The Historian Tales (First Three Books) by Lance Conrad, Book Review

Lance Conrad

I met Lance Conrad at the 2017 Salt Lake Gaming Convention. A friend and I talked to him about his books and were intrigued about the idea of a series of books where the link between them was the narrator. Between the two of us we bought the first three books, which were available at the time of the series.

I read the books in order of publication: The Price of Creation, followed by The Price of Nobility, and ended with The Price of Loyalty. However, the order they are read doesn’t influence the stories. The only character who is present in all of the books is the narrator, the Historian. The Historian travels across time and place collecting stories. Each book is the retelling of one of the stories he has amasses over time.

The three books were set in fantasy. Two of the three had elements of magic while the other was based in a kingdom with a dethroned king. Each book is only about 230 pages. The length works well for the style the stories are told in.

Each story is told to impart a moral. The books start when the Historian comes across a situation where a story is developing and stays with it until the story runs its course. Once the story ends the Historian moves on to find another story. From the telling, and style of the writing used, each story is presenting a lesson for the reader. Lessons can be taken away from almost everything we read. And, in the Historian Tales, this intention is clear.

The Price of Creation

The Historian comes across a village where a child is born who is different. His family shelters him and helps him to develop his own talents. Eventually, the community drives the young man out. This leads him to find his meaning for life and how he can help the people he came from and those who have been their enemies for as long as they have known.

 

The Price of Nobility

The Historian enters a kingdom that appears to be doing well, but the kingdom is struggling with the succession from the founding king to his son. A small group who were loyal to the father, and the kingdom, have a plan to help the son become a better king. The plan takes a dangerous turn when the kingdom is overthrown by the barbarians the founding king fought. The new king now must retake his thrown.

The Price of Loyalty

The Historian enters a land where people become inflicted with magic. There is a lone sorcerer who discovered how to control the infliction, and his earlier intent of helping others has created horrible consequences. A small group must face a larger group of the wizard’s early students who are using their abilities to enslave the people of the land.

The reading is a lighter read for adults and can be easily read by young adults and middle school ages. Concepts are well developed so that when a scene is presented the Historian than gives the reader what it means or how the other character is reacting to the stimuli of the moment. This development of the reasoning compliments the style of being taught from a story.

The Price of Creation, followed by The Price of Nobility, and ended with The Price of Loyalty are good books for younger readers and to be shared with them. The point of view coming from the Historian as narrator allows the stories to be easily read aloud to an audience.

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Diani and Devine Meet the Apocalypse, Movie Review

Diani and Devine Meet the Apocalypse looks at surviving an apocalyptic event by the common man. The apocalypse has come and Etta Devine and Gabriel Diani are a comedic couple in Los Angeles faced with making the decision of what to do.

It all begins as a simple blackout. Since everyone has dealt with a blackout before they do what I think we would all do, they wait. The situation doesn't get any better. They eventually find out it's not just a local problem, but still consider the situation something the proper authorities will resolve.

After the water and gas to their apartment run out, the decision to stay in LA changes. They decide it's time to leave. They pack their essentials into their car, which is a great play on modern society and what so many people consider essentials for living, and leave to seek shelter with a friend living in a commune. Their first stop is to get supplies at the local market.

As anticipated the market has been picked clean of anything useful. However, they do meet some old friends for a nice chat to catch-up. When leaving the store, they have their car stolen (by police officers). Even though they have a destination, they need to find a way to get there.

The rest of the movie is about their encounters and how they deal with them. I'm not going any further into the story because I keep going back and editing out spoilers of the parts the made me laugh. I will say that even though I saw a number of the jokes being set up, they were delivered in a fashion that made the movie work.

Diani and Devine Meet the Apocalypse ties comedic elements with real concerns about what could happen when we are faced with a societal calamity. It uses an over-the-top approach to explore the problems a common couple have to deal with. But, even with the serious topic, the humor is not lost and is heightened by the sharp counterpoint of the issues and how they deal with them.

Cast and Acting

I was seeing myself and people I know portrayed on the screen. Along with their own talents, the casting of the rest of the characters is a success. Everyone fits the characters they're playing. Of course, some of them are being played to an extreme level, which is done with a near perfection. Even when it was a clear setup to a visual gag, it was delivered with timing that increased the fun instead of dreading the outcome. You can tell Devine and Diani are based out of LA with the people they have showing up on screen with them.

Writing

With the extreme aspects of the plot it could be easy to lose the story. The story of Diani and Devine Meet the Apocalypse pulls it off with great writing (winner at FilmQuest for Best Screenplay) and directing (nominated for best director). This could have gone the other way because Etta Devine and Gabriel Diani wrote and directed their movie, along with starring in it. I am willing to suspect they filled in on other areas. Some works where the creator(s) are this heavily involved can go bad as they become so serious about the "ownership" and outcome of their film. In this case, the outcome is opposite with a presentation that is not only owned by them. Every actor/character feels like they are completely involved.

Overall

I saw Diani and Devine Meet the Apocalypse at the 2017 FilmQuest Film Festival. It was nominated for award in five categories: Best Director, Best Actor (Gabriel Diani), Best Costumes, Best Ensemble Cast, Best Screenplay (Winner), The Minerva Award – Female Filmmaker Prize. Other noted cast includes Barry Bostwick, Kirsten Vangsness, Johnathon Silverman, and Cole Stratton. The movie runs 90 minutes.

It is currently making the rounds on the film festival circuit.

The combination work Devine and Diani put into their film creates a synergy between the various roles to give us characters (who may be based on their real lives) who are true to the story. The portrayal on the screen is great as they succeeded in directing themselves and the rest of the cast.

I can see this comedic adventure into a near future apocalypse becoming a cult classic. Some movies make this because they are so bad, while others do it because they are good and fun enough to see more than once. Diani and Devine Meet the Apocalypse as being part of the second category.

There are subtleties shared in the movie that kept me and the people I was sitting by watching. I know a missed some, and would be interested in going back just to read the T-shirts.

I give Diani and Devine Meet the Apocalypse 4 out of 5.

This article is submitted to Utah Geek Magazine.

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True 20, RPG Review

There are a quite a few game systems developed from the open gaming license of Dungeons and Dragons. There are advantages for having these different systems. One is the ease of use. Being familiar with one rule set makes it easier to learn the new one. Another is the new game can utilize the system to make it specific to the style of game the variant wants to support.

True 20 Adventure Roleplaying, designed by Steve Kensonand published by Green Ronin Publishing, is a system that was developed because of the desire to support a specific genre, romantic fantasy, and game Blue Rose. However, the systems early popularity brought about a game system, based on the d20 model, which can be used for other genres. This works, in part, because romantic sub-plots are in storylines used in gaming—even adventures where is seems like romance is furthest away. And, True 20 is presented in a manner to help inexperienced players get involved quickly in a role-playing game (RPG).

The basis of the True D20 system is it is centered more on the characters and the stories they are creating instead of the combat. This focus allows it to be easily used for any setting or genre because RPGs are the characters and the stories they are creating. This is not to say the system doesn't support combat, but the style feels more character driven. To see how this works in different settings the book provides information in the back portion of the reading.

Roughly the last 50 pages of the 200-page book presents 4 setting game masters (GMs) (this system calls narrators) can use directly or as guidance to creating their own setting. These great examples show the breadth of settings the system support: Caliphate Nights, Lux Aetuernum, Mecha vs. Kaiju, and Borrowed Time. Each has enough information to get you started, even in the short space they are presented in.

The first three-fourths of the book provide information for players and GMs. The base rules have been slimmed down to create a system that is easy to step into and use. Some points requiring conversions in the parent system are removed. An example of this are the character's abilities. Instead of creating a score within a certain range and then determining the adjustment that score gives, the scores are listed as the adjustment. An average score is 0 (zero) and can start from -5 to +5. No conversion is needed to apply the ability.

Character classes, which they call roles, are another example of streamlining being done to make the system applicable to any genre. True 20 has 3 roles: adept, warrior, and specialist. Adepts are characters who have supernatural powers (spells). Warriors are experts in fighting. And, specialists cover characters who are experts in a skill set other than something supernatural or fighting. This method of characters works well. Skills and feats are tweaked to fit the system's roles.

Skills and feats are presented in an easy to read and understand format. Examples of common uses of skills is provided in a table format for quick reference. Feats are presented for general use and for each of the roles. Any character can gain a general feat, but only characters of the named role can gain feats in the specific list. Players can create characters of multiple roles giving them a broader base of skills and feats, but lose some of the higher specialization. This is something players of d20 systems have come to expect and understand.

Along with character creation section, there is information for a narrator to create and run a game. Again, the system has the feel of being designed for newer GMs, but if you are experienced don't let that make you feel it is overly simple.

In playing RPGs for many years, I have found most players like playing in different genres. In earlier games, it was always about learning a new system. With a game system like True 20 the ability to move from one genre to another is easier. No one at the table must learn a new system. You don't even have to learn what the new classes are. Just get your group together, decide the setting, create your characters, and start a story.

Rewritten from original article published by Utah Geek Magazine.

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Dunkirk, Movie Review

The evacuation of hundreds of thousands of men from Dunkirk during World War II was a heroic undertaking by the British civilians. It was a harrowing experience for the men who were trapped on the beach. Being able to portray the events is an undertaking that requires a balance of showing the gamut of emotions involved for all those who were there.

Dunkirk, written and directed by Christopher Nolan (The Dark Knight, Inception, The Martian), succeeded.

The events are told from three different perspectives, one from the beach, one from the water, and one from the air. The three stories intertwine around a set of events to tell a greater story. The audience eventually sees the main events that tie the stories together from different points of view. Because the set points tie the stories together at the end there is a little bit of time-jumping when the story goes from what has been happening on the beach over the previous day to what is happening on the day of the evacuation.

Dunkirk plunges you into the story without the now traditional scrolling of titles of who made or is it. This sets the emotion from the beginning. This is not an action-packed movie. Here you have the steady build in tension. It builds and then there is a minor release of pressure and then back into building the tension of the situation. When you get to the end of the movie the release of the tension in the film is reflected by the audience. The build in tension was almost overwhelming at times. The points where you can catch your breath are short.

Recently the trend has been to show the gore of war. The direction in Dunkirk is towards the emotional impact and the horrors of war are not portrayed by showing the splattering of men, but by the weight on their spirits. This doesn't mean death is not shown, it is about WWII. The randomness and confusion of war is shown throughout. The audience is drawn in by the connection on the emotional level to the characters.

The acting, directing, editing in Dunkirk were outstanding in developing the emotion. There is little dialogue, but the expressions and scene development tell the story in a stronger way. Expressions captured tell more in the scenes than the words spoken. At a few points, there was enough background noise, from the war, that made dialogue hard to hear.

Overall, I expect to see Dunkirk recognized when the award ceremonies roll around. This is not a movie I would take younger viewers because of the subject matter, and sudden explosions. The film brings the feeling of being there, in the situation with the men on the beach, and not just watching it from the comfort of a seat.

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The Dark City, Hork: Political Power Structure

Orc King by Mananedo on Deviant Art

As a city ran by orcs, Hork is a place where leadership is based on strength and power. The Black Fang tribe has been able to maintain the controlling seat, but a large portion of that is because the clan has also been able to establish strong ties with the main temple and its ruling priests.

There are three main power based in the city of Hork. The tribes are the first level of political power by maintaining the most visible source of physical strength. The temples and priests are next. They demonstrate some of the same traits as the tribal leaders, but also maintain a level of under-current manipulation of politics because they can stir the hearts of the common orc. The last is the combined strength of the thieves' and assassins' guilds (or are they one), which have more control of what happens when a distraction draws the citizens of the city to look the other way.

The Tribes

There are seven major tribes of orcs in the city, and many smaller ones. The tribal structure is considered to be the main social structure, even though there are a number of other influences. Each of the seven major tribes has their king sitting on the Kings' council. Calling it a council is a loose term. The main authority is still in the hands of the Greater King, who, since the founding of the city, has been the leader of the Black Fangs.

An ever shifting balance is maintained between the Greater King and the Lesser Kings. The balance is almost always in a position of falling. But, it is maintained by a system of gifts, bribes, assassinations, alliances, and whatever else the different kings can use to advance their personal or tribal cause.

Alliances between tribes exist, and, like the rest of the politics, always in flux. Orcs are usually not subtle and maintain a level of order through many shows of force and intimidation. And, even though they are not as good at ruling by intrigue like other races, there are individuals who are capable practitioners. Each tribe, and many other organizations, maintain their own standing forces to use in protecting their interests. Many times, the only thing keeping full scale battles erupting in the tunnels of the city is the knowledge of retaliation.

The Temples

Orc Cleric by Ogurec-Ubica on Deviant Art

The orc priesthoods in the city are another potent force that allows some coherence between the tribes. The priests are from different tribes and are bound by their oaths to the temple they serve. The smaller tribes are overly represented in the priesthood (along as in many of the guilds), because of the additional protection the membership gives.

Like the tribal leaders, orc priests work to protect the interest of their chosen temple and deity. The conflict between the temples is not as open, but just as active. The orc Gods enjoy war and a show of strength and are known to reward those who demonstrate their worship in such a manner. Thus, small battles between the temples are more common than the tribes. It really is not uncommon for a lesser priest to go on an errand in the city and not return.

The clergy have continued to develop their ability to influence the kings as the voices of the Gods. Priests who are members of the stronger tribes can bend the ears more easily. But, even those from the lesser tribes eventually have some influence because the strength of the temple can provide enough influence in arms and followers to make a point in a council meeting.

The Guilds

Orc Assassin by Benedickbana on Deviant Art

Throughout Hork there are many guilds to help the lesser citizens gain some protection through association. The different trade guilds look after their own, and members who become skilled at what they do are found to be worthy of protection from other more powerful patrons. Each guild works at making their members valuable to the ruling classes and the strong individual citizens.

Two guilds, the thieves and assassins, have developed a place in the fringe of the workings of the other elements of power by being able to provide their particular brand of influence. They have never been seen openly as promoting a political agenda. The leadership is always cautious of maintaining a certain type of neutrality. So, when power is shifting the guilds can take advantage of the situation without losing their station.

Those in power in the city need to be prepared for the challenges their positions gain them. Each maintains their strength on different levels and ways. The level of intrigue in what other cities would call the royal court might not seem subtle to an outside observer. But there is also political intrigue taking place in other parts of the city: the markets, homes, back halls, and dark corners.

Along with the main political power sources there are individuals who exercise their will. The ebb and flow of strength shifts constantly and only those participating in the taking or power watch closely to maintain their positions.

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Eschaton, Cult Strategy Deck Building Game, Game Review

The time of the Dark One's rising is getting closer. As Armageddon looms, the factions are striving to gain the glory of being the true followers. Building the cult by gaining worldly and other worldly followers. Looking for artifacts. Battling other cults. Preparing for the day of reckoning where one cult will be raised above the others to be the chosen of the Dark One.

Eschaton is a deck building game, from Archon Games, pitting the players against each other in a dark fantasy world. Each player starts with a deck of seven cards and play a hand of five cards. Unlike some deck building games Eschaton does not rely on building connections between the cards. Instead, there are four attributes that different cult members represent. The hand is built, the scores for each attribute being played out in order.

Zeal allows the player to add more cards to their hand. No one starts with zeal. And certain cultist inspires more zeal in followers bring them out, in turn, making a player's hand bigger and adding to the scores of the attributes, if more zeal is added in the draw, then more cards are added.

Divination allows draws on the Arcana deck. This additional deck includes artifacts and other worldly followers that can be added to your deck. These build on your attributes, count for victory points, and affect play in other ways. In our game, my friend was able to add a card that every time it came into his hand he was able to curse another player, giving them a penalty.

Me taking some notes at the start of the game

Influence brings in more followers to your cult. The greater your influence the stronger the followers you can attract. This allows you to gain greater ability scores from a single card.

Aggression brings in the game board. The cults share the known world and it is through a player's aggression score that they are able to manipulate events on the board by adding and moving their own forces, or removing another person's markers from play.

Since the cards are score keeping your abilities, we found there is no reason to hide your cards when it becomes your turn. We started drawing the five and turning them over. This allowed for some quicker play because you weren't needing to look at the combinations that could be created. This was a great advantage also for learning the game.

A player can also shrink their deck. Along with building your deck you can sacrifice cultist and remove them from your deck. This is an interesting strategy that allows players to manipulate their deck to bring the stronger cultists into play more often by sacrificing the weaker ones needed earlier in the game. You don't have to sacrifice them and doing so doesn't count for or against any final scoring. It is a strategy move a player has to decide on doing to manage their deck.

The final deck used, the Event Deck, is the time keeper for the game. This is a semi-random deck that is built with Event and Omen cards. At the start of each round a card is turned over. Event cards effect play for that round. These can be random twists causing adjustments in strategy to cope with the event. Omen cards are longer term strategy changes that earns favor with the Dark One, victory points. Those stay in play until the next omen card, or Armageddon. Near the bottom of the deck, the Armageddon card announces the return of the Dark One, at the end of the round points are tallied and main cult is raised to glory while the rest are cast down.

Our game in progress

Two of us were able to sit down with one of the developers, Adam, to play Eschaton at Salt Lake Gaming Con this year (2017). The game was quick to learn and we were quickly into the full swing in the first round. Our event deck hit Armageddon on the seventh round, with two Omens going into play earlier. Our Seven round game went a few minutes over one hour. Our final scores were within seven points from high to low. And my friend came out on top of the developer.

Strategies

In our initial game three different strategies were being used. I was building world forces (aggression), my friend was building on divination, and the developer started out with zeal. As the game progressed I could tell there are other strategies that could be used. Strategies would also work differently with the number of players.

We had three players and there was limited contact on the game board. Eschaton is designed for up to 6 players, and the more there are the great the contact, and therefore, the aggression level. Strategy must take into consideration the number of people in the game.

Replay-ability

The variation in the artifacts deck and the event deck means that every game is going to have something different players have to deal with. Competition for the scoring from the Omen Cards will increase with more players. Personal decks will vary as different cards are added to reflect different strategies.

By changing the size of the Event Deck the length of the game can be varied, which will also impact strategy choices. We played 7 rounds, and the game definitely would have played out differently if we played with a deck that allowed for twice that number of turns.

Artwork

Some of the cards

The majority of art is done to match the theme of evil cultists. Most everything is done in black and white. However, the stronger cultists are done with more color, making it easier for them to be identified and advancing the feel of the theme presented. The art on the cards provides eye appeal during game play.

Overall

Eschaton is a good strategy game. It provides replay-ability and variations to the strategies used and how those strategies develop.

The setup and cleanup of Eschatonwas easy. The only constructed decks are the Event Deck and player decks. Cultist and markers are set out and the Divination Deck is shuffled.

The game is designed for ages 14+. I am sure this is because of the theme of the game. The rules were easy to learn and because you can play with an open hand on your turn, younger players can be helped without worry of over influencing their choices.

Eschaton is designed and produced by Archon Games (Web Page) (Facebook page)for 2–6 players, ages 14+. A game is designed to last 1–3 hours (and this is in controlled by how big you make the Event Deck).

Armageddon has arrived. Each cult bares themselves to the Dark One to see which one will be raised up. Fire blazes out consuming those judged unworthy while you and your fellow followers look on.

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Some Thoughts For Those Who Don't Understand Why I Game

Some of my games

I don't understand why people who don't play games feel it's their responsibility to tell people who play games that we are wasting our time and there is no benefit in what we choose to do as a hobby. I can speculate why, but I don't see it worth my time or effort. I was brought into a conversation because a younger gamer was defending themselves as a tabletop gaming and they just didn't have the experience of dealing with the situation. Being a gamer in their 50s with a career outside of gaming seems to add a little stability to an unwanted confrontation.

It isn't a pleasant situation when someone tries to push your buttons, we all get a bit flustered and feel like we have to defend ourselves. But having solid reasons for what you like to do, without telling others they are bad or have to do what I like, is a strong starting point. Here are some of the reasons I presented that may work for others.

It's a Hobby

Playing games is a hobby similar to hobbies other people have. There are people who are crazy about their sports teams. They can tell you about how each member of the team plays—many times with statistics going back to their college career. Other people do wood working, needle work, art, reading, or tracking their favorite television shows and celebrities. Playing games is a hobby like the hobbies other people do to pass the time. Some of us choose electronic games, some physical games, and I choose tabletop games.

It's Socializing

I can sit down with a group of friends and relax. We might not be at the bar or the club, but we can have a drink of our choice in a setting allowing us to enjoy each other's company over a game. Our games are usually interrupted by comments being made about current events in people's lives, what's coming up and the color commentary of what others just did. Admitted, there are times when we have a game scheduled that we are into the game, some require that level of committed participation. I game because it gives me a chance to be with friends.

It's Inclusive

One of the gaming areas at SaltCon

I agree with people that playing on team sports are great group activities. Take any cooperative game, and almost all role-playing games (RPGs), and you have the same atmosphere. I see an additional advantage to tabletop gaming that team sports don't have—the inclusive participation. Sports have more limitations on who can play. I was almost always the last person to be picked in gym class. I don't hold any grudges about that. I have bad eyesight which affects other aspects. My skills in throwing balls, catching them, skating, etc., etc. are affected by my eyesight (I don't play electronic games because first person games make me motion sick). But, none of these limitations stop me from playing games. The limitation we face is the number of players. Then, if a game doesn't support the number of people we have at a gathering, we just play more games.

It's Learning

Sport teaches people how to work as a team. The same applies in games, especially the role-playing games. RPG players take on many different roles in the games they play. Like in sports, we are more familiar with certain roles that are played. Then, there are the times we break out to try something new. We take on the role of the vampire, werewolf, the monster hunter, the starship captain, the reporter, and the list goes on. Each time we take on a different role we have the opportunity to learn, just like those other hobbies people are found of doing.

You learn how to plan ahead. Games are about strategy of one sort or another. Life requires to be able to plan ahead to accomplish long term goals, like winning a game.

The learning goes further. Playing a historic war game gives players the chance to learn about the war they are playing. Many war gamers I know also know more about the wars the play because they read about them. This is in part because they find something of interest, and it provides them with better understanding of the strategies of the time and how they impact their game play.

Many game themes teach. If you are playing a resource management game, you learn how to manage other resources. When you are playing a game like Coal Baron, you learn a little more about coal mining. You're not learning a lot, but it gives some understanding. Something that allows a person to understand a conversation, and learn more from what they are hearing.

I have seen businesses using cooperative games to help team build. I know where one department used Pandemicto teach concepts of working together and breaking out of silos. Only a couple of them were game players to begin with and none played RPGs. They now have a regular RPG group

Running an RPG teaches management skills. Sitting behind the screen and coordinating the activities of the rest of the players around the table uses many of the same skills used when running a successful business meeting: everyone needs to be involved, you can't let a single person dominate the entire time (just when their expertise in the area requires it), the meeting goal needs to be either successfully accomplished or progressed on, and everyone leaves feeling good about what has happened, (even when it goes against their desires). I have met a number of business managers who played when they were younger, or still do.

Part of SaltCon's game library

Writing an adventure gives opportunities of more creative learning. I like to research out parts of the adventures I am writing. In creating a knightly order, I read about the Knights Templar, Hospitallers, and the Knights of Rhodes. Other game masters I know do the same thing, especially in running games that are set in historic or current eras.

It's Fun

I define having fun by enjoying my time spent doing something, and that includes playing games with friends. I like playing all sorts of games. And, the games I play with one group of people are different than the ones I play with another. They all have the common thread of having fun. I know some who only like to play games that are more competitive in style. Those games designed to eliminate one player at a time until only one person is left. Some like to play the games that are humorous in nature with less strategy. For me the game isn't the determining factor, it's the people. Right back to the socializing, the fun of the moment with people I enjoy spending time with.

The reasons I play games are the same reasons I have friends who like to go to concerts, clubbing, sporting events, the gym. We like to have fun with people we want to be around.

Finally, gaming is not an exclusive hobby. Everyone I know who is a gamer does other things. We go to sporting events. We go dancing and drinking. We go to concerts.

Later in the evening after the conversation I was drawn into there was a shift. One of the people who initially making derogatory comments came back and expressed they really didn't know anything about RPGs, and wanted to know more. They became interested in the idea that they might even try a game that fit into one of the television shows they currently enjoy, The Walking Dead.

Overall gamers are like everyone else. We are a little weird about our hobby at times, but I still haven't bought a car to reflect my favorite game colors.

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Playing One Game System or Many, Part Two

The first part of this series of articles was about the benefits of choosing to play one role-playing game (RPG) system. This installment looks at the reasons for choosing to play multiple RPG systems.

Most games are written to fit a specific genre, style, or setting of game. When I bring this up in discussion, I usually get a look and a nod that says, "Duh." Yes, Star Trek is written for a specific game and setting, while Star Wars is another specific setting. I'm sure this isn't surprising to anyone. I have played both of these settings (in several different editions) and they don't cross over. So, if you are a fan of science fiction and not just one of the settings, you will need to learn both to play both.

Playing two systems like this at first doesn't seem like an advantage, but it can free up the gaming group. I have seen this work great when two members of a group traded off running their games.

I was invited to a weekly game where the group had two game masters (GMs) running very different settings: Shadow Run and a high magic Dungeons and Dragon campaigns. One GM ran his Shadow Run adventure. He ran it over several weeks until we completed the adventure.  Then the other GM took over at the table on the following week to run his adventure. When he completed his, we switched back for the next one in Shadow Run.

The switching between systems gave the GMs more time to prepare. After completing an adventure, they each had around a month to work on the next one, removing a lot of pressure. This allowed them to work on encounters and adventures that were a lot more in depth. Each GM could take notes from their last adventure, ask questions of the players, and weave more into the plot lines of what they were working on. This, in turn, gave us, as players, a lot more to work with during the gaming sessions.

Different systems support styles of play designed for the setting, which leads to greater creativity. Even when the settings are similar, like being in the same genre, you can get a different perspective of what you want to do because the system focus is going to be different.

Our main group has a side group that meets on an irregular basis. This is a family group that plays more on a spur of the moment basis. Then there are times when others of us join in. They play Rune Quest, which uses a percentile, or d100, system. The main group plays D&D 3.5, or a d20 system. Knowing both systems has led to some carryover of concepts from one system to the other. The players start trying actions that are more applicable for one system when they are facing a situation in the other. It doesn't always work, but it is fun to see what comes out of the attempt.

This creativity carry-over even happens in more diverse games. When playing a space opera you come into regular situations of dealing with zero gravity. When playing a multidimensional campaign (think like Sliders or Stargate) you are dealing with having to explore new settings without much beforehand information. Yes, some of this may already be in your fantasy or superhero game, but the focus of the game is different. And, like similar settings, after playing something it is a part of your personal background that you can bring into a new game and a new setting.

One of the biggest carry-over experiences I've seen has been from going between higher narrative games and higher strategy games. We have played some narrative heavy games where the description of the event is more important than the rolling of dice for determining the outcome of an encounter. When returning to a game focused with higher levels of mechanics, the extra description might not drive the outcome, but, it pulls the players into the event and they give a higher level of description of events based on what the results the dice are driving.

As you play more games it becomes easier to pick up new games. I talked to a person in a game store who was interested in playing an RPG they saw, but they were concerned it was going to be hard to learn a new system. The first game system may have been hard enough. The second may also be hard. Then, as the number of systems you know (or just familiar with) grows, the next one is easier to learn. A base of knowledge develops that can be drawn upon. More reference points have been created to start from when learning the variations in the new system.

For me, the greatest advantage of knowing more systems is moving beyond needing a system. I've seen this happened in two ways.

The first is being able to run a game on a complete narrative basis. Once you get the players away from being tied to a particular system for their game, they don't need a system to play. I've also had this work with players who don't know any system and want to learn role-playing, thus, not being tied to a system. I've used this when doing one-shot adventures. The group decides on the genre and characters are built with only basic description. The GM then provides the starting setting and the game is underway. Without the confines of a rule set, the group is doing improvisational role-playing—the adventure unfolds as the story is created by everyone. This is a narrative driven by the descriptions given by the players, including GM, around the table.

The other way is being able to build a game system to fit your particular campaign. Our group is always coming up with different ideas of game settings. They might be part of a larger genre, but more in the obscure corner, hiding under the blanket, behind the dresser. Our GMs can take their ideas and build on them without having the concern of how it fits into a set system or gaming universe. One such campaign was a post-apocalyptic mutant setting. Each player was playing a mutant, designed from the earliest edition of Gamma World, skills were develop using ideas from GURPS, then to top it off we were using a pass/fail system for advancing a character's skills. It might sound confusing, at first, but it worked.

For me there is no wrong way of playing RPGs. There might be a wrong way for playing an RPG, but I would rather have the fun of the socialization than working through the particulars of a given rule set. So, I lean towards playing all sorts of different games and systems. It doesn't make my way right, it's just who I am. Each of us has to find what works.

I encourage you to get a feel for what you like, what your group likes, and run with it. You don't have to be like me with over a hundred game systems on the shelf. You don't have to tie yourself into the one system that you were introduced to. Just be you.

Grab some dice, if they're needed, some friends, and have some fun.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

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Wonder Woman, Movie Review

My wife bought tickets in advance to see Wonder Woman. For people who don't know my wife this doesn't mean much. But for those who do, this is big. My wife is not into geek culture, and for her to want to see a comic book hero movie tells me there is a lot of expectation. In short, we enjoyed the movie and I recommend it. However, expectations are double-edged. I know others who had expectations for Wonder Woman and felt let down by the production. It really came down to what was expected.

Wonder Woman is a character driven story. The hook at the beginning of the movie ties in with the last DC movie, Batman v Superman: Dawn of Justice, which for one friend was the first nail in this movie's coffin (they brought forth their dislike of that movie and started applying it). Once the tie in is made, we are taken back into Diana's origin. The first section of the movie shows her growing up and training. Because she grew up in isolation from the rest of the world, this is not an action sequence.

The fight scenes are restrained. This is not to say there aren't any, there are, and they do some amazing special effects. But, the scenes play out in a shorter time frame than other movies in the genre. This allows for the story to move along and cover a lot without getting so closely tied into how the fight went.

Characters are portrayed for the time frame of the movie. Two people who expressed their displeasure of the movie was because to them Diana wasn't the character they grew up with from the Justice League cartoons. They wanted a strong, intelligent leader. Instead you are presented with a naive woman who is discovering the larger world of men after four years of World War I. She is still presented as a strong woman upholding the ideals she has grown up with, she is faced with the atrocities of war. She is forced to face her own standards and come to a decision of what she is willing stand, and fight, for.

The characters are true to themselves throughout the movie. The on-screen work of acting, directing, editing, all worked well together to present character who are relatable and gain the sympathy of the viewer. Several people I know expressed how the story presented brought them to emotional states, drawing them deeper into the characters and the movie. Good acting is needed for this to work and actors need good writing.

The story is well written. I noticed some wonderful foreshadowing that set up later parts of the movie. Along with that there are false leads and a good twist that kept me guessing. I had an idea of what was coming, but not enough to make the ending obvious.

The thematic elements were carried throughout the movie. This is one of those elements of story that lies beneath the storyline. It gives the story a feeling of wholeness. When we left the theater that is what I had. Yes, I know there is another movie coming with Wonder Woman, hopefully more than one. But, this story stands on its own.

We did not leave the theater on an adrenaline high, or fatigue, from the past paced action movie that many of come to expect from a comic book based movie. We left on a high from feeling good that there is a chance to overcome the bad in the world and do something worthwhile to help one another.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

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Playing One Game System or Many, Part 1

My current gaming group likes to play a lot of different games. We play all types of games: board, card, strategy, dice, role-playing.  For this series of articles, however, I am focusing on role-playing games (RPGs). A group I used to play with liked to play only one game, Dungeons and Dragons. The contrast between these two groups came to light for me recently in a discussion where people were talking about which style of group is better. Of course, if you have read much, or any, of my writing on these types of topics you already know my answer is what works best for you and your group. Now we have taken the short route to get to the answer, let's explore what is each style provides.

Why Playing Just One RPG is Good

When I first started gaming there wasn't a lot on a store shelf to choose from. There was more out there than I originally knew about because it was well hidden within the community as the creation of the minds of the people that played them. When meeting some of the early RPG pioneers I felt like they had poured their souls into their creations. They not only enjoyed playing the games they had, but the games and the systems were a part of their being.

That same level of support is still out there today for games. There are people who will throw themselves into single game system and that is all the only one they want to play. I am not just talking Dungeons and Dragons like my older group, but I have met people who have this feeling for games like Star Wars and Star Trek, Shadow Run, Call of Cthulhu, Blue Rose, BESM, and other. In fact I am willing to bet there is a dedicated group for each and every game system.

Groups are devoted because the game provides what they want. If you have everything you want on the table in front of you, why go looking for something new? That was one of the main aspects of the gaming group I was in before. The group even told me they would be interested in playing a different game, but if it was a fantasy, then it had to be done in D&D. A couple of us introduced new games. They would play one maybe two sessions and then want to get back to their fantasy characters.

Eventually I understood they had a comfort level with D&D they enjoyed. The group got together to play D&D because they knew the system. As time went on, they knew it better and better. They understood the nuances and the house rules developed to get around those nagging questions left open by incomplete descriptions. They knew how to create characters and how they fit into the setting. They knew what needed to be done to defeat an encounter, virtually every aspect of how monsters were supposed to act and how each was vulnerable. They liked what they knew, and the comfort that knowledge gave them.

At even tried to introduce different settings that were a part of the D&D system. We played Ravenloft, Spell Jammer, Dark Sun, and a couple of other settings. Those also lasted a few sittings at the table before the consensus was to get back to "the game." The comfort they had gave them the chance to fall completely into the characters and to design in a system they wanted to play.

Running a game is easier in a world you understand. I have almost always had a group with a certain level of "open" or "sandbox" gaming. There were campaigns where characters were dedicated to a series of adventures ran by a single GM. But, also, we each had a folder of characters we could call upon when any person took the reins of GM and announced they had an adventure they wanted to run.

Knowledge allowed them to build between game sessions. By knowing the system, they could spend time building an adventure or a new character. They could do it on the spur of the moment. They could start putting together ideas in piecemeal, five minutes here, five minutes there. Then they could push their note pages together and have an adventure that could be ran with minimal information on the written page in front of them. They were good to go.

Groups playing a single system have these advantages. Basically, everyone knows the system.

Another older gamer told me they have had, roughly, the same gaming group for thirty years. There have been the same core people playing, while others have drifted in and out. The only game they play is Advanced Dungeons and Dragons—the original hard cover books. They've only included information written for that first edition. Admitted, there is a lot of material from that time (a lot that has been reintroduced into later editions). But, they think of themselves as purists to the system. And, they enjoy it.

Groups into one system, no matter which system they play, have the ability to dig deeper into the game. They build on the basics of what is presented, learn the subtleties that make the system special and explore them to the level of detail that makes them experts.

Don't confuse these people for rules lawyers. Where a rules lawyer is usually looking for ways to exploit the system and push the game in their favor. These RPG system purists are wanting to keep the game going in its true form. They have no reason to shop the shelves at the game store looking for the latest editions, newest systems, or variants providing tweaks to what they have. They already have what they want. They have a game that provides for their desires and their enjoyment.

If you are a player of a single system, take pride in it. I understand you enjoy it and you consider it the best one out there. Your enthusiasm can be contagious when introduced to the right person and it is that enthusiasm that helps build this hobby.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

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Kaigaku by Jacob Ross, RPG Review

Morimoto stepped up onto the small platform that was built so he could get a better view of the field where the battle would take place. The open field where his forces would soon be clashing with those of Yokashima, an honorable samurai and worthy opponent, was before him. Morimoto could see the men standing to his side, waiting to see his reaction to the strategy they had discussed earlier. They all had worked to keep any expression from their faces. But, Morimoto knew some were hiding their fears—Yokashima's reputation in strategy was well known. Morimoto kept his expression stiff. As their leader, he could not show his own doubts or his honor would be questioned.

If you are a fan of the culture of the samurai, Kaigaku should be a role playing game you want to get, or at least check out. Jacob DC Ross, through Thunderegg Productions, is an obvious fan. He has developed Kaigaku using The Black Hack rule system (developed with the d20 open gaming license) to bring an alternate samurai setting to the tabletop. The rule system is one designed to be very open and Ross takes advantage of that strength. But, since he is a fan of what he's doing, the flavor of the samurai culture is there.

Kaigaku is a relatively short, 72 page, book (I was given the PDF version for review). The information is easy to get to and the layout moves you quickly into the how to of how a game runs.  For example, instead of a list of skills to choose from, you are provided with some ideas of the types of skills character may take. Players are left to come up with their own, with the approval of the game master (GM). Making a character is a quick endeavor because you don't need to read a lot of background information to see how things work together.

Players start character creation by rolling six base attributes. Attributes may start off lower, but the game is designed to advance characters quickly, and attributes have the ability to climb just as fast. Next, you choose one of the eight clans, or possibly you start as a ronin, which is a master-less samurai. There are four classes to then choose from and your particular ryu (school). Each clan has specific ryu, although some allow people from outside their clan to study them. Class and ryu choices help in determining how good the character is in physical and social combats. Another part of the character is their contacts, who can help the character.

This in not just a hack and slash setting. The design of the game fits into the cultural aspects which allow for social encounters as well as fighting. Every character starts out with contacts who help in providing information and services. How much the contacts helps depends on how well they feel they have been treated and how well the character maintains their personal honor. There is a lot of opportunity for the players to explore different aspects of their world. The GM also has some information to help them.

The chapter, "The Secrets of Kaigaku," helps set the stage in the kingdom. This chapter is for those who are running the game. It provides elements of intrigue that can be used for adventuring. Kaigaku is a fictional creation building off the historical and mythical aspects of the samurai culture. Ross presents one possible scenario of why this alternate history exists, or a GM could easily develop their own.

My overall impression is that Kaigaku has the elements to create a lot of fun. People who are familiar with the samurai culture will be able to easily jump in. If you are not as familiar with it, it's not hard to pick up on. Apparently, you would already have some interested in it by picking up the game, or at least someone in your group does. If you have a group member who is more knowledgeable in the culture, it might work easier if they take the lead as GM for at least the first adventure or two. To really get into it you can also watch shows or read stories. There is also a trimmed down free version of the game available. I think we've all had some introduction to the concepts. And, once you start to reacquaint yourself, you can slip right into the game.

I recommend reading through the book before getting started. Not thoroughly, but enough to get a feel for the clans and the ryu. The players section is only 56 pages of content and by doing this it makes it easier to understand how a character is created and how they fit in their world.

Thuderegg Productions has additional material for the game, and working on more, including a periodical to bring new information on a regular basis.

Morimoto turns his back on the field. Facing his men with a straight back and serious look, he give his orders for the final preparations. He watches as they quickly move away. It is going to be an honorable day.

Thanks to Jacob DC Ross and Thuderegg Productions (Facebook Link) for a review copy.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

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The Longest Con by MichaelBrent Collins, Book Review

FanFamFunComCon has started and everyone is hustling about their business. There are major media stars, and lesser known ones, competing against other draws for the attention of the attendees. The people have come to share in their fandoms, listening to the stars and experts talk about the entertainments they enjoy. Many in attendance show their enthusiasm by dressing up as their favorite characters—cosplay. Not everyone at the convention is who they look like. More so, not everyone is who they seem.

The Longest Con by Michaelbrent Collinsis a who-done-it mystery set at the FanFamFunComCon. He presents his story in the traditional style of first person noir detective thriller. Of course, true to his personal style, there are twists he throws in making the story a fun read. I enjoyed it from beginning to end.

Collins is the lead character, so the narration is from him. Because he is an author, he understands the style requirements of the story he is telling and plays with them to great effect. But, he is not the only person you will recognize in The Longest Con.

Other authors are cast to play themselves in the story. If you have been to a convention and been around where the authors are, you will recognize the names and already have a visual reference to whose includes. Each of the characterizations builds on the personas we have come to know and expect from the other authors we enjoy. Then, he takes it a step further into the realms we, the regular conventioneers, haven't been privy to. When we move into that new direction we meet conventioneer we didn't realize we've been bumping shoulders with.

These other attendees are those we wouldn't want to accidentally run into at other times. The races of fantasy come to the conventions because they can easily mingle. They easy fit in with those of us having a good time, and we even may be having our picture taken with those who have accomplished such outstanding cosplay.

From beginning to end The Longest Con takes the reader on a clue chasing adventure around the convention to find out who committed the murder, how it was done, and why. The twists and turns are present, as well as all the clues for those readers who look for them.

Many of us have already suspected this was happening at the conventions we go to. Now, it is in writing, from a firsthand perspective, to remove our doubts. In the very least, the next time I wander along looking for another book to buy in the artist section, there are some authors I am going to give more respect to.

Thanks to Michaelbrent Collins for the opportunity to review his book.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

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More On Equipment; Following Up Conversations

Same picture of 4th edition equipment

I didn't know how the tracking of a character's equipment was affecting the roleplaying games people were playing. My article, Do You Have That On Your Character Sheet, generated a number of comments and discussions. There are different ways of handling the equipment issue: some game masters (GMs) are strict about how items are recorded while others are more fluid with their game (and, by-the-way, this covered the spectrum of wanting detailed lists to I don't give a frack). Neither is a problem. How the game runs is part of the agreement between the GM and the rest of the players in the gaming group.

I was reminded how some games use an all-inclusive system of an adventurer's availability of equipment. In the systems I have seen where this is used the character purchases a supply of a limited number of items that are not predetermined. When a character needs an item like rope, grappling hook, small clay pot, bag, etc. it is one of the uses of the gear pack. The limit is drawn with being items of lesser expense and of a non-magical nature. When this was brought up in discussion it was loved and hated.

Another way of dealing with the issue is the use of skills, advantages, feats, or another method the system provides for character enhancement. The one that were quickly pointed out was a character who is a scrounger, or having the ability to gadgeteer, or McGyver. The idea put forward was to allow the player character come up with a method of finding what they need, or making an improvised item. Kind of how my example in the first article went at the end. The person who presented this use is a little more flexible with his group.

When the party hits a point where they need something that they don't have, he allows for a check to be made at a level of difficulty he feels is appropriate for the item needed and where the party is at. If the player makes a successful check the character finds something that is suitable to use, the better the check the better the substitute. He did point out that he has one player who has become reliant upon the skill check, which at times creates an oversimplification of the encounter the party is facing.

This brings me to how this plays into GMing style.

I am over-simplifying this into two styles, which really are on a multi-linear scale and not opposing. This is based on the conversations and breaking the main lines of thought down. It really was more complex than this, but I do try to limit my articles in length so they can be easily read in a single sitting. The first style is going for the combat experience and the other is going for the puzzle solving.

Those who embraced the concept of easily available equipment were GMs who like to keep a game moving quicker and are more interested in cinematic games with high adventure. When dealing in a campaign, or adventure, based on the combat that is going to take place, getting there isn't really the focus of the game. The characters need to arrive at the appointed place, sometimes by an appointed time, to face off against the adversary. When running this style the equipment a character has isn't all that important and not having the right item plays against the plot.

Those who were set against the idea felt it gave too much leeway to the players, and allowed the players to easily foil an encounter meant to make them work through a problem. This style has more non-combat, puzzle solving encounters as part of the plot. When these encounters are used equipment becomes more of an integral part of what is happening. The situations require the players to work through the puzzle, or obstacle, to achieve their goal and the limitation on equipment plays into that scenario.

I enjoy writing both types of encounters. I've had entire game sessions without a weapon ever needing to be drawn, except for affect. Other times, there have been sessions which were one continuous fight. Both are good and both are fun. Most the time there is a combination of the two so we can create the ebb and flow that comes with every good plot.

The biggest takeaway I had from the conversations is the need of having good communication between you, the GM, and your players. Let your players know ahead of time how you are going to run your game.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

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