Movie Review: Cleopatra (1963)

This week, I wanted to take a look at the movie that has the dubious distinction of being the only film ever to be the top-grossing film of the year to lose money at the box office, "Cleopatra":

An epic historical drama focusing on the famous Queen Cleopatra, the film focuses on her machinations to maintain her power and position in the face of the imperial ambitions of Rome.   But how is she supposed to do so, with Egypt hobbled by generations of corruption and incompetence?  The young queen must rely on her personal assets...

Loosely based on history, the film begins shortly after Caesar defeats Pompey Magnus at the Battle of Pharsalus to end Caesar's Civil War.  Pompey flees to Egypt and Caesar pursues, only to find his frenemy assassinated by the Egyptians.

Thereafter, Caesar is quickly involved (in several senses of the word) in the power struggle between Cleopatra and her brother/husband/co-ruler Ptolemy XIII Theos Philopator.  Cleopatra seduces the new leader of the Roman world and, after Caesar defeats her brother, bears him a son, Caesarion.

"A woman too must make the barren land fruitful. She must make life grow where there was no life. Just as the Mother Nile feeds and replenishes the Earth, I am the Nile. I will bear many sons. Isis has told me. My breasts are full of love and life. My hips are rounded and well apart. Such women, they say, have sons."

However, after the would-be king kicks the bucket (Et tu, Brute?), Cleopatra then seduces his old friend, Mark Anthony, who has formed the Second Triumvirate with Octavian, Caesar's great-nephew and adopted son, and Marcus Aemilius Lepidus, another of Caesar's generals.

Like the First Triumvirate, the Second Triumvirate, is an alliance of convenience that breaks down and leads to a showdown between Mark Anthony, with Cleopatra as ally, and Octavian.  At the Battle of Actium, Cleopatra inexplicably chickens out and flees, causing by her doomed lover to follow and abandoned his troops.

With a run time of over 4 hours, "Cleopatra" was an epic (in several senses of the word) mess.  Originally budgeted at $2 million, the film rapidly ballooned out of control.  20th Century Fox fired original director Rouben Mamoulian after 2 years, $7 million, and only 10 minutes of film!  Replacement director Joseph L. Mankiewicz was able to complete the film, sort of.

Mankiewicz worked to sheer exhaustion directing by day and writing by night, with little sleep.  The resulting movie is a mish-mash of love triangle, battle scenes and over the top grandeur.  "Cleopatra" has a stellar cast but Elizabeth Taylor isn't able to carry the lead.  For example, Queen Cleopatra VII Philopator, the last active ruler of the Ptolemaic Kingdom of Egypt, was one of the most interesting figures of Anquity, a diplomat, naval commander, polyglot, and medical author.  However, not much of that background makes it to the silver screen.

So, if you want to see sparks fly between Liz Taylor and Richard Burton (they had a scandalous affair during production) or if you like old Hollywood Epics, this is an okay film.  Otherwise, check out a better and more accurate take of Cleopatra and Mark Anthony in Season 2 of Rome!

Design Philosophy, Revisited

So, it's been a couple years since I started this blog, and with the first public playtest of my rules set, Sorcery & Steel, under my belt, I thought it would be a good time to look back and see how S&S matches up thus far to my stated Design Philosophy.

As I mentioned earlier, with Sorcery & Steel, I want to create an "Old School" (e.g., traditional GM authority, player skill over character skill, Combat as War, etc.) rules set that combines "enough" interesting tactical options with also "reasonably" fast speed of play (i.e., a rules set that achieves Old School-style Tactical Depth at relatively low cost in terms of Complexity).  Here, "enough" and "reasonably" reflect my opinion and YMMV.

Overall, I'm pretty satisfied with how Sorcery & Steel is coming along.  In order to be an Old School game with both tactical depth and streamlined gameplay, I front-loaded a lot of the mechanical crunch, especially into Character Creation/Character Advancement.  However, as one of my players put it, once you finish making a PC and understand the basic gist of the game, it generally runs very smoothly.

Also, speaking of Character Creation/Character Advancement, I adopted both random roll and point buy elements, since I believe that Character Classes are good from a design POV in that they provide players with an easy guide to how to conceptualize and to how play their PC, but I wanted a bit more flexibility.  The end result is more of Archetype-style PCs, where the player has an overall direction for the character but still has plenty of room to customize to suit.

In addition to the above design goals, I want S&S to able to handle Swords & Sorcery-flavored adventures and adventures where Investigation is a key component.  In terms of the former, I think S&S is okay at Swords & Sorcery in terms of gritty, lower-powered fantasy (e.g., I lowered and flattered the power curve) but I did stay away from some classic Swords & Sorcery tropes (e.g., all sorcerers are evil).

In terms of the latter, S&S is inspired, in part, by the seminal work in the field of Investigation-based RPGs, Call of Cthulhu.  CoC's mechanics are rock solid, remaining largely unchanged through seven editions and nearly four decades.  Unsurprisingly, given the CoC inspiration, Horror, particularly Lovecraftian Horror, also provides a good deal of flavor to my rules set and has worked out pretty well in actual play.


However, while the basic building blocks seem to be in place, there's still plenty of tweaking and refining to do.  For example, I just completed the first major overhaul to Character Creation/Character Advancement, boosting a bit the power of starting characters.

加油!

Literature Review: "Shadows in Zamboula" (1935)

It's been a while since I've covered anything Swords & Sorcery.  So, this week, I wanted to discuss another one of best Conan the Barbarian yarns, wherein Messr Howard skillfully blends both Swords & Sorcery and straight Horror elements, the classic tale "Shadows in Zamboula":

"PERIL hides in the house of Aram Baksh!"

So exhorts an elderly desert nomad to Conan, trying to warn the barbarian against staying in a suspiciously cut rate tavern in Zamboula, run by the aforementioned Aram Baksh.  However, Conan  is almost broke, having already sold his horse, and has already prepaid for the room so...

I typically prefer the Conan stories with everyone's favorite Cimmerian as a wandering adventurer rather than as a king/general.  "Shadows in Zamboula" falls into the former category, which finds our protagonist once again somewhat down on his luck in Zamboula, a melting pot of different peoples:

"Here, centuries ago, the armies of Stygia had come, carving an empire out of the eastern desert. Zamboula was but a small trading town then, lying amidst a ring of oases, and inhabited by descendants of nomads. The Stygians built it into a city and settled it with their own people, and with Shemite and Kushite slaves. The ceaseless caravans, threading the desert from east to west and back again, brought riches and more mingling of races. Then came the conquering Turanians, riding out of the East to thrust back the boundaries of Stygia, and now for a generation Zamboula had been Turan's westernmost outpost, ruled by a Turanian satrap."

Conan doesn't have to wait long for his next plot coupon as that very night, the local cannibals attempt to ambush the Cimmerian in the room that Aram Baksh cunningly trapped to assist the cannibals but the maneaters end up on the wrong side of a broadsword.  However, before the barbarian can even the score with the innkeeper he has to save a damsel in distress and then open up a big can of whoop ass on some evil cultists.

He also dispenses some frontier justice on Aram Baksh before leaving town.

As befits a ripping S&S yarn, "Shadows in Zamboula" features Howard's vigorous and imaginative writing.  The story leaps from the page with only an economy of words.  Conan murders a bunch of evil doers and also proves to be cleverer than he looks: throughout much of the novelette, the barbarian is seemingly led around by his penis, but in fact is nobody's fool, which leads to a nice twist ending.

A fun, fast pulp fiction romp, "Shadows in Zamboula" is filled with action and has a nice blend of mystery, horror, dark sorcery and a bit of nudity.  A must read for fans of Swords & Sorcery!

RPG Events: NEON Retrofuturism Festival 2018

Last week, I attended the inaugural NEON Retrofuturism Festival!

NEON is, in the organizers' own words, "a celebration of Retrofuturism from the late 20th century."  As a love letter to that period's technology and pop culture, this celebration featured synthwave artists, obsolete tech, hard video games, and tons of So Bad, It's Good movies from yesteryear!  For example, Ninja III: The Domination!

A notable part of this convention was a huge arcade consisting of original restored cabinet games, including Pac-Man, Tapper, Dig Dug and Spy Hunter, only this time they were all free to play, so no need to keep begging Mom for more quarters!

The fun also included a massive selection of 80s and 90s game consoles, including relatively obscure platforms like the Vectrex:

I was amused that I still remembered a bunch of the secret treasure locations for Castlevania!

And, I had the opportunity to run the rules set I'm working on, Sorcery & Steel, for a bunch of strangers!  Specifically, I ran Ravenloft of Cthulhu, a reimagining of the classic AD&D gothic horror module with a bunch of Lovecraftian twists (e.g., Strahd is an eldritch horror rather than a vampire).

I changed a number of things so that even someone who had played and DM'd I6 many times before said he could see where certain things came from but the end results were quite different.  For example, I emphasized Lovecraftian horror rather than gothic horror, so there were no romance elements and Strahd was much more inhuman and unsympathetic.

Much fun was had, and I was happy that the session went smoothly and the game's mechanics were easily understandable by newcomers.  As a bonus, I also found a number of places to further refine the rules set.

A reboot of TempleCon, NEON still has a way to go to fill the shoes of its predecessor.  However, this year was definitely a good start.  If you're a fan of the 80s or a fan of things that love the 80s (e.g., Stranger Things), you should check it out!

RPG Focus: Trail of Cthulhu (2008)

Last year, I took a look at Call of Cthulhu, the grandfather of Horror RPGs, and, last month, I took a look at Investigations in RPGs.

So, in honor of Messr Howard's birthday today (8/20), I wanted to take a look at a different take on Lovecraftian Horror in RPGs: Trail of Cthulhu.

Named after the series of interconnected short stories by August Derleth (who did much to keep Lovecraft's literary legacy alive after Messr Howard's unfortunate demise), Trail of Cthulhu is, like Call of Cthulhu, an RPG focused on the Cthulhu Mythos genre of horror fiction.  Published by arrangement with Chaosium, Inc., creators of the Call of Cthulhu RPG, there are a handful of familiar trappings in this game (e.g., Occupations, skills) but it's just window dressing as Trail of Cthulhu runs instead on Pelgrane Press' in-house Gumshoe System.

Unlike Call of Cthulhu's d100 mechanic, playing Trail of Cthulhu only requires a single d6 for Gumshoe's target roll over mechanic.  Also, there are no ability scores for Investigators, only skills.

The supposed "killer app" of Trail of Cthulhu is the absence of rolls for Invesgiation skills.  Namely:

"Gathering clues is simple. All you have to do is: 

1. Get your Investigator into a scene where relevant information can be gathered,
2. Have the right ability to discover the clue, and
3. Tell the Keeper that you’re using it. 

As long as you do these three things, you will never fail to gain a piece of necessary information. It is never dependent on a die roll. If you ask for it, you will get it."

ToC's boosters argue that this is a revolutionary mechanic because the failure of a single roll can derail the entire session/game/campaign!

However, I consider this "No clue roll" mechanic to be highly overrated and the above argument to be hyperbole.  For example, the argument doesn't take into account that typically there's more than one PC with a relevant skill to acquire a particular clue and that typically the GM will allow multiple rolls.

In addition, such bottlenecks that this "killer app" is meant to address are usually the result of poor adventure design.  This issue can easily be overcome by the Alexandrian's Three Clue Rule (i.e., if there are enough clues, missing one in particular should not be fatal to gameplay).

Additionally, as the Alexandrian notes:

"[The "No clue roll" rule] is a mechanical solution to the problem. But while it may result in a game session which superficially follows the structure of a mystery story, I think it fails because it doesn’t particularly feel as if you’re playing a mystery. 

[Robin] Laws’ fundamental mistake, I think, is in assuming that a mystery story is fundamentally about following a “bread crumb trail” of clues...But, in point of fact, this type of simplistic “A leads to B leads to C leads to D” plotting is not typical of the mystery genre."

Furthermore, ToC is a very New School RPG in the sense of expecting the GM to cater to the players and tilting the odds in the players' favor by reducing the overall challenge.  This is as opposed to the traditional GM role of an impartial referee.

This game does have a vocal group of fans.  However, in terms of actual play, I personally cannot recall seeing a listing for Trail of Cthulhu on Roll20.

Board Game Review: "Royal Game of Ur" (~3000 BC)

This week, I want give a shout out to one of the most popular board games of all time that also happens to be almost completely forgotten nowadays: The "Royal Game of Ur":

The Royal Game of Ur, also known as the Game of Twenty Squares or simply the Game of Ur, is a two-player turn-based strategy game where the players race to be the first to move all their pieces through and then off the game board.  However, this is easier said that done in this simple but elegant game that can become surprisingly intense.

On the player's turn, they roll four dice to determine how many squares they can move a single piece.  However, the dice are d4s (a triangular pyramid with four triangular faces), and not the d4 that are commonly used in RPGs today: two of the four vertex corners are marked with a white tip.  The number of white tips pointing upward equals the number of squares they can move a single piece.  This means a player can move 0 to 4 spaces, with the results distributed on a bell curve.

The game board consists of 20 spaces arranged in two rows of 6 and one row of 8 (looking like a deformed "I").  Each row of 6 is controlled by one player only and the row of 8 is shared.  Players must send a game piece through both their controlled row and the shared row before they can move the piece off the board.

The Royal Game of Ur, so named because it was first rediscovered by the English archaeologist Sir Leonard Woolley during his excavations of the Royal Cemetery at Ur between 1922 and 1934, was first played in ancient Mesopotamia during the early third millennium BC and was popular across the large parts of the ancient world among people of all social strata.  In addition, boards for the game have been found at locations as far away as Crete and Sri Lanka.

This game is probably a direct ancestor of the backgammon family of games and was popular until late antiquity. At this point, it have may evolved into backgammon or may have been eclipsed in popularity by early forms of backgammon.  However, the Game of Ur was also brought to the Indian city of Kochi by Jewish traders, where they were still playing a recognizable version into the 1950s.

Modern replicas are available for purchase with an easy internet search.

If you'd like to see this five millennia old game in action, played by Irving Finkel, a curator at the British Museum, who rediscovered the rules of the game by translating in the early 1980s a clay tablet written c. 177 BC by the Babylonian scribe Itti-Marduk-balālu, check out this awesome video!

RPG Design: Active v. Passive Defenses

Last year, I discussed the importance of considering Tactical Depth v. Complexity in RPG Design.    This week, I wanted to touch on an important related design issue that is sometimes overlooked, Active v. Passive Defenses:

By "Active Defense," I mean any system where the PCs can take action to defend themselves, typically parrying or dodging.  Examples of RPGs with Active Defenses include Call of Cthulhu, and oWoD.

By "Passive Defense," I mean any game where the PCs have one or more defensive stats (calculated using the character's ability scores and/or their gear) representing their ability to avoid harm in one or more ways.

The most famous example of Passive Defense in RPG is D&D's Armor Class, which represents the difficulty to actually land an effective attack on the PC and which is calculated from the PC's Dexterity and/or their gear.

Other examples of systems with passive defense are nWoD and Savage Worlds.

There are, of course, RPGs with *BOTH* Active and Passive Defenses.  For example, REIGN allows parrying and dodging (Active Defenses) and has Damage Reduction stats for armor (Passive Defense).


So, what's the big deal about Active v. Passive Defenses?

As I mentioned before when discussing Weaponry, many RPGs make combat is a key or even central element of gameplay.  There are many, many, many different approaches to modeling Combat in RPGs, but a key design decision is whether a particular approach is more Tactical or more abstract.

Combat, as it is usually portrayed, is fast paced. However, game mechanics (e.g., Initiative, attack rolls, etc.) by their nature are slow paced.  Thus, in terms of Tactical Depth v. Complexity, the more crunchy a game's combat mechanics, the more complex and slower that game's combat becomes.

Unless a game is very narrative, most RPGs have Active Attacks.  But when the designer also adds Active and/or Passive Defenses involving rolling, a game can really slow down.

Some people love really Tactical games (e.g., miniature war games).  However, myself, I prefer faster paced combat, as it can be the more dramatic and the emergent narrative of the game session flows quicker and more easily.