From Reddit:

At the conclusion to this school year’s campaign, in order to pick up at the beginning of next semester, I want to have Pelor and Sehanine fight, with Pelor winning and eating Sehanine’s heart to become corrupted. However, if I just set the gods in a valley and describe what happens as they throw down, I feel like I am taking away my players agency. Advice?

My response to this is based on Part 2 of The Art of Pacing, and I thought it raised some specific points that might be of interest to others:

Right now you’re setting the agenda of the scene as, “Will Pelor eat Sehanine’s heart?” That’s an understandable impulse because it’s clearly the biggest and coolest thing happening in that particular moment. But, as you note, that agenda doesn’t mention the PCs at all and, therefore, prevents them from taking any meaningful action.

Instead of focusing on the outcome of the god-fight, you need to figure out what the PCs’ agenda will be during the fight: What is it they’re trying to accomplish and what are the obstacles they’ll need to overcome to accomplish it?

Another way to think about this would be to replace the god-fight with a similarly cataclysmic event. For example, the PCs are in Los Angeles and the Big One hits the San Andreas fault. The agenda here would not be, “Will the earthquake destroy Los Angeles?” The answer to that question is beyond the PCs’ control. The agenda will instead involve the PCs reacting to the immediate chaos and destruction around them, probably answering variations of, “Can you survive?” or “Can you save that person/place/item?”)

Or you could actually think of the god-fight as a spectator event. For example, let’s say your PCs go to a football game. There are two possibilities here: Either the event is narrated very quickly and you move on to the next interesting thing which actively involves the PCs (“The game goes to sudden death overtime, but the Vikings pull out a victory. What do you do after the game?”). Or you’re focused on an event happening at the football match which is unrelated to the game (so that the agenda is something like, “Will Carlie kiss you?”). Or the PCs are able to take actions which somehow impact the outcome of the game (by stopping the gangsters who are trying to assassinate the star wide receiver or by outfitting the home team’s shoes with Flubber or whatever).

Returning to the god-fight, you’ll find that the same techniques apply. You could spend 30 seconds describing the titanic fight in brief (but effective) detail before moving onto the next agenda that’s immediately relevant to the PCs. Or you could set agendas that:

• Deal with the collateral damage of the fight (saving themselves or others).
• Use the god-fight as the backdrop for some other conflict. (Which may have nothing to do with the god-fight; for example, as the gods begin to fight the PCs might be attacked by a group of assassins. The narration of the god-fight backdrops or thematically complements the fight against the assassins; maybe by-products from the god-fight affect the assassin fight in cool ways.)
• Allow the PCs to directly affect or influence the god-fight (maybe there are local shrines to the gods that they can imbue with energy; or they could organize mass prayers; or travel to points of sympathetic divine resonance in the region and sacrifice their divine spell slots to aid their god).
• Or the outcome of the god-fight (for example they might be able to take actions during the fight which will either aid or hinder them later while dealing with Pelor’s corruption).
• Allow the PCs to learn something from the god-fight.

If you’re struggling to come up with an appropriate agenda, don’t be afraid of letting your players set the agenda. For example:

GM: Pelor and Sehanine start to fight. What do you do?

Players: We RUN!!

Presto. The agenda is, “Can they escape?” and you should be able to run with it from there. Even if they decide there’s no possible agenda for them to pursue (like people just enjoying the football game in front of them), it’s still a useful technique:

GM: Pelor and Sehanine start to fight. What do you do?

Players: We sit in stunned silence and watch.

Now you can launch into you 60 second description of the titanic battle playing out in front of them, but you haven’t removed their agency. (They’re the ones who chose to stay and watch.)

Final tip: Break the fight into a half dozen or so distinct beats. Describing these beats succinctly is the 60 second description, but the beats also provide a flexible structure for any other agendas that might be pursued. (If they start fighting assassins, for example, each beat gets described as the backdrop to a round of combat. If they try to save people in a nearby village, some or all of the beats provide complications to that effort. And so forth.)

Go to Ask the Alexandrian #15

This article originally appeared in the August 2002 issue of Campaign Magazine. It originated as a set of house rules I used in my original 3rd Edition campaign. Its stripped down simplicity should make it widely applicable to most D20-based games (including 3.5 and PF).

This alternate system for magic item creation scraps the original item creation feats (found in the core rulebook) and replaces them with an alternate set, consisting of Scribe Scroll, Brew Potion, Enchant Wand, Enchant Magic Arms and Armor, Enchant Magical Items, Enchantment, and Major Enchantment.

The system defines five types of magic items:

Scrolls. A one use device for storing spells usable by spellcasters. This typically takes the form of written parchment, but this is not necessarily the case.

Potion. A one use device for storing spells usable by anybody. However, a potion must affect only the person using it (although the affect may allow the user to effect others, such as a potion of fire-breathing). Potions almost always take the form of a liquid which is activated by drinking.

Wands. Stores a single spell with 50 charges (with each charge allowing the user to use the wand’s spell one time). Wands usually take the form of a thin baton.

Magic Arms/Armor. Magical weapons, armor, and shields. Although arms and armor can actually be used as the focus for many types of items (for example, a sword could be enchanted as a wand), this category specifically applies to only two things: (1) Creating weapons or armor with magical bonuses; and (2) Creating weapons or armor with special abilities.

Magical Items. A catch-all category containing everything else (including items previously defined as wondrous items, rods, rings, and staffs).

The system defines three types of feats:

Basic Creation Feats. Scribe Scroll and Brew Potion are basic creation feats. Spellcasters can use Scribe Scroll and Brew Potion with nothing more than the feat, the spell, and the necessary materials.

Enchant Feats. Enchant Wand, Enchant Magic Arms and Armor, and Enchant Magical Items are the three Enchant feats. These feats represent the spellcaster’s basic knowledge of how to create a specific type of item.

Enchantment Feats. Enchantment and Major Enchantment are the enchantment feats. Enchantments are broke into three categories: Minor enchantments (spell levels 1-3), enchantments (spell levels 4-6), and major enchantments (spell levels 7-9). A spellcaster can create an item requiring only a minor enchantment (for example, an amulet of natural armor) with nothing more than the appropriate enchant feat and spell (in this case, Enchant Magical Item and barkskin). If a spellcaster wishes to create an item requiring an enchantment or major enchantment (for example, a wand of ice storm) the spellcaster must have the appropriate enchant feat, the appropriate spell, and the appropriate enchantment feat (in this case, Enchant Wand, ice storm, and Enchantment).

In general, creating items in the new system is identical to creating items in the original system – except that the prerequisites for creating an item now use the new feats instead of the old (as described above). (See the accompanying table for a quick conversion if the appropriate feat is not readily apparent for some reason.)

NEW FEATS

SCRIBE SCROLL
You can create scrolls, from which you or another spellcaster can cast the scribed scroll. A scroll is a one use device for storing spells usable by spellcasters. This typically takes the form of written parchment, but this is not necessarily the case.

Prerequisite: Spellcaster Level 1^st+

Benefit: You can create a scroll of any spell that you know. Scribing a scroll takes 1 day for each 1,000 gp in its base price. The base price of a scroll is its spell level multiplied by its caster level multiplied by 25 gp. To scribe a scroll, you must spend 1/25 of this base price in XP and use up raw materials costing half of this base price.

Any scroll that stores a spell with a costly material component or an XP cost also carries a commensurate cost to the creator. In addition to the costs derived from the base price, you must expend the material component or pay the XP when scribing the scroll.

BREW POTION
You can create potions which carry spells within themselves. Potions are a one use device for storing spells usable by anybody. However, a potion must affect only the person using it (although the affect may allow the user to effect others, such as a potion of fire-breathing). Potions almost always take the form of a liquid which is activated by drinking (although some potions are known as elixirs, and magic oils are activated by rubbing them on the body).

Prerequisite: Spellcaster Level 3^rd+

Benefit: You can create a potion of any spell of 3^rd level or lower that you know and that targets a creature or creatures. Brewing a potion takes 1 day. When you create the potion, you set the caster level. The caster level must be sufficient to cast the spell in question and no higher than your own level. The base price of a potion is its spell level multiplied by its caster level multiplied by 50 gp. To brew a potion, you must spend 1/25 of this base price in XP and use up raw materials costing half of this base price.

When you create a potion you make any choices that you would normally make when casting the spell. Whoever drinks the potion is the target of the spell.

Any potion that stores a spell with a costly material component or an XP cost also carries a commensurate cost to the creator. In addition to the costs derived from the base price, you must expend the material component or pay the XP when creating the potion.

ENCHANT WAND
You can create wands, which cast spells. A wand stores a single spell with 50 charges (with each charge allowing the user to use the wand’s spell one time). Wands usually take the form of a thin baton.

Prerequisites: Spellcaster Level 5^th+

Benefits: You can create a wand of any spell of 4th level or lower that you know. (You must possess the Enchantment feat to create wands with 4^th level spells.) Crafting a wand takes 1 day for each 1,000 gp in its base price. The base price of a wand is its caster level multiplied by the spell level multiplied by 750 gp. To craft a wand, you must spend 1/25 of this base price in XP and use up raw materials costing half of this base price.

A newly created wand has 50 charges.

Any wand that stores a spell with a costly material component or an XP cost also carries a commensurate cost to the creator. In addition to the costs derived from the base price, you must expend fifty copies of the material component or pay fifty times the XP cost.

ENCHANT MAGIC ARMS AND ARMOR
You can create magical weapons, armor, and shields – enchanting them with magical bonuses or special abilities.

Prerequisite: Spellcaster Level 5^th+

Benefit: You can create any magic weapon, armor, or shield whose prerequisites you meet. (You must possess the Enchantment or Major Enchantment feats to create an item with prerequisite spells of 4^th level or above.) Enchancing a weapon, suit or armor, or shield takes 1 day for each 1,000 gp in the price of its magical features. To enhance a weapon, suit or armor, or shield, you must spend 1/25 of its features’ total price in XP and use up raw materials costing half of this total price. (See the core rulebooks for descriptions of magic weapons, armor, and shields, the prerequisites associated with each one, and prices of their features.)

You can also mend a broken magic weapon, suit or armor, or shield if it is one that you could make. Doing so costs half the XP, half the raw materials, and half the time it would take to enchant that item in the first place.

The weapon, armor, or shield to be enhanced must be a masterwork item that you must provide. (Its cost is not included in the above cost.)

ENCHANT MAGICAL ITEMS
You can create miscellaneous magic items – including rods, staffs, rings, crystal balls, and others

Prerequisite: Spellcaster Level 5^th+

Benefit: You can create any miscellaneous magic item whose prerequisites you meet. (You must possess the Enchantment or Major Enchantment feats to create an item with prerequisite spells of 4^th level or above.) Enchanting a miscellaneous magic item takes 1 day for 1,000 gp in its price. To enchant a miscellaneous magic item, the spellcaster must spend 1/25 of it the item’s price in XP and use up raw materials costing half of this price.

You can also mend a broken miscellaneous magic item if it is one that you could create. Doing so costs half the XP, half the raw materials, and half the time that it would take to enchant that item in the first place.

Some wondrous items incur extra costs in material components or XP as noted in their descriptions. These costs are in addition to those derived from the item’s base price. You must pay such a cost to create an item or mend a broken one.

ENCHANTMENT
You are capable of enchanting items requiring more powerful spells.

Benefit: You can create magic items requiring prerequisite spells of 4^th-6^th level.

Normal: A spellcaster without the Enchantment feat can only create magic items with prerequisite spells of 1^st-3^rd level.

MAJOR ENCHANTMENT
You are capable of enchanting items requiring the most powerful spells.

Benefit: You can create magic items requiring prerequisite spells of 7^th level or higher.

This material is covered by the Open Gaming License.

Tagline: Life on Caprice is an incredibly strong book and absolutely essential to anyone interested in exploring a new world or keeping up on the cutting edge developments of the Heavy Gear universe. But behind its success there is a flaw — a flaw which must be corrected.

In 1995 Dream Pod 9 released the first edition of Heavy Gear. The game was set on the world of Terra Nova, a colony orbiting a distant star, in the cycle TN 1932 (6132 A.D.). The game consisted of two core books: The rulebook (containing both a roleplaying and a tactical system) and Life on Terra Nova (which described a setting of epic scope in copious and useful detail).

Over the next five years both of these books would see a much-improved second edition, and three additional volumes were also added to the core of the game: Crisis of Faith, Blood on the Wind, and Return to Cat’s Eye. Also known as “storyline books” these secondary core books would advance our knowledge of Terra Nova by nine cycles – taking us to TN 1941. Over the course of that time Terra Nova was wracked by an Interpolar War, and then suddenly faced with the knowledge that the fascist powers of Mother Earth were returning once more to conquer their world.

Confronted by this new threat, Terra Nova decided to respond in kind. At the end of Return to Cat’s Eye we learn that Terra Nova has launched a covert campaign against Caprice. Also known as the “Gate World”, Caprice has been subjugated by Terran forces, and represents the link between Earth and her “lost” colonies.

All of which opens the door to Life on Caprice: The most recent secondary core book for Heavy Gear and acting as the basic supplement describing the world of Caprice.

Life on Caprice, essentially, is the exact same type of book as Life on Terra Nova. This makes for a rather unique product – one which can be used as a supplement for existing Heavy Gear campaigns, or one which can be used as the basis for a whole campaign in its own right. Indeed, Life on Caprice comes so tantalizingly close to functioning as a completely separate entity from Life on Terra Nova that it becomes disappointing that the possibility was never realized.

First, let us understand that Life on Caprice is an incredibly strong product: Describing an alien world with startling precision and breadth. For those unfamiliar with the Heavy Gear universe, Caprice is a largely barren world – except for a deep trench gouged in the surface long ago where atmospheric pressure is high enough to support human life unaided. As a result, almost the entire population of the planet lives in Gomorrah – the city which chokes the trench from one end to the other with a population of 311 million. Colonized and controlled by corporations, the Capricians wage a silent battle against their Terran conquerors, who are using Caprice as a staging area for their invasions against the other colony worlds (including Terra Nova). While crafting an entire planet, the authors have not failed to provide all sorts of “gritty” detail that is immediately practical for the GM.

As I read through the book I literally began to seethe with the possibilities of adventure which are not only promised, but delivered. The aptest metaphor which occurred to me was that of a monument: Large and symbolic; yet also something real and tangible.

So let there be no doubt: Life on Caprice is a strong success that is an admirable addition to a wonderful game line.

Where it fails, however, is in the details. It is here, between the realm of the successes it achieves and the successes it should have achieved that Life on Caprice finds its strengths being chipped and whittled away.

For simplicity, let us compare Life on Caprice to Life on Terra Nova. Life on Terra Nova gives coverage to every single city-state and important settlement on the face of Terra Nova – a grand total of 80 different communities. The closest analogy to these on Caprice are the “Hubs” of Gomorrah – each of which is large enough to be a city in its own right. There are 72 of these on Caprice, but Life on Caprice only describes 11 of them. Thus, where Terra Nova was given a dynamic breadth which made the world seem to come to life even as you read through the book, all the facets of Caprician life become oddly focused through the one seventh of the planet’s Hubs which are actually described. When a character’s haunts are mentioned, they are always in these hubs. When a location is described, it is always within these hubs. When an important historical event took place, it is always within these hubs.

In the historical section in Life on Terra Nova we are told of Amanda Miyagama – important because she was the key player in establishing the Caprician Corporate Executive (CCE), a body which continues to function as Caprice’s government to this day. Why, then, is she not even mentioned in Life on Caprice?

In Life on Terra Nova dozens of influential people are described to us. In Life on Caprice we are given only 7 NPCs. Only four corporations. Only three Liberati clans. Again and again and again Life on Caprice finds itself damned not because it fails to give, but because it fails to give as much as we’ve come to expect from Dream Pod 9. Terra Nova seemed to have a legitimate life of its own, but that sense of life is lost in the all-too-narrow focus of Life on Caprice. Lang Regina is described in Life on Terra Nova because she is an important part of Terra Novan life; the fact that she ends up playing a major part in the peace effort following the Interpolar War seems to be simply a result of part in Terra Novan life that she plays. Qaid Henault, Captain of the Princess, on the other hand, is described in Life on Caprice because he plays a major role in the Black Talon program (which is, in turn, a major part of the Heavy Gear metaplot). Instead of feeling like a world which just happens to be involved in an interesting period in history, Caprice is described as a place whose primary function is be involved in the evolving metaplot.

I recently wrote (and feel compelled to repeat) that being truly excellent is a double-edged sword: On the one hand, of course, you’re excellent – and that comes with a lot of perks. On the other hand, though, you have set yourself a very high standard indeed – and a failure in the details suddenly becomes a notable offense.

And it is in the details that Life on Caprice fails; and it is in the details that Life on Caprice disappoints. On the larger scale I rejoice, because Life on Caprice is a success there. On this smaller, but no less important scale, though, I am depressed – because Life on Caprice could’ve, and should’ve, been so much more.

Consider this a message to Dream Pod 9: The 96 page books have failed. In producing books of this length you have been forced to sacrifice the fine hair’s breadth difference between being merely good and truly excellent. The true problem, though, lies in the next level: Left unchecked these problems will begin to cascade across the product line – information that was left uncovered in Life on Caprice will now have to be picked up in supplements further down the line. In turn, those supplements will be forced to sacrifice information in turn. Slowly, but surely, the shorter formats will increasingly weaken all of Dream Pod 9’s books.

By all means: Buy Life on Caprice. It is an incredibly strong book, and absolutely essential to anyone interested in exploring a new world or keeping up on the cutting edge developments of the Heavy Gear universe. But behind its success there is a flaw – a flaw which must be corrected.

Thanks are extended to M. Ramirez, Jeremy T. Fox, and Derek Guder for feedback during the process of writing this review.

Style: 4
Substance: 4

Author: Lucien Soulban (with Stuart Elle, Chris Hartford, Auden Reiter, and Marc-Alexandre Vezina)
Company/Publisher: Dream Pod 9
Cost: $18.95
Page Count: 96
ISBN: 1-896776-66-3

Originally Posted: 2000/07/07

The weak Canadian dollar in the late ’90s did really serious damage to both the Heavy Gear and Jovian Chronicles product lines. They had originally featured 148 and 160 page sourcebooks. When these were reduced to 96 pages and, later, 80 pages (literally chopping the books in half) the quality of the material necessarily suffered in what quickly became a cascading catastrophe (with the weaknesses of one sourcebook spilling over onto the next).

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

Tagline: Strong potential makes this product that you might want to take a look at; but the execution leaves much to be desired.

In the year 1099 the First Crusaders came to the gates of the holy city of Jerusalem. They were surprised by the lack of resistance with which they had been met, but as they entered the city they were seized by a strange and furious madness. In their rage they began to slaughter the townspeople. For weeks the streets ran red, and their bloodlust did not stop until every man, woman, and child who lived within the city had been cut down.

That much is true. It is a recorded event of history and – as the authors of this book say – the historical butchers who committed these savage deeds needed no mystical fiends to drive them to this… They brought their own monsters with them.

But in the world of Vampire: The Dark Age these events took an ominous turn: As Jerusalem clotted on its own blood, crimson streams ran down into the secret caverns beneath the city… and its scent reached even the ancient burial place of Malkav. The Antediluvian stirred in his sleep, and reached out with his mind – driving the Crusaders to ever more bloody deeds, but also corrupting the minds of the Cainites who had come with them. As the Weeks of Blood (as they were known) came to an end, not a single vampire who had accompanied the Crusaders remained in the ancient city… they had vanished without a trace.

Now it is a hundred years later, in the year 1197… and mad Cainites screaming of blood have emerged from the catacombs, while the fountains of Jerusalem run crimson. Malkav stirs in his sleep once more, and the city of Jerusalem hangs in the balance.

FOUNTAINS OF BRIGHT CRIMSON

Perhaps you won’t agree with me, but I think that’s an absolutely fantastic premise for an adventure. The author has found a historical event which resonates with themes of the occult, and then mixed it seamlessly into the mythology which has been crafted around Vampire: The Dark Age.

Unfortunately, from this point out, the adventure deteriorates rapidly. To sum up the plot quickly: The PCs are approached by Bernardus, who is concerned with recent acts of infernalism. He tricks the PCs into killing diablerist Tremere, and then uses that to blackmail them into investigating the appearance of a raving mad Cainite wearing the livery of the First Crusaders. After investigating the PCs will discover that this Cainite, along with four others, were inhabited by shards of Malkav’s spirit. Unless they can free them properly, Malkav will wake and Jerusalem will be plunged into blood once more. Meanwhile, a vengeful Muslim Cainite is pursuing these Crusaders in a quest of vengeance for their acts of murder a century ago; and the local Baali are trying to pry from them the location of Malkav’s body for their own nefarious purposes. Eventually, though, everything turns out okay in the end.

For starters, this is a rather weak delivery on the promises of an adventure of epic scope. The actual consequences of Malkav’s awakening are totally left in the hands of the GM and are only supposed to come into effect if the PCs utterly fail in their mission. Thus the richest tones of mythological possibility are left untapped, as is any sense of true urgency in the PCs actions.

But that just begins to scratch the surface of where this adventure falls down flat…

PLOT AS STRAIGHT AS A HIGHWAY IN ARIZONA

For starters, this adventure is so linear it makes my teeth cringe. And to make matters worse, there’s no way I could keep a group of PCs on this railroad track, even if I wanted to. Repeatedly the author puts the hypothetical player group into a situation where all common sense tells them to go one direction, and then simply tells the GM that the players “have no choice” but to do something completely different.

For example: The PCs are summoned to Jerusalem by Bernardus for the fake mission of hunting down infernalists. The author notes that “it should be obvious that the whole thing is a poorly-conceived ruse”; but then tells us that the PCs will want to help Bernardus anyway because “they risk the possibility of demonic powers destroying the most sacred city on earth – while they’re standing in the middle of it”. Admittedly, if my PCs actually believed there were infernalists (weak assumption if they already suspect Bernardus is lying) and they were good guys (another assumption) then it’s conceivable they might decide to hang around. Otherwise it’s far more likely they’re just going to take off.

For example: At another point in the adventure the only reason the PCs can’t just pick up and leave is because they’ve been tricked into killing the Tremere. Even though there are no witnesses, the PCs have to stay, because they are “in too deep.” Garbage! The most logical course of action for the PCs at this point is not to go back to Bernardus and subject themselves to blackmail (as the author instructs us to encourage them to do), but to get the hell out of town.

For example: At several points in the adventure the skill checks of NPCs are predetermined to fail.

For example: At one point in the adventure the PCs need to cross an underground river. If the fall into the river, we are told that they are automatically swept away and may (if they’re lucky) reappear thousands of miles outside of Jerusalem where the river emerges into the light of day. Then, later on in the exact same scene, an NPC is allowed to jump into the river and re-emerge at his leisure whenever he feels like it.

For example: At one point the PCs are, I swear to god, given the blood Malkav with absolutely no strings attached. The blood is described as having wondrous powers, and is necessary to complete the adventure the way it is written. Yet again, though, I am struck by the fact that the PCs have absolutely no connection to this adventure at all – and therefore their most logical course of action at this point is to skip town with this amazing gift they have been given.

For example: The entire middle of the adventure consists of the PCs randomly visiting places which, for the most part, they have absolutely no reason to visit.

INCONSISTENCIES

The lack of logic doesn’t end with the means by which the GM is supposed to keep the PCs wandering down the path which has been laid for them: The world itself is apparently rendered in a Matrix plagued with software glitches.

For example: Bernardus, who is supposed to trick the PCs into believing a string of absolutely absurd lies, is described as “guileless” in his character description. Huh?

For example: A large part of the adventure takes place beneath the surface of Jerusalem… but if the PCs go “too far” in their explorations of the caverns they will automatically become lost and never be seen again.

For example: Unless the PCs follow a very particular and specific course through the adventure, they will only encounter the Muslim Cainite assassin once – and then he will never be seen again (even though he is supposed to be the primary opponent of the PCs during the course of the adventure). However, if the PCs do follow that particular course of action there is a good chance that the Muslim Cainite assassin will successfully kill the one and only link they have to the end of the adventure.

FINALLY…

There’s a degree of false advertising involved in this product. Although repeatedly described as a “standalone” product (separate from Jerusalem at Night and other Vampire: The Dark Ages supplements), at several points in the text important NPCs are referenced merely in the form of names – without any supporting detail. Either this is a crucial design flaw, or these NPCs are described elsewhere in the product line.

CONCLUSION

The basic concepts on which Fountains of Bright Crimson are incredibly powerful – and might well be worth $8 just to take a peek at. However, to successfully use this adventure would require some extensive fixes – and to successfully use the concept to its full potential would require a massive restructuring. This one doesn’t come recommended from me.

Style: 3
Substance: 1

Author: Ree Soesbee
Company/Publisher: White Wolf
Cost: $7.95
Page Count: 32
ISBN: 1-56504-270-0

Originally Posted: 1999/10/23

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

Go to Part 1

This article originally appeared in the March 2001 issue of Games Unplugged.

I’m asking everyone this, so I’d better ask you, too: How’d you get started in gaming?

The short answer is that I got involved in an APA called Alarums and Excursions, and through that found myself accidentally making connections to people like Steve Jackson and Jonathan Tweet. Soon I was getting offers of work, or seeing stuff I made up for Jonathan become part of his Over the Edge game, and not long after that I was doing this game design thing full-time.

What were the influences behind your design of Pantheon?

Baron Munchausen, of course, set the format for New Style. It may be the best-written roleplaying game, period, and certainly the most entertaining thing I’ve ever read on an airplane.

Once I saw how well it, and Puppetland, were received, I knew I had to have me some of that action. And John Tynes made his a 2-in-1 (Puppetland + Power Kill), so I knew I had to set a standard for number of games in one New Style book that no one would dare to challenge.

Somewhat more seriously, I had the idea for the final scenario banging around in my head for years but hadn’t ever come up with a framework to make it work. Then, thinking about how I might do a New Style game (at GenCon last year, during my morning ablutions), the whole thing unfolded like a flower in my little, sleep-deprived brain. I spent a few minutes jotting down the concept, went to the exhibit hall (where I was weaselling at the Hogshead booth), pitched the idea to James, got his immediate approval, and, a year later, here we are.

Which is a long-winded way of saying that, except for the previous games in the line, I wasn’t thinking about any particular precursors when the concept seized me.

Pantheon’s modular design means that it doesn’t take a rocket scientist to figure out that new games using the Narrative Cage Match are easily done. Are we going to see future support for the NCM?

That’s up to James; I believe the current answer is “possibly.” It would certainly make for a painless, easy-to-publish entry that could be kept on hand and floated into any surprise gaps in the Hogshead publishing schedule.

Time for a controversial question: Does Pantheon really “count” as “five-games-in-one” if all five of them use the Narrative Cage Match?

If Greg Stafford, Sandy Petersen and the rest of the Chaosium team had managed to fit Runequest, Call of Cthulhu, Ringworld, Stormbringer, and Superworld into 24 pages, would it be one game or five?

Good answer! What projects can we expect to see from you in the future?

A thick tome of a Vampire: The Dark Ages book called House of Tremere should be hitting stands at about the same time as the October issue. After that, check out the Dying Earth RPG, on which I did Senior Designer duties. It’s a more traditional roleplaying game than Pantheon, but nonetheless maintains at least one point of interesting similarity with it. That’s coming soon from Pelgrane Press. Then in (probably) spring there’s another new roleplaying game, Rune, based on the 3rd-person action computer game of the same name. Atlas Games is publishing it; it bends the definition of roleplaying in yet another direction, by making it competitive: it’s got Vikings with swords the size of Buicks, and you can win!

Some brief reflections on “Hog Wild!”: The title was not my own. I’m pretty sure you can credit Tony Lee, the editor of Games Unplugged, with that one. I remember pitching him the concept for this article in the parking lot at Origins 2000: Tony was passing me review copies he’d collected from the convention floor.

Most of the time I spent developing this article was dedicated to the interviews — contacting the designers, conducting the interviews, editing the transcripts… and then the interviews were cut from the article when it appeared in print. (I think I vaguely recall that they were put up on the Games Unplugged website as a bonus feature at some later date, but I was never actually paid for them.) I’ve only conducted two sets of interviews for professional RPG gigs, neither of them ever appeared in print. (And the interviews I did with Ryan Dancey and Bruce Cordell for the unrealized D20 Nation project with RPGNet ended up getting lost in a computer crash.)

Hogshead Publishing went out of business in 2002. Greg Costikyan and John Tynes left the roleplaying industry around the same time (give or take a year). James Wallis was also absent for a lengthy period of time, but he’s recently come roaring back and is currently developing the new Paranoia RPG. Robin D. Laws has been producing fabulous material with Pelgrane Press for more than a decade.