based on the vision of an artist.

So what do you get in the Quickstart Rules? An overview of the basic resolution mechanic of the game, pregenerated characters, a short adventure, and a short story which is a sort of prelude to the short adventure. Plus you get a gorgeous, two page, rough pencil map of the world of Loerem.

THE STORY

The book opens with a short story by Margaret Weis entitled “Envoys of Shadamehr”. I consider Weis to be a talented author. Perhaps not exceptional, but definitely someone who notice should be taken note of. That being said, this story stinks.

Essentially Envoys of Shadamehr suffers from every type of flaw which this type of story can possibly suffer from (found in the front of far too many RPGs since White Wolf initiated the trend). The exposition is not only heavy-handed, it is poorly handled; you aren’t allowed to connect to any of the characters; and you can practically hear the game session from which this was ripped (right down to the “NPC briefing” which informs you of what you have to do next).

The story suffers even further due to the fact that it is acting as a lead-in to the short adventure found at the end of the book. Basically you’ve got eight or nine pages of a typical fantasy party wandering around through what appears to be a typical fantasy world in a fairly typical set of fantasy situations.

That being said, the story does set out what it accomplishes to do (introducing you to the world) – but it’s a badly chosen form of doing so. A basic intro to the world would not only provide me with more information, it also would have done so in a way which was not immensely frustrating.

THE WORLD

Sovereign Stone is set in the world of Loerem. Most of the information we get regarding this world comes from either the back cover or the blatant exposition of the short story.

This is how I would characterize Loerem in a single sentence: Tolkien by way of D&D by way of DragonLance by way of Robert Jordan.

This isn’t exactly fair to Robert Jordan, since it implies he’s drawing inspiration from D&D, but it still fits. First you have the primary races: Orks, Elves, Humans, and Dwarves. Second, you have the “dark evil which has just come back into the world”. Third, the “dark evil” is using Void magic-wielding Taan – which are large lizard-men.

Remember I said this was a game worth looking forward to? That still holds. None of this is a serious death sentence. The only time it becomes a serious issue is when the bones begin to show through – for example, a lengthy section of the story is an exposition of the Waygates. The Waygates allow you to travel distances which would normally take you months in a matter of hours. Further, the magic which formed the Waygates is decaying and becoming corrupt – making them dangerous to use.

Oh wait, I’m sorry. “Waygates” is the term Robert Jordan uses. Sovereign Stone calls them “Portals”. And, yes, there are some various other cosmetic differences. The biggest mistake made here, I think, is having quickie-transports whose only distinguishing feature you note is that they are magically decaying (thus inviting the immediate Jordan comparison, rather than thinking of the dozens of other extant examples – such as Ultima moongates) and then having that be the very first thing of major note about the world which is discussed in your Quickstart Rules.

In any case, I digress. The world of Loerem has several interesting things going for it:

The Orks are a sea-faring race, advantaged in water magic, and (based on clues in the Weis exposition story) possessed of an interestingly intricate culture based on that fact. The Elves are “a medieval Japanese-like race”, while the Dwarves become “nomadic” and “Mongol-like”. Humans are your standard European fantasy shtick. The Taan are your generic bad guys.

Despite my negative comments above, the world as a whole strikes me as an impressive variant in the Tolkienesque vein – Elmore has taken on the standard tropes and racial types, and then played games with them.

RESOLUTION MECHANIC

As mentioned before, the Quickstart Rules do not include character generation – only resolution mechanics. Attributes and skills are quantified as dice types (for example “Strength: d8”). To make an action check you roll your attribute die and your skill die together and total them. If the total is higher than the target number set by the GM (which is a fixed number) you succeed; if not, you fail. You’ve seen similar mechanical methodology used in slightly different manners by Deadlands and Alternity.

COMBAT

Here’s where I became really excited by the system. Combat maintains a nice clean line – very much being an “AD&D that works well”. I was deeply impressed at how the entire system resonated with that same basic, elemental, easy-to-learn atmosphere which AD&D has; yet improved immensely on it not by adding even more needless junk to the system but by trimming away the needless and contradictory fat which plagues the system.

First, the designers seem to have found a nice compromise between the easy bookkeeping of traditional Hit Points and the slight edge in verisimilitude of Wound systems. Your character has a pool of Life Points (which is shown as a strip of boxes on the character sheet) and can take two types of damage: Stun and Wound. If you take Stun damage you mark off from top down; if you take Wound damage you mark off from the bottom up (with Wounds superseding Stun if the two meet). If all of your Life Point boxes are marked off you fall unconscious. If all your Life Point boxes are marked off as wounds you die. Nice and simple.

[ That’s the way its described in the rulebook. If you want a more mathematical, rather than visual, approach to this record-keeping: You have a pool of Life Points. You can take Stun Damage and you can take Wound Damage. If your Stun Damage + Wound Damage total is higher than your Life Point pool you fall unconscious. If your Wound Damage total is higher than your Life Point pool you die. ]

Battles are divided into turns (lasting approximately six seconds) in which each character gets to take one action (which is declared at the beginning of the turn). Before anything is resolved everyone rolls the dice for their declared action (this is important) – the highest resulting roll goes first, the second highest next, and so on down to the lowest roll.

Now, if you are attacked before taking your action for that turn you have two options: You can attempt to defend, or you can “take the attack” and attack back. If you decide to defend you roll your dice again. If your new total is higher than the attacker’s then the attack is unsuccessful. If it is lower then the attack is successful and damage is determined by Attacker’s Total – Defender’s Total + Weapon Damage Bonus – Armor; which is then divided evenly between Stun and Wound damage (round in favor of stun) unless the bonus states otherwise.

If you “take the attack” you will not be actively defending, but you will still attempt to dodge the blow, rolling Agility Attribute only. Damage is determined in the same way.

Here’s the catch though, if you’ve already taken your attack (i.e., you went first in the turn) and someone attacks you, then you can actively defend without losing your attack for that turn.

Example. You and a taan both want to beat on each other with swords for awhile. You both declare your intention (“I wanna beat up on the other guy”) and then roll your initial dice (Strength Attribute + Sword Skill). You get 14 and the taan gets 11, therefore you get to go first (since you have the higher total). The taan decides to take the attack, so he rolls his Agility Attribute and gets a 7. You subtract 7 from 14, add your sword’s damage bonus (let’s say it’s 3). The total damage would therefore be 10, making for five points of Stun damage and five points of Wound damage (evenly divided).

Because the taan took the attack, the taan now gets to attack back – using his original total of 11 (because this was his declared action). You still get to defend, because you went first – roll your Strength Attribute + Sword Skill and get 12. Because your total was higher than his, his attack is unsuccessful.

In the case of a tie in your initial roll (for the declared actions) the decision to defend (and lose your attack) or take the attack (and roll Agility for your defense) and then attack is left in the hands of the PC. Unfortunately, this doesn’t help you much if its a PC vs. PC combat. Hopefully this oversight will be corrected in the full rules.

Archery is handled slightly differently: The attacker rolls Agility + Bow Skill to determine attack total and the defender rolls Agility + Dodge if actively defending. (There are also some modifiers based on the target taking cover, which implies that in the full rules there will be a more comprehensive look at various combat modifiers.)

MAGIC

Magic, like combat, is “AD&D done right”. Once again, I’m impressed.

In order to cast a spell a mage must know the spell and have it written in their spell book. Although the rules say a “mage may not cast a spell which he has not previously studied” this should not be confused with AD&D’s badly conceived memorization mechanic – rather that line merely means that a mage can’t look at a scroll, copy the spell down, and expect to cast it five minutes later.

Magical spells have difficulty numbers. He rolls his Psyche Attribute + Magic Skill and totals the dice – if the total is higher than the difficulty number he succeeds immediately; if not he may try again on the next turn, adding the new total to the old total until he gets a total higher than the difficulty number. The complex the spell the higher the difficulty number, the higher the difficulty number the more turns it will take before the mage is successful.

Now that’s a nice system all by itself, then they add a couple of extra touches which give it the potential of being an excellent magic system. First, a mage can hold a spell for up to three turns after casting it so long as he does nothing else (so you can hold a spell ready). Second, balance is given to the system by a potential risk – if, at any point while resolving the spell, the mage rolls a “1” on any die, then he loses control of the magic and it goes wild. He can either let the magic fail or take 3 points of Stun damage in order to hold the magic under control. If he ever rolls two 1’s in the same roll, the spell-casting automatically fails and the mage takes stun damage equal to the remaining number of points required to complete the spell.

This is a strong, sturdy base for the spell system (it needs to be complemented with some additional options, a research system, and a system for magical item creation). My one regret is that the resolution mechanic used for it (multiple roles to achieve a target number) was not generalized to other resolution tasks (where appropriate by the GM’s judgment) – hopefully this will be done in the main rulebook, because I do like having a toolkit full of resolution mechanics which can be applied to different situations.

THE MODULE

The adventure picks up where the short story left off, with the players picking up pregenerated characters who were introduced in the story. I’m not going to comment extensively on this (since the purpose of this review is not to sell you on these Quickstart Rules, but rather to provide you a taste of what will be coming in August when the game is released properly), but will point out that it is nothing particularly special in terms of modules as whole. On the other hand, it does admirably fulfill its purpose of guiding you through the basic mechanics, setting, and premises of the game.

CONCLUSION

As I said at the beginning of the review, I am really looking forward to Sovereign Stone. First, the world Larry Elmore has created (at first glance, anyway) is intriguing. I know that there are many who disparage Tolkienesque fantasy with its “generic” elves and dwarves and orcs, but I actually think that – done right – this is an extremely lucrative place for development. Those “generic” elves and dwarves are so familiar to us that it is possible to twist them in the most interesting ways (Dark Sun and Planescape were excellent examples of this).

Second, the system really has me interested. Although its central resolution mechanic appears to lean more heavily towards Deadlands than Dungeons and Dragons, the rest of the system is the first bold attempt to challenge AD&D on its home turf in the past decade. Based on what I have seen here, this system deserves to succeed brilliantly as it gives you every strength AD&D possesses while (seemingly) with none of the weaknesses.

Finally, the creative team assembled here is – as I’ve mentioned before – amazing. With Larry Elmore, Margaret Weis, Tracy Hickman, and the others all under the same roof you’re looking for magic to happen. All you’ve got to do is successfully catch the lightning in the bottle.

I heartily suggest all of you to give Sovereign Stone a good hard look come August.

Style: 5
Substance: 4

Author: Larry Elmore, Margaret Weis, Don Perrin, Lester Smith
Company/Publisher: Sovereign Press, Inc. and Corsair Publishing
Cost: $5.00
Page count: 25
ISBN: 0-9658422-1-5

Originally Posted: 1999/07/22

This review actually serves as a mere prelude for the shit-storm that would erupt one month later when I reviewed the full rulebook for Sovereign Stone and discovered that it absolutely sucked. But that’s a story that will have to wait for another day…

This review was written three years before Ron Edwards’ coined the phrase “fantasy heartbreaker”, but the application to Sovereign Stone is obvious. With that being said, when this review was written I honestly thought Sovereign Stone had the potential to become the next Earthdawn or Palladium Fantasy Role-Playing Game. Obviously, that didn’t happen. If nothing else, history was against it: No generic fantasy RPG released in 1999-2000 had a prayer.

On a purely personal level, though, I often wonder about an alternate reality in which (a) the Sovereign Stone rulebook actually capitalized on the potential I saw in the Quickstart Rules and (b) I didn’t receive a playtest copy of the 3rd Edition of D&D just a few weeks later. In that alternate reality, I think there’s a pretty good chance that Sovereign Stone would have become my go-to fantasy RPG of choice.

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

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