Category Archives: Editorial

Reviews, opinions, and whatever else strikes our fancy!

Articles, Editorial

Deathmatch Island Review

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Back in 2020 I reviewed the newest edition of John Harper and Sean Nittner’s Agon. Agon is a fascinating game, taking the characters on an Odyssey-like journey of myth through a number of islands. Like Greek myth, though, the game has a strict structure and, barring a small chance of premature retirement, usually ends in the same way. It’s great for generating stories, but not what I’m typically looking for.

Deathmatch Island is based on Agon’s mechanics, but casts the strict structure differently. The structure of each island is because the characters are contestants in a game show, a twisted game show where physical challenges and loot boxes give way to a literal battle to the death. Survivors make their way from one island to another until they reach the end game with Production, the shadowy administrators of the whole thing, shaping the game based on how many social media followers each contestant gets. The last surviving contestant may win a big prize…or wake up on yet another island with a job offer they never could have imagined.

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Articles, Editorial

Rules-Lite Superhero RPGs Revisited: Part 1

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About two months ago I wrote a piece here on rules-lite superhero games. In the piece I talked about a bunch of games, and at the end I made a list of the games that I found most essential.

I recommend reading these Revisited articles first and then circling back to my original piece, because everything I say here supersedes my opinions from the original piece. The important thing to note is that I didn’t actually read the rulebooks for almost all of the games I discussed; I read forums posts and reviews, listened to podcasts, read product descriptions, and studied other sources to get some kind of rough idea about each game.

In this four part series I’m going to go deeper and take a closer look at the handful of games that I said I most wanted to play last time, which is to say I’m going to read the rulebooks and make further observations about the games. I’m also going to look at a small handful of games that I didn’t mention last time, and look at the rulebooks for most of those as well.

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Articles, Editorial

Spooktacular Adventure Writing: Part 2

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Adventure Design

Before we get started, here’s a link to Part 1 in case you missed it. There is an idea that rules-lite games don’t require adventures and scenarios the way crunchier games do. I think this is an idea shared mostly by younger gamers, because modern games that use Powered by the Apocalypse designs generally encourage the GM to build things improvisationally with players.

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Articles, Editorial

Spooktacular Adventure Writing: Part 1

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This is a vague sequel to the Maid RPG post published here recently. Spooktacular is a retroclone of the 80s Ghostbusters role-playing game written by Ewen Cluney, who not only translated Maid RPG but also wrote an original game, Kagegami High, that mixes Maid RPG‘s mechanics with the ones found in Ghostbusters.

I decided to write an original adventure for when I would eventually run Spooktacular for my players. This was a problem for me, because I live by the Mythbusters credo; if it’s worth doing, it’s worth overdoing.

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Articles, Editorial

Black Sword Hack and the evolving OSR

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The Old School Renaissance is a microcosm within the RPG world. Although many (including myself) refer to the OSR as a whole, cohesive thing, the reality is that the movement is more the result of at least half a dozen origins that random-walked into game preferences which, to an outsider, look similar. The broad preference towards the genre establishment of Dungeons and Dragons (or at least Appendix N, if not the system itself) bounds the definitions we work with; other retroclones and revivals like Cepheus and RuneQuest aren’t included, even if they too are ‘old school’. No, the main thing that all vectors of the OSR have in common is that they are trying to recreate the time when the roleplaying game was new. And when RPGs were new, either literally or in the eyes of the designer, the new thing that they first touched was (almost always) D&D.

All OSR games are aiming for either D&D as it was, D&D as it could be, or D&D as it was supposed to be. D&D as it was is simple; Old School Essentials is a straight-up retroclone and proves that ‘Basic D&D without shitty layout and shitty editing’ is a winning recipe. It’s the best known and best selling retroclone, but the retroclone camp of the OSR is arguably the oldest (to the degree that OSR is a label we can trace it back to OSRIC). D&D as it could be is where we start getting a lot of the distillations; the rules in early editions were such a mess you barely used any of them, so clearly one could write a game only using those few rules we could actually make work. This is where Into the Odd comes in, this is arguably where The Black Hack comes in, and, if rules were in any way supposed to be primary in the game, this might be where Mork Borg would come in. This example shows setting and tone are a different topic here than ‘game’. D&D as it was supposed to be is a tough one, and there aren’t many games that really aim for this mark. Whitehack is the one that comes to mind for me, taking the length and complexity of the original booklets and turning that into something much more flexible and consistent.

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Articles, Editorial

Maid RPG and Her Sisters

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Ryo Kamiya’s Maid RPG is many things; a comedy TTRPG, an anime game, the first Japanese RPG to be translated into English. It’s also one of the most divisive RPGs, but regardless, I don’t think any list of essential comedy, one-shot, and / or rules-lite games would be complete without Maid RPG. Allow me to tell you Maid RPG’s story; its history, its mechanics, and its reception, as well as the stories of a few other games that use the same system. But first, let’s address the fact that you probably already know of Maid RPG.

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Articles, Editorial

Daggerheart Preview

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Earlier this month, Darrington Press released the free playtest version of Daggerheart, their traditional fantasy RPG meant to go toe-to-toe with D&D. First with Pathfinder but now also with entries from MCDM and Kobold Press, we’re getting an awful lot of D&D-alikes, thanks to last year’s saga with the OGL. It’s now clear that a corporate game is a liability, so anyone making a livelihood in the gaming space is clearing out of the Halls of Hasbro. What makes Daggerheart, the entry from the Critical Role folks so special? I downloaded it for free, for one thing. In all seriousness Daggerheart is entering the public eye a little earlier than the MCDM RPG or Tales of the Valiant, both of which are currently fulfilling crowdfunding and doing any additional playtesting either contained to backers or within their own teams. The public playtest process is a great way to get a lot of feedback, and it’s worked well in the past; both 5e and the second edition of Pathfinder went through public playtesting.

It’s also caused some grief already. Darrington is somewhat in the crosshairs, between the moderate reception to their first game Candela Obscura and the relatively polarized fanbase that Critical Role has created by being the biggest voice in the room. Seems like a perfect time for someone like me to come in. I’m not the most impartial judge, given my growing disinterest in D&D or its cousins over the last five years, but I do understand what these games are trying to do. To that end, Daggerheart seems to have what it takes to grow a fanbase. It just needs to solve a few niggling issues with its own relationship to narrative mechanics first.

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Articles, Editorial

A Survey of Rules-Lite Superhero RPGs

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I recently felt the urge to find a rules-lite system for playing superhero games. Like most nerds I love superheroes; it’s a very unique genre bursting with its own weird tropes and traditions. It’s not surprising that superhero games are popular in the TTRPG space.

What did surprise me as I began to search for a game is that there are a lot of superhero RPGs out there. I found over 25 games that seemed compelling, at least at a glance, and that’s just rules-lite games; there are even more games if you include crunchier systems. But crunchy games aren’t the focus of this piece.

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Articles, Editorial

Wildsea Review

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In case you haven’t noticed, I’ve often thrown shade on the archetypal ‘dungeon fantasy’ setting. Cemented by Tolkien, popularized by Dungeons and Dragons, copied by everyone, the typical western medieval pastiche with dwarves and elves (and sometimes orcs and halflings) has so permeated fantasy fiction that we often give it a pass; it’s transcended cliché to become a trope. I’m still sick of it. That said, my experiences with settings that try to be aggressively ‘not’ the norm often fall into the trap of painting a new overlay on old tropes, falling into fantasy same-old same-old because there wasn’t enough worldbuilding done. I have, though, found a game with a setting so intensely its own thing (and so intensely weird as a result) that I backed it on Kickstarter, read it, and then made sure to play it before really collecting my thoughts.

The gorgeous book and art catches your eye, but what makes Wildsea unique in its worldbuilding vision is that there’s follow-through. The concept is outlandish: The world has been overrun by a veritable forest of massive trees, and your characters ‘sail’ across it on a ship that’s essentially a giant chainsaw. From this base concept comes many of the underlying setting assumptions, and they help the world feel cohesive even though it, at a high level, works very differently from our world. In an ocean of wood fire is catastrophic, so there is taboo against open flame. That affects how things are cooked, which in turn affects culture around food. The ‘spits’, settlements above the treetops, are threatened by the constantly growing and shifting flora, so impermanence is, once again, reflected through the whole culture. The game sticks the landing on creating something new by thinking through the core concept they present.

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Articles, Editorial, Level One Wonk

Dragonbane Review

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Fantasy is the most popular genre of role-playing game. Even if you don’t count the sheer volume of Dungeons and Dragons players, there are more titles that slot into the fantasy genre than any other. When reading and playing games, one could be excused for beginning to think that many of these fantasy titles are little different from each other; thanks to the early days of Dungeons and Dragons, many of the genre’s tropes are filtered through RPGs in frankly wild ways and that does mean we see a lot of the same basic structures in our fantasy games. Doesn’t seem to bother anyone at Free League Publishing, though. Apparently to them, the ideal number of fantasy games a single company should put out is a half dozen.

Needless to say, Free League’s reasoning for each fantasy game they release is different, and they also reap the benefit of a more stratified European gaming audience where the appetite for different, specific experiences is greater. In many cases, it’s also not hard to see that the genre has a lot of room for variety. Mork Borg and Forbidden Lands have very little to do with each other. That does make it a little interesting, though, when Free League acquires the IP for the grand-daddy of Swedish RPGs. As of 2021 they did make such an acquisition, and the result is out now in the form of Dragonbane.

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