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A First Look At The Sword of Cepheus for (cough) Travelers in Sword and Sorcery Realms

A First Look At The Sword of Cepheus for (cough) Travelers in Sword and Sorcery Realms

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Art: Stephanie McAlea

I don’t like complexity in my tabletop-roleplaying games. It’s not just my age, I’m also more interested in the adventure than the stacking the of feats and traits. And, as a GM, frankly, the chaotic exploding synergies of games like Dungeons and Dragons make me feel panicky.

However, I don’t like it when glossing over resource management breaks genre conventions — if torches can’t run out, if food isn’t scarce, then players will turn each dungeon adventure into weaponized archaeology.

Unfortunately, I’m also — on reflection — unkeen on randomized emulations that  take away the possibilities and drama created by choice: “Oh, you rolled a ‘1’. Whoops your arrows ran out.” (Some games square this circle a little.)

That’s why I was excited when Omer Golan-Joel announced he was working on a Sword and Sorcery game called (drum roll) Sword of Cepheus: 2D6 Sword and Sorcery Roleplaying.

The Cepheus Engine is the flagship for a movement of indy 2D6 games, all under an Open Gaming License related to a certain classic SF game. 2D6 games are generally old-school emulators, with encumbrances and resource management. However, unlike D20 OSR stuff, they have recursive rules — the clue is in the “2D6” — and skill lists rather than classes, meaning you don’t have lots of bolt-on background abilities and feats, because your skill list is your background and distinctive range of capabilities. Normally, character generation is a mini-game in itself. You navigate a career, with one eye on the possibility of aging badly — chicken versus the Grim Reaper — also generating your own backstory as you go.  It’s not so good for big sweeping stuff, but perfect for adventurers having adventures.

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The Continuing Mission: Star Trek Adventures

The Continuing Mission: Star Trek Adventures

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Star Trek has been a revered franchise for decades, and the FASA Star Trek RPG released in the 1980s is a oft cited classic game. The current RPG, Star Trek Adventures, is published by Modiphius. Supported by multiple supplements, adventures, and a forthcoming Klingon core rulebook, Star Trek Adventures is a compelling RPG that will let you live out your own Star Trek stories, regardless of era.

The game is oriented toward The Next Generation era of Star Trek, but the rules allow and often speak specifically to running games in the Original Series and Enterprise eras (Deep Space Nine and Voyager fall within The Next Generation era). Even the Kelvin timeline (i.e., the new film series with Chris Pine as Captain Kirk). Modiphius does not have the license rights to the newer Discovery, Picard, or Lower Decks series showing on CBS All Access, but adapting the game to suit those settings is readily done.

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Understanding the New Order

Understanding the New Order

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Since Disney’s acquisition of Star Wars and its consequent films and streaming episodic shows — the very good The Mandalorian being only the first of several planned — many would be forgiven for forgetting the very long time between The Return of the Jedi and The Phantom Menace. 1983 to 1999. In that time, novels and comics were the primary vehicle for keeping Star Wars stories going, including the Thrawn Trilogy of novels by Timothy Zahn, published from 1991 to 1993.

For roleplayers, West End Games published a Star Wars role playing game in 1987. This game proved to be successful, and the quality of the material was so good, that Zahn referenced — at the instruction of LucasArts — the sourcebooks when writing the Thrawn Trilogy. With the game, players could finally engage in the universe and with supplemental materials to help expand and frame the universe that was — until that time — largely confined to the original trilogy of films and a poorly received Christmas special.

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Doom, Zork and Wizardry: 20th Century Retro Gaming

Doom, Zork and Wizardry: 20th Century Retro Gaming

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Zork and Zork II for the Apple II (Personal Software and Infocom)

Back in the day, I used to play a lot of computer games. And to be honest, I still spend a fair amount of time each week playing, though these days it’s pretty much limited to Lord of the Rings Online.

I started out in the late 1970’s on the Apple II computers in our high school or at the houses of a few of my friends who were lucky enough to have a computer. I bought my first computer, a Commodore 64, when I went to college in 1981, and played a variety of games on it. I particularly remember Wizard of Wor, which was a port from the arcade game that I loved (my friends and I spent a lot of time, and quarters, in arcades during this period).

Later on, after I’d move to a Windows PC, my wife and I, along with a group of friends and family, used to play a lot of first-person shooters, such as Doom, Duke Nukem, Heretic, Hexen, Day of Defeat, Call of Duty and many others. To this day, several of my nephews and nieces still sometimes address me as Duke, a shortened form of the in-game nickname I used in the multi-player games (and no, it had nothing to do with Duke Nukem, but rather was inspired by David Bowie).

When Deb and I went to law school in 1985, we quickly found one of Cambridge’s top attractions (at least if you were a science fiction fan!). This was the Science Fantasy Bookstore, which was owned and run by Bruce “Spike” MacPhee. We used to visit the bookstore quite a bit during the three years we lived there, and always enjoyed talking with Spike, who was a passionate and knowledgeable SF fan. Spike had founded the bookstore in 1977 and it stayed open until 1989.

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Board Game Review: The Captain Is Dead

Board Game Review: The Captain Is Dead

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The-Captain-is-Dead-board-game-review (1)Anyone else feel like we’re living in a Golden Age of board games? Or have I just been playing more because of COVID? We’re spoiled. Gone are the days of cutting out your own cardboard counters and coloring in your own dice with a crayon.

What, none of you ever played Metagaming MicroGames? They were pretty great. I think Sticks and Stones was the first time I experienced a point-buy mechanic.

But enough GenX 80s nostalgia.

The latest in my personal quarantine parade of top-notch-in-every-respect board games is The Captain Is Dead from The Game Crafters (J.T. Smith and Joe Price) and AEG. I tried this game, originally developed on Kickstarter, with the kids the other night. Everyone had a raucous and exciting time. It’s one of those games you end up thinking about after the box is closed and put away. As a matter of fact, the kids are still talking about it two days later. It’s designed for 2-7 players, though after a couple sessions it seems to me there would be no effective difference if you wanted to solo play handling 2-7 crew yourself; no mechanics would need to be changed.

The premise is that you’re in a starship and have just suffered a massive, Wrath of Khan-style surprise attack from aliens out for a bit of the old ultra-violence. Multiple systems are down. Aliens are teleporting in to occupy the ship. The crew may be afflicted with strange disorders. But worst of all, the Captain is gone, crisped without so much as a “Kiss me, Hardy.”

You could say this game beings in medias res.

And if you don’t play tight and co-oppy, it’ll end there too.

You maneuver surviving officers and crewmen around the ship trying to restore function, with the overriding goal being getting the jump drive repaired so you can get the heck out of Dodge. And that’s the first of the many wonderful elements to this game, there are 18 characters to choose from, ranging from a fleet admiral down to a janitor (color-coded according to their role in the starship’s sub-systems, because cost-saving 60s TV production measures live on through the ages like military specs), each with unique abilities that I believe would combine to make this game highly replayable. There’s even an ensign, if for some reason you want the rest of your co-opers to constantly yell “Shut up, Wesley!” at you.

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Many Paths of Character Creation

Many Paths of Character Creation

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For many RPG gamers, creating characters is one of the highlights of gaming. They get to make significant choices and craft and hone their character to their vision. If they are invested in the character, players typically engage more in the collaborative storytelling environment that RPGs are. For many players, this is the most creative time in the process, for thereafter they engage in the setting as laid out by the game master (GM). They may have an influence on the game and that setting, but the act of creating primarily — if not exclusively — resides with the GM after character creation. Even in truly sandbox games where the players can go wherever and do whatever, they are operating within the construct of the GM.

RPGs across the spectrum devote pages to character creation, often taking up a significant portion of any rulebook and entire supplements that provide new options. Most games lay out these options as a series of choices the player makes — though always reserving GM fiat.

Dungeons & Dragons, Star Wars: Force and Destiny, and others use a process whereby you select a species (if applicable), select a career, apply a number of adjustments to the basic character template, and then make choices about talents and specializations and skill choices. The names may vary (class, feats, etc.), but the basic principles remain. For example, in Force and Destiny from the core rulebook, players choose from one of eight species. These have default attribute score adjustments and some level of unique trait or ability (breathing underwater for Nautolans for example). Players then choose from one of four careers and then choose from one of three specializations in that career. One of the narrative or logical challenges with this construct is that if you want to play a 40-year old human smuggler, you may have the exact set of skill points, etc., as other players, who may have a 20-year old bounty hunter just making her mark on the world. Truth be told, this is not a significant challenge, but one nonetheless. Particularly in class-based systems. My 40-year old cleric is at level one — the same as that 20-year old barbarian.

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A Rough Guide to Glamour Goes Gold

A Rough Guide to Glamour Goes Gold

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I always enjoy catching up with my Australian friend Michael O’Brien (“MOB” to his friends). We met back in the nineties when we were part of the so-called Reaching Moon Megacorp, a group of ardent Glorantha fans working on the pioneering RuneQuest/ Glorantha magazine Tales of the Reaching Moon – he was an editor, I was the dogsbody. (I should mention that MOB is a director of the Chaosium now, alongside our American Reaching Moon Megacorp colleague Rick Meints – it’s a small world, sometimes).

As MOB and I live on opposite sides of the world, we usually only bump into each around conventions. And so, the last time we met was at Dragonmeet in London last November. MOB was about to launch the Jonstown Compendium, Chaosium’s community content site for RuneQuest and Glorantha on DriveThruRPG. And he talked to me about things that might now be possible…

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An Inaudible Blast from the Past: Silent Death — The Game of Spaceship Combat (Part 1)

An Inaudible Blast from the Past: Silent Death — The Game of Spaceship Combat (Part 1)

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Silent Death – Metal Express original box set (Iron Crown Enterprises, 1990). Art by Angus McKie

What do a fantasy miniatures line and a contemporary science fiction novel have in common? Not much at a glance, but if you put on your Dirk Gentley’s Holistic Detective Agency hat and apply the theory of The Fundamental Interconnectedness of All Things, a relatively straight line can be drawn between the two.

A recent post here at Black Gate about Chaos Vector, an exquisite looking new novel by Megan E. O‘Keefe, got my attention. While I dearly want to lay my hands on it (and its forerunner, Velocity Weapon), what really piqued my interest was the beautiful SPAC (Single Person Attack Craft) with its forward swept wings on the cover.

You see, it looks quite a bit like a ship called a Talon, from the beloved space combat game Silent Death. Which triggered this article, and a step back in time to the late 1980s…

Iron Crown Enterprises (I.C.E.) was a game publisher known mostly for their successful Middle Earth Role Playing line and the complex Rolemaster fantasy role playing game. They released the Rolemaster Future Lore book in 1985 , which subsequently spawned the SpaceMaster Science Fiction line (stay with me here). Star Strike, a space combat game for SpaceMaster, was created by Kevin Barrett and released in 1988. That could have been the end of it, and this article could be covering Star Strike, a game I’ve only read about…

It did not end there! While Star Strike was relatively successful for its time, it was dogged by its heritage. Even though it was a fast-paced space combat game, its association with the notoriously crunchy SpaceMaster came at a cost. While Rolemaster and SpaceMaster had loyal fan bases, plenty of gamers found them to be overly complex and rules heavy.

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Maximizing the Crunch: Dystopia 23

Maximizing the Crunch: Dystopia 23

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In my last article, I reviewed one of the most rules light systems I have ever read. Some game masters (GMs) and players like games with a hefty amount of crunch — that is, game mechanics that require dice rolling or calculations and with a level of specific details for certain types of tasks. Dystopia 23 may take this to the most extreme I have ever experience. The Primer is 149 pages. By comparison, the quick start rules for The Expanse were 42 pages. For The Witcher TRPG (called Easy Mode) they were 32. For Cyberpunk Red Jumpstart Kit, two booklets were a total of 98 pages — including a lot of flavor text. In terms of crunch, Dystopia 23 pummels those quick start rules into the ground.

When the Dicegeeks podcast interviewed Dystopia 23’s creator, Jason Carruth, he made no bones about how he loved to see a lot of crunch in a game. He reveled in the joy of designing crunchy games.

Before I cover the mechanics, however, let’s talk about the setting. Dystopia 23 covers familiar cyberpunk ground. The game takes place in the 23rd century. After economic collapses and mismanagement, the corporations have become the power in the world. Hordes of impoverished people struggle in the sprawls — vast favelas and slums that buttress up to the walled cities where the middle and upper classes live. Sprawls are unpoliced anarchy, which gangs and other various power brokers seize upon to exert control, often with as careless disregard of human lives as corporations. Even the cities are divided, with corporations having purchased areas for their exclusive use.

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A Report on Modiphius’s Robert E. Howard’s Conan: Adventures in an Age Undreamed Of—Part Three

A Report on Modiphius’s Robert E. Howard’s Conan: Adventures in an Age Undreamed Of—Part Three

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In the previous two articles in this series (Part I and Part II), I have explained Conan 2d20’s core mechanic, character structure, and combat. I believe that this is what is required to begin to “grok” the principles of this game. For the concluding installment in this discussion, therefore, I will address criticisms, provide “mini-reviews” of the various Conan 2d20 supplements, and point to the overall Conan gaming community.

My online Conan group initially formed around me as GM. I ran two adventures over five sessions. Currently someone else is GMing and is soon to pass the “story stick” to someone else. This method of shared GMing, I believe, is representative of Robert E. Howard’s source material: episodic, (in our case) “main characters” come and go.

The current GM once gave to me what I think are accurate estimations of Conan 2d20 overall. He gives the artifact of the game (beautiful, full-color art throughout, well-bound, a place-ribbon included in every volume) and the system itself an “A.” Rules presentation he awards a “C.” He says, when he recommends Conan 2d20 to prospective gamers, he feels like he is recommending a friend who he knows is lazy to a job interview.

The laziness, perhaps, results from rules presentation. The book forces quite a bit of cross-referencing to figure out some of the particular action resolutions. Moreover, the reader must learn that some terms, which may at first appear to be synonyms of each other, likely have particular meanings in terms of game mechanics. This confusion is mitigated only partially by the use of capitals to denote particular mechanical functions. A lot of the rules, unfortunately not always expressly stated as such, must read as logical propositions, i.e., “if A and B, then C.” And this sort of reasoning delightfully spills out into the forums. Also on the forums are outright new rules constructions and innovations, usually to fill in what has inadvertently or by design been left out of the book. To be clear, the rulebook often states its ethos as being a flexible system wide open to GM rulings, but this assertion is compromised by the presence of Skill Talent trees: it is not unlikely that a chance GM ruling or group consensus, which may result in a campaign precedent, will “invade” a feature conferred by a Talent, which consequently invalidates the worth and usefulness of that Talent. With this measure of ambiguity, Conan 2d20 rules lawyers are likely to find many opportunities to bring suits to court.

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