First Colony is a supplement which every Blue Planet GM should want to own.

Review Originally Published May 21st, 2001

First Colony is the sourcebook for the city of Haven, the surging metropolis which is at the heart of the colonization and exploitation of Poseidon in Fantasy Flight Games’ Blue Planet.

There is nothing revolutionary here: As city sourcebooks go, this is precisely what you expect. The geography is covered, important locations described, the major political structures discussed, and influential NPCs introduced. In addition there are four adventure scenarios set within the city.

Sometimes, though, you don’t need to be revolutionary in order to be good. In fact, most of the time it isn’t even remotely necessary. First Colony delivers the goods by not only providing a broad overview of the city, but in giving that overview depth. Despite its somewhat short length (made even shorter by the inclusion of the adventures), First Colony gets it done.

WHAT YOU GET

The Argos Island Cluster, on which Haven is located, is the first thing covered by the book. This coverage is relatively brief, but since there is little of interest there beyond Haven itself, this is hardly a fault.

Haven itself is then systematically detailed by breaking it into districts, and then describing the major features within each district. Once you have a firm grasp on the city’s existing geography, First Colony moves onto Haven’s society, starting with a history of the island’s colonization, and then moving onto its politics, commercial make-up, and culture. Throughout this description of the city, NPCs are liberally sprinkled. By the time you are finished, First Colony has given you a complete top-to-bottom view of Poseidon’s capital.

The four adventures which are included are more than adequate. I’m not, however, remotely sold on the idea of including adventures within a sourcebook like this. I would have vastly preferred to see the 50 or so pages used on these adventures used to give even more description of Haven.

CONCLUSION

Like Fluid Mechanics, the first Blue Planet supplement, First Colony is a book which every Blue Planet GM should want to own. And, when it comes to supplements, that’s high praise.

Style: 4
Substance: 4

Writers: Greg Benage, Brian Breedlove, Catten Ely
Publisher: Fantasy Flight Games
Price: $23.95
ISBN: 1-887911-32-4
Production Code: BP04
Page Count: 128

My thinking about urban sourcebooks has evolved quite a bit since 2001, and I wonder what my opinion of First Colony would be if I revisited it today. Re-reading my review I got a bit of whiplash, as my initial thought on seeing that the book included four adventures was, “Great! Love to see that!” only for my past self to say, “Maybe this wasn’t a good idea.” Quickly thumbing through my copy, I wonder if the setting details are, in fact, a little lighter and lacking in concrete detail, which could certainly explain why my past self might have thought it better to fully deliver sourcebook utility instead of including adventures.

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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David M. asks:

How do you marry scenes (framing, agenda, bangs, etc.) with scenarios/game structures? Do you prepare scene ideas within your scenario “tool bag”, or do they typically pop up in your games organically through your scenario prep?

I ask because scenarios, which I view as more freeform, amorphous, and/or a “bag of tools”, don’t seem to lead directly into scene-framing; however, prepping scenes seem anathema to the flexibility of nodes, scenarios, etc. 

The answer to this question is going to make a lot more sense if you’re familiar with The Art of Pacing, so if you haven’t read that series, you may want to pop over and take a peek. In brief, though, a scene has:

• An agenda, which is what the scene is about. It can be thought of as the question the scene is asking. (For example: Can the PCs escape the kobolds? Can Baron von Stauffen trick the PCs into revealing the identity of their patron? Can they steal the Ruby of Omarrat?)
• A bang, which is the inciting incident that kicks off the scene.
• A location and characters.
• An ending, which may or may not resolve the original agenda of the scene.

The quick answer to your question is that I generally don’t prep full scenes. There are exceptions, but in situation-based scenarios you’re far more likely to be prepping parts of scenes — agendas, bangs, locations, characters, etc. — and then combining and framing those parts into fully realized scenes in reaction to what the players are doing.

For example, my campaign status document is often stocked with a timeline of bangs, many of which are generated by things that have previously happened during play. For example, maybe the PCs have angered the Domingo cartel, so the cartel sends an assassin to kill them.

You could, in fact, prep this as a full scene: The assassin will attack the PCs when they go to a specific place and in a specific way. (For example, when the PCs go to the 1029 Bar, their favorite hangout, the assassin will try to poison their drinks.) And there are many cases when that’s exactly what you should do.

In practice, though, I’m far more likely to just put the assassin in my campaign status document. The actual scene I frame will be the result of combining that scene fragment with the events of actual play. For example, maybe the PCs decide to hole up in a motel outside of town. What might happen next? Well, I can look at my timeline of bangs, pull the assassin, combine it with the given circumstances, and frame up a scene where the assassin attacks them at the motel.

Similarly, if I’ve running a mystery scenario, my adventure notes will likely be filled with locations and characters for the PCs to investigate. But those aren’t necessarily scenes. They’re just parts of scenes, and the actual scenes that get framed up will depend on where the PCs go, what they do, and how events play out.

To take a simple example, the PCs might identify a suspect. When they decide to investigate the suspect, what scene(s) will you frame up? Well, that depends. Are they going to interrogate them? Put them under surveillance? Hack their phone? Try to seduce them under false pretenses? Each of those would be completely different scenes, often playing out at different locations, with different bangs, and with very different agendas.

As this suggests, scenario structures are going to give you guidance on what scene elements to prep and how to use them. In many cases, the structure tell you how to frame your scenes: What scenes to frame, what questions are important to answer, and what to fill those scenes with. It’ll also often tell you a lot about empty time — the unimportant stuff you can and should be framing past to the next scene.

For example, consider a dungeon scenario: You prep individual rooms filled with threats, secrets, and treasures. The structure naturally leads you to frame each room as a scene, with common agendas focused on the content keyed to the room like:

• Can the PCs defeat the monsters?
• Can the PCs find the treasure?
• Can the PCs solve the puzzle?

Similarly, in a node-based scenario one of your nodes might be an NPC with key information (that will lead the PCs to other nodes and/or reveal deeper truths about the conspiracy). The structure here is going to naturally lead you to frame scenes that have some specific variation of, “Can the PCs find the leads they need to continue their investigation?” as the agenda.

Of course, you’re not limited to these basic, structurally suggested scenes. Your scenarios will be enriched if you can find — or follow your players’ lead in finding — agendas that are more unique, personal, and tailored to the context of the campaign. But the fundamental guidance of the structure will nevertheless be helpful.

Go to Ask the Alexandrian #20: Transferable Techniques

Fluid Mechanics sets itself a goal and then goes and seals the deal.

Review Originally Published May 21st, 2001

I’m sure I wasn’t the only one surprised when Fantasy Flight Games started releasing hardcover supplements for their critically acclaimed Blue Planet game. Although I was initially skeptical, I now applaud them for taking the risk: The extra couple of bucks the hardcover format tags onto the cost for these supplements is more than compensated for by the durability which the hardcover offers.

The unavoidable question, of course, is whether or not the content wedged into the pages between those hard covers is worth the price tag. To start answering that question, let’s take a look at the first Blue Planet supplement: Fluid Mechanics: Technology in the World of Blue Planet.

ASSESSMENT

Arguably the first thing which distinguishes one science fiction setting from another is the technology which is available in that setting – in fact, technology can be considered the defining quality of any given science fiction world. Fluid Mechanics is designed to give Blue Planet players a wealth of technological tools, developing the hard science which provides one of the foundations for the creative depth of the Blue Planet setting.

Unlike the “techbooks” for many games, Fluid Mechanics does not limit itself to simply providing a textual warehouse of disconnected technical gadgets, instead distinguishing itself by presenting a cohesive, integrated view of the technical reality of the Blue Planet world. As a result, even if a gadget is not specifically addressed within Fluid Mechanics, the book will leave the GM with a firm sense of whether or not such a device could exist within the scope of the setting.

Another strength is the technical art which accompanies the text – illustrating the technology which is being described. I would have liked to have, perhaps, seen a bit more of it – but, when it is present, it is crisp, clear, and informative.

Given the strength of the technical art, it is surprising to note that the book’s sole true weakness lies within some of the “atmosphere” art (art which is not specifically connected to a technical description). At times, this can be extremely weak.

CONCLUSION

Fluid Mechanics sets itself a goal and then goes out and does it with great panache. If you’re running a Blue Planet campaign, then this book should definitely be on your “To Buy” list.

Style: 4
Substance: 4

Writers: Jeffrey Barber, Greg Benage, Greg Porter, Brian Schoner, Jason Werner
Publisher: Fantasy Flight Games
Price: $23.95
ISBN: 1-887911-11-1
Production Code: BP03
Page Count: 128

Reading this today, it probably seems weird to open a review by questioning the wisdom of publishing a hardcover RPG supplement. At the time, though, this was a surprisingly controversial decision. With very few exceptions, RPG supplements were simply NOT hardcover books. There were certainly exceptions, but it was completely unprecedented for an entire line of RPG products to feature hardcovers. Even D&D wasn’t doing that!

There were, in fact, people who were really angry about this. They felt that RPG publishers were somehow ripping them off by charging premium prices for hardcovers. In reality, the hardcovers were generally only a few bucks more expensive than comparable softcovers of the time, but it wasn’t unusual to see someone ranting about how they would rather pay less for a softcover book.

The reality was that RPGs were becoming unprofitable to print, but fans were, in fact, extremely resistant to publishers increasing prices. (Nothing has really changed: People, of course, never like to see prices go up, but RPGs with print runs of a few thousand copies are frequently having their cover price compared to books with print runs of tens or hundreds of thousands of copies.)

The watershed moment for hardcover RPG supplements came when John Nephew, the founder of Atlas Games, posted a detailed breakdown of the design and production budget for Ars Magica supplements on the RPGNet forums. What it boiled down to was simple: It cost a little bit more to print a hardcover book, but the perceived/actual value of the hardcover meant that gamers were willing to pay a price high enough that publishers could actually afford to CREATE the book. Therefore, all future Ars Magica supplements would be hardcover books. It wasn’t long before the rest of the industry followed Atlas’ lead.

Even Wizards of the Coast was eventually dragged along: 3rd Party OGL publishers followed the same economic logic and began publishing hardcover books while Wizards was still publishing softcover B&W books. This contributed to the 3.5 Edition reboot of the game, which also allowed Wizards to reboot the D&D supplement line in more profitable (and competitive!) hardcovers.

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

Go to Red Company of Magi

AREA 11 – LANDING

Stairs curve up and down from this landing. Upon a wooden perch next to the staircase leading up, a clockwork raven sits.

CLOCKWORK RAVEN: Obsidian feathers and ruby eyes. It will turn its head to follow motion and cry out, “Who goes there?” if someone approaches the staircase leading up, but it’s a simple mechanical oddity. It cannot fly nor think.

AREA 12 – UPPER HALL

Two suits of decorative armor bearing the Vladaam heraldic crest on their chests stand at one end of this hall, flanking a door.

GM Background: These suits of animated armor (helmed horror, MM 2024, p. 166) used to stand at the Front Entrance where the pearl golems now stand. They were created several decades ago by Flambara of Ossyr when the Company of Red Magi was first founded, but their magic has severely decayed. They’ll falsely challenge even legitimate members of the guild, but can be easily be talked out of their challenges.

AREA 13 – ARCHMAGE CRETAI

A blue rug with arcane sigils stitched into it with silver thread fills the floor between a bookcase, a worktable of alchemical equipment, and a comfortable bed.

MEDUSA OF THE RINGS: On the worktable, almost directly opposite the door, there is a porcelain bust of a medusa’s head. The porcelain snakes framing her face are animate – writhing and twisting to look at anyone in the room.

• Rings: Eight of the snakes have beautifully crafted rings threaded onto them. Four are magical: ring of climbing, ring of jumping, ring of protection, ring of sustenance. Four are nonmagical, but very beautiful: a fire opal carved to resemble a basilisk (460 gp); a ring of jagged orange quartz (10 gp); a ring of black metal set with three opals (150 gp); a ring of goldleaf wood (2,500 gp; a pale ivory laced with veins that glitter like gold).

WORKTABLE: Cretai has a pair of goggles of minute seeing. He is attempting to modify the goggles alchemically to produce goggles of true seeing (without needing the arcane puissance to cast a true seeing spell), but his efforts have so far come to naught.

• A Guidance from Renn Sadar to the Archmage Cretai
• DM Background: Cretai acts as an agent for Renn Sadar (Ptolus, p. XX). Sadar funnels research abandoned by the Inverted Pyramid as being too dark or too dangerous to the Red Company of Magi through Cretai; Cretai sees to it that the secrets of the Red Company (and also the Vladaams) are fed back to Renn Sadar.

BOOKCASE: Contains lore concerning the Ethereal Plane. Offers a +4 bonus to any related Intelligence checks.

• Search – DC 14 Intelligence (Investigation): To find an everfull purse hidden in a hollow book.

Ring of Climbing (Uncommon): This ring grants the wearer a climbing speed equal to their normal speed.

Everfull Purse (Rare): This leather belt pouch has the power turn a single gold coin into many overnight. If a single gold piece is placed in the everfull purse at sunset, it will be replaced at sunrise by 25 gold pieces. The purse has no effect if more than one gold piece is left within, or if anything other than gold is placed with in.

AREA 14 – ARCHMAGE VERACK

This room is dominated by a luxurious red-and-gold rug depicting two dragons chasing each others’ tails in orbit around a blazing sunburst. Bookshelves line one wall of the room and a writing desk is positioned under the window.

BOOKS: A detailed and esoteric collection of dragon lore, notably including Lore of the Wyrmhoards in the Mountains of the East, granting advantage to any appropriate knowledge-based Intelligence checks.

WRITING DESK: Empty except for some blank sheets of paper and well-stoppered vials of ink. In one drawer there is a polished silver mirror with a single large crack running through it; the crack is blackened as if it had been caused by an intense flame, but the rest of the mirror is unharmed.

• DC 16 Intelligence (Arcana): This sort of mirror is used for scrying
• DC 22 Intelligence (Arcana): This sort of damage would be caused by a scrying spell encountering an overwhelming defense against scrying or an intense source of power.

SEARCH – DC 10 Intelligence (Investigate): There’s a definite layer of dust, a staleness to the sheets, and a general sense of disuse about the room. No one has been living in this room for at least several weeks.

SEARCH – DC 20 Intelligence (Investigate): There’s a hidden compartment under the rug containing:

• +1 dragon rifle
• mithril shirt
• scroll of ray of enfeeblement
• scroll of finger of death
• scroll of shocking grasp
• longsword in a scabbard of black leather with a dragon head of copper at its tip (see below)

SCABBARD – DC 10 Intelligence (Investigate) / DC 24 Wisdom (Perception): The scabbard is longer than the sword it holds. The tip is false and contains a ring of dragonform.

Ring of Dragonform (Rare): Fashioned from copper, this full finger ring is fashioned like a dragon’s claw. Once per day, the wearer may use an action to transform into either a young copper dragon (if the wearer is good) or young red dragon (if the wearer is evil). (A neutral wearer may choose which dragon form they are most akin to, but thereafter can only choose that form when using the ring.) This effect functions as a true polymorph spell.

GM Background: Verack is currently in the Imperial capital city of Trolone engaged in various arcane research.

AREA 15 – BALCONY

The doors from this balcony are arcane locked and have alarms on them (mental alarm, triggered to either Guildmaster Arzan or, for the door to Area 14, the Archmage Verack).

Note: This means that opening the door to Area 14 will effectively NOT trigger an alarm because Verack is too far away to receive it.

AREA 16 – ALIASTER’S SCULPTURES

Glass doors look out onto the balcony (Area 15), in addition to the double doors of oak leading to Area 12 and the small side door to the Apprentice Laboratory (Area 17). There are five pieces of sculpture on marble plinths located around the perimeter of the hall.

BALCONY DOORS: These doors are arcane locked and has an alarm on them (mental alarm, triggered to Guildmaster Arzan).

SCULPTURES: Each sculpture is marked with Aliaster’s arcane sigil. One of the sculptures is signed with the name “Aliaster.” (All of these sculptures were, of course, created by Aliaster Vladaam.)

Aliaster’s Arcane Sigil

SCULPTURE 1: A beautiful, nude maiden has been half exposed from an unfinished chunk of marble which is still half unhewn and rough. Her hair, which hangs down over her face (obscuring her visage entirely), is of elfin gold (flexible and pliant) and possessed of an enchantment which causes it to stir slightly as if caught in the breeze.

Every few minutes, the “breeze” picks up, causing the hair to sweep aside and reveal – for only the briefest of moments – the hideous, demonic, skull-like visage of the maiden’s face.

SCULPTURE 2: A massive, muscular arm thrusts up from the surface of the plinth. If anyone draws near, the arm will reach out plaintively towards them.

SCULPTURE 3: A simple bust of white stone, depicting the thoughtful visage of a beautiful woman. The plinth is labeled “Flambara, the Eternal Flame of My Heart.” (Use Philippe Faraut’s Guardian as a visual reference.)

SCULPTURE 4: Another simple bust of white stone, this one labeled “Nulara Aretari.” (Use Philippe Faraut’s Child of Senegal for visual reference.)

SCULPTURE 5: A sculpture of an ent sitting upon a rotting log, looking down in enigmatic thought upon the splayed body of a dead dryad. The ent’s leaves are enchanted so that they sway gently in an unseen wind.

AREA 17 – APPRENTICE LABORATORY

Multiple tables filled with a chaotic assortment of equipment and tools fill the walls and center of this room.

APPRENTICE WORK: The apprentices are currently being instructed on feather tokens. There is a completed anchor feather token and partially finished anchor feather token, bird feather token, and whip feather token.

There’s approximately 4,000 gp worth of miscellaneous equipment. Of particular note are two vials of universal solvent.

DM Background: This laboratory is used by the Vladaam Mages and Researchers. The Archmages and Guildmaster instruct them here or them crank out minor magical items according to the Guild’s needs.

AREA 18 – ARCHMAGES IMOGEN & ALDWYCK

A utilitarian chamber with two modest beds against opposite walls, flanking a pair of matching worktables. Next to one of the worktables is the partially constructed form of an iron statue. Its head lies on the table next to it.

FIRST WORKTABLE – IRON STATUE: This is actually a partially completed iron golem. Aldwyck is attempting to complete it in order to impress the other Archmages, but he’s bitten off more than he’s actually capable of.

• Iron Head: The head will blink and turn to look at anyone approaching the table. It will attempt to form words, but can say nothing.
• On the Table: An incomplete iron golem manual. It includes a copy of the cloudkill spell and would have a market value of 6,000 gp.

SECOND WORKTABLE: A +2 battleaxe of dwarven make lies on the table. The enchantments on it, however, have been dissected and splayed out using ethereal pinions – glowing beams of blue energy stretch tautly between the pinions and the waraxe.

• Removing Pinions: Removing the pinions without disrupting the axe’s enchantments requires a DC 25 Intelligence (Arcana) check. Proficiency with Smith’s Tools grants a +5 bonus on this check. On a failure, the battleaxe is destroyed (rendering it a mundane weapon). Tool proficiency
• Battleaxe: The battleaxe originates from the forges of Dwarvenhearth.

SEARCH – DC 12 Intelligence (Investigation): There’s a polished silver mirror worth 1,000 gp under the pillows on one of the beds.

• DC 18 Intelligence (Arcana): This is a scrying

DM Background: Imogen and Aldwyck are lovers. They are also the two newest archmages among the Red Magi.

AREA 19 – APPRENTICE BUNKS & DINING HALL

This room serves as basically a boarding house for all of the Vladaam Mages and Vladaam Researchers in the guild.

The walls of this chamber are lined with bunk beds that are four high. A large table and rickety-looking chairs fill the middle of the room. The table is covered in dirty dishes in various phases of filth and vaguely organic growth.

BUNK BEDS: A total of twenty-four berths in six stacks of four-high bunk beds.

TREASURE: Secreted under mattresses, lying around on small side tables, kicked into a corner.

• large steel shield +1
• a fancy cloak of silver wolf fur (110 gp)
• ivory and silver carving service (310 gp)
• ornamental silver inkpot with blue quartz gems (100 gp)
• silver locket with platinum filigree depicting a rose (90 gp)
• pouch containing 199 pp
• potion of levitate (cursed; the possessor must eat twice as much as normal for a fortnight)
• a violet spinel (600 gp)

AREA 20 – LIBRARY & ARCANE CIRCLE

The library is well-stocked with arcane lore. Studies in this library benefit from a +2 bonus to Intelligence (Arcana) checks.

BOOKS: In addition to a copy of Hate of the Cobra, the library contains copies of the following chaos lorebooks:

• Lore of the Demon Court
• Mouth of the Void
• The Writhing Obelisk
• The Earthbound Demons
• The Magi of Chaos
• Book of the Elder Brood: Akop

ARCANE CIRCLE: Spells cast within the arcane circle are treated as if they had been cast with a spell slot one level higher than the one used by their caster.

AREA 21 – REAR BALCONY

This area is surprisingly poorly guarded.

AREA 22 – ARCHMAGE TIANT

This room dances to the tune of the many multi-colored magical flames which fill it: A huge pit of blue fire that shifts to purple and then to red and then to yellow and back around again fills the center of the chamber. Candle-less candelabras jut out from the wall, while other flames go cavorting around and through the jumbled cascade of magicl equipment, books, and haphazard worktables.

IRON LADDER: Leads up to a trapdoor in the ceiling about 20 feet up.

WORKTABLES – DC 20 Wisdom (Perception): To notice that the top of one of the worktables has a concealed key hole (DC 22 Dexterity (thieves’ tools)). If unlocked, the tabletop can be lifted to reveal a hidden storage chamber containing:

• Liquid Pain (12 doses) and Letter from Gattara to Tiant
• GM Background: Tiant and Gattara are occasional lovers.

WORKTABLE – DC 20 Intelligence (Arcana): To recognize that Tiant is currently creating a staff of fire. Unusually, he appears to be hollowing out the core of the staff and inscribing it with alchemical sigils linked by arcane runes.

• GM Background: Tiant plans to fill the hollow core of the staff of fire with liquid pain, resulting in the spells inside the staff being cast with a +2 spell slot level.

SEARCH – DC 18 Intelligence (Investigation): To detect a section of the wall brimming with magical potential. Pressing firmly against this magical potential causes a section of the wall to transform into a large, comfortable bed. Pressing the wall above the bed’s headboard causes the bed to re-merge with the wall.

AREA 23 – TOWER ROOF

A large apparatus of contorted metal and brass tubing has been erected on the roof.

APPARATUS – DC 15 Intelligence (Arcana): This is an etheric monitoring device. It maintains a connection with the Ethereal Plane and can be used to peer or scry into that plane.

AREA 24 – BASEMENT

A mummified corpse has been shackled to a wooden table in the corner of the basement. The rest of the room is piled high with an assortment of junk.

JUNK:

• a chest with a broken lid
• decayed clothing
• a jar of dead flies
• an alchemist’s kit (useless from age)
• a small ivory figurine that has been defaced past recognition
• wicker baskets with ripped out bottoms

MUMMY: The mummified corpse, however, is an actual mummy. Once part of some experiment, it was secured and then discarded down here with the rest of the junk.

Go to Part 13D: Red Magi Handouts