21 December 2024

Traveller - The Encyclopaedia of Dagudashaag (Signal-GK)

Encyclopaedia of Dagudashaag
The Encyclopaedia of Dagudashaag (front cover)

Signal-GK was a long running Traveller Zine from the UK which, amongst other things, explored the Dagudashaag sector of space. It was packed full of interesting plot ideas and lore that a Traveller Referee could draw upon. As a disclaimer, I do have one very short article in one of the Signal-GK issues and I did work on the aborted project to regress the sector back to Milieu Zero.

A few years ago, Jae Campbell (who published Signal-GK) and several others turned all the zines into two fantastic PDFs; one was for everyone to use, and the other was a referee's supplement. These are distributed and available for free. You can find more details here including links to download both files on the  Argushiigi Admegulasha Bilanidin (aka Traveller Wiki, Imperial Encyclopaedia).

Encyclopaedia of Dagudashaag
A chunky volume

I decided that I wanted a hardcopy to use and reference, so started setting up a project on Lulu. I hacked the two files together, and built a cover up using the basic templates and Affinity Designer to create the PDF. The end result is a 432-page standard colour hardcover.


Encyclopaedia of Dagudashaag
The back cover

Overall, it looks good in print. I did end up using standard colour because although the majority of the book is black and white, colour is used in maps and as accents.


Encyclopaedia of Dagudashaag
Page example with subsector map in colour


Encyclopaedia of Dagudashaag
The 'Secret' Referee's section.


Encyclopaedia of Dagudashaag
Some more examples with art.

I've ordered Jae a copy of this now it's worked out. He's kindly given me permission to print additional copies so long as they are not done for profit (ie they remain a free product except for the manufacturing costs). I suspect a few of my Traveller friends may be interested in this. At the moment, a copy for the UK costs around £30 including print and delivery. For me this was £30 well spent.

21 December 2024

Flavours of Christmas

 

Image with BBC logo at the top, and the words "The Dark is Rising" set below in white. The background is blue with what may be stars or snow. The ground is a book with pages turning from white through orange to blue. A leafless, snowy wood rises from the book and a young rider is on a horse, both darkly silhouetted. A cloak trails behind the rider, highlighted with red, and what look like back crows or rooks chase them.
The Dark is Rising

I'm presently indulging myself in listening to the BBC adaptation of Susan Cooper's "The Dark is Rising", a story that has always captured the feeling of a Christmas laced with darkness. The book itself had a huge impact on me in my first year at secondary school, around the same time as I read "The Lord of the Rings", and its one that I return to every now and again like Alan Garner's "The Weirdstone of the Brisingamen". The BBC adaptation is near perfect, set in 12 short episodes. It's atmospheric and evocative, and I wish that they'd done some of the other books as well.  You can find it here.

I discovered this through the book; the podcast came much later.

A boy, dress in 1930s tie, shirt and jacket looks into a box he has opened, the glow from within which lights his face and the scene.
The Box of Delights

Another story that evokes Christmas for me is John Masefield's "The Box of Delights". This one came to me courtesy of the BBC TV series back in 1984. It has many of the flavours of "The Dark is Rising"; Christmas, snow, combined with evil and magic being afoot. Susan Cooper's tale is a little more hard hitting, but the "Box of Delights" isn't afraid to scare. The BBC has shown the series again this December and is releasing it on Blu-Ray. I still have a set of DVDs for this, which replaced my VHS copy. 

I read the book much later; it was satisfying fun, with a style aimed at a slightly younger audience than "The Dark is Rising" but enjoyable all the same.  Reflecting on the original transmission date, I was first introduced to these around the same time.

The cover of 'Winter's Tale' by Mark Helprin shows a black and white image of what I think is New York's Grand Central Station with shafts of light cutting down from high windows to the floor.
Winter's Tale

Mark Helprin's "Winter's Tale" evokes similar feelings for me although I came to it a couple of years later. It tells the tale of a young Irishman, Peter Lake, as he attempts a burglary against the backdrop of a snowy winter in New York sometime towards the end of the 19th Century. In the house he finds Beverly Penn, a young heiress, and they fall in love. Surreal, beautiful and haunting, this is a love story as much to the city as the protagonists. Again, it magic and fantasy bleed in, leaving a feel of the surreal. I haven't reread this as often (indeed, I'm still gutted that my early edition hardcover disappeared somewhere with someone in the past) but every time that I do, it brings the same feelings and joy.

If you look for the book these days, you'll often find it titled "A New York Winter's Tale", named after the film adaptation which starred Colin Farrell, Jennifer Connolly, and Russell Crowe. This was done well, but like all adaptation, it differs from the original (although it captures the intent quite well).

I also quite like dipping into the MR James ghost stories at this time of year, both the books and the various BBC versions which are quite satisfyingly done.

What media evokes this season for you?

21 December 2024



19 December 2024

WOTB - Forest Witch - Mastery - Himmelsdorf


Forest Witch Mastery - it really is a bully.

4,339 damage, 535 assist, 1830 blocked, 4 kills, 1,475XP

https://youtu.be/SzwXNsAioS0

18 December 2024

Ghosts of SF RPGs past

The cover of Transhuman Space which shows an astronaut standing in front of Earth, with a rocket launching to their right. The title "Transhuman Space" is on the top, with an Illuminati pyramid and eye and 'Powered by GURPS' below. The Author 'David Pulver' and the illustrator 'Christopher Shy' are credited and 'Steve Jackson Games' is written at the bottom of the cover.

Like comets, they keep on coming back after a long period in the outer darkness.

About ten years ago I got rid of several complete game systems that I didn't think that I'd be playing again any time soon. Much as I loved them, I just couldn't see them getting to the table fast. 

They were:

  • Blue Planet v2
  • Fading Suns 2e
  • Transhuman Space
Blue Planet I quickly got buyers regret and bought it all back after a couple of years, although that's in the 'to sell' pile again. I absolutely love the setting, and the first version of the Synergy system was okay, albeit very 1990s and fiddly. I mentioned previously my excitement at the upcoming release of Blue Planet Recontact, excitement driven by having play tested and enjoyed the new edition. So why am I selling the previous edition again? Quite simply because I have all the books in PDF, need the space and realise that I don't actually need hard copies. I plan to run this and Dr Mitch will hold me to that!

Fading Suns was always the slightly dark not-Dune, not-Warhammer and very different. I'd always struggled to get people to table for it, but I liked the setting. When I was doing the cold hard take on things, I sold it on. However, recently First Age and I were talking and I ended up picking up pretty much everything that is in print for the new fourth edition at a steal on eBay. Unfortunately for First Age, I pulled the trigger on the 'buy-it-now' before he did, although he's regularly reminding me that he will take the books off my hands. That may well be an opportunity that he gets if I don't really get on with what I'm reading at the moment.

Transhuman Space was the odd one out. A standalone GURPS game, it explores transhumanism in the near future when humanity has spread across the solar system. It's packed with decent writing and loads of ideas but I could never grok how to run it. Unlike a lot of other games, ideas didn't spring up easily, the issue being the setting not the mechanics. It was one of those rare games that I liked (well, aside from GURPS* as an engine) but just couldn't work out what to do with. I don't think that I was the only person who had that issue with it. Anyway, it came up for a steal on the Bundle of Holding so I snagged all the PDFs. Skimming them, I may use them for a source of ideas, but I can't quite see myself using it as is.

So there's a trio of games that I've stepped away from, which have come back to me over the last year. Have you ever stepped away from a game but then regretted it? 

18 December 2024

* I don't mind the point design or 3D6 mechanic in GURPS but the use of American Imperial measurements does my head in...


16 December 2024

WOTB - Fanrïk - Mastery - Fort Despair

 

Fanrïk Mastery on Fort Despair in World of Tanks Blitz
3,340 damage, 4 kills, 1,055 assisted, 1,512 XP

https://youtu.be/fI5OI0HUPR8

WOTB - Vz.55 - Mastery - Mines


Sometimes in all goes right. Unexpected Mastery in Vz.55 on Mines in World of Tanks Blitz.
5,694 damage, 1,631 assisted, 350 bounced, 2 kills, 6 damaged, 1,619 XP

https://youtu.be/REgSuHxdN48

08 December 2024

Blue Planet Recontact - looking good

Photo of the two Print-On-Demand test copies of the Blue Planet Recontact core books. They both show stunning underwater images in the oceans of Poseidon with humans swimming above and menacing eel-like creatures below.
Looking gorgeous.

Possibly my most anticipated game for 2025 is the final offset print version of the new edition of Blue Planet, Blue Planet Recontact. The team producing the new edition just shared the picture above on Kickstarter in an update. It's not the final offset printing, but preparation for a POD version on DriveThruRPG. However it just shows how gorgeous this looks. The interior is just as good, as they've shared sneak previews of that too and now there are PDFs available to backers.

I did some playtesting on this edition and then revisited it with a follow on scenario at another convention. It plays really well, and the Synergy systems is similar to that in Blue Planet v2 but thoroughly modernised. I do intent to offer an episodic campaign once the final books arrive. One of the things they added in this edition was a set of campaign frames to make it easy to kick off a game (as the level of lore in Blue Planet often had people wondering how to go at it). I ran the Red Sky Charters frame and it felt like the kick off to a TV series.

I do recommend this as a great product; there's enough in these two books for more than one campaign, it's beautifully created and very unique.

Recommended!

8 December 2024




07 December 2024

Traveller - Geomorph cache (great resource for SF roleplaying games)

 

A snapshot of the Traveller Geomorph v2.01 website, mainly text but with an image of the front cover of the PDF book which is in a landscape style Classic Traveller book format.
A fantastic resource for SF roleplaying


I just wanted to give a shout out to Eric Smith's site where he has converted and hosted Robert Pearce's fantastic Starship Geomorphs as transparent PNG or higher resolution PSD files so you can use them with virtual tabletops.

The site is here.

If you've not come across Geomorphs before, they're modular tiles that you can tesselate and manipulate to build a map (or in this case a deck plan for a starship or installation). The site includes links to the original PDF files as well.

I did find the site pretty low bandwidth when I downloaded the files, but definitely worth a visit. 

7 December 2024

The cover of the Starship Geomorphs 2.0 book. It is in Classic Traveller trade dress, with orange red bands of colour at top and bottom and the classic Traveller line and logo on the right of the cover.
The Starship Geomorphs book



Travelling to the Motherlode

The Deluxe Mothership box set surrounded by third party supplements indicating the range of material available.
A motherlode of scenarios to plunder...

I'm edging back into Traveller, my forever game. Running two new scenarios and playing another at TravCon left me with an itch that I'll continue to scratch over the Christmas break when I run the Far Horizon (Orbital 2100) scenario with Cepheus

Listening to First Age's recent musings on Traveller on his podcast left me wondering why I've really not played or run the game for a while, and also why I've not picked up more of the current Mongoose line.

The not running or playing is probably more easily explained than why I haven't picked up much of the new material released. Effectively, I've played in two big campaigns (Eternal Lies and Shadow of the Sorcerer for Conan) since the pandemic and ran two others (Curse of Strahd and the current Achtung! Cthulhu Shadows of Atlantis game). With work, I don't really have time to do more each week than play in one and run one game. But what about conventions?

I've tended to shy away from Traveller recently at conventions as I've been exploring other systems. When that's combined with the lack of TravCons, it's really easy to just not run it. The daft thing is that running Traveller is easy for me; like comfortable shoes, I can just slip into it and go. I've tended to use conventions to run something that I may not run elsewhere, or to run something fun and different like the linked Star Trek Adventures TOS and TNG games that Dr Mitch and I did at North Star.

My reticence for purchasing Traveller material recently has a number of factors at play. I've been reluctant to pick up the updated core rulebooks for Mongoose Traveller 2e (202x) on because they started coming out not long after I had finished collecting the core books for Mongoose Traveller 2e (2017). Mongoose has started to focus on quality and the end result is that the books are towards the high end of pricing. As I'd hardly used the previous cut of 2e, I didn't really have the urge to pick up the same game rules again. I suspect I will at some point, but I've no urge right now.

I haven't tended to pick up the campaigns and adventures as I don't like the writing style of one of the go-to authors Mongoose use, although I've seen loads of positive comments about Pirates of Drinax and others. I know my friend Tom has run a fantastic campaign in the setting. I don't like the more detailed sector books that Mongoose produced (caveat - this is based on 1e) because they provide too much detail for me, having a lack of spaces to breathe. If you've ever seen the GURPS Traveller books, I prefer what was done with Rim of Fire rather than Beyond the Claw.  There was also the matter of the amount of changes and ignoring of previous printed canon (which could easily have been addressed with search of PDFs).

I have picked up some compatible material; Cepheus Universal (which feels like a cleaned up and condensed version of Mongoose Traveller 1e with all the supplements in a single book), Hostile and Orbital 2100 have all found their way onto my shelves. I also purchased all the Scoundrels of Brixton zines, and more recently The Jägermeister Adventure  from Moon Toad, all of which are really nicely constructed.

However, I realised that a lot of my interest has been drawn to another game that has echoes of Traveller; Mothership. It may be a percentile based system, but it has a similar format to Classic Traveller's Little Black Books, and some fantastic scenarios, both in-house and third party. Although Mothership was built to play science-fiction horror like Alien, it works fine in the same niche as Traveller, and increasingly there seems to be a wide selection of third party books that aren't pure horror. When I read them, I start to mentally translate them into Traveller, and I know a lot of them could be picked up and run off the cuff by an experienced referee. 

I see more experimental, exciting material coming out in this space that's worth exploring, and I'm happy that it is. There are new riches and ideas to be plundered; a veritable motherlode.

Anyway, the slow gravitational pull of my forever game continues, and I find myself musing on trying to run Hard Times, or The Jägermeister Adventure, or perhaps even The Flaming Eye.

Happy Travelling.

7 December 2024




03 December 2024

Why my next campaign won't be using 2D20

Roll20 VTT desktop showing a collage of Shadows of Atlantis images and maps, tracking clocks and the player AV feeds. To the right is the chat window with dice rolls.
Last Night's 2d20 game

I've been playing 2D20 for a while now; First Age ran Conan and I followed up with Achtung! Cthulhu which is wending its way towards a conclusion, most likely in the new year. I've also had flirtations with Star Trek Adventures (1e) and Dune along the way. 

I'd consider myself competent enough running the game now, but I do find that the fiddly differences between the games a little frustrating. The core mechanic is sound and I quite like the meta-game elements like threat and momentum and fortune points, even while I wish that the application of them was consistent between game systems.

I do have Dune 'Fall of the Imperium' which looks like a fantastic campaign (I reviewed it here) but I don't think that it's going to be what I offer next, as I'm feeling fatigued with the 2D20 engine. I think I've played too much of it recently. I will potentially offer Star Trek Adventures at North Star next May if Dr Mitch and I come up with a third part to the 'Echoes' game we ran previously, but I've no other definitive plans at the moment.

Although I like the core mechanics, I do find that the games struggles to really threaten the characters. Across the 20-odd sessions this year, there's probably only been two that have felt that I was putting them in any form of peril; I know that Achtung! Cthulhu is meant to be pulp derring-do, but sometimes it seems to either assume that the characters haven't really developed or that they need to succeed with relative ease. However, I do suspect that the feeling from the other side of the screen may well be a bit different and the players may well have been feeling higher threat levels.

My feelings on this aren't anything to do with the way that Shadows of Atlantis is constructed, despite my previous moaning. I do think that this is a different and interesting campaign which I've enjoyed running, despite the challenges with the writing and structure. 

I will return to the game engine, I just feel that it's time to step away for a bit. 

You can have too much of a good thing.

3 December 2024

01 December 2024

Books in November 2024

 

A cover collage graphic of the 7 books that I read in November. The book names are detailed in the main text of the blog-post. The heading says '@cybergoths's November 2024 Reads'. There's a storygraph logo on the bottom right.
November's reading - cover collage.

Seven books and 2,841 pages in November. Two non-fiction, one roleplaying and the rest fiction. Apparently I'm down by one book but up 32% on pages on October. I'm on 92 books and 28,240 pages in total for the year so far.

The first non-fiction book was Empireland, by Sathnam Sanghera, which explores the impact of the British Empire on Britain. Absolutely fascinating and demonstrates that our multi-cultural society is a reflection of the way we went about conquering large swathes of the globe, and we can't really step away from that. It also explores around the strange way that the UK ignores the British Empire in its school curriculums. Recommended.

The second non-fiction book was Checkmate in Berlin by Giles Milton. This explores the history around the occupation of Berlin at the end of the Second World War and then follows the story through to just after the Berlin Airlift. It's part of my ongoing reading around this space, and will definitely inform any games of Cold City that I ever run! Again, recommended.

The roleplaying book was the Faded Suns Character Book, the second core book for the game. I did find this heavy going as there's loads of lists, but the system itself is pretty simple. I may post some comments about this in the future once I've read the GM's Book.

I re-read The Weirdstone of Brisingamen (Alan Garner) and enjoyed it as much as ever, describing as it does one of my favourite places in my home county with a cracking tale of adventure. 

I enjoyed Francis Spufford's alt-history Cahokia Jazz, set in a world when much of the Native American cultures haven't been wiped out by disease. It presents as a murder mystery, but it also explores the ways that the colonial immigrants to the USA set about wiping out native cultures and influence. An enjoyable story, well worth exploring.

Service Model is one of Adrian Tchaikovsky's latest. I can't believe how prolific he is. The story tells the tale of a robot valet trying to find purpose when his master dies in suspicious circumstances. It expands out to explore the collapse of society in a story that had me hooked.

Finally, I read Jeff Noon's Vurt, which was recommended to me by my friend John. Partly cyberpunk, partly, partly weird reality, the book drew me on all the way through a surreal tale of adventure. I'm still not a hundred percent certain what happened, but I definitely enjoyed it. I will look up the sequel.

Overall, it's a toss up between Cahokia Jazz and Service Model as my favourite new reads.

1 December 2024

25 November 2024

Latest Mad Scramble for Shadows of Atlantis

  An image of the city of Atlantis, gold against blues and greens of canals and land. A central temple is surrounded by concentric city sections, alternating between canals and buildings. The Achtung! Cthulhu logo is shown at the lower part of the image, right justified but filling most of the length of the image.

I'm about to start Chapter 7, the penultimate scenario for Shadows of Atlantis. Preparing the chapters has become a bit of a chore, only made easier by the fact that I have access to the first edition version of the book that has the useful history extras and lots of extra maps that have been pretty essential for me as a GM. I think they've helped the players visualise this as well. So prep involves opening both sets of documents in Affinity Publisher and extracting images and text as needed to create handouts on Roll 20, the VTT I fell back to after the debacle of Role losing AV. 

Yes, I know that Role has AV back but I wasn't migrating all the material back across after four completed chapters.

I started reading the chapter for tomorrow's game and realised I'd not flow sheeted it (as it was optional so I missed it on the initial run through); that was no bother until I realised that some of the opening act didn' hang together, especially if you used the same team that you'd had in play from the start. Now, the characters in our campaign have been in play since early August 1939, and I was going to pick up the story early 1940 at Section M's headquarters. However, I realised that the loose-goosey way that the campaign (and Achtung! Cthulhu overall is written) means that there will be gaping holes if I just went ahead as things are.

I figured I'd check out the original version to see if I could fix this, which was when I discovered that the scenario was set in Peru originally and had just been translated across to a new country. It explains why there was even less information than previously expected. Oh, and there was a good chance that you could actually be playing the Nachtewolf (German Occultist) operators if you ran it as written. So no real hope there.

The fallback position was that I needed to get some alternative characters in play, which meant taking the ones for the NPCs already available, creating new sheets and getting some nice pictures. As I was rushed, I raided Artflow.ai again and just added the character descriptions into the engine. The results look really nice.

Blonde long haired woman in front of an aircraft wearing aviator's googles, looking directly at camera, perfectly made up up darkened lipsticked lips. Image is B&W
Ms Serena Falconer - Aviatrix & Socialite

B&W image with bearded man in hat pointed a camera at the viewer
Frank Ambrose, Antiquarian


B&W image of man in desert, clean shaven, wearing what may be a French Foreign Legion uniform with an appropriately styled hat.
Sgt Bertrand Ross, former French Foreign Legionnaire


B&W picture of a woman in her thirties in a valley, wearing a hat and almost looking past the camera.
Elizabeth Soames, Field Explorer

I'd never touch AI for anything professional, but this was so easy to use for producing character portraits for the game that we're playing. That was fortunate, because I didn't have the time to scan the net for old images that would fit.

Anyway, all the handouts are done and uploaded, the characters built, and we press on. Shadows of Atlantis may be badly organised and hard to use, but the adventure is fun!

I do think that there's a significant chance that the party could be killed on this mission, but then again, this is not the character set we've all been invested in for the last year or so.

25 Nov 2025

10 November 2024

Lists, Lists and more Lists - Part 2

Screenshot of a table of pistol weapons of differing sizes taken from Fading Suns. In the key game data, there are only nine points out of ninety-one that vary. These are highlighted with light boxes with red edging. I've ignored the price and faction data in creating this.
An equipment table with unique items highlighted

Following on from the previous post, I quite often skim equipment lists very quickly. The picture here shows why. It shows a table of firearms for Fading Suns (but this isn't about that game, this is just an exemplar I had to hand, plenty of others do this). Within the table, I have highlighted the items where the game mechanic related statistics vary. 

Across ninety-one data points (13x7) there are six numbers which are ever so slightly different. four of those relate ammo capacity and only one of those is a really significant change.

Yes, there are differences in the provenance (faction) of the weapons, and their names, and some slight variations in costs, but they really don't make much difference. There's a lot of effort here for very little benefit. I do wonder it it would have been better done with a base weapon and some tags for extra features that adjust cost, and some modifiers for price and quality based on faction.

I do know that there can be some pleasure in looking at weapons when the statistics make meaningful differences, but here they don't really. When they're all so close mechanically there's very little point in have a table to differentiate, especially if there's no flavour text that may call out the difference.

Then again, I'm not really a gun bunny any more, my days of getting excited over getting hold of a M41A Pulse Rifle in game have long gone. Except in the Alien RPG...

Hat tip to Dr Mitch for triggering these thoughts in his response to the original post on Facebook.

10 November 2024


08 November 2024

Lists, Lists and more Lists

The cover of the Fading Suns Character Book which is purple with an orange dusty desert-like image in the centre. The title 'Character Book' is at the top and the Fading Suns logo is at the bottom. There are various characters in fantasy garb and you could easily miss that this was science fiction if you didn't notice the wolf-man and another character bear SF blasters.
Lists, lists and more lists

I've just finished reading the second of the Fading Suns 4 core rule books, the Character Book. It's the largest volume and it was a bit of a slog. Although the book is well written, albeit occasionally a little long-winded, it nearly killed my interest once it hit the lists.

The game uses traits as a broad descriptor and there are pages and pages of descriptions. I nearly game up as it bored me. It's the kind of thing that you won't see in play and I'm sure that players will have loads of fun working through and making choices about their character, but reading the book from a GM perspective it just disengaged me. I had the same issue with Old Gods of Appalachia (and I know I will with Numenéra once I dig into that). I've lost the passion I once had for reading spell lists, monster descriptions and all the various forms of list that certain flavours of roleplaying game.

It's strange, as I used to pour over these in detail, but now they bore me and I end up wishing for a hypertext linked character generation tool where you can just click through. At least the Cypher games abstract this all away for the GM when creating characters. I need to read the next book to see how Fading Suns deals with this.

I know that it all falls away when it's on the character sheet but it just doesn't excite me anymore. Is it a sign of age or perhaps a change of taste? How do you feel about this kind of approach?

8 November 2024

 

01 November 2024

Books in October 2024

 

Summary graphic from thestorygraph.com showing the covers of the eight books I read in October, arranged in two rows of four.
The October cover collage

October brought eight books and 2,147 pages. One non-fiction, one roleplaying and the rest fiction. Apparently I'm down 27% on books and 30% on pages on September! I'm on 85 books in total for the year so far.

The non-fiction was 'Pathogenesis', by Jonathan Reynolds. A fascinating listen on Audible, it covers the impact of infections disease on human society, a very different lens to the usual 'great men and empires' take. 

The roleplaying game was 'Root' by Magpie Games. A superbly written and beautifully illustrated Powered by the Apocalypse game of the boardgame of the same name. Characters take the role of a band of vagabonds in a war-torn wood. Putting the anthropogenic animals to one side, it's probably the closest take to a decent Robin Hood roleplaying game that I've seen. 

I read to Aliette de Bodard novellas, 'In the Shadow of the Ship' and 'Navigational Entanglements' and enjoyed them hugely. Her books remain an automatic purchase and go to the top of the reading pile! James SA Corey's 'Livesuit' is set in their new SF universe, but there wasn't an initial obvious link to the first book. I'm sure that will develop as the series progresses. An enjoyable novella.

'The Wife Swap' by Jack Heath was an impulse by on a Kindle offer, and it was a diverting murder mystery. Different to my usual fair and consumed quite quickly.

'Moscow X' by David McCloskey was pretty brutal; once again, this wasn't James Bond style spy fiction but espionage seen through the lens of realism. I look forward to the next book. This was just pipped to the post as my favourite read of the month by 'The Curse of Pietro Houdini' by Derek B Miller. Set in Monte Cassino around the time that the Allies assault the Abbey in World War Two, it tells the story of a young refugee from Rome who falls in with Pietro Houdini, a man sent by the Vatican to help protect the art at the Abbey. It felt very different and I enjoyed it immensely.

1 November 2024

27 October 2024

First Impressions - GURPS Traveller Starships

The cover of GURPS Traveller Starports showing a busy dock area. It's in the standard GURPS format.

This review was originally posted on RPG.net by myself on 30 September 2000. I'm adding a copy here to preserve it for posterity.

GURPS Traveller Starports (just 'Starports' hereafter) is the second book in the mercantile and starships operations set of sourcebooks published by Steve Jackson Games, Inc. This second volume follows the impressive 'Far Trader', released twelve months before, and precedes the as yet unreleased 'Starships'.

The subtitle of the book, 'Gateways to Adventure' summarizes the key role that starports play in a Traveller campaign, a role discussed in depth within the book. The back page blurb heading, 'Anchors of the Imperium' describes the key role that interstellar trade, starports and the Imperial Starport Authority (SPA) play in holding the fabric of society together.

Description.

Starports is the usual 8" x 11" size of a GURPS supplement, and 128 pages long. It is the first of the supplements for GURPS Traveller to benefit from the increased print quality recently adopted by Steve Jackson Games, Inc. The cover is glossy, and seems to resist damage better than previous books.

However, what is most immediately striking about the cover is the near photo-quality image of a starport produced by Jesse DeGraff (see http://www.vision-forge-graphics.com/ for more of Jesse's work)

His work has previously only graced the insides of the GT supplements and GURPS Space 3rd Edition, and has lost the benefit of the color with which it is prepared. The picture itself shows a merchant vessel being loaded with cargo, and has many interesting touches including a number of real people's photographs integrated into the cover as starport and ships personnel. Other aspects, such as the translation from the Vilani text font on the cargo container are equally interesting, with hints towards Traveller folklore.

After looking at the cover it's easy to feel jaded by other images, but the black and white illustrations inside the book (by Glenn Grant and Jesse DeGraff) help set the scene and feel of starports very well.

The Contents:

Starports is divided into 6 chapters, with two appendices. There are frequent sidebars with flavor text, background information and details of organizations such as Brubeks (for which a deckplan is included!).

The first chapter, 'Outposts of the Imperium', describes the facts about starports: that they are often the only permanent Imperial representation in a member system, and that they are key to trade in Imperial space. This is discussed in respect to Imperial policy (bear in mind that that the Imperium grew out of a response to trade issues in the Sylean Federation) and there are a few notes on how this policy interfaces with the local system. This is expanded on with the difference between Imperial and local Starports and the impact of competition between then being mentioned. By 'local' Starports is referring to ports run by organizations in the planetary system other than the SPA. Such systems may be beyond the Imperial border.

The history of the SPA and its growth out of the Imperial Interstellar Scout Service is given, before the text moves on to describe the likely facilities and key points of Imperial Starports of each class from I (Traveller type E) to V (Traveller type A). The ports of the various Imperial services (ranging from naval and scout bases through to Way Stations and Depots) are also detailed. Finally, the chapter concludes with a brief description of research stations and privately owned starports.

Entries in the sidebars discuss such areas as the differences between Imperial Starports and those of other races, economics of ports, and the standard operational plan for capturing a starport. This is interesting, but seems to neglect operations against the Highport. However, as an orbital facility with little maneuverability it may be assumed that it will either surrender or be destroyed. Focus within the book as a whole does tend to be more on the downport than the highport, perhaps understandably. Sea and air ports in 21st Century Terra can be used for models of the downport whereas there are no true analogies to highports. 'Inside the Starport Authority', the second chapter, is unsurprising in its contents which are a description of the structure of the SPA and how this translates to the operational structure at each port. This is where the book really beings to shine, with plenty of descriptive text about each department which a referee can use to make a starport come alive for their players. The Adminstration Department ranges from the executive (the Port Director, a very powerful individual), the line office (planetary liaison), to Concessions, Personnel and Public Relations. The Traffic Department handles all the aspects of managing starships, cargos, passengers, security and customs. Other departments include medical, emergency services and physical plant. The few paragraphs given on each office describe their activities so a referee can develop a port beating with the trade lifeblood of the Imperium. The organization described does not mirror the narrow, small teams of 'Babylon 5' or 'Deep Space Nine'. Rather, it mirrors the complexities of real air and sea ports today.

Chapter 3, 'Planetary Relations' describes the way that the SPA and each Port's Director deal with the governments and population of systems in which they are based. This ranges from Imperial systems through to starports on those worlds actively opposed to Imperial contact and in a state of war. The Extra-territorality (XT) of the starport, and the infamous XT line are discussed. The people and organizations that a starport may have to deal with are also mentioned, including groups such as business and unions, environmental lobbies and special interest groups. One of the areas favoured by player characters, 'Startown' is described. This is the down and seedy area just outside the port, often a grey area between Imperial and planetary authority. Extensive notes are given on law enforcement, doing business and the ever present opportunities to get into, and out of trouble with both the law and the locals.

Sidebars give nuggets of information about such widely different people as 'floaters' (people who reside at ports and have no visible means of support - a little like those in the 'Downbelow' of Babylon 5) to Embassies and Trade Stations. Chapter 4 is the first entirely GURPS specific section of the book presenting a number of character templates relating to starport operations. These differ slightly from those presented in the GURPS Traveller Sourcebook in they are intended for characters actively working in the SPA (rather than retired or mustered out characters). The templates range from the Port Director, to Imperial Consul, to dockworker, security officer or crime boss. There are two pages describing how specific advantages and disadvantages need to be approached in a Starports campaign, and notes on the new skill for handling hazardous materials.

If you are interested in developing active campaigns in other versions of Traveller you will have to use the existing character types with a little modification, or seek out a copy of the paper JTAS 19 with John M Fords' earlier work ('Skyport Authority') on the SPA and characters for Classic Traveller.

The next chapter, 'Starport Design' presents an expansion of the modular design system used for starships to allow the construction of starports. However, before the design sequence starts there is a section in common with Far Trader, detailing the generation of the 'world trade number'. This provides data on the likely trade and passenger volumes to allow the design of an appropriate sized port. There are notes on how to use the increased level of detail of Far Trader in this design sequence. The text then takes the reader through the design sequence step by step using the Mertactor system in the Spinward Marches as an example.

The design sequence proceeds by calculating the volumes that need to be handled, and then the likely income from these operations. Using these figures, the design sequence proper is approached working in much the same way as that in the GURPS Traveller Sourcebook. However, the system is more flexible than that for starships, as scope is left for the designer to flavor a port's facilities. Using the GTL10 and GTL12 standards of the modular system is the only area that disappointed me in the sequence - it would have been nice to have the option to design spun habitat stations and ports, if only as older, local, stations. (In writing this I haven't tried the design sequence seriously as I tend to handwave starport designs as my players don't usually want to do things like attack them; in addition, I don't like GURPS meld of metric and American units).

Another area that's annoying is the decision that all starships dock in bays like Star Wars, and that runways aren't used at Imperial Downports. Both of these restrictions differ from my vision of the Traveller universe.

This chapter has a number of interesting side bars describing types of port varying from the pirate havens of 'Ports Royal' to the 'Grand Central' communication hubs. There are notes on exchange rates, construction times for starports, typical sizes of naval and scout bases and the variations in local starports with technology. There are further notes on the XT line and on starport facilities such as casinos and chapels.

One of the most interesting discussions is on how traffic control of space vehicles varies by Port Class. This is very useful for any campaign where players control a starship, and have to interface with the starport control. Further flavor is given on the different stages in the lifecycle of a starport. In many ways, these sidebars are more immediately useful to a game than the design sequence itself.

The final chapter is entitled 'Campaigns' and provides sets of ideas on how to run a campaign based at a starport. It admits that in most campaigns the port would only serve as a backdrop for adventure, but, as well as some ideas on how to use a port as a backdrop, the chapter also looks at ways in which to style a campaign in the manner of series such as 'Babylon 5' or 'Deep Space Nine'. Events suggested vary from interesting visitors to local issues to disasters.

The other campaign types suggested include those based at a highport and those where the player characters are the directorate (the Port Director and rest of the command crew). The more intriguing campaigns include those where players are the SPA Inspectorate (effectively an investigation team with wide ranging powers) and those involving corporate espionage. One thing that would have been nice to see would have been a sidebar suggesting fiction, films & TV Series that would be good sources of ideas, as there are plenty out there for a referee to use. The first appendix details equipment for use in and around starports; these include rescue vessels, cutters and the Blakeway First Response Vessel first seen a couple of months ago in SJ Games electronic version of JTAS. Cargo handling equipment is included, along with the new habitat modules for large ships and starports. There are four sets of deckplans, drawn up clearly and detailing some of the ships in the section.

Expanded standard ship design modules including bunk rooms, traffic control, battledress morgue and bars are also detailed.

The final section, Appendix B - Port Samples, includes 18 pages of deckplans and maps for starports and facilities within them. These are cross referenced with keys, given separately from the image as they may have information that the referee wants to retain as secret from the players. Again, the plans are clear and well drawn, and should prove useful in supporting a campaign.

The last two pages of the book are a detailed index.

Conclusion.

Starports is a worthwhile buy for both GURPS Traveller and the other Traveller rules editions. The book is not as immediately useful for a campaign type as, say, Far Trader, but it is an excellent resource. The strengths of the book are in the background information and small details which can be used to make your Traveller universe come to life. It is well presented, and comprehensive.

GURPS Traveller players will find the whole book a good addition to their collection, as the design sequences and character templates are immediately usable in addition to the background material.

Users of other Traveller editions should be able to use the background information and deckplans as valuable support material for their campaigns, with the possible exception of non-Regency based Traveller: The New Era games.

Users of GURPS Space may find this book of use for core developed star systems especially. Other games systems may find it useful to mine for ideas.

Style: 4 (Classy and well done)
Substance: 4 (Meaty)

First Impressions - Creatures and Cultist (Eos Press)

The box of Creatures & Cultists, show a star spawn of Cthulhu sat at a table playing cards with a shoggoth and a cultist.



I originally posted this review on 27 October 2024 (so twenty years ago today!) on RPG.net and I've decided to put a copy here on my blog so it doesn't disappear for posterity.

Creatures & Cultists was originally released in 1992 to 1993 in both the fourth issue of Pagan Publishing's Call of Cthulhu magazine The Unspeakable Oathand as a stand-alone game sold at GenCon & Origins and by mail order. It is written by Jeff Barber and John Tynes, and is best described as Lovecraftian Cthulhu Mythos silliness in a card game.

I'd not really been aware of it until I looked at Eos Press' website to find out about the forthcoming release of Pagan Publishing's Delta Green in a d20compatible version. I saw Creatures & Cultists there with some cool art, so decided to pick it up at GenCon UK this last weekend. Interestingly, the old zip-lock bag version was on a second hand trader's stand at £75 GBP, somewhat higher than this version's £11.99 GBP.

Components The game is supplied in a 7"x5"x1" box, with an amusing cover by John Kovalic showing Cthulhu, a cultist and a Shoggoth playing the game. The box is sturdy and the lid a little difficult to remove as it is tight. The cover picture has slight wear marks on it - this was common on all the stock at GenCon UK and may be a shipping issue.

Inside the box are: - 128 colour cards (approximately the same size as a Magiccard so you can use standard deck protectors if you want to). - 3D6 - a sheet of rules - a number of cult sheets (additional copies of which which can be photocopied or downloaded from the Eos Press website ).

All the component are good quality - the cards include 4 reference cards for play and 6 blanks to add your own madness. The cards are all illustrated by John Kovalic and are very amusing, especially if you've played or read Call of Cthulhu.

Gameplay

The game can play with 2 or more players but is recommended for three to five people. Less than this and it looses the fun of interaction. More than this and it could go on for aeons!

A group of four of us tried the game late one evening, none of whom had played the game before.

The game starts with everyone picking a cult name (e.g. the 'Cult of Cthulhu', or the 'Order of Wheeltappers and Re-animators Social Club') and a slogan (e.g. "Ia! Cthulhu Phtagn!" or "Whacking wheels and dead bodies for over 2000 years"). You also pick a symbol, which really needs to be easy to draw (more later). This is written on your cult sheet. Once this important stage is done, you roll three statistics – Conjuring, Sorcery and Thuggery – on 2D6+3 and record them on your cult sheet.

Everyone is now ready to play - the cult sheets are placed in front of you.

The sheets have sections for the information just mentioned, a score track for 'Fuggly points' and 24 cultists laid out in three rows of eight. These cultists are either 'Thugs' or 'Conjurers' with strengths in magic or being violent. The rows are important because you can only attack a cultist on the front-most row, and as they are more whittled away more powerful cultists become available when a complete new row is exposed by the deaths of all the cultists on the outermost rows. Each cultist is worth a number of 'Fuggly points' if they are killed.

The aim of the game is to either kill off all the opposition's cultists (very hard) or get to get enough fuggly points to successfully summon your own Great Old One to bring on the End Times and kill everyone else off.

The game is played in rounds, during which each player has a turn. Turn order changes each round and is determined by the roll of a D6. The lowest rolling player is the 'favoured by the stars' and goes last in the round. Being favoured means that your skills are effectively 2 points higher, and that you can attempt to summon your Great Old One if you have enough Fuggly points.

Once the favoured cult is chosen, all players draw cards to a total of 6 in their hand. There are six types of card (seven if you accidently mix the blanks in like we did!):

1. Mondo cards. These must be played at the start of your turn if you have any, and the card is immediately replaced (very like the 'Secret' and 'Top Secret Cards' in Nuclear War by Flying Buffalo). Most of these have good effects on your cult and have weird titles like 'Girl Scout Raid', 'Herbert West' and 'Special Delivery'. They can sometimes have a bad effect on you.

2. Event cards. These can be played at any time in your turn on other cults and usually do nasty things to them.

3. Thuggery cards. These are used to make Thuggery attacks and include the mundane ('a Scimitar' or the 'Tommy Gun') to the ridiculous ('Blam Keg' or 'Big Honkin' Truck').

4. Conjuring cards. These are used to summon creatures to make an attack. Most of the famous Cthulhu mythos creatures are here, ranging from Cthugha to Deep Ones.

5. Sorcery cards. These are spell cards which can attack or defend, and can be played at any time in your turn.

6. Defense cards. These are specific defenses against 'Thuggery' and 'Conjuring' attacks. Examples include 'It's a Bluff' (where an innocent party gets killed instead of your cultist), 'Dodge' (where you, err, dodge the attack) and the 'Elder sign' (which wards against the mythos creatures).

With the cards in their hand, each player takes their turn. They play their Mondo cards, and then can play any event or sorcery cards. Sorcery cards require a successful roll on 3D6 under your Sorcery number to make sure the effect happens.

Each cult can make two attacks per turn – one conjuring, one thuggery – and either type can be done by either kind of cultist. However, thugs are better at thuggery, and and conjurers are better at conjuring. In both cases, the attacking player nominates a cultist on their frontmost row to attack a cultist on the enemy's frontmost row by either method. 3D6 are then rolled, with the result needing to be under their 'Thuggery' or 'Conjuring' skills to be successful.

Victims of a 'Thuggery' attack make a defense roll under half their 'thuggery' or are killed. Victims of a 'Conjuring' attack must roll 3D6 under the monster's rating to survive. In both cases, a successful defense allows a counter-attack immediately.

If a cultist is killed, the cult attacking writes its symbol on the cultist on the victim's cult sheet entry to show they killed them (Bwa-ha-ha!). They also get the Fuggly points from the victim.

Play continues around the table until the 'favoured of the stars' has their go. The main difference here is that if the 'Favoured' has enough Fuggly points they can attempt to summon their Great Old One to end the game. If this doesn't happen, the round ends and the whole process is repeated.

Game design

The description of the gameplay above shows how the game works. The section below details the key mechanics which add to the fun.

Fuggly points: Fuggle points act as a limit to when you can summon your GOO, and also can be used as a way to boost your target number to roll under. If you have spare Fuggly points you can increase your target number by +1 for every Fuggly points you sacrifice.

Spooges and Boofs: These are a critical and a fumble mechanic. If you roll 3,4 or 5 you 'Spooge'. This means something good happens (e.g. Spells can be more powerful, or if you are attacking, the attack can automatically succeed). If you roll 16,17 or 18 you'boof'. This is bad. If conjuring, you can be attacked by the creature you summoned. In the absolute worst case you can put yourself out of the game.

In the game we played this happened twice. In the first instance a player had summoned their Great Old One successfully, then another player played a special event card ('Dr Armitage suspects') that converted the success to a boof. The Great Old One turned up and duly ate the cult that had summoned it. But, showing what goes around comes around, the player who had used the event card tried to summon their GOO a couple of turns later and boofed naturally. So the same thing happened, resulting in the player in the weakest position winning!

Boofs effectively limit the number of Fuggly points you'd want to spend on boosting any individual roll. There is very little point in boosting a skill above 15 (unless its being used to defend against thuggery and would be halved) as if you roll a 16 or more you'll fail.

Onion Layer effects: The onion layer effect of having to wipe out all the cultists in one row of the cult sheet means that you have to balance protecting the last few cultists to protect the rest of your cult with getting the more powerful cultists into play. There are some cards (the worst being 'the Seed of Azathoth' ) which will attack rows further back, but generally it takes time to work through the rows. However, some 'thuggery' attacks like 'dynamite' and the 'big honking truck' attack several adjacent cultists. The 'Tommy gun' allows you to attack a whole row so can be devastating.

Conclusion


Being the first time that we played this, we took some time to get into it. At first we were worried that it was going to go on forever (like the end game of Zombies we played the night before). However, we soon realised that the aim was to summon your GOO rather than win by wiping the enemy out, which speeds the game.

The interesting thing is that you can't call the play's conclusion. The player who won was in the weakest position. Two of the other cults died in failed summonings, and the first cult to die was wiped out by all the others the turn they tried to summon their GOO as everyone worked together to finish them off. At the start of the game we'd been skeptical about it, but by the end we all thought it was great. It took around three hours to play with four people. It was faster towards the end when we were all fully happy with the game. If you wanted to play faster you could probably knock out a few columns of cultists.

It was a fun – and silly – game. If you've read any Call of Cthulhu and have a sense of humour about it you'll enjoy it. (You'd also like the Goomi's Unspeakable Vault of Doom comic which has similar humour, but that's a different story). However, knowing the mythos isn't critical - the game is fun and quite fluid. It's a bit more involved than Munchkin (for example) but not particularly complex.

I recommend it - I can see it being played again with my friends and players, unlike some games that just sit on the shelf gathering dust. Fuggly Fun!

17 years of gaming distilled down (the Furnace Timetable File)

The Furnace TTRPG convention logo. Set on black, it says 'FURNACE' with the tagline beneath of 'It's all about the games'. The main title in metal coloured with a flame fill. The subtitle is grey.

One of my fellow convention organisers - our Tsarina of Games, Elaine - has compiled a master file of all the games that have run at the convention since 2008. This means that there are only two years missing (2006 and 2007). Hopefully someone will have details, but these are mostly pre-smartphones as we currently know them being a thing.

You can find the spreadsheet here on Google Sheets.

I'm going to take a nostalgia trip now, and look at what I ran. It's interesting that until recent years, I've mainly offered games with six player spots. These days I'd more commonly offer four or five.

I've linked after-action reports when I have them, but many are lost to the ether as they were posted on earlier versions of the Gaming Tavern or UK Gamers boards and not to my blog. I've also linked off reviews other to more details about a game if I think it's worthwhile.

The sad part of this is looking at the list of names of people who don't or can't attend any more. Some of them are no longer with us. RIP.

So, now on to the forty-three games I've run over this set of records. There's probably enough to make the half-century if we could find the records of the missing two years. There's even more games played to add to that. Lots of fun with great people. 

2008 - III

  • They Came From Beyond Space, Savage Worlds
  • A Patent Inspector Calls, Sufficiently Advanced
  • The Fall of House Atreides, Conspiracy of Shadows
This was around the time that I first encountered Savage Worlds; I ended up running a SF B-Movie game as a filler in Slot 1. I think the first time I'd played the system was in the 2004 Continuum when EvilGaz and the Smart Party ran a complicated and fun game that involved table swapping.

The Sufficiently Advanced game was very epic, as it ended with the players triggering the detonation of multiple stars in novas to avoid a hegemonic alien swarm consuming the galaxy. I can also remember feeling very advanced in this game because I had my notes on my iPad 1 with an external keyboard which felt very Star Trek. Sufficiently Advanced gave me a lot of insight on how to a handle a high technology game but not get bogged down by the system; this started a move away from harder simulationist games for me, and the earlier Wordplay playlists also influenced this.

The Fall of House Atreides is a game that uses the Conspiracy of Shadows engine in Blood Opera mode to set the players against each other as parts of House Atreides as they are crushed by the Harkonnens. The traitor's identity is random (everyone gets an envelope with details if they are or aren't), so Paul or Jessica can be the traitor. I've always had fun with this kind of character-vs-character(*) game and this has come back periodically. 

(*) I prefer 'character-vs-character' because it should never be 'player-vs-player'.

2009 - IV
  • Singularities: Sandbox, Wordplay
  • Vigil in a Wilderness of Mirrors
  • Broken Dreams, Savage Worlds:Runepunk
This was the first outing for my British New Wave SF inspired game, Singularities. I'd written it as a theme for Wordplay, but it's never actually got to print despite a good reception and lots of runs out with generally a good reception.

Wilderness of Mirrors is a spy based game written by John Wick (not the Baba-Yaga guy with the pencil and dog) which I ran as a Sunday morning game. It's very much a storygame, with a lot of co-creation. I can remember it feeling quite challenging to run and I had to work hard to draw it all together.

Broken Dreams, for Runepunk was a fantastically fun game. I seem to recall that we played through the whole investigation without a single combat roll; the players were mostly Call of Cthulhu hands who didn't want to get into a fight (quite sensibly). The key thing I learnt was that Savage Worlds works really well without a fight, and that the steampunk science-fantasy style of Runepunk is a fantastic space to play in.

The other thing of note that I remember from 2009 was the fantastic Beat to Quarters game that Neil Gow ran on Saturday night. I have never laughed so hard in a game, but I think we traumatised Neil and nearly broke him as we went completely off the rails of the serious Napoleonics vibe that he was aiming at. Fantastic game, a happy memory for me and the folks it but probably less so for Neil. 

2010 - V
  • Down to Earth, Traveller
  • Singularities: Turing Test, Wordplay
  • A Taste for Murder
  • Reunion, River of Heaven (OpenQuest)
A four game year.

'Down to Earth' was a Traveller game which I'd previously re-run at TravCon earlier in the year. The concept is that the players wake up on a beach (a bit like Lost) with very little memory of what has happened before. They know they were on a ship and that they had to abandon it. The scenario was very much a sandbox with beats, and along the way people's memories would recover. This was using Mongoose Traveller. I've always advocated for reusing scenarios you write for conventions as many times as you can. This is especially true if you plan to publish them.

'Turing Test' was the second scenario developed for Singularities; this was very much another playtest of the game. Again, it worked well but I cannot remember the outcome.

'A Taste for Murder' is an Agatha Christie British Country House style mystery storygame. I've run this several times, and each time the players have veered it towards the raunchy end of the genre (so I think they'd fit in well with Bridgerton). What's fun is that you develop the reason and motives as you go along.

'Reunion' was a scenario for John Ossoway's excellent River of Heaven hard-SF game. I think that this was using one of his early scenarios and I gave some feedback afterwards. I'm no longer a huge fan of d100% based games, but this one just works nicely and fades to the background.

2011 - VI
  • Singularities: Turing Test, Wordplay
  • Utopia: In a Strange Land, Wordplay
  • Smoke and Lies, Wilderness of Mirrors
  • Singularities: Houllier's Heroes, Wordplay
Four games again, with two new scenarios.

I added a new Singularities scenario (Houllier's Heroes) this year, which very much explored the experience of mercenaries who had their brain cored and made transferable to an armoured chassis. While they were on a mission, their own bodies were on ice, hibernating.

I also added a scenario for Utopia, an expanded world setting in Singularities where a colony had become a dystopia. Again, another project I've not got to print. 

Wilderness of Mirrors was pretty much the same as the run two years earlier; obviously it didn't put me off enough.

  • Utopia: In a Strange Land, Wordplay
  • Singularities: Sandbox, Wordplay
  • The Fall of House Atreides, Conspiracy of Shadows
  • Singularities: Against the World, Wordplay
Four games and what looks like a very lazy amount of preparation, probably informed by the fact that I had a one-year old and a five-year old to handle! I reused three scenarios but did add a fourth scenario for Singularities. The Singularities scenario was the one I'd pitched (I'd only planned to do one game) but I ended up running four because people dropped out from running and playing. The Utopia scenario was a challenge as one of the players went a bit off-piste and I had to intervene as a referee and organiser as the behaviour wasn't acceptable.

2013 - VIII
  • Singularities: Landgrabbers of Gliese 581, Kingdom
  • Durance
  • Singularities: Sandbox, Wordplay
Only three games, and only one re-tread. Sandbox got a run out again! 

Durance is a game set on a prison colony in space and always really interesting. It's based on the Australian colonies that Britain established to some degree. I do recommend the supporting card sets. I've run it a couple of times and it's always been satisfying. 

'Landgrabbers of Gliese 581' puts the players in charge of a slower than light ship that decelerates into system after many years of travel through space to find that the world that they aimed at has already been settled by colonists from Earth (because technology has advanced and they got there faster). They're on a nuclear pulse engined Daedalus drive ship, and the players get to be the command crew. There is a sub-optimal world they could use in system, or they could move on, or they could try and find a resolution. Somehow, the end game was the takeover of the existing colony and the establishment of a religious dictatorship. I used Kingdom, as this is the kind of thing it excels at. I could have used Wordplay, but I wanted to experiment.

2014 - IX
  • The Last Garrison, Dead of Night (Cancelled)
  • The Song of Loeul, Stormbringer hacked into Wordplay.

I committed to two games this year but ended up running one as I developed a migraine on Saturday and was still feeling the after effects on Sunday morning. 

I never ran the Last Garrison and never returned to it. A shame in some ways, as it was a self-referential game of what happened when the apocalypse comes at a gaming convention in Sheffield in October of a year. I've subsequently lost the notes. I felt so bad cancelling it, but I wouldn't have been in a good state to deal with it.

'The Song of Loeul' was a cracking adventure set in Michael Moorcock's Young Kingdoms that I'd run several times using the Stormbringer rules, but I ported it to Wordplay (what else?). It ran brilliantly well, although I did almost feel a let down as the players came up with schemes that thoroughly trounced their operation. But they seemed to love it, which was the most important thing! This led to a very ambitious three-parter the year after.

2015 - X
  • Heart of Dust, A Hand of Death (Madcap Laughs 1), Wordplay (Young Kingdoms)
  • Ruins in Madness (Madcap Laughs 2), Wordplay (Young Kingdoms)
  • Empress on the Emerald Shore (Madcap Laughs 3), Wordplay (Young Kingdoms)
This was the tenth Furnace, and saw lots of celebration and a very ambitious side project. Graham (the convention chair) and I are both big fans of Michael Moorcock's Young Kingdoms setting. Graham also wrote Wordplay (which you may have noticed that I have been running a lot over the conventions listed so far). I came up with a crazy plan to run the 'The Madcap Laughs' scenario trilogy from White Dwarf between us using Wordplay, based upon the learnings from the year before when I ran 'The Song of Loeul'. We agreed to co-GM for all three sessions; one of us would be lead GM, while the other would focus on playing NPCs and supporting the other. I took the lead for the first and last sessions. 

Unlike later years, when multi-slot games became common, we ran each part as a distinct and independent session. This made things a little easier because we had a reset point for each scenario. It also makes it easier for the Games Tsar, as it doesn't lock down spaces and options quite as hard as dedicated single group of player multi-slots do. Of course, we ended up with a core of players who played the entire mini-campaign, so we did have some continuity between episodes. 

Overall, this was fantastic fun and convinced me that a lighter, more narrative engine was the best way forward for this kind of game. I also loved the co-GMing approach as it lightened the load for both of us. A fittingly epic approach to the tenth anniversary of the convention.

  • Wolves at the Door, Mongoose Traveller
  • Barbarians at the Gates, Uncharted Worlds (PbtA)
This year I stuck at the two game limit, and both were Traveller related, being set in the game universe. Both had been developed for TravCon and BITS previously, so this was the second run through.

The first game had the players as a mix of children and grandparents on a small agritech colony outside the Third Imperium, a place that is growing bio-engineered crops for drugs. A large Vargr warship arrives in time for the harvest festival and the party have to understand and address their intent. It's one of my favourite recent Traveller scenarios.

The Uncharted Worlds game used a modular SF PbtA engine to have a game set when the Terrans first encountered the Vilani First Imperium. The party were free traders cross over into hostile space. It is very much a sandbox with beats again, as there is a timeline for a growing threat, but how it manifests will depend upon how the players attack the scenario. I do want to go back to explore this era, most likely with the Traveller or Cepheus rules.

I'd really discovered the OSR over the last few years and loved what the Black Hack had done, so I was delighted to do some play testing and feedback with Graham's Heroic Fantasy game (in its first edition form). I melded it with an idea that was born from watching Frozen to many times with my youngster. At its heart, like many fairy tales, Frozen is pretty nasty. I decided to do an 'alt-history' take on it, imaging that Ana had accidentally been killed in the final stages of the story, and Elsa brought Fimbulwinter down upon the world in her anger and despair. The players are a party sent by their monarch to try to find out what has happened and if anything can be done about it. This was a fun game.

'They Came Back Haunted' was written when the Coriolis campaign books hadn't been released, and deals with a foreshadowing that the lost colony ship, the Nadir, may be closer than people thought and pose a threat. There were echoes of a Blakes 7 episode in this, and I enjoyed running it. I wanted to run the Coriolis Mercy of the Icons campaign after this, but one of my fellow regular players pitched it first and unfortunately it fizzled out.

2018 - XIII
  • The End of Laughter and Soft Lies, SCUP (PbtA)
  • A Cthulhu City Story: Weeping for the Memory of Lives Gone, The Cthulhu Hack
Two games again this year. The first was a full on blood bath of character-vs-character factionalism. I ran The Sword, the Crown and the Unspeakable Power, which is an epic fantasy game designed for players who are happy to push hard. The pitch was pretty simple - the players are part of the court and they've just found out that their armies have been shattered by the advanced hordes across the plains. Will they stay and fight, embrace the jihad or flee? I wrote this up in detail here

'Weeping for the Memories of Lives Gone' was a swerve ball as I took a Trail of Cthulhu campaign which intrigued me and then went and ran it with Paul Baldowski's 'The Cthulhu Hack'. I've already posted about this during #RPGaDay this year, so will point you at the more detailed write up here. For the record, I've subsequently picked up the book again, so may explore it some more.

  • Here Comes the Rain Again, A Town Called Malice
  • Det kan ingen tena tvo herrar, Cold Shadows
The first game I ran was the Scandi-Noir story game, A Town Called Malice, where the players were movers and shakers in a town threatened by a rising river and a hundred year storm. It escalated nicely.

The second game drew on the unsolved Isdalen Woman murder in Norway during the height of the Cold War. The characters were sent from Oslo to Bergen to investigate what had happened and uncovered a story of espionage. I remember that I enjoyed the game but found the system didn't quite work. I had loads of plots and handouts which made it fun.

There's more details on the games linked above on the year entry.

  • A Wicked Secret, Vaesen
  • Utopia: reEnlightenment, Tripod (Wordplay 2e) - cancelled
This was our second online Garricon (North Star went first) and I found preparation hard as my head wasn't in a good place because my mother had just died the month before. I ended up not running the Utopia game, because I needed to take my father back home (he'd moved in with us after the funeral) and Graham kindly ran Scheherazade instead. The Vaesen game used the scenario that had kept out at me from the adventures book, and it worked well. It did run on past midnight though!

This was the smallest Furnace ever, with only 40 or so people attending, partly limited by social distancing reducing the numbers of table but partly limited by the nervousness people had at returning to a social space.

I ran the playbook led Through Sunken Lands on Saturday night and it was very much a fun game where everyone just embraced the swords and sorcery genre. We laughed a lot, and I still chuckle at the gods Nin'tendo, Ga Me'Boy and the dread rites of Wii when I look back at this. I really need to run this again at a con.

Operation Horatio was a bit ambitious; it took the timeline of the first Stranger Things series and turned it into a Delta Green operation. I enjoyed this, and learned a lot about the game system and how it differs from Call of Cthulhu. I much prefer it.

  • The Slow Knife
  • Trouble in Paradise, Blue Planet: Recontact
  • Time to Pay the Piper, Blue Planet: Recontact
The Slow Knife is a character-vs-character story-game where the players reconstruct the revenge of a young person on the conspirators who had ruined their life. It was a bit arts and crafts at times as we built the board of relationships and connections, but it was great fun. I definitely will run this again!

I then spent Sunday running two Blue Planet games back to back. The first was the Quickstart, and then I ran a sequel to it. I had a continuity of players for the game, which was nice. The new version of the game ran nicely, and the scenarios seemed to work out fine. I've never had a player playing a dolphin before in a game, and it was a blast.

  • And Also The Trees, A Town Called Malice
  • Expedition XIV, The Zone
  • Murder Most Foul, Swords of the Serpentine
The first game I ran was a return to the Nordic Noir I'd last run in 2019. Overall, it worked well but was marred by the noise levels from the adjacent table.

The Zone was brilliant Annihilation / Roadside Stalker fun, which everyone getting into our tale of disaster.

I had my first experience of running a Gumshoe game, a scenario that Pelgrane Press kindly sent me for Swords of the Serpentine. I had a lot of fun as we explored this fantasy take on Venice, which characters up to no good!

  • Expedition XV, The Zone
  • Revolt
  • Welcome to the Hotel Grand Perdusz, The Dying Earth Revivification Folio
I ran the Zone as an extra game, as we struggled to fill the game timetable. This time I had the proper game, not just the print and play, and it went down just as well as the year before. One of the players came back too!

Revolt was an interesting story game about a rebellion. Lots of world building fun.

The Dying Earth was a game that I'd long wanted to play or run, so I decided to grab the opportunity with both hands and run it at the convention. It was nerve-wracking but it definitely caught a really Vancian vibe. I may well try this again, especially as there's a sequel scenario to the one I used!

--
27 October 2024