The era of the RPG historian started in the 21st century, but that’s not when the RPG history has its roots. In the last decade or so, Jon Peterson, Shannon Appelcline and Ben Riggs, among others, have released volumes about how the tabletop RPG came to be. Though the RPG historians of today have different writing styles and research approaches, they share the perspective of being twenty-first century gamers looking back into the twentieth century through the lens of the hobby’s accumulated history, theory, and perspective. It is the very limitation of this twenty-first century perspective that illuminates the value of the few scholarly texts written about tabletop gaming in the time of its ascendancy. That’s why today I want to discuss Shared Fantasy by Gary Alan Fine.
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DIE the RPG: In-Depth Review
You’re dragged into a treacherous fantasy world made from your own fears, doubts and desires. There’s only one way to escape – but with limitless adventure within your grasp, would you even want to? You might very well have heard our first experience with DIE the RPG, based on the comic of the same name, when we featured it on Cannibal Halfling Radio: Now Playing! Jay, Evelyn, Fitz, and Max came back together to play one more roleplaying game and found themselves in the Fields of the Lost, facing down their own troubles. Well, last weekend I grabbed the d20 of the Master myself and ran a marathon session, ten hours long, and it was just as much of an emotional rollercoaster. With the book in hand and experience on both sides of the screen, let’s dive in for a proper review!
On Modules
My gaming group consists of roughly 10 adults, each able to commit to any given gaming session only when the vagaries of their schedule allows. We run two campaigns at a time, taking into account the availability of two GMs and whichever player has a character who is a ‘hinge’ to the upcoming session. Sometimes, we cannot get a session of either campaign together but still have 3 or 4 players. In the last year or so, I’ve finally acknowledged that the only effective way to pull out some quick gaming when such an attendance squeeze arises is to pick a backup system and pull out a module.
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Fantasy World Review
While Apocalypse World was the starting line for Powered by the Apocalypse, Dungeon World was what got the ruleset to really take off. By adapting the rules of the perennially popular Dungeons and Dragons as well as showing gamers what it looked like when Apocalypse World was hacked, Dungeon World not only moved significantly more copies than Apocalypse World but also kickstarted the popularity of PbtA in general. Now, years later, Dungeon World’s somewhat inartful mushing of Apocalypse World and D&D together is looked upon less fondly, given years of innovation and expansion of the PbtA ruleset. When you combine that with the checkered behavior of one of its authors, Dungeon World is a game that has sent many of its fans looking for a replacement.
Oddly, straight-up fantasy has not seen a lot of entrants into PbtA. There is Fellowship, but that is designed around a specific Tolkienesque sort of story. There is The Sword, The Crown, and the Unspeakable Power, but while that plays to Game of Thrones and popular dark fantasy themes, actually playing the game demands engaging in a unique and quite adversarial experience. No, the sort of fantasy romp typified by D&D but also offered in games like Forbidden Lands, RuneQuest, and even GURPS Dungeon Fantasy, is not really present to the same degree in PbtA as it is in other places. Maybe it’s the OSR attracting the sort of small press hackers and designers who want to write fantasy, or maybe Dungeon World’s shadow is too long. Either way, there’s a new fantasy PbtA game in town.
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What GMs Want
Starting last year and continuing into this one, there have been stories about a “dungeon master shortage” in the TTRPG hobby, specifically meaning D&D Fifth Edition. D&D rocketed up in popularity in the last decade or so since Fifth Edition was first released, but that means that some of the game’s liabilities have finally caught up with it. D&D was never great on rules clarity, but Fifth Edition, while aiming for simplicity on the player side of things, finally and completely left the DM in the lurch as the rules for that side of the screen were either executed poorly or, in many cases, removed entirely. Given the edition’s rise in popularity, the demand for DMs has completely outstripped the pool of game veterans who cut their teeth on earlier editions and could use their experience to fill in the gaps left in the 5e Dungeon Master’s Guide.
While there is no acute GM shortage across the rest of the hobby, the travails of D&D have brought the game-running role back into focus. Many indie games over the last decade have eschewed having a single player take on running the game (called both GMless, implying no need for any facilitation, and GMful, implying there is still a need for facilitation but it is split amongst multiple players), but the traditional “one GM-many players” paradigm still rules the roost across the spectrum of popular RPG designs. As the D&D hobby is finding out quite painfully, if you’re singling out one player to take on more responsibility, you’ve got to help them out.
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The Ink That Bleeds Review – An Immersive Dive Into Immersive Journaling
“My friend Adam feel that bleed, and games that aim for it, are ‘comparatively cheap, short-term pleasures… a bit like jump scares.’ My experience is so the opposite.
I think immersive, bleedy journaling games are act of purging ourselves of narratives that aren’t in our interests and enlivening ourselves for the temporal world.
I’m totally going to show you how.”
So writes Paul Czege in The Ink That Bleeds – How To Play Immersive Journaling Games, and I’m going to show you some of what’s inside and what it made me think.
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Cowboy Bebop RPG Review
Adaptations are dangerous business, and that’s true no matter what medium you’re working in. Licensed RPG adaptations fall all over the map; for every The One Ring you get rules for Power Rangers contracting tetanus, and for every Star Wars there’s a Fallout. Reimagining old properties stays risky even if you’re staying in the same medium; the live-action reboot of Cowboy Bebop was a cautionary tale, albeit not quite as badly panned as live-action Death Note or live-action Ghost in the Shell. But what happens if you take Cowboy Bebop, the celebrated anime, and make it into an RPG? Well, in this case, something kind of magical.
The Cowboy Bebop Roleplaying Game was developed by designers from Italian company Fumble GDR and published by (also Italian) Mana Project Studio. While Mana Project is mostly known for publishing 5e settings, Fumble has a fairly impressive list of original games, including Not the End, a heroic game using an original ruleset called HexSys. A variant of HexSys powers Cowboy Bebop and, while it employs elements from games you likely know, it is completely original. The result is a game that feels like jazz; there is structure, rules, and even system mastery, but the mechanics create a loose, free environment to tell stories. And, because this is Cowboy Bebop, the stories center around bounty hunters, the bounties they’re chasing, and the memories from their past that haunt them.
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Adventures in Rokugan Review
This review is delayed, far from the “hot off the press” take that I had intended back some time ago. Instead this has been an article I have stewed on for some time. In 2020 there came an announcement that Edge Studios would be taking over RPG properties that had been held by Fantasy Flight, which includes two that I have written about extensively in the past: Star Wars and Legend of the Five Rings. Since the acquisition, the publishing has mainly been constrained to reprints of books in use and published already developed supplements that had been in the pipeline before the acquisition. It was a bit of a surprise to me that the first new material from this new studio was to take the setting of Rokugan and put it into the mechanics of 5th Edition Dungeons and Dragons.
My reaction to reading it at first was, to put it politely, visceral.
Embers of the Imperium Review
Genesys was released in late 2017, and supported with four major supplements from 2018 through 2020. At that point, the generic RPG went dark. The Covid pandemic was certainly part of this, but it was first a symptom of the broader issues for the RPG business at Fantasy Flight Games (FFG). In the mid 2010s, Fantasy Flight was (excuse me) flying high; as both the licensor of Star Wars and several enormously popular RPGs based on Games Workshop properties, Fantasy Flight was one of the biggest players in the RPG space, but that turned around quickly and badly. When FFG lost the Games Workshop license in 2017 they had nothing left in the portfolio outside of Star Wars; their biggest other game, Anima: Beyond Fantasy had been discontinued the year before. The company wasn’t ready to give up on RPGs, though. They had bought the rights to Legend of the Five Rings two years before, and whether in an effort to maximize their investment or simply because of the sunk cost fallacy, they also invested in a new game based on the ruleset they used for Star Wars. Genesys came out first, while Legend of the Five Rings was ultimately released over three years after FFG bought the property.
Embers of the Imperium comes into the picture after several upheavals, only one of which was a pandemic. In late 2019 FFG divested themselves of their RPG business, shuttling it over to another division of their parent company, Asmodee. Edge Studios, a Spanish company which originally published The End of the World, was the new brand for Asmodee’s RPG line. How did it work? Hard to say. The company does have two 5e-based games now (Midnight: Legacy of Darkness and Adventures in Rokugan), so they might be making money. That said, they did not give up on Genesys. After being announced in April of 2021, Embers of the Imperium has finally been released.
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Candela Obscura Quickstart Review
This review doesn’t really matter.
This review doesn’t matter because there are four types of people who will click on this review when they see it, and none of them are looking for more information in order to form an opinion. You will have critters who’ve already decided they love Candela Obscura and want to see if I do too, and then critters who’ve already decided they hate Candela Obscura, think switching rulesets was pointless…and want to see if I do too. On the indie/OSR side, you have those who can’t stand Critical Role, and want to see if I’m going to bag on it, ranting as long as I did when I reviewed Root. You also have those who are just thankful that the largest Actual Play in the game is using something other than D&D, and have already decided it’s better. Ultimately, I don’t think my conclusion is going to satisfy any of these camps.
It’s fine.
Now, given my own biases from both years of experience in RPGs as well as other media (not to mention writing to a specific audience for a living), I find it hard to believe that anyone was expecting a conclusion other than ‘it’s fine’ for the first ground-up new game from Darrington Press. Just like nobody should have expected Tal’Dorei to be a Planescape or Spelljammer or other setting that really pushes on the conventions of the D&D genre, nobody should really have expected that a new game from Critical Role Productions would do anything other than nestle neatly into the range of genres already popularized in roleplaying, specifically nestling in next to another bestseller, Call of Cthulhu.
I’m starting the review in this way because, ultimately, the specifics of Candela Obscura aren’t nearly as interesting as the reactions they’ve elicited. On Twitter, the first reactions I saw were mostly from indie designers who seemed primed to hate it. Apparently everyone became an IP lawyer since the OGL kerfluffle, because there were people outright claiming that the game had plagiarized Blades in the Dark and was violating the terms of the Creative Commons license (in case it isn’t clear, this is untrue). On Reddit, I read a lot of confusion about the system, though it’s hard to tell from comments if this is just from newness and lack of context, or if it is actually confusing in play. And, of course, the first big review expressed disappointment at how much of a retread the whole thing is.
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