TV Review: "Adventure Call" (2010-2013)

This week, I want to give a shout out to a hi*LAR*ious recurring sketch on "Limmy's Show!", "Adventure Call":

"Limmy's Show!" was a surreal and bizarre Scottish comedy sketch show broadcast on BBC Two Scotland, written and directed by Brian "Limmy" Limond.  In "Adventure Call," Limmy played Falconhoof, the host of a premium-rate call-in show, wherein callers attempted to work through a dungeon crawl similar to the all-time great text adventure game Zork, whilst being charged an exorbitant fee per minute.

The first thing that strikes most viewers is Falconhoof, who's dressed up like a Ren Faire reject.  He's quirky but plays it straight, and has to deal with all manner of strange and/or angry callers, which produces much of the humor.

Additional humor comes from the game itself, which is, like Zork, quite challenging, with players needing to say the right thing at the right time and featuring Permadeath!  Old School!

Here's my favorite sketch:

"Kill Jester."

RPG Game Play: Campaign Basics (Part I)

Ever since Dave Arneson created Blackmoor (aka the First Fantasy Campaign), wherein he pioneered, among other things, the concept of Character Advancement, GMs (and now some players) have been creating their own game worlds and settings.  So, this week, I wanted to talk about some of the basics of running RPG Campaigns.

By "Campaign," I mean an ongoing set of adventures or a continuing storyline, typically set in the same game world and nowadays often involving the same PCs (unless there has been Character Death).  As a result, running a campaign is usually more challenging and demanding for a GM than a one-shot adventure, since the GM needs to know more and in greater detail about the background, the locations, the NPCs, etc.

While it's true that some New School games encourage cooperative world building and shared narrative fiat between GMs and players, the majority of games and campaigns still follow the traditional GM-led model  (i.e., the GM is primarily responsible for developing and running the campaign).  So, this post will focus on the latter, (i.e., the role of the GM in running the campaign).

So, in terms of general advice for running a campaign, probably the first thing for a GM to keep in mind is that, regardless of how much you prepare, something is not going to go as expected, whether it's because you made a mistake, your players killed the NPC that you intended to keep as a recurring foe, your players left the location/plot you oh so carefully prepared, or whatever.  Thus, being a good GM requires at least a little improv ability (i.e., being able to handle curve balls and to think on your feet).

For novice GMs, a good way to reduce the likelihood and scope of the unexpected is to run dungeon crawls.  In fact, one of the reasons that Messr Arneson put his first adventures underground was to expressly limit what the players could do.

Additionally, GMs shouldn't be overly attached to any particular plot, NPC or whatever or concerned that the PCs didn't interact in the GM's desired way.  It's always possible to recycle material into a later game session or future campaign.


Secondly, the GM should take some time to know the applicable rules set.  Constantly looking things up will disrupt the flow of a game session.  Also, it can be disheartening to find out that you misquoted a rule.


Thirdly, the GM should prepare enough to feel comfortable.  Some GMs spend hours getting ready for a game session, while others do literally no prep.  For myself, over time, I've prepared less and less, partly because I usually use rules with which I'm quite familiar and because my improv skills have improved.


Fourly, the GM should be on the same page as the players regarding expectations.  Here, the group's social contract is key.  Also, remember to keep in mind that the goal of playing RPGs is to have fun.


Of course, there are many other things that can play a part in running a campaign, if you can get down the above, you should be starting from a good position!

Board Game Review: "7 Wonders" (2010)

This week, I want to give a shout out to one of the best board games of the past decade: "7 Wonders":

7 Wonders is a strategy, building and resource management card drafting game wherein players assume control of one of seven ancient cities, each representing one of Antipater of Sidon's original Seven Wonders of the Ancient World: the Great Pyramid of Giza, the Hanging Gardens of Babylon, the Mausoleum of Helicarnassus, the Colossus of Rhodes, the Temple of Artemis at Ephesus, the Lighthouse of Alexandria, and the Statue of Zeus at Olympia.

There are three decks of playing cards (called a "Age cards"), that are unsurprisingly only played in one particular Age of the game.  The Age cards represent different types of structures that the player can build to provide a resource and/or a mechanical benefit.  In addition, some structures are tiered to unlock further structures and/or mechanical benefits.

Furthermore, the each city has a different game board (called a "Wonder board") with different powers and resources that can affect a player's strategy.  Games are for 2-7 players and the player with the highest total of victory points at the end wins.

Winner of the prestigious 2011 Spiel des Jahres Kennerspiel, as well as numerous other awards, 7 Wonders is well designed, fast paced (turns are resolved simultaneously and the game can be finished in less than an hour) and deceptively challenging: While the mechanics are simple (pick a card each turn),  the strategy and scoring are not.

At the beginning of each Age, each player receives a hand of 7 cards, dealt randomly, from the corresponding Age deck.  After picking a card, the players passes their remaining hand of cards to the player sitting to the left (or right depending on the Age) and receive the remaining hand of cards from the player sitting next to them.  This means players know what cards they are passing on and can influence the receiver's options in the next turn.  However, since players will be passing cards to the left twice and to the right once, they have more influence on the left neighbor than the right neighbor.

There multiple potential paths to winning, although some may be more efficient than others for a given civilization.  Players must decide which strategies and resources to focus on and which to ignore.  However, it's not always clear at the time what is the optimal choice or the what is value of a particular choice!

So, if you are looking for a fast, fun, challenging and replayable strategy board game (especially if you are a history buff), this may be the game for you! 

RPG Focus: 2nd Edition Warhammer Fantasy Roleplay (2005)

This week, I want to take a look an all-time great Dark Fantasy tabletop role-playing game, Warhammer Fantasy Roleplay:

"It is a dark time: far to the north, the gate of chaos has opened once more. Archaon, Lord of End Times, had waged his insane war on the civilized world, although he was beaten back at the last moment, Chaos is still prevalent throughout the land: Beasts ravage the countryside, Mutation and Insanity are rife. Heroes are needed, heroes who will beat back the darkness, heroes the like of which who have better things to do than to save inbred, misbegotten peasants like these.

So, you lot will have to do. May the lords of ruination spare your souls..."

With a very British sense of black humor, Warhammer Fantasy Roleplay is set in the grim and perilous Warhammer Fantasy setting, where the power of Chaos lurks in the heart of every person and  simply surviving day-to-day in the midst of various dark and deadly threats is an achievement.  First used by the Warhammer Fantasy Battle tabletop miniatures wargame, world of the Warhammer Fantasy drew inspiration from a number of sources, including Tolkien's Middle-earth, RE Howard's Hyborian Age (Conan the Barbarian), Michael Moorcock's Elric, and early modern European history. 

Warhammer Fantasy Roleplay is only of the best RPGs in terms of capturing the flavor of Dark Fantasy.  Rather than playing (at least in the beginning) badass warriors and powerful wizards, in Warhammer Fantasy Roleplay, the PCs start as everyday scrubs that need to scratch and crawl their way up out of mediocrity, assuming that they don't die in the process.  For example, starting PCs include rat catchers and tax collectors.  Also, regardless of how powerful the PCs become, they can still be taken out by a lucky shot.

The 2nd Edition did a good job of updating and streamlining the 1st Edition.  For example, 2e only uses d10s for resolution.  Thus, similar to Call of Cthulhu, Warhammer Fantasy Roleplay uses a roll under percentile system, so task resolution is straightforward.

However, Character Creation and Advancement is quite crunchy in Warhammer Fantasy Roleplay.  There are 8 primary attributes AND 8 secondary attributes, as well skills and talents (i.e., perks and disadvantages).  This makes creating a PC a lengthy task not easy for a beginner.

Also, as an alternative to leveling, PCs have the ability to shift careers by spending XP.  However, there are around 60 basic careers AND 60 advanced careers.  That's a lot of careers!

In addition, each career has specific career entries and career exits, so one cannot simply go from  rat catcher to noble.  This means that players need to crunch out in advance their career paths if they have a specific goal, similar to the feat system in WotC D&D.

While Character Creation and Advancement is clunky and there are many look up tables to slow down game play, the tremendous flavor of Warhammer Fantasy makes up for it.  The game really is gritty and PCs can die from a single unlucky hit and there's an element of survival horror.  However, under the bleakness, there's a gallows humor and a sense of real accomplishment if you do manage to survive.

So, if you're a roleplaying fan of the Warhammer Fantasy setting, Dark Fantasy, or Horror generally, this may be the tabletop role-playing game for you!

Movie Review: "Fire and Ice" (1983)

This week, I wanted to give a shout out to perhaps the most ambitious barbarian-themed fantasy film produced in the wake of "Conan the Barbarian" (1982), the classic animated Swords & Sorcery yarn, "Fire and Ice":

In "Fire and Ice," the evil Queen Juliana of Icepeak and her sociopathic and totally not gay son, Lord Nekron, seek to conquer the world with dark sorcery by unleashing a seemingly unstoppable glacier.  As the glacier nears the last free kingdom of Firekeep, subhuman minions from Icepeak kidnap the scantily-clad Princess Teegra to marry Nekron.

Teegra escapes and meets up with Larn, a handsome hunky barbarian warrior wearing only a loincloth, the displaced survivor of a village destroyed by the glacier.  After Larn is knocked unconscious and Teegra is once again kidnapped by the subhumans, we meet the real star of the show, the mysterious badass who's so mysterious that his name is never given in the movie (although he's called Darkwolf in the credits)!  Thus, when we watched this flick in the ancient 80s, my friend Chris dubbed him "Cat Dude".

All we ever learn about Cat Dude is that he's a ridiculous badass and an unstoppable murder machine. While Larn is the ostensible hero of the film, Cat Dude is the one who actually gets things done.  

Things end up as you might expect from a Swords & Sorcery yarn (hint, it involves Cat Dude's axe and Nekron's chest).

"Fire and Ice" is a basic good vs. evil story and if that's how you judge this movie, it's not very good as the plot is straightforward and the second act drags a bit.  However, as collaboration between noted animation director Ralph Bakshi and his long-time friend, the all-time great fantasy illustrator Frank Frazetta, it's metal!

The film is basically a Frazetta painting turned into a movie, which is unsurprising since Frazetta provided the character designs and the fantasy setting.  There's many a mighty thew and scantily clad bosom to be found, and the flick is visually stunning, depicting a savage and primitive world filled with horrific monstrosities, weird and wild landscapes, lost ancient civilizations and copious amounts of dark sorcery.

Also notable is the film's use of rotoscoping, in which scenes were shot in live action and then traced onto animation cels, as with Bakshi's earlier adaptation of Lord of the Rings.  This provides an amazing sense of realism to the characters' motions.

For comparison, here is actress Cynthia Leake:

And here is Princess Teegra:

So, if you want to see an epic animated Swords & Sorcery yarn featuring barbarians, buxom babes, and lots of things getting murdered, check out this overlooked gem!  

RPG Design: Character Advancement

This week, I wanted to discussed an issue that is important in almost all tabletop role-playing games with campaign play, Character Advancement:

By "Character Advancement," I mean the mechanical advancement of a character rather than narrative or other development of a character (e.g., becoming a landed noble in a fantasy game, gaining magic items, etc.).  Traveller (1977) is a role-playing game that famously originally didn't have any Character Advancement system (i.e., the PCs were rewarded with, among other things, information about the setting).  In addition, RPGs not intended for campaign play (e.g., Fiasco) also lack any Character Advancement system.

However, almost every other RPG incorporates some system for Character Advancement, of which there are many different types, including:

• Leveling (e.g., D&D)

In D&D and similar games, once a PC has accumulated a sufficient number of Experience Points, their Level increases (i.e., they level up), resulting in mechanically defined increases in some of the PC’s capabilities.

Some games, such as older iterations of D&D, try to use Character Advancement as a balancing mechanism by having different Experience Point requirements for different classes.  However, the success of this balancing mechanism is questionable.

Leveling is the most common type of Character Advancement.

• Ongoing Point Buy (e.g., GURPS, WoD)

A continuation of Point Buy from Chargen, once a PC has accumulated a sufficient number of Experience Points, they receive a mechanically defined number of Points to further improve the character.

Ongoing Point Buy is probably the second most common type of Character Advancement.

• Advancement through Use (e.g., Call of Cthulhu)

Like it says on the tin, a PC advances through successful use of skills (e.g., Call of Cthulhu) or what have you.  While this may be a realistic approach, it can also result in players trying to squeeze in skill checks even in such are not appropriate.


Of course, there are also other possible Character Advancement systems, including non-mechanical advancement, such as Milestones in Fate Core:

"A milestone is a moment during the game where you have the chance to change or advance your character. We call them milestones because they usually happen at significant “break points” in the action of a game—the end of a session, the end of a scenario, and the end of a story arc, respectively."

Basically, the above is advancement through narrative fiat.


While not every role-playing game features Character Advancement, for those that do, it is a key method to maintaining player interest in the game and to increase player investment in their character.  "The Hero's Journey" is a part of humanity's collective unconscious and most people love feeling more powerful and seeing numbers go up.

Character Advancement in RPGs was a key innovation of Dave Arneson, as leveling was one of the key differences between Blackmoor and the earlier Braunsteins of the Midwest Military Simulation Association (MMSA).  So, many thanks to the Cheeky Wizard!

TV Review: "The Vision of Escaflowne (天空のエスカフローネ)" (1996)

This week, I wanted to give a shout out to an epic animated fantasy series that's one of the best of the 1990s, The Vision of Escaflowne:

"Was it all just a dream? Or maybe a vision?

No, it was real."

Set on both Earth and a fantasy world named Gaea, "The Vision of Escaflowne" follows the adventures of a teenage girl named Kanzaki Hitomi, who has a mystic connection to both places.  Whilst in the middle of professing her love for the high school track captain, Hitomi encounters Van, the teenage King of the small Gaean nation of Fanelia, and a dragon.

After defeating the dragon, Hitomi and Van are teleported back to Gaea, where Earth and the Moon are visible in the night sky and where Earth is called the Mystic Moon.  This is the first clue to the viewer that the series' has yet to be discovered backstory.

Shortly thereafter, Van uses the dragon's heart to power up the eponymous mecha Escaflowne, just as the Zaibach Empire invades his country.  Hitomi and Van are then swept up into Zaibach's conquest of the rest of Gaea, meeting a host of other characters along the way, including a jealous teenage catgirl.

It's a rather punishing game to have a drink every time Merle says, "Lord Vaaaaaan!"


Despite the bishōnen aesthetic of the male characters, "The Vision of Escaflowne" has a clever and well written story, with surprising depth and dramatic weight and some unexpected twists, without veering too much into melodrama.  Plus, there's a good balance between funny and poignant moments.  Additionally, the series successfully blends different genres (e.g., High Fantasy, Mecha, etc.) and puts its own distinctive spin on things.

Also notable are the wonderful soundtrack by Yoko Kanno and the Warsaw Philharmonic Orchestra and the eye popping visuals: this series is animation of a quality not previous seen before on a TV show.  The mecha design is top notch, including work from the legendary Kawamori Shōji of Macross fame.  There are also some pretty boss fight scenes.

A worldwide hit, "The Vision of Escaflowne" remains a beloved anime that is quite rewatchable more than 20 years later.  If you're looking for a fast-paced fantasy action anime filled with creativity, a wonderfully-fleshed out background and many well-designed characters, this may be for you!