Friday, 26 June 2015

Mad Props

I miss having a printer, although I don't think I ever produced anything quite
this pro.
A friend recently posted on her blog about game props, which are things that I have missed creating since I stopped playing tabletop and pub LARP.

I used to do a particularly good line in newspapers, first with MS Publisher, then just in Word or Open Office, churning them out for Isles of Darkness games long after people stopped paying attention to anything but the crossword. A key lesson for anyone hoping to use props and in-character news to plot drop: Be sure that your game and your PCs are such that someone reading about stuff will be inclined to a) care and b) do something that c) isn't hiding. Not that hiding wasn't necessarily a fair reaction in some cases, but it became a grind trying to get anyone involved in anything. "Why should we care?" was the question often asked, and "because I spent all this time writing plot and making newspapers" didn't seem to satisfy.

It's kind of surprising that it took as long as it did for the
internet to fill with motivational poster parodies. My goal for
my next post is now to work in a 'Keep Calm and...' variant.
Social LARP is a bitch for motivations, and while I miss the people I don't interact with as much, as a GM I'm much happier working in a more mission-oriented milieu. Social games are basically a stewpot of characters with intensely personal motives all of whom want you to provide something that will appeal to them in particular, even though they may not have told you what those motives are and may not, in fact, play regularly in their game. I don't think it helped that more than once people got stung chasing plot that turned out to be a trap, or just more than the people who went off could handle. I hear the post-reset IoD is doing better, and I suspect this is not unrelated to the fact that it is new. Everything is exciting again, everything is possible, nothing has been written in the expectation that some titan might turn out to deal with it and wherever the PCs go, they are probably the first to have gone there.

This also means that props like documents and newspapers aren't just plot drops, but a way to explore this new world and see what is happening beyond the social space. At the arse end of a six year chronicle, no one really wants to know what's going on outside their well-defined and well-described spheres of interest and influence, but with a new game, characters are looking for niches and opportunities. It's an exciting time to be a propmaker.

Seriously; so much envy.
But that's the IoD. My current jam is Conflict Resolutions 40K game, No Rest for the Wicked, for which I have volunteered to do some rather more virtual propmaking in the form of wiki writing and setting creation. This includes an expansion on the original sector map to fit in everything that has been mentioned in game, although having seen the picture of the actual map, I am filled with shame for daring to aspire to rewrite it.

In the end though, wikis only partially fulfill my need to create props, but then again one of the advantages of LRP is that you get to do costumes. I have a bunch of stuff to do for No Rest, including but not limited to:

  • Sewing a cassock - probably this weekend - which my girlfriend is then going to embroider.
  • Transforming a cool little belt buckle into something slightly more tech looking.
  • Modding my Nerf guns to look less like orange plastic (major future project).
  • Adding annotating bookmarks to a borrowed copy of the Imperial Infantryman's Uplifting Primer.
But what I have been working on already is my core accessory for every character - the notebook. Each of my characters has a notebook, partly because I need to write down reminders, but also because I find it helps to focus them. I had a flip-open book for my werewolf cop, a little black book for my social fixer, and a fat book in fancy binding for my serious academic. What began as a purely practical choice to keep separate notes for each character evolved into something approaching my LARP signature.

This I'm kinda good at.
For No Rest, I have a handmade notebook I bought in Edinburgh years ago for a PC who died before he got to use it, which needs to contain his collection of scriptures and sermons, as well as scientific notes on various flora and fauna (including half a dozen uses for toad sweat) in addition to any space for in-game notes. I'm really quite proud of it, and desperately hope I don't get greased my first game out.

Props matter, in tabletop as well as live games. Thinking about it, I ought to do more for my online game. Since I don't need to print anything I can just prep the documents and mail them out. I enjoy making them, and it tends to be more accessible than a simple description. If you're running a game, you should give serious consideration to providing props. They're not for everyone, but if you enjoy making them then your players will love getting them.

Monday, 22 June 2015

Buffy the Vampire Slayer: The Board Game

To be clear, this is the US import, not the UK
version. TARDIS cookie jar, racks of CDs
and Andrew not included.
On Friday night, we introduced a new board game to the repertoire, in the form of a version of the Buffy the Vampire Slayer board game sufficiently old that it treated Tara as a minor support character and only went up to Season 4. Props though, because it was in sweet condition given age and usage; that's some quality game manufacturing.

In the spirit of the infamously difficult Army of Darkness board game, one player controls the baddies (determined by Season,) the others the heroes (Buffy, Willow, Xander and Oz.) Each hero has their own tray, a long card strip with spaces to place cards representing Help (allies), Weapons (most of which seem to be wooden objects which allow an insta-kill staking attempt,) Artifacts and Research (mostly spells, but also sewer maps allowing fast transit.) Characters are moved around the board by rolling dice, which are pretty standard six-siders, but with the 1 on one and the 6 on the other marked with a moon which progresses the oddest time track ever (I can't find a decent-sized close up, but it basically runs from the new moon to the full moon, then back through the waning phases until sunrise.)

The villain player rolls a die to see how many of the master and minion monsters can move in their turn. Characters move and then take an action, which can be searching for artifacts (one in each corner of the board,) drawing a regular card (in appropriately marked spaces,) or trying to smack the person next to you if they aren't on your side.

Each character has their own strength and weaknesses, which are not balanced (purposely; in a four player game, one player controls Xander and Willow.) Heroes (apart from Oz) can be sired as vampires (mechanically, this functions as the equivalent of the heroes stake option, and requires a specific villain card) and, if sired, re-ensouled with the appropriate spell. Buffy is tough, Willow has lots of magic dice, Xander... is basically likable, since it isn't Season 6 yet, and Oz is fundamentally indestructible. He's only an uber-badass during the full moon phase, but there aren't many monsters to match him (pretty much Veruca the bad werewolf, I think,) and every time he switches form in either direction, he basically heals all his damage. He also can't be one-shotted with the 'Sire' card; he's badass as all get out.

This character tray shows that a) other editions had more playable characters, and b) Giles is a fucking badass.
We actually had a surprisingly good game, beating the Mayor without losing a single character (although things looked very bad for Xander, who was saved by hitting the victory conditions from near certain death at Faith's hands.) We also didn't take out any of the minions, going straight for the Box of Gavrok (or as the card mistakenly insists, Garvok.)

There is a UK version which is a sort of double-blind Cluedo*, which is one of the weirdest concepts for a Buffy licensed game I can think of.

* Or Clue, for Americans.

Tuesday, 16 June 2015

#RPGaDay

So, we're coming up on year two of #RPGaDay. Can I manage another full month? I guess well see.

The list, from originator David Chapman, is below (thanks to +David Odie for pointing it out, as I don't have the Facebook.) Once again, they're a broad mix of topics, some of them very open to interpretation. A few of them might prove difficult, in which case I'll ask for topics again.


I guess I'll see you in August.

Wednesday, 3 June 2015

Dominance and Submission

So, a thing I've learned from submission guidelines for online speculative fiction zines and podcasts is that people don't want me; or more accurately, I suspect, that people want people who aren't me, rather than specifically not wanting me (or people like me.)

To explain in terms that are less self-consciously and deliberately inscrutable, what is commonly and unhelpfully referred to as 'genre fiction' is clearly aware of being something of a bastion of white, male privilege and is keen to change its image. Check out pretty much any set of submission guidelines and they will include a note that the collection is keen to promote increased diversity within the SF/fantasy/horror community, and that they either welcome with especial favour works by female, queer, trans, disabled, coloured (or rather colored, since most of them are in the US) and non-North American authors (I guess from my perspective one out of six - being somewhere between 1/8 and 1/16 Indian really doesn't count as coloured - isn't the worst thing in the world,) or positively encourage works with female, queer, trans, disabled or coloured protagonists and non-North American settings (which ties in to some stuff I've talked about before.)

I find it an interesting privilege check, since my natural first reaction is 'hey!' I mean, it doesn't seem entirely fair that I have to pay for centuries of cultural dominance which never did me any good. Of course, on any kind of consideration, it has done me good. I may be barely able to make my mortgage, but I live in a country which still (just) has top-notch social healthcare and I've only been stopped at customs once, probably because I'd been working on a dig and my skin had browned to the tone referred to in the law enforcement handbook as 'dodgy foreigner tan'. Anyway, it also reinforces my determination to write more stuff set in less exclusively Euro-inspired cultures.

Rather more encouragingly, I'm glad to say that sexy vampires seem to be being calved off into their own little niche and are invited not to apply for the kind of magazines I'm looking at.

On the downside, the best paid periodical I've found actively discourages puns. Oh well.

Thursday, 28 May 2015

Blood Bowl - Team Manager

Tuesday night's game night featured a couple of games. First, I took a turn Overlording in Descent. This confirmed a couple of suspicions about the first few games: 1) Don't mess about killing monsters, head straight for the objective, and 2) goblins can just fuck off. My main remaining question is 'how much are the players supposed to know?' Honestly, it makes a huge difference how much information they have on how hard different monsters are to kill and what powers they have. I have a sort of knee jerk reaction that there ought to be a screen, because of the RPGish elements, but from a board game perspective it makes more sense for there to be openness.

Looking at this spread of cards and tokens, I did wonder if some of the bits
were missing.
To round off the night, we played a season of Blood Bowl: Team Manager. Based on the popular GW fantasy American football board game (itself set in a fast and loose analogue of the Warhammer Fantasy Old World, in which a vastly increased interracial harmony has apparently been achieved by channeling all of the hatred and intolerance into a massively violent sport in which barely functional sociopaths of all races line up to compete in a formalised skirmish which may or may not involve a ball, depending on the match) and produced by Fantasy Flight, it has an unexpectedly restrained array of cards and counters, but on the other hand, there are expansions.

The basic set has six teams, and each player starts with a set deck of 12 starting players, a mix of high and low value cards, with each team having different strengths and weaknesses (Dwarfs are tough, Skaven and Chaos cheat a lot.) Play begins with each manager drawing six players, and the first manager (beginning with the youngest, then rotating around the table each 'week') drawing a Spike! magazine card and a number of highlight cards equal to the number of managers. The first of these is either a special rule which is in play for the week, or a tournament; the highlights are the matchups in which teams compete.

Play rotates around the table, with each manager in turn placing a player from their hand against a matchup or tournament (two teams can compete for each matchup, any number in the tournament.) As each player is placed, their skills may be used to pick up the ball, tackle opposing players, or replace cards in your hand (another strength of the Skaven, as I learned.) Some players also cheat, and this is a non-optional skill, requiring a cheat token to be placed on the card.

The dwarfs are dominating this matchup. It looks like the Black Orc is going
to attempt a tackle, but it can't knock down the Runner and that Blocker is
worth a surprising amount knocked down. Beardy bastards (not that James's
Grudgebearers beat my Skaven on Tuesday or anything.)
Once all players are committed, matchups are resolved. Cheat tokens are flipped, and may add fans (victory points,) add extra star power, or get the player sent off, removing them from the matchup. The first manager then counts up the star power on each side (players, plus cheat tokens, plus 2 for holding the ball) and the highest total wins (although there are usually rewards of some sort for all.) Rewards may be fans, a draw from the star player decks, or from the staff and team upgrade decks. Later weeks are similar to the first, but with the added variety of whatever upgrades have been added to each team.

Like many FF games, it's a bit of a struggle to get the hang of it on the first time through, but week on week it becomes more intuitive, and it's actually a lot of fun. I did astonishingly badly most of the way through, but clawed back an impressive stack of points in the closing rounds and got to feed a Beastman to my Rat Ogre, so that was fun.

Wednesday, 29 April 2015

Descent 2nd Edition

Yesterday, I managed to catch up with some old friends I don't see enough of anymore for a board games evening, wherein we ate pizza and played Descent: Journeys in the Dark (second edition), a sort of Fantasy Flight updating of the classic Advanced Heroquest concept.

Descent is a scenario-based game with a modular board consisting of about 25-30 sturdy, reversible card tiles. On one side of each tile is a dungeon section, on the other is wilderness. Coupled with entrance and exit tiles and a range of connectors and 'dead ends' to cap off unused junctions, these can be assembled into who knows how many possible variations. Each scenario - the game provides plenty, but you could easily write your own - has a map showing which tiles to set up, and what other bits to include.

Naturally there are bits, it's a Fantasy Flight game. The bits which you set up on the board include, but are not limited to: Search tokens, Objective tokens, Villager tokens, Lieutenant tokens and monster miniatures.

There are also hella cards, but we'll get to that.
As an Advanced Heroquest descendant, Descent includes actual plastic minis in the box. There is one for each of the eight hero characters, and a whole bunch of monsters. For reference, assuming you don't paint them all, the heroes are dark grey, the regular monsters tan and the boss monsters red. Aside from the goblins, there's little chance of mistaking the monsters for your characters, however, as the rest of them are all either spiders or simply immense. They are pretty nice miniatures, and those what paint could probably have a good time just gussying them up to look extra shiny on the tabletop.
Down the middle: Movement, Health, Endurance and Defence.
At the bottom are Attributes. On the right are your ability
and your feat.

Each hero also has a card detailing their abilities (each monster has the same, although theirs are half the size because they pretty much just move and attack.) In addition to a picture, the card gives the character or monster's movement rate (in squares), health and defence (represented by a die or dice,)  and any special abilities. Heroes also have endurance and attributes, and a special heroic feat that they can use once per encounter.

The game can be played with up to five people: One Overlord, controlling the dungeon and the monsters, and up to four players, each controlling a hero. The base set has eight heroes in four classes - fighter, scout, mystic and healer, I think they were. You aren't supposed to double up classes, and you customise your character by picking one of two decks of starting equipment and skills for their class (scouts, for example, can be 'thief' or 'wildernessy type'*.)
The hands at the bottom indicate how many hands are
needed to equip the thing. They're all left, indicating
that heroes in Descent are probably southpaws.

Once you get into the game, there are cards for searching, cards for further equipment, cards - and matching tokens - for being stunned, immobilised, poisoned or something else; possibly cursed. The Overlord gets a deck of cards that he draws from once per turn and that can be played to do bad things for the heroes or good things for the monsters. Rather than just killing everything in sight, you have an objective for each mission, which typically feeds into the next encounter in the scenario.

In play, each hero has a turn, followed by the Overlord. Each model gets two actions, which can be chosen from options including, but not limited to, move, attack, search and rest. Heroes can also take extra movement or use some skills by accruing fatigue, limited by their endurance. Resting clears fatigue, and is a more important action than you might think, because you build up fatigue at quite a pace and once you hit your endurance it starts becoming damage.

Dice, dice, baby!
This being a fantasy quest game, combat is the meat of the thing, and is done with dice. Each weapon allows you to roll the blue die and one or more of the yellow and red power dice. As you can see from the picture, each side contains a mixture of symbols: numbers are range, and a ranged attack has to accumulate enough of this to reach the target. Hearts are damage, while the lightning bolt is a surge, which can be used to activate special abilities (usually increasing damage or range, although Jon's character's hero ability meant that we could spend them to heal, which was very important.) The defender rolls one or more defence dice - brown, white or black in ascending order) which are marked with shields which cancel damage. Damage is your goal, but attacks may have other effects; in particular 'stun' was very important to us in the intro games, allowing us to tie up big opponents while we whittled down the little attackers.

This is a later and larger scenario than we played, with the
heroes in  a strong defensive position, yet simultaneously
screwed.
A key difference between this and Heroquest (Advanced or otherwise) is that the entire dungeon and its denizens are laid out to begin with, which means that everything starts to converge on you early. In addition, there is often something you have to stop happening which means that the slow and steady kick-and-search approach is rarely practical. This makes for a pacy game, as the heroes hurry to wrangle the Overlord's forces.

As an observation, fuck goblins. They run like greased pigs, can't be blocked, and invariably need to run somewhere in the scenario, which is something that you basically can not stop from happening, as they tend to be in and out of your line of sight in a single turn, or to have done what they needed to do before you can even get to them. Fuck those little bastards.

Ahem.

A final aspect of the game is progression. Heroes gain experience which allows them to buy additional skills from their class-type deck, and any equipment they pick up from searching can be retained or sold for gold which can then be used to buy more equipment. This is matched against Overlord XP and more powerful monsters and decks of Overlord card to create escalation.

On the basis of the first few scenarios, Descent is a nice little game with a lot of room to grow, even without the inevitable expansions. We - the players - won through the first few scenarios, but it was a close run thing (and mostly happened due to a) blessed stun lock, and b) James forgetting his trap cards during our turns,) which is pretty much what you want in a game like this.

* One of these two may not be the official name on the cards.

Tuesday, 21 April 2015

Rook City Blues

Forget it, Jake. It's Rook City.
The first full update of the Sentinels of the Multiverse computer game is Rook City, bringing a spiffed up dynamic interface along with four new villains, two new heroes and two new environments. The Villain decks in particular each have a unique variation which alters the pace and strategy of the game significantly.

The Chairman is the ultimate crime boss of Rook City, a shadowy figure protected by his Operative and a network of criminals. As the handler for all of his gangs, the Operative plays out lesser Underbosses at a rate of knots - many of whom also play out other cards - and hits heroes as villain cards go down. The Chairman is invulnerable until flipped, and then smacks anyone who strikes him, making him hard to whittle down.

The Matriarch makes the card progression in the Chairman's deck look slow. Her minion cards (mostly corvids, some other birds) just keep playing, and while all relatively weak she attacks heroes each time one is destroyed and there are cards in her deck that play every Flock card back out of the trash, just to fuck with you. One of the nice things about the deck is that the Matriarch's nemesis, Tachyon, has one of the most effective cards to use on her.

Drug-fuelled super serial killer Spite is the Wraith's nemesis (the Chairman, the other obvious choice, is paired with new hero Mr Fixer.) His deck is mostly made up of drugs and victims. Victims can be rescued, if not destroyed first, and placed under the safe house card, dealing damage when Spite flips. The drugs make him tough to kill, however, and he heals each time he does damage or destroys a victim. I find him especially tough as I have to quit when he destroys one of the Lost Child victim cards.

The last villain is Plague Rat, a mutated drug dealer who can infect Heroes with his vile plagues and drive them to attack one another. He's not too hard a kill, but overbuffed heroes will quickly start beating one another down.

The Chairman and the Matriarch are tough; like, really tough. Spite and Plague Rat are just regular nasty.

The first hero is Expatriette, gunslinging daughter of Citizen Dawn. She's a damage monkey, and her deck gimick is a mixture of Gun and Ammo cards; the latter attaching to the former for one-shot bonuses. Her 'use one power for every gun you have in play' is potentially hilarious; as long as Spite doesn't have his 'take damage when you use a power' drug in play.

The second is Mr Fixer, janitor and kung fu master, who thus combines Style and Equipment cards which modify how he does damage with his basic 'punch you in the face' power. He is only allowed one of each, so he is more about choices than buff stacking.

Finally, Rook City brings out the scum of the streets to harry your hard-working heroes, while the Pike Industrial Complex is all about the Vats, universal buffs and prospective bombs all.

To add a further challenge, Mr Fixer and Expatriette each have a variant to unlock, and the update adds a new Legacy unlock, America's Greatest Legacy.