I spent 2007-2009 stationed overseas, and my access to gaming materials was limited. Upon my return stateside in 2009, I quickly searched the local game stores and found a game that changed my RPG life. The game was an RPG based on the reimagined Battlestar Galactica TV series. Battlestar Galactica Role Playing Game(BSG)represents to my a major turning point in my RPG gaming history.
It’s in Color!
BSG was a very different game that I had seen in the past few years. First off, the Corebook was a hardcover that was lavishly illustrated with pictures from the TV series. It did not have the desktop publishing feel that I had become accustomed to in the past few years (see the 1990’s and my Second RPG Interregnum).
Cortex at the Core
BSG used the Cortex System(these days the BSGversion is known as Cortex Classic). In Cortex, character attributes are not numbers, but a die type ranging from d4 to d12+d4. Skills were also described by die types, and each character also had Assets or Complications that also were rated by a die type. The core mechanic was a simple Skill Die + Attribute Die vs. a Difficulty number.
Assets and Complications were very interesting to me. BSG was the first time I really saw a mechanical impact of role playing characteristics of a player character. But the part that really excited me was Plot Points. Although I had played with Hero Points in James Bond 007 RPG, it was the Plot Points mechanic in BSG where I first started understanding a “game economy.” I also have to say that BSG has my second-favorite ever Combat Example (second only to James Bond 007 RPG) which replays a scene recognizable from the series.
The other very interesting part of BSG were vehicles. Unlike vehicles and spacecraft in the Traveller RPG games, BSG described vehicles in the same way characters were presented; attributes and traits. I actually embraced this approach because it was more “narrative” and fit with the Assets/Complications and Plot Points in supporting more narrative play.
Having caught the “attribute as dice” bug, in 2008 I picked up the then-newSavage Worlds Explorer’s Edition. Described as “Fast! Furious! and Fun!” I quickly discovered that this rulebook was another set of rules sans setting. It also had a near-miniatures rules feel to it (see Figures and Battle Mats, p. 4). That said, I really was intrigued by:
Character attributes described by dice
Wild Cards and Extras (maybe the first time I recognized “Minion” rules)
Bennies (Game Economy)
Initiative using playing cards
The part that confused me was Arcane Backgrounds. I had a difficult time grasping this at first, and really didn’t understand what Arcane Background could do until seeing it used in a later setting book.
Discovering a New Narrative
The major impact BSG/Serenity and Savage Worlds had on my RPG gaming experience was the introduction of a more narrative style of play. The use of Assets/Complications or Edges/Hinderances along with the game economy tools of Plot Points/Bennies totally changed how I viewed playing RPGs. My games became less simulationist and more narrative. Now, I had seen (and played) some more narrative games (like James Bond 007 RPGor even Babylon Project) but I did not fully recognize what was happening. With Cortex System and Savage Worlds I recognized this change in gaming style and embraced it. It also helped that at this time I moved away from a preference for hard(ish) sci-fi settings and went to settings influenced by pulp (in no small part due to my discovery of the Wold Newton Universe through Philip Jose Farmer’s Tarzan Alive and The Other Log of Phileas Fog and Win Scott Eckert’s Myths for the Modern Age.
The move to narrative also explains my next purchase.
Battlestar Galactica Role Playing Game, Copyright (c) 2007 Margaret Weis Productions, Ltd. and Universal Studios Licensing LLLP.
Serenity Role Playing Game, Copyright (C) 2005 Margaret Weis Productions, Ltd. and Universal Studios Licensing LLLP.
Savage Worlds Explorer’s Edition, Copyright (C) 2008 Pinnacle Entertainment Group. Produced under license by Studio 2 Publishing, Inc.
A couple of thoughts come to mind here. First, from the subtitle of the press release, what does MWP mean when they say “Pick-Up-And-Play Games?” This line is repeated in the body text where MWP states, “MWP’s own crew of seasoned designers and creators of licensed role-playing games, stand ready to develop an all-new series of pick-up-and-play games and game supplements.” Second – and closely related to my first question – will this new RPG use the latest version of Cortex or an older or newer system?
MWP previously produced the Serenity RPG. This was the first game to use their Cortex System (named after the Cortex in Firefly/Serenity and now known as Cortex Classic). As an early effort, the game had much further development done through later releases, especially items like the Big Damn Heroes Handbook which was as much a Cortex System update as a sourcebook. It also apparently had a limited license – MWP was able to use only the movie.
Later MWP RPG games took Cortex through several upgrades and outright system changes. Changes to the point that the early versions of Cortex are almost not recognizable when placed next to the later versions, now known as Cortex Plus. Cortex started out as a dice pool mechanic that also used Plot Points to create a cinematic effect. As Cortex developed over the years, it has become much more narrative in approach. To see what I mean take a look at the Marvel Heroic Roleplaying Example of Playfrom the MWP website. The battle scene presented uses no figures, no map, but only pools of dice and some sticky notes yet it moves along rapidly in a good representation of an action-packed comic book superhero confrontation. This is much different than Cortex Classic. Look at this Example of Play taken from the Battlestar Galactica Quickstart Guidewhich certainly captures the cinematic aspects of the source material but in a much different, more recognizable (classic RPG?) way.
Karl “Helo” Agathon (played in this example by Sean) has been trapped on Cylon-occupied Caprica for weeks with his co-pilot, Sharon “Boomer” Valerii. They have fled one hiding place after another and have recently discovered a shelter beneath a restaurant. They are planning to rest and re-supply. Helo has ventured upstairs to make a hot breakfast, while Boomer catches some extra sleep.
GM: Helo, you find that the perishable food has all spoiled. You do discover plenty of canned and boxed food in the pantry, including oatmeal and toaster pastries.
Sean: The pastries should be fine. I heat them up in the toaster and look for a couple of clean plates.
GM: While you’re scrounging around the cupboards, you hear a loud crash and the sound of broken glass coming from up front, near the door.
Sean: Frak! I look for someplace where I can hide and see what’s going on.
GM: Okay, roll your Alertness + Covert. Sean rolls the dice for a total of 11. The GM rolls Alertness + Perception for the Cylon Centurion who is entering the front door. The Cylon gets an 8.
GM: You are pressed up against the wall. From here, you can see tall shadows moving in through the door. You hear heavy footsteps.
Sean: I pull out my pistol, trying to stay as quiet and stealthy as possible. Any way I can get a better view from my vantage point?
GM: You look around and see a stainless steel dishwarmer off to one side. In its reflection you can make at two Cylon Centurions. They slowly walk around the room.
Sean: I remain quiet and perfectly still in my hiding place. Maybe they’ll go away.
GM: They continue to look around the room, but something’s up. The Centurion closest to you readies its arm-mounted rifle, though neither of them are looking your way. The Game Master rolls again for the Cylon’s chance to spot Helo, and again the Centurion fails.
GM: You smell something baking.
Sean: Uh oh. Is breakfast still toasting?
GM: Yes, and it looks ready to pop up.
Sean: How far away is the toaster?
GM: Do you mean the Cylon, or—
Sean: The one holding my breakfast!
GM: It’s about fifteen feet away. The first Cylon Centurion is only a few feet away, partially separated from you by a frosted glass wall.
Sean: I make sure the safety is off of my gun.
GM: Sure enough, the pastries pop up, and the sound alerts the Cylons. Both Centurions spin toward the source of the sound. At the same moment, Sharon walks through the door from the stairs.They turn away from you, focus on her.
Sean: I fire at the closest toaster—er, Cylon! I yell for Sharon to run!
GM: Since the Cylons were not aware of you, you have the Initiative and can go ahead and roll the attack: Agility + Guns. Sean rolls, scoring a 17. Shouting a short phrase does not count as an action in combat.
Sean: Good roll! Did I hit? The GM determines that the Cylon was standing still, facing Sharon. As an Easy target, the Cylon’s defense was 3. He calculates base damage as 14. He also adds 3 more points for the weapon damage of the pistol—a total of 17!
GM: Your armor-piercing rounds hit. The first shell tears through the back of the Cylon’s head, and the second goes through its torso. The Centurion looks as if it’s about to drop. Now we have to take a look at Initiative. The GM checks everyone’s Initiative ratings. The surviving Cylon Centurion goes first, then Sharon, then Helo. Checking the Cylon’s game information, the GM rolls an attack on Helo. The result is a 9.
GM: The remaining Cylon shoves its way past its comrade and begins firing at you in a wide arc. Sharon stumbles to get out of the line of fire. Are you going to be attacking this turn or defending?
Sean: These things have automatic weapons. I’m dodging, and I’m going to dive for cover when my action comes up.
GM: Roll Agility + Dodge.
Sean: I’m spending two Plot Points on my dodge action! Sean rolls the Attribute and Skill dice, and adds a d4 for the Plot Points. All together, he rolls an 11.
GM: You barely dive out of the way as bullets tear the room to shreds. You duck behind the bar, even as light fixtures and other debris fall down on you from the ceiling.
(For the record, I do think that MWP has some of the best Examples of Play since old Victory Games and their James Bond 007 game. Go to this link and read the two-column example of play starting on page 12 of the pdf which has a classic set of scenes from Goldfinger and an in-game version side-by-side.)
I for one welcome the narrative approach to gaming. I dare say that narrative RPG play is gaining popularity and will get a huge shot-in-the-arm when Fantasy Flight Games releases theStar Wars: Edge of the Empire Core Rulebook in the second quarter of 2013. This narrative surge is in stark contrast to what Wizards of the Coast (WotC) appears to be trying to do by releasing Dungeons & Dragon classics. Although I have no personal interest in DnD 5e, it will be interesting to see just how many narrative elements WotC does – or does not – bring into their new edition.
Reading science fiction books is a real crap-shoot. My tastes vary by so much I really don’t know what I like – which means I often pick up a book and end up not liking it. These days I usually avoid the franchise books (Star Wars, Star Trek) and leave them for my kids.
So it was a nice surprise to pick up The Kassa Gambit by M.C. Planck at my local bookseller. As I perused the first chapter, a definite Traveller RPG-vibe came through. Look at these excerpts from the first chapter (taken from the Macmillan site linked above):
The Ulysses was a commercial trading vessel, of the smallest economical class, and thus unrated for combat of any kind. But Prudence was a woman of extreme caution and deep paranoia, and thus had made a few modifications. The “mining laser” bolted to the top of the ship was wired in a most unorthodox fashion. It was only good for thirty seconds of operation before something burned out, but two seconds from the amped beam would cut an unarmored ship in half. The left cargo pod carried a rack of missiles. And she had six chaffers bolted to the hull, disguised as auxiliary fuel pods. Hopefully, it would be enough.
“What the hell are we gonna do?” “We’re going to run.” What she always did when things got bad. Perversely, it was also what she did when things got good. When she’d made enough margins long enough, and had a hold full of high-value trade goods, she would set her crew down in the biggest spaceport she could find and offer them a choice. Get off, or go Out. Sometimes they stayed. Sometimes they took their bonus pay and left. Sometimes she found other adventurers, stragglers, wanderers to replace them. And then she would run, hard and fast, hopping from node to node, until either they ran out of fuel or ran into a planet that had the local nodes locked down tight. Then they bartered, bribed, and begged their way into whatever passed for a commercial license in those parts, and started all over again.
Take a small merchant ship and live on the fringe. This is the essence of Traveller and that awesome TV series Firefly and the Serenity RPG.
The story itself is OK; nothing particularly good nor anything outstandingly bad. I do like a few of the characters, in particular Jorgun who makes me think about how one portrays an idiot savant in Traveller RPG character terms. This is a debut novel for MC Planck so I can only hope he gets better. If he writes more books in this universe I will definitely check them out.
I actually didn’t remember much of The Babylon Project and never actually played it with a group. I do remember thinking the combat system was “complicated.” I recently took the time to reread the rules. In doing so, I now have to reconsider the game and give it more credit than I had previously.
In terms of production values, the book was ahead of its times. Full-color pages make it rich looking, even if some of the art is of marginal quality (a mix of photos from the series and artwork inspired by the same). Today people would scream for a low-ink version for print-at-home.
I remember not liking character generation. Of course, I had grown up on Classic Traveller making many of the concepts in The Babylon Project seem foreign. Character generation in The Babylon Project uses a combination storytelling and point-buy approach and is done in three phases. In the first phase, the player uses storytelling aspects to create a character concept and basic history. This in turn leads to adjusting the 13 attributes that define your character. Attributes are rated 1-9 with each race having a typical attribute value. Players can adjust the typical attributes based on the concept and background but for every attribute raised another has to be lowered. The second phase – childhood – has the player answer another set of questions which guide picking Learned Skills and Characteristics (an early version of the Savage Worlds or Cortex System advantages/hindrances). This same process is repeated in a third phase – adulthood – which again gains Learned Skills and more (or changed) Characteristics. This system was very much NOT what I had grown up with in Traveller or my other RPGs of this time like FASA’s Star Trek: The Roleplaying Game or the first edition of Prime Directive. At the time, I think it was just too different for me to be comfortable; now I see it for what it is – a well thought out, guided, lifepath character generation system.
The adventure and campaign system focuses less on episodic events than on creation of a story arc. The Babylon Projectcertainly tries to match the grand, sweeping, epic feel of the series. The mechanic used is the Story Chart which the Gamemaster uses to loosely chart out the path of the campaign. The Story Chart uses four basic symbols to lay out an adventure:
Non-exclusive Chapters: Events which do not directly relate to other events in the story; can be worked into story almost any point to uncover key pieces of information, encounter non-critical NPCs, or experience important scenes.
Exclusive Chapters: Events which the characters must experience and can only happen once; these change the nature of the story and cannot be revisited or reversed.
Independent Chapters: Not critical to the overall puzzle, but may help.
Information: The flow between chapters that lead from one to another.
Like character generation, I think at the time I viewed this (again) as too different to understand. Today, I can see the designer’s intent and zeal to get closer to the grand, sweeping, epic feel of Babylon 5. Unfortunately, even today I don’t often see a similar approach in other games that could use it like Star Wars Saga Edition or even Battlestar Galactica.
The core Game Mechanic is actually very simple. Players compare Attribute+Skill and Specialty+/- Modifiers +/- a Random Modifier against a Task Difficulty set by the GM. To use the examples from the book:
Jessica is attempting to bypass the reactor control circuitry. The bypass isn’t particularly difficult, but Jessica is working by flashlight in zero-G. Dana specifies that Jessica will take the necessary time to make sure the job is done right. Taking all of those factors into consideration, the GM decides that the task is Difficult, which gives it a Difficulty Number of 11. Jessica’s Intelligence is 5; her skill in Engineering: Electrical is 3; and her Specialty in Electrical Applications adds another 2 – all totaling to an Ability of 10. Her GM decides that no additional penalties or bonuses apply. (The Babylon Project, p. 90)
The Random Modifier is created by taking two die (a green positive and red negative) and rolling. Look at the lowest number. That die is now the modifier – positive if the green die and negative if the red. This makes the Random Modified range from +5 to -5. To continue using the example from the rule book:
Dana rolls the dice. Her Negative Die result is 5, with a Positive Die result of 2. Thus, her Random Modifier is +2. (The Babylon Project, p. 91)
The degree of success or failure is also a consideration. As the example continues:
Jessica’s Ability in her attempt to bypass the reactor control circuitry is 10. Adding the Random Modifier of +2 just rolled by Dana gets a total Result of 12. That’s 1 over the Difficulty of 11 set by the GM – a Marginal Success. The GM tells Dana that Jessica’s bypass has fixed the problem, but that it won’t hold up for long, and not at all if the reactor is run at over half its rated power output. Thus, her success in the task resolution fixes the problem, but the GM interprets its marginal nature as a limitation on engine power and fortitude. (The Babylon Project, p. 91)
Given my close acquaintance with Classic Traveller and the definite lack of a clearly defined task system – much less an emphasis on degrees of success – it is not surprising I didn’t immediately embrace the simple task mechanic in The Babylon Project.
Combat comes in two forms, Close and Ranged, and is played in phases of two-seconds each meaning the player character gets a single action. Players make an attacker roll versus a defender roll. An important combat consideration is aim point; there is a default aim point and if the attacker wants to (or must) aim elsewhere there is a modifier. The degree of success determines how close to the aim point the hit occurs and the level of damage. Combat then moves to Immediate Effects. This table determines if the hit results in immediate death, stun, or impairment. Given the Damage Ratings of the weapons and not-so-great armor this means combat in The Babylon Project is very dangerous! Once combat is over, then Final Effects are dealt with, to include the extent of injuries and wounds. Like all of The Babylon Project, there is a heavy emphasis on the storytelling effect of the injury. Again this is nothing like Classic Traveller yet today I can see the design effect the designer was reaching for – speedy combat using the simple core mechanic with detailed wounds and healing latter. I think the designer achieved what he was trying to do with combat.
The Babylon Project also uses Fortune Points, this games version of Bennies or Plot Points. Each player starts a session with five Fortune Points. Fortune Points can be used to improve a task roll, save your life in combat, and attempt a task that the player normally could not attempt. This game mechanism is not found in Classic Traveller and a the time I think I saw it as too cinematic or “space opera” for my hard sci-fi taste. Today, I take for granted the use of Plot Points or Bennies or like mechanisms as a useful tool for players to exercise narrative control on the game instead of leaving it in the sole hands of the GM. I have also grown to appreciate the cinematic benefits of Plot Points as I have moved (a bit) away from hard sci-fi rules mechanics.
The last page of The Babylon Projectrulebook is a one-page GM Reference Sheet. Literally everything needed to run the game is on this one page. Really…everything! How did they ever expect to sell a GM screen? In fact they did – it was one of the items I also picked up in my bulk buy – and used three panels. The left panel has Attributes and Skills (a useful reminder of the entire list available) as well as Martial Arts Maneuvers (rules added in the Earthforce Sourcebook supplement). The right panel is a Weapons and Armor table – again useful but not absolutely essential. The center panel is a colorful, slightly reformatted version of the original GM Reference Guide.
It would also be negligent of me not to mention that one of the reasons I originally got The Babylon Projectwas for the space combat system. Introduced in Earthforce Sourcebook, the space combat system was developed by Jon Tuffley and based on his successful Full Thrustminiatures system. This approach to incorporating popular, known, miniatures space combat rules and an RPG was later repeated by the Traveller community with the publication of Power Projection: Fleet.
Rereading The Babylon Project has opened my eyes to just how much of a gem this game really is. Compared to the more recent Mongoose Traveller Universe of Babylon 5, which I reviewed in 2011, the earlier The Babylon Project is more appropriate to the source and setting. Since the 1997 publication of the game, I have also matured as an RPG player and am more comfortable with the narrative/storytelling and cinematic aspects of the rules. I can now see where The Babylon Project is much like the early Cortex System (Serenity and Battlestar Galactica RPGs) or Savage Worlds– game systems I really love and enjoy playing. I think I will work on a story arc for The Babylon Project and see what happens….
My first impressions are framed by the Ennie awards. Since it won the Best Rules and was the Runner-up for Best Game and Product I have high expectations.
Rules – I have to admit the presentation of the rules is very good. I especially like how the rules are cross-referenced in the text and margins. If you look at my Smallville comments above, you see that I was having a hard time wrapping my head around several game concepts. I have used the Cortex system since Serenity and Battlestar Galactica RPG’s and it has certainly evolved over time (better to say “changed significantly”). This is by far the best explanation of the Cortex Plus system I have yet to read, in part because of the numerous helpful graphics and gameplay examples used. However, I feel the Datafile Creation rules are incomplete. Indeed, they come across as more guidelines than rules. In one case – Assigning Specialties – the book directs the player to “compare your hero to those heroes and villains known throughout the Marvel Universe….” This is an example of being too closely linked to your license; makes being a Marvel fanboy a near-necessity to play. I don’t think this is really MWP’s intention but it comes across as such.
Product of the Year – My product is the Basic Game, which includes the Operations Manual and the Mini-Event “Breakout.” The Operations Manual weighs in at 126 pages (page OM00 is unmarked) and as I already stated is lavishly illustrated and assisted by helpful graphics and play examples. The blank Datafile, Glossary, and Index are here but numbered as part of the Breakout Mini-Event. The Mini-Event is definitely geared towards learning the game. It is 97 pages long and composed of two Acts (the second Act is optional) and has 23 Hero Datafiles and 48 Villains/Minor Characters/NPCs. This large selection is very helpful in designing your own character. It is also provides insight, especially comparing Black Widow the Hero (Natasha, BR58) with Black Widow the Villain (Yelona Belova, BR32). Overall, this does well as a stand-alone product. Minus the dice, of course. But for $19.99 retail this compares very favorably with the 2012 Ennie Gold Winner for Best Game, Savage Worlds Deluxe, which is also a rulebook sans dice.
Best Game – I have not compared all the 2012 Ennie nominees so I cannot judge if this is really the game of the year. What I will say it that this game is not a hack-and-slash supers game, but much more narrative in approach. To get the maximum enjoyment out of the game will demand a high level of player involvement as it is the players and not the Watcher that creates most of the action. The rules also require more than a passing acquaintance to understand and get the most out of. Regardless of the genre, this game is probably best with seasoned RPG players and not players just starting RPGs or kids.
“Specifically, the game focuses on the last year before the start of A Game of Thrones. As a result, no details about the plots and fates of the various characters are revealed, and each house and individual is presented as they are at the opening of the novels.” (p. 4)
I really appreciate the effort Green Ronin is making to avoid railroading characters into actions and settings. The real challenge will not be the setting, but players who have read the books or watched the series and use that meta-game knowledge.