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The Family That Slays Dragons Together, Stays Together: Fantasy MMOs

The Family That Slays Dragons Together, Stays Together: Fantasy MMOs

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Ultima_OnlineIf you’re a gamer, you probably already know about MMOs (or Massive Multiplayer Online games). These video games feature huge worlds where thousands of people can play together at the same time. I’ve been playing MMOs for almost twenty years now and I think they’ve added a new wrinkle to the fantasy universe, an experience unlike anything else.

My history with MMOs began in 1997 with a little game called Ultima Online. I first heard about it in a gaming magazine and was blown away by the concept. I had already been a huge fan of tabletop roleplaying games like Dungeons and Dragons and Warhammer Fantasy Roleplay, so the idea of playing a fantasy-based video game with all my friends was thrilling.

The reality was even better than I imagined. I could create an original new persona (called an avatar) and use that character to enter an open-ended game world filled with monsters, dungeons, cities, magic, and (best of all) lots and lots of real people playing their own avatars all around me.

Sure, I loved exploring the lands of Ultima Online, delving into creepy cave systems, fighting other players in the forests, and doing the usual adventure-type stuff, but two elements of UO really grabbed my attention.

The first was the crafting system. Instead of slaying monsters (and other players) for loot, you could also gather natural resources and use them to create new items, and then sell them to other players. I spent so many hours happily mining pixelated ore and selling it off to blacksmiths. Yes, you heard me correctly. I spent my leisure time in an artificial world performing manual labor. It sounds crazy, but I was in love with the idea of a game economy based on player participation.

But I didn’t spend all my time digging holes in fake mountains, because I’d also discovered guilds. A guild is like a club — a social organization of players who (usually) share the same interests. Much of my enjoyment in UO came from forming and maintaining a guild, and by doing so I met a lot of new friends. We adventured together, saved up funds to buy a “guild hall” (a glorified clubhouse), and generally hung out.

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New Editions Past

New Editions Past

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phb2eA new edition of Dungeons & Dragons has been released, as Andrew Zimmerman Jones discussed the other day.

This is the third new edition released since Wizards of the Coast took over publication of the world’s first fantasy roleplaying game in 1997. If you’re the sort of roleplayer who spends any time online, visiting forums, blogs, and social media, you’ll know that this latest edition has already generated a lot of discussion, both pro and con, much of it enthusiastic and some of it, quite frankly, deranged. In that respect, it’s not much different than the last several new editions, whose advents were simultaneously hailed as the dawn of a new age of gaming and decried as the twilight of the gods.

I played the new edition a couple of times last year when it was being playtested and found it something I’d be willing to play again if someone else were refereeing it, which is the only standard by which any game (RPG or otherwise) should be judged. That said, I’m not planning on buying a copy for myself, since I’ve already got my own heavily housed-ruled and Holmesified version of Labyrinth Lord and need nothing more. That’s not a knock against WotC’s latest effort – or any roleplaying game – just a statement of fact. I’ve been at this RPG thing for thirty-five years now and, in that time, have pretty well determined what games I like to use at my table. It’s rare that I buy new RPGs anymore, let alone play them, which is why a scan of my shelves would reveal very few games first published after 1984, but then I’m a notoriously unimaginative stick in the mud, so that’s to be expected.

What truly fascinates me about the arrival of a new edition of Dungeons & Dragons is its seeming importance, for good or for ill, among its legions of fans. This is in stark contrast to my own early days in the hobby, when talk of “editions” was well nigh non-existent, never mind a subject of import. Granted, I entered the hobby in late 1979, several months after the release of the Advanced Dungeons & Dragons Dungeon Masters Guide, the third and final volume of Gary Gygax’s magnum opus. AD&D was, in many ways, the first “new edition” in that it was marketed as an “improvement” over its predecessor and, for that reason alone, worthy of purchase and use. I thus never witnessed any of the tumult that no doubt occurred in the lead up to its release. For me and my friends, AD&D was simply a fact of life.
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Dungeons & Dragons Starter Set: A Forensic Analysis

Dungeons & Dragons Starter Set: A Forensic Analysis

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dungeons and dragons logo2For the last two years, Wizards of the Coast has been getting feedback on their new “5th edition” set of rules from playtesters all across the world. July 15 marks the official release of the Dungeons & Dragons Starter Set, giving the world the first glimpse of the final version of these rules. Unfortunately, the D&D Starter Set provides only pregenerated characters with some advancement rules through level 5, and some basic mechanics, so it doesn’t consist of a full set of game mechanics or character creation rules.

In other words, it’s not enough to give us a full idea of what the final rules for 5th edition will look like … but it does provide enough information to get some hints about how the upcoming edition of the game will be structured. In general, the goal seems to be to streamline the system, making it very accessible to new gamers, but still providing enough substance and versatility that more experienced gamers will find the system desirable. It’s a tough balancing act, but looking over the D&D Starter Set, I feel a growing sense of confidence that the new system will achieve these objectives.

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Fantasy and Roleplaying Games

Fantasy and Roleplaying Games

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Dungeons and Dragons Basic Set-smallMy loves for fantasy stories and RPGs (roleplaying games, not rocket-propelled grenades…) have been intertwined since I was a young child. I discovered them both at about the same time and have pursued both throughout my life.

I still remember the day I was in a hobby store with my family. I was eight years old and I saw this game in a blue box with a dragon on the front. It was called Dungeons and Dragons, which sounded pretty damned cool to me. I begged my father to buy it and he resisted, saying it was a game for college-age people, but I refused to relent. And so we went home with that box.

My father ran the game for my brother and I, and my memories of those initial adventures into goblin-infested dungeons still remain vivid and precious more than thirty years later. Soon, I was running D&D games for my friends, leading them into insidious dens of evil where they slew monsters and collected epic treasures.

At the same time, I was tearing through anything fantasy-related I could get my hands on. My father’s library didn’t have much fantasy, but his copy of Kothar and the Wizard-Slayer was the gateway to Robert E. Howard, Michael Moorcock, Fritz Leiber, and so many others. I was, admittedly, insatiable.

And it continues to this day. I still get together with a few friends every month or so to sit around the table and slay imaginary beasts. I’m quite fortunate that my wife is a gamer, too. (The family that slays orcs together, stays together.) We’re currently running a campaign in the Star Wars: Edge of the Empire system, and I’ve already pre-ordered the newest edition of Dungeons and Dragons in anticipation of the many hours of enjoyment it will bring.

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True North

True North

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cns77The hobby of tabletop roleplaying games was born in the American Midwest, but very quickly spread beyond the wargames clubs of Wisconsin and Minnesota. Forty years after the publication of Dungeons & Dragons, RPGs are played and enjoyed throughout the world. Many countries outside the United States can rightly boast of their own roleplaying games and designers, some of which, such as Britain’s Warhammer games, have arguably proved as influential as D&D. Since today is Canada Day, I thought it fitting to post a short tribute to two Canadian roleplaying game designers whose work, while perhaps not as widely known as that of Arneson and Gygax, is nevertheless worthy of note, particularly by those of us who have come to appreciate and indeed prefer what has come to be called “old school” gaming.

As everyone interested in such things knows by now, Dungeons & Dragons first appeared in 1974. The originality of its concept inspired others to create similar games of their own, the first being Ken St. Andre’s Tunnels & Trolls, published in 1975. Many more followed, including Chivalry & Sorcery, written by two wargamers at the University of Alberta, Edward E. Simbalist and Wilfried K. Backhaus. C&S was published by Fantasy Games Unlimited in 1977 and owes its existence to some questions Simbalist and Backhaus asked after playing D&D, as they explain at the start of the rulebook:

Chivalry & Sorcery began innocently enough with a discussion about the vacuum that our characters seemed to be living in between dungeon and wilderness campaigns. In the Fantasy Wargames Society of the University of Alberta a degree of dissatisfaction emerged over the limited goals that were available to our characters. The solution was to develop an all-encompassing campaign game in which dungeon and wilderness adventures were just a small part of the action.

Initially called Chevalier, Simbalist admitted in an interview that Chivalry & Sorcery was “a D&D clone in some respects.” The pair even intended to pitch the game to TSR for publication, but chose instead to work with FGU. Chevalier “contain[ed] all of the seeds that would soon spring forth as Chivalry & Sorcery,” which Simbalist believed was “a dramatic departure from the slash and hack approach to RPG that existed in those early days.”

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io9 on The 20 Most WTF Magical Items in Dungeons & Dragons

io9 on The 20 Most WTF Magical Items in Dungeons & Dragons

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Magic potion-smallOver at i09, Rob Bricken takes a hilarious look at some of the goofiest magic items in Dungeons & Dragons, including the infamous Wand of Wonder, the Bowl of Watery Death, and the Robe of Vermin.

Here he is on the Druid’s Yoke:

If you’re in a D&D campaign where you need to do any kind of farming, you have bigger problems than any magical item can fix. But this yoke allows characters to — when they put it on themselves — turn into an ox. Not a magical ox; a regular ox. Then you can till your field yourself! You can’t do it any faster, because again, you’re just a goddamned ox, but it does allow you to… do the horrible manual labor… instead of the animal you’ve bred for this exact purpose. So that’s… something someone would totally want. The best part? Once you’ve put it on, you can’t take the yoke off; someone else has to do it for you. Because you’re a goddamned ox.

I think he’s reaching pretty far afield for some of these items, because I sure as hell don’t recall a Druid’s Yoke or Crystal Parrot in the Dungeon Masters Guide (or Unearthed Arcana, for that matter). Since he doesn’t cite any references, it’s entirely possible he’s making half of them up. (I mean… the Brooch of Number Numbing? That’s gotta be from an April 1 issue of Dragon or something, right?)

In any event, the article is well worth a read. Check it out here.

Art of the Genre: The Art of D&D is Not Right for Lankhmar [and Most Other Fiction Settings]

Art of the Genre: The Art of D&D is Not Right for Lankhmar [and Most Other Fiction Settings]

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Lankhmar Cover CompressI, like many folk of my age, category, and interest set, have many fond memories of Waldenbooks. I mean, as a kid there were basically two things you could be guaranteed were fun at any U.S. mall: Kay-Bee Toys and Waldenbooks. They were two oases in a desert of clothes outlets and anchor stores that your mother dragged you to on far too many occasions. Still, being able to go to those two stores somehow made it all worthwhile and I weep for the youth of today (and myself for that matter) that malls have now become all clothing & eateries, as both those wonderful chains are gone forever.

Yet I digress, as I’m writing today to speak a bit about a book I well remember purchasing at Waldenbooks back in probably 1987 (although the book’s production date is 1985). This gaming campaign setting, Lankhmar: City of Adventure, was produced by TSR after it acquired the license to Fritz Leiber’s Fafhrd & Gray Mouser universe and it does an admirable job detailing the base game mechanics for driving a square peg (Swords & Sorcery) into a round hole (Dungeons & Dragons).

I was too young at the time to properly see this problem and simply enjoyed the game for what it was, another cool setting to have my characters visit (and more importantly steal Nehwon Throwing Daggers, which did 1D6 damage instead of the 1D4 of normal D&D daggers). This was also one of the more interesting cities designed by TSR, in that it is not only huge, but it has a series of square ‘blocks’ that are empty in the map and can be filled in by the DM to customize the city to your personal campaign.

Still, as I look at this large 95-page supplement today, I’m saddened by the thought of what could have been if this kind of development and money had been focused in the right direction. To me, Lankhmar falls well short of the mark because the world of Leiber is inherently NOT D&D, and therefore trying to statistically recreate Fafhrd & Mouser, or anyone or anything else in that universe, is going to fall dramatically short. It is for the same reason that Pete Fenlon developed Rolemaster, and thereafter Middle-Earth Role-playing, because he couldn’t play the world of Tolkien using the table-top mechanics of Gygax’s gaming opus, D&D.

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Thanks, Dad

Thanks, Dad

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HolmesboxI’ve mentioned before – probably too often – that the first copy of Dungeons & Dragons I ever owned was the 1977 Basic Set edited by J. Eric Holmes, featuring a cover illustration by the late, great David C. Sutherland III. The contents of that boxed set are pictured to the right, though the particular version I owned did not come with the dice shown there, but rather laminated cardboard chits. I had to purchase those dice separately through a local toy store.

I loved that Basic Set to bits – literally. I carried it with me everywhere: to school, to the library, to my grandparents’ place, but most often to my friends’ homes, where we’d gather round a table to play this incredible new game we discovered over Christmas break. Consequently, the box eventually fell apart, just as the rulebook and adventure module started losing pages. Before too long, all that remained were the chits, which I still own to this day. I still own the dice, too, but they’re so battered and beaten that the twenty-sider is barely recognizable, never mind usable.

I think about that Basic Set often, because it was my introduction to a hobby I still enjoy to this day, but I found myself thinking about it this past Sunday – Father’s Day – for another reason. By the time I first encountered D&D in 1979, it was well on its way to becoming a genuine fad, helped in no small part by the notoriety it achieved due to its supposed connection to the disappearance of a Michigan State University student earlier that year. The Basic Set I first owned was originally purchased for my father. My mother bought it in the belief that he’d want to see what this game was all about, since he’d been reading all the newspaper and magazine articles he could find about the Michigan State disappearance.

As it turned out, Dad had no interest in learning to play Dungeons & Dragons whatsoever, which is why he readily turned it over to me when I expressed an interest in learning more. It’s for that reason that I’ve always considered him to be the person who first introduced me to roleplaying, even though he was not (and never would be) a roleplayer himself.

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Gygax Magazine #4 Now Available

Gygax Magazine #4 Now Available

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Gygax Magazine 4-smallIt’s been terrific to see Gygax Magazine maintain a regular quarterly schedule, especially after an occasionally bumpy start last year. 2014 has been much better — two issues so far, and we’re not even halfway through the year.

That’s not all that’s terrific about Gygax. Under Art Director R. Scott Taylor (author, editor, and BG blogger extraordinaire), the art in the magazine has really blossomed. The cover for issue 4 is by none other than my fellow Ottawa native Denis Beauvais, another entry in the famous chess series he did for Dragon magazine in the early 80s. And a fabulous piece it is, too (click on the image at left for a mega-sized version).

The interior art is just as lush, and it’s produced by folks who should be familiar to Black Gate readers, including the talented Chuck Lukacs, who illustrated every one of James Enge’s Morlock the Maker stories for us (including his now iconic portrait for “Turn up This Crooked Way.”) Other artists you may recognize include Russ Nicholson (Fiend Folio, Fighting Fantasy), Chris White, Michael Wilson, and many others.

The non-fiction is just as captivating as the art. It includes a new Top Secret adventure by the game’s creator, Merle Rasmussen, an intriguing article on Vancian verbalizations for 13th Age by Ed Greenwood, Leomund’s Secure Shelter by Lenard Lakofka, The Necromancer’s Cookbook by Dave Olson, an article on Djinn by RuneQuest 6 Lawrence Whitaker & Pete Nash, and much more. There’s also comics from Aaron Williams (Full Frontal Nerdity) and Rich Burlew (The Order of the Stick.)

Gygax Magazine #4 is edited by Jayson Elliot and published by TSR.  It is 70 pages (including a gatefold map), priced at $8.95. It’s currently available in PDF format, and in print format before the end of the month. Order directly from the website. We last covered Gygax Magazine with Issue #3.

New Treasures: Trail of Cthulhu: Eternal Lies

New Treasures: Trail of Cthulhu: Eternal Lies

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Eternal Lies-smallI haven’t played Call of Cthulhu or its sister game Trail of Cthulhu in a long, long time. But that’s okay, because I still enjoy reading the fabulously creative adventures.

One of the best — and certainly one of the most elaborate and ambitious — I’ve come across in some years is Eternal Lies from Pelgrane Press. A massive new campaign for Trail of Cthulhu, Eternal Lies is packed full of surprises and adventure.

I originally covered it here when it was first released last year (see my original post for more details), but this week I finally got my hands on a copy. I was not disappointed, even after the lengthy wait.

Trail of Cthulhu is a standalone game of Lovecraftian horror, and one of Pelgrane Press’s most successful and acclaimed products. Set in the 1930s, it uses  Robin D. Laws’s GUMSHOE system, which is also the basis for several other successful games, including The Esoterrorists, Fear Itself, and Mutant City Blues. Now in its third print run, Trail of Cthulhu won two Ennie awards for Best Rules and Best Writing, as well as an honorable mention for Product of the Year.

It is superbly supported, with some of my favorite recent RPG releases, including Rough Magicks, Bookhounds of London, Arkham Detective Tales, The Armitage Files, and two omnibus adventure collections: Out of Space and Out of Time.

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