#StarTrekAdventures – Playtest loss of comms

Courtesy the-gadgeteer.com

In late 2016 I signed up and participated in the Modiphius playtest of their new 2d20 System Star Trek Adventures RPG. I even expressed some of my earliest thoughts here. When given the chance, I submitted feedback through the online survey since that appeared to be a condition of continued playtesting (a condition I agree with…give feedback to keep the privilege of continued access to playtest materials).

Having not seen anything for a while, I went poking around the Modiphius forums to see what was new. Apparently the v1.3 playtest rules were released on-or-about January 16. I don’t recall seeing it, so I checked my email junk and trash folders to make sure it didn’t get routed to the wrong place.

Nothing found.

Did I accidentally get left off? I admit my feedback was not totally positive, but I was still interested in trying more.

Notice the word “was.”

Modiphius probably just made an innocent mistake, but by doing so they forced me to reconsider my involvement in the playtest program. Do I reach out to Modiphius and ask (pretty please) to be put back on distro? Or do I let it go?

Upon further consideration, I am fine that I got dropped off. The new Star Trek Adventures was not capturing my imagination to any great degree. Indeed, recent releases from Stellagama and Gypsy Knights Games supporting play using the Cepheus Engine/Classic 2d6 Sci-Fi is much more interesting to me. I also have my ongoing occasional Fantasy Flight Games Star Wars Edge of the Empire RPG campaign to consider. I could make some excuse about having “limited bandwidth” to play RPGs but the reality is the 2d20 System just doesn’t draw me in.

Bottom Line: It actually doesn’t bother me that I dropped from the playtest because I ain’t gonna miss Star Trek Adventures. I wish Modiphius the best of luck because the hobby needs quality publishers.

#RPGThursday – Passing on Mindjammer Traveller

If you look at this blog, it should be apparent that the Traveller RPG is one of my favorite game systems. It should also be apparent that I have something of a love-hate relationship with Mongoose Publishing. Unfortunately, they are the current banner-carriers of the Traveller RPG system in the form of their Traveller Core Rulebook for Mongoose Traveller Second Edition.

To be clear, I don’t like it. Basically, I don’t see it as any real improvement over the original version and, when coupled with a more restrictive license that limits – even harms – third-party publishers, I am loathe to support it.

I also own Mindjammer: The Roleplaying Game (Second Edition) by Modiphius/Mindjammer Press. Mindjammer 2E uses the FATE Core rules. I am not a real fan of Transhuman adventure but I saw much good press about the game and tried it. I even liked it.

pic3340140_mdThis month, Modiphius released Mindjammer: Transhuman Adventure in the Second Age of Space using the Mongoose Traveller 2E rules. So I was challenged; I like Mindjammer but dislike Mongoose. What do I do? Do I invest in the Mindjammer: Traveller Edition for $22.49 (pdf) or not?

So I picked up the Dominion Quickstart for Mindjammer Traveller from DriveThruRPG. This is a free 48 page intro game with a few pages of rules changes from Mongoose Traveller 2E and then an adventure.

What I found was very few rules changes from Mongoose Traveller 2E and a lot of background. Background I already have in the FATE Core Mindjammer version. After careful consideration, I concluded that there is not enough new or attractive in the Mongoose Traveller 2E version of Mindjammer to purchase it.

So I’ll pass, and pause to ponder. Why do I find Mindjammer Traveller unattractive? It is the rules or setting? In this case, I don’t see a good marriage of rules to setting here. Maybe my experience with the FATE Mindjammer version has biased me, but I just don’t  feel the Mindjammer setting is best served by the Mongoose Traveller 2E rules. Indeed, I feel the story-telling or narrative basis of FATE is much better for Transhuman Adventure than the very mechanical Traveller engine. The possible results are much more wondrous – like a Transhuman setting should be.

Furthermore, I realize that my unbounded desire for anything Traveller has ended. These days, I appreciate a bounty of different RPG systems from the Cepheus Engine to Traveller 5 to FFG Star Wars to FATE games like Mindjammer or Atomic Robo to CORTEX Plus games like Firefly. Each of these games captures or compliments a setting in unique and positive ways – Mindjammer Traveller just doesn’t give me that same feeling.


#RPGThursday Retrospective – My #StarWars Saga (Star Wars RPG Saga Edition, 2007)

Courtesy Wookiepedia

Between 2007 and 2009 I was stationed overseas, and therefore had limited access to RPG items. I had put a lot of my items in storage so I did not have a strong library to draw upon. I was looking for a new RPG game, but had resigned myself to having to wait until my return stateside or use DriveThruRPG (a risky proposition given the internet security of the time). One day I was in the Base Exchange and saw a new book on the shelf, Star Wars Roleplaying Game – Saga Edition Core Rulebook. The book caught my eye partially because it used a very different form factor (9″x9″) and had a beautiful gold Darth Vader on the cover.

Forward – Going Back?

The Forward was very interesting because Chris Perkins claimed this was the latest iteration of a Star Wars RPG and the first to span the entire six-episode saga (p. 5). This was news to me; I had missed the earlier excellent West End Games Star Wars RPG – although interestingly I had the associated Star Wars: Star Warriors star fighter combat board game – and the original WotC version.

Saga Engine

In terms of the game engine, Star Wars Saga (SWSaga) technically used Wizards of the Coast d20 Modern. In reality, it would later become apparent SWSaga was an interim step between d20 Modern and Dungeons & Dragons 4th Edition. I had tried to use the d20 Modern engine before, but had only limited success. This time around I committed myself to learning the system and playing with it. In concept it sounds so easy:


The Star Wars Roleplaying Game uses a core mechanic to resolve all actions. This central game rule keeps play fast and intuitive. Whenever you want to attempt an action that has some chance of failure, you roll a twenty-sided die (or “d20”). To determine whether your character succeeds at a task (such as an attack or the use of a skill, you do this:

  • Roll a d20.
  • Add any relevant modifiers.
  • Compare the result to a target number.

If the result equals or exceeds the target number (set by the GM or given in the rules), your character succeeds at the task at hand. If the result is lower than the target number, you fail. (p. 9)

So simple, and easy to figure out. Except that d20 is built on breaking the rules. Feats and Talents are mechanical ways characters can act in addition to the rules. This concept took a long time for me to fully understand because d20 appears internally inconsistent since it emphasizes – at least to me – ways for characters to “break” rules.

Characters with Class

Unlike the Traveller RPG system I was so familiar with, character generation in SWSaga uses classes. Coming as I do from a Traveller RPG background, classes have always felt foreign to me. That said, I dug into SWSaga and built many characters, putting together their Attributes and Skills and Feats and Talents (oh my!).

I struggled again to understand what I was doing. Looking at it critically, I think I struggle with character generation using classes in d20 because I subconciously want to see a life path progression system, not a video game-like leveling up of characters.

May the Fourth Be With You

Combat also proved challenging. As it soon became apparent, SWSaga was moving towards D&D 4th Edition, in which combat has sometime been described as a tabletop video game. On one hand the combat system was a bit familiar, being that it drew heavily from WotC’s Star Wars Miniatures game that I played with my boys. But at the same time it was different. A different part that I found very confusing was Conditions (p. 149). I think I found Conditions confusing not because of what they represent, but how they were presented in the book. Going back now (and after many other narrative games) I see how conditions attempt to explain a non-damage situation in terms of a mechanical game effect. At heart it is not really a difficult concept to imagine, but I found it was not communicated very well by the unlabeled Condition Track on p. 149.

Force…and Destiny

For an RPG about Star Wars, I found The Force rules convoluted and disorganized. In particular, it would seem to make sense to look at Chapter 6: The Force for the relevant rules but within that section one is referred to the Use the Force skill in Chapter 4 (p. 77). Looking at Chapter 6 today, I can see that The Dark Side, and especially Dark Side Transgressions, were a stab at non-mechanical (i.e. narrative) means of explaining how to avoid falling to the Dark Side. To further add to the confusion, Destiny Points (found in Chapter 7: Heroic Traits) were included as an optional form of game economy but I rarely used them because the narrative effect was limited – whatever narrative action was there had been reduced down to a table lookup mechanic (seven effects, three of which were Force-related)(p. 113). From today’s perspective, and after having now played Fantasy Flight Games Star Wars Roleplaying Game, I see how SWSaga Destiny is an earlier form of FFG Star Wars’ Obligation / Duty / Morality mechanic. However, the implementation in SWSaga is weak; the relationship between a character’s Destiny (p. 112) and the tangible Destiny Point is neither detailed nor strong.

Sad Saga

As much as I tried, I just could never get SWSaga really going. It was not for lack of effort on my part; I eventually bought EVERY SWSaga book in the series. In the end though, I found the setting suffered from the same bloat and canonicity battles that plague the Traveller RPG community – that is, the setting is too detailed and too well defined that it is easy for a GM to get locked into a certain course of action. Indeed, after purchasing every book in the SWSaga series, I realize that I had too much information (although the entire collection is a good ode to Star Wars Legendsbut in the end the rules were too bloated for me to handle.

A New Start

So committed was I to turning over my d20 leaf that I even bought the Dungeons & Dragons Roleplaying Game Starter Set (2008). I prepared to plunge into the world of D&D after avoiding it for 30 years. I really wanted to try to play d20. I thought my boys would want to play D&D (both read many of the Rick Riordan fantasy series). In the end though my inherent dislike of the fantasy RPG genre, coupled with a feeling that D&D 4th Edition was a tabletop video game, put a relatively quick end to that little gaming excursion. As much as I tried to make SWSaga my new science fiction RPG, it just didn’t work. As much as I love Star Wars, playing in the setting using SWSaga felt like I was getting too hemmed in. Even with the option of playing in multiple eras, it still felt restricted (it didn’t help that my boys were huge prequel and Clone Wars fans – two of my least favorite eras – and they wanted to play in those times whereas I didn’t).

The Saga Narrative…NOT!

In preparing for this retrospective, I pulled out the Core Rulebook and tried to look at it independently of the other books in the series. Much like the Traveller RPG community has arguments over the Little Black Books, I can see how the Core Rulebook – by itself – is not a bad game. Setting aside, everything needed to mechanically play a Star Wars adventure is included. Looking at it with my eyes today, I also see how SWSaga attempts to reduce many narrative play elements to mechanical effects. Nowhere is this better seen than in Talents and Feats. Unlike Skills which represent various abilities (be it trained, natural, or luck – p. 57), Talents are particular to a character class and Feats are special features that give characters new or improved capabilities (p. 79). Thus, the classic Star Wars character Han Solo (p. 255) gets classed as a Scoundrel (p. 45.) with the Spacehound Talent (p. 47) – giving him proficiency with starship weapons – and the Quick Draw Feat (p. 87) because, after all, Han shot first! All of this is very descriptive of the character, but together it reduces the character to a set of well-defined – even narrow – mechanical effects. The Core Rulebook example of Han Solo has him with four Classes, seven Talents, eight Feats (several of them in multiple areas) and six Skills. The implied game limitation it that without the “right” Talent or Feat, the action is unachievable by a character regardless of the player’s desire. Thus, instead of “playing” their characters, players start trying to gain/spend XP in pursuit of the right Skill/Talent/Feat to justify a desired action. To me, this is the opposite of narrative play.

So my search for a new RPG continued, and my next two RPG purchases brought back an oldie while introducing something new.

Star Wars Roleplaying Game: Saga Edition Revised Core Rulebook by Christopher Perkins, Owen K.C. Stephens, and Rodney Thompson; Copyright (c) 2007 Lucasfilm Ltd & (R) or TM Where Indicated, All Rights Reserved. Used Under Authorization. Some rules mechanics are based on the Star Wars Roleplaying Game Revised Core Rulebook by Bill Slavicsek, Andy Collins, and ID Wiker, the original DUNGEONS & DRAGONS (R) rules created by E. Gary Gygax and Dave Arneson, and the new DUNGEONS & DRAGONS game designed by Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, and Peter Atkinson. This Wizards of the Coast game product contains no Open Game Content.



#RPGThursday Retrospective: James Bond 007 (Victory Games, 1983)

James Bond 007: Role Playing in Her Majesty’s Secret Service was the 1983 winner of the HG Wells Best Roleplaying Rules award. In terms of my growth as a RPG player, James Bond 007 was another rules set that I struggled to understand at the time, but have come to deeply respect today.

Rereading the rules these days, I can clearly see where the Core Mechanic was discussed up front in the rulebook, in a section labeled “Game Concepts.” This section, approximately two double-column pages, succinctly and lays out the how the Primary Chance interacts with an Ease Factor to find a Success Chance. A d100 roll on the Quality Results Table gives an Excellent/Very Good/Good/Acceptable result.

The best part of the rulebook, something I thought back then and still do today, is the Example of Play. Laid out in two columns, the Example of Play narrates an iconic segment of the movie Goldfinger on one side and a corresponding RPG session on the other. Never before, and rarely since, had I seen an RPG example that came to life like this Example did. This is the Gold Standard (no pun intended) which every RPG should strive for.


Courtesy IMDb.com

In terms of the Core Mechanic, at the time I got this game I had a hard time wrapping my head around the Ease Factor. As the rulebook states:

The central concept of the game is the Ease Factor – an element which must be thoroughly understood by both the players and the GM. It is a number, ranging from 1/2 to 10, which is used to measure the ease or difficulty of performing a task. The lower the Ease Factor, the harder the task, and the higher the Ease Factor, the easier the task is to accomplish; …. The GM may apply whatever positive or negative modifiers to the Ease Factor he feels are appropriate to the situation. (Basic Rulebook, p. 8)

Part of the reason this was hard for me to grasp is because the players needed a multiplication table to turn Primary Chance into Success Chance based on the Ease Factor. The multiplication table was even right on the character sheet!


Courtesy RPG Geek

The math is what put me off, but looking at the system today I see this as the first Task Difficulty system I had really encountered. Not only did the Ease Factor portray difficulty, but the Quality Results Table gave a grade of result! This system was unlike the binary Pass/Fail I had encountered to date. This game was truly the first step toward Narrative Play that I experienced.

Another major difference was the character generation system. James Bond 007 used a Point Buy system. Up to this point, I was used to the Classic Traveller or even Behind Enemy Lines career/background generation process. Building my own character was very new to me!

Another difference that I again had difficulty understanding back then was the Damage system. Instead of hit points, when hit the player had to cross-index the Quality Rating of the hit with the Damage Class of the weapon. This revealed a Wound Level. This system is very cinematic which was another change from my usual simulationist games.

Yet another game sub-system that I have grown to respect over time is the Chase Sequence. This sub-game included bidding on maneuvers; the lower the Ease Factor the more advantage one had on initiative but the more dangerous the possible results. The system again created very cinematic results.

James Bond 007 also had a rules section for Interacting with NPCs. This section had rules for Persuasion, Seduction, and Torture. Today these interactions are called Social Combat. Although there was Social Combat in Classic Traveller, the concept was not as clearly delineated as it was here.

One of the more difficult chapters in the rules was Gambling and Casino Life. Absolutely essential to any good James Bond adventure, I had a hard time understanding the various tables of die roll results for the different card games. Today I look at these tables and admire how the designer translated the odds of success in a card game into die rolls on a table.

By far the most different chapter was Hero Points. Hero Points could be used to change the results. Taken along with the Quality Results Table, this was another step towards Narrative Play. Coming from a solid Traveller RPG background, this concept of Hero Points seemed near-heretical in the day. This was my first introduction to a game economy; the Luck mechanic in FASA’s Star Trek RPG was a step in this direction but now players and GMs had a currency (Hero Points) to trade in.

Another sea-change system for me was Experience Points. With this system, characters could grow and be promoted. Like FASA’s Star Trek RPG, this system was very dependent on the whims of the GM but at least there was a system (unlike Traveller).

What I Thought of It Then – Back in the day, the math of character generation and Success Chance determination turned me off to this game. My group also had a hard time understanding how Narrative Play and the Hero Point economy was supposed to work. We liked the game, but had a hard time breaking out of our (stubborn) Traveller RPG approach to gaming.

What I Think of It Now – James Bond 007 is a gem of a game. The Ease Factor system of portraying difficulty, the Quality Results and Hero Point economy make for a very cinematic RPG system that faithfully creates exciting adventures in the James Bond mythos. Although the game is dated, the system is one of my all-time favorites.

From an RPG-perspective, I give James Bond 007 Totally Subjective Game Rating (Scale of 1-5):

  • System Crunch = 3.5 (Does need a multiplication table)
  • Simulationist = 2 (More cinematic than strict realism)
  • Narrativism = 3 (Quality Results and Hero Points!)


#RPGThursday Retrospective – Star Trek: The Roleplaying Game 1st Edition (FASA, 1983)

At the risk of making many enemies, I admit that I am not really a Star Trek fan. No, it’s not that I am a rabid Star Wars fan (especially in light of what Disney/JJ Abrams is doing to the franchise these days) but in my early wargaming days my view of Star Trek was shaped by a little wargame called Star Fleet Battles (SFB)

SFB takes place in what has eventually come to be known as the Star Fleet Universe. As noted on Wikipedia:

The Star Fleet Universe (SFU) is the variant of the Star Trek fictional universe detailed in the series of Star Fleet Battles games (board-, card-, and role-playing) from Amarillo Design Bureau Inc. and used as reference for the Starfleet Command series of computer games. Its source material stems from the original and animated series of Star Trek as well as from other “fan” sources, such as The Star Trek Star Fleet Technical Manual. In addition, it also includes a substantial number of new races and technologies, such as the Hydran Kingdom, the Inter-Stellar Concordium and the Andromedans.

Star Fleet Battles was based on the Star Trek universe as of 1979 and includes elements of Star Trek: The Original Series and Star Trek: The Animated Series. Federation elements were heavily based on concepts from The Star Trek Star Fleet Technical Manual. Unlike the mainstream Star Trek universe, Star Fleet Battles seems to consider some, but not all of The Animated Series, as being a canon material source, thus leading to the inclusion of aliens such as the Kzinti, which had originally been created for a non-Trek story series.

Since the first publication of the game, Star Fleet Battles and the Star Trek universe have diverged considerably as the authors of the game and those of the films and television series have basically ignored each other. The resulting divergent world of Star Fleet Battles is known as the “Star Fleet Universe”. – Star Fleet Universe Wikipedia

The SFU did not get a RPG until the publication of Prime Directive in 1993. But in 1982, FASA published Star Trek: The Roleplaying Game. The game release was at an interesting time in the history of Star Trek, coming a few years after the release of Star Trek: The Motion Picture and the same year as Star Trek II: The Wrath of Khan. Although FASA has a license from Paramount, it appears that the studio pretty much left FASA on their own. As a result, the game designers were able to pick-and-choose what “canon” they wanted:

It was left to us to determine what was the “essential” STAR TREK material, leaving it to gamemasters and players to add whichever specialized material they preferred on their own. – Core Rulebook 2001A p. 126

In terms of game mechanics, ST:RPG was published by FASA only a year after their award-winning Behind Enemy Lines RPG. ST:RPG is another interesting game where the differences between an RPG and wargame get murky.

ST:RPG is composed of three major game systems; Character Generation (Chargen), Combat, and Starship Combat. The Core Mechanic rolls Percentile Die (2d10 read 10’s-1’s) compared to Attribute or Skill – roll under for success.

Character Generation and Advancement is very RPG-like. Chargen uses a career path system after generating Attributes (Strength, Endurance, Intelligence, Dexterity, Charisma, Luck, and Psionic Potential). Luck (LUC) is the most interesting because this attribute first introduced me to a more narrative way of playing RPG’s:

LUC saving rolls are used in this game when the gamester believes situations may be affected by pure chance and coincidence. The object of this game is not to kill off player characters, and setting up a total adversary relationship between players and the gamester limits the enjoyment of the game. Therefore, the gamemaster should use a LUC saving roll attempt at times to give a player a chance to bail himself out of a tricky situation. A saving roll of this type should always be given to a player character ( or a non-player character who is an established STAR TREK character) who is in imminent danger of death or other tragedy. Temper the use of saving rolls with common sense, but do use them when necessary. Sure, it hampers realism, but STAR TREK should reflect television realism, not reality. – Core Rulebook 2001A p. 12

ST:RPG includes rules for skill advancement. This was a whole new world to me; Classic Traveller is famous for NOT having a skill advancement system! Even so, the skill advancement system in ST:RPG is very simplistic:

Once play has begun, skill may increase with use. After each adventure scenario, or each major mission of a continuing campaign, the gamemaster should have each player who saw action make a saving roll against his character’s INT [Intelligence] score. If the roll is successful, the player may roll 1D10 and add the resulting number of hits to his skill level in any one skill he possesses that was used during the course of the adventure.

Gamemasters are encouraged to give a few bonus points (maximum of 3) in a skill to a player who pushes his skill to the limit in the course of an adventure (that is, makes a difficult saving roll), thus learning something in the process. Extra points should also be awarded to anyone who has the opportunity to closely observe someone of a higher skill level engaged in a skill-related activity of a more routine nature. To get this bonus, however, the person who is teaching (not the one receiving the extra skill points) must make a saving roll on his or her own INSTRUCTION skill. If the saving roll is failed, no skill is gained by watching. – Core Rulebook 2001A p. 38

As simple as skill advancement was, it was still a more narrative-flavor of RPG that was very new to me at that time.

As much as Chargen with LUC and skill advancement was moving towards a more narrative RPG experience, Combat was a firm step back into the realm of wargames. Indeed, in the Tactical Combat Notes section of the Designers Notes they unabashedly proclaim:

When trying to decide how to design this section, we remembered one old adage – when something works well, use it! And this is exactly what we did. We had been playing GRAV BALL (by FASA). We enjoyed the movement and action system. It worked well, giving the feel of simultaneous movement while retaining a simple system. Most si-move systems require paper plotting of moves in advance. While realistic results can be obtained, the system is slow and cumbersome….

Combat evolved from our working knowledge of almost every game published on tactical combat. From the action list and character system we had it was a simple matter (although lo-o-o-o-ng!) to develop this aspect. Again, we just”worked through” what really happens in a combat situation. We drew on our own and other’s experience (you should see the looks we got from neighbors) and worked out situations live. – Core Rulebook 2001A p. 128

As a result, the Combat system is (once again) a very wargame-like, skirmish-combat system using facing and Action Points on a gridded map for range and movement. When rereading the rulebook, I found it interesting that the Combat Examples (which is really just one example) starts on page 55 and ends on page 59! Admittedly, there are a few moments in the “wargame” example where role-playing is invoked, but it certainly is a rare exception and NOT the rule! Like this moment:

Wagner moves as shown, coming through the door (which opens automatically), stepping over the fallen Klarn, and moving towards the door. The gamemaster stops Wagner and requires a normal saving roll on DEX [Dexterity] be made to step over the fallen Klingon without tripping (since Wagner is moving fast under stress). Wagner’s DEX is 76 and he rolls a 31 – no problem! – Core Rulebook 2001A p. 57

The third game system is Starship Combat. Here is where the designers attempted to balance the need to role-play with a tactical wargame:

Where STAR TREK is different is in the approach to combat. A simple boardgame could have been used, but STAR TREK as developed here is intended as a role-playing experience. Unlike other tactical space combat systems, STAR TREK offers the opportunity to “role play” during ship combat as well as during ground or ship based adventures.

In the system presented here a number of players will interact, cooperating in an attempt to defeat an enemy ship (or a number of ships). The atmosphere of a game session then becomes much like that on a bridge of a starship, with each player having a responsibility to control one part of the ship’s functions.

To keep track of ship functions in play, each player uses a control sheet or panel. These players will communicate vital information back and forth during combat, using their panels to record the turn-by-turn changes in power levels, ship’s weaponry status, crew casualties, and more. – Core Rulebook 2001A p. 102

To assist in world building, rules for creatures/animals and world characteristics were also included. These systems are very Classic Traveller RPG-like in their mechanical approach and don’t stand out in any way to me.

What I Thought of It Then: As a Star Fleet Battles/Star Fleet Universe fan, the different canon of ST:RPG confused me. I remember always trying to “fit” ST:RPG into the SFU. I also remember our gaming group really trying to play the starship combat game (again, a need to make it more SFB-like). As an RPG, the game didn’t really attract our attention. We instead focused on the starship combat module. We played the wargame and not the RPG.

What I Think of it Now – Looking at FASA’s Star Trek: The Roleplaying Game today, I realize I missed a great opportunity in 1983 to play an RPG that was starting down the path towards a more narrative game. All the clues I needed were in the rules – I just had to read them and embrace the concepts. A good example of play is often helpful, and in ST:RPG there is a short example of play that unfortunately is buried just before the Designers Notes. It doesn’t even have its own header. When I read it now, I “see” the RPG game within ST:RPG. That said, the example also makes me cringe a bit at the “state of the RPG art” in 1983. References to pocket calculators and a very lopsided sharing of narrative were the norm:

GAMEMASTER: Your ship is two days out from Calvery IV, proceeding at Warp 3, on a routine call to deliver a Federation diplomatic pouch and other official greetings. Unexpectedly, your communications officer picks up a faint subspace signal from the direction of that system, calling for Federation assistance. The message is too faint to make out much else, and it is unlikely in this part of space that any other Federation vessel will intercept the signal.

CAPTAIN: Can the communications officer pick up anything else?

GAMEMASTER (to communications officer): Make a standard saving roll on Communications Procedures.

COMMUNICATIONS OFFICER (rolling): I made it! What do I hear?

GAMEMASTER: There’s lots of interference, but by switching antennas you get a bit more. The voice is male and human-sounding. You catch a reference to “the insect plague” and another to “Government House” being “besieged by the horde.” Abruptly, in mid-sentence, the message stops and you pick up no further transmission.

CAPTAIN: That sounds urgent! And we’re three days away at Warp 3! How far at Warp 6?

GAMEMASTER: Warp 3 is 27 times lightspeed and Warp 6 is 216 times lightspeed. That’s 8 times as fast.

CAPTAIN (consulting pocket calculator): That’s…nine hours or so. (To navigator and helmsman) All right Mr. Devareux, Mr. Wickes…increase our speed to Warp 6 on the same course. (Turning to communications officer) Mr. L’rann, send a message to Star Fleet Command detailing the situation and tell them we’re on our way.

GAMEMASTER: Just so you’ll know, it will take six days at this distance for a message to reach the nearest starbase.

CAPTAIN: So we’ll be on our own. Very well, The science officer will consult the library computer for information on the planet. Department heads will meet in the briefing room in thirty minutes for discussion.

SCIENCE OFFICER: Captain, a computer file search on insect life on Calvert IV might be appropriate…

CAPTAIN: So ordered, Commander Levine. (Dropping out of character) Everybody check with the gamemaster on your own departments. I’m going to grab a snack! – Core Rulebook 2001A p. 125

From an RPG-perspective, I give Star Trek: The Roleplaying Game Totally Subjective Game Rating (Scale of 1-5):

  • System Crunch = 2 (Simple Core Mechanic but mostly combat-focused)
  • Simulationist = 4 (“Wargame” combat systems)
  • Narrativism = 2 (LUC to overturn events)

#StarWars #EdgeoftheEmpire RPG – Nimble Cash Episode 1

So the RockyMountainNavy boys and I sat down this weekend for a real serious start of a new Fantasy Flight Games, Star Wars, Edge of the Empire RPG campaign. Having started – and quickly stopped – several previous campaigns we all made a commitment to making this adventure “for real.”

First up was character generation. The party is four adventurers; a Cornelian Human Smuggler/Charmer, a Wookie Hired Gun/Bodyguard, a Twilek Technician/Mechanic and a Drall Technician/Outlaw Tech. This is not a balanced party with two “techies.” Oh well, it is the characters they boys want! The group has a slightly modified YT-1300 Light Freighter named Nimble Cash.

The first session started in-res, with the ship carrying a “slightly” illegal cargo and being chased by a pair of TIE fighters. This encounter allowed each adventurer to participate in the combat sequence. Eventually, after a not-too-difficult time, the ship escaped.

Next encounter was with the groups nameless contact to deliver the cargo. The Charmer tried to use his natural, well, charm to get a better price. After a short social conflict sequence, he succeeded. The group got almost all the money they wanted. In lieu of some of the money, their contact gave them another job. A simple mail job to deliver a letter.

While preparing to leave, the inevitable “Imperial entanglements” arrived in the form of a Storm Trooper squad led by a Sergeant. Not having anything to hide, the group boarded the ship before events went sideways. In the course of the battle, each adventurer got a spotlight moment:

  • An enraged Wookie bashing the head of a Stormtrooper and knocking him out cold
  • The Drall with a Goo-Gun “gumming” up a trooper and letting the Mechanic dispatch him
  • The Charmer taking a glancing stun bolt, improvising a melee weapon, and tripping and falling in the middle of combat.

This was really a near no-prep session. Came off pretty well with an emphasis on the narrative dice. The RMN boys caught on quick, and grabbed at the opportunity to contribute to the story.

Tune in next week for the continuing adventures of the Nimble Cash.




#FourRPGs of Influence

Reading the #FourRPGs hashtag on Twitter is a great nostalgia trip, as well a thinking challenge. Here are the four RPGs that most influenced me.

From tasteofsoundsfiles.wordpress.com

#1 – Classic Traveller (Published 1977 – discovered 1979)

Anybody remember the game store Fascination Corner in Arapahoe Mall in the Southeast suburbs of Denver? It was there I bought my first war-game, Panzer, by Yaquinto Games in 1979. Soon after that, I found a little black box with a very simple logo. The game was Traveller, and it was a role-playing game. Being a huge Star Wars fan, I just had to have the game. This was my gateway into RPGs. Although I had friends who played Dungeons & Dragons, I didn’t (fantasy didn’t catch my attention then, and to this day still doesn’t). I have never looked back since.

I actively played RPGs until the mid-late 1980’s. After college, my job and family didn’t really give me the time to play. Instead, I became a bit of a collector. I tried to keep up with Traveller (buying Marc Miller’s T4 and later the Mongoose Traveller versions). I tried other Somewhere in the mid-2000’s, I discovered DriveThruRPG, and started building an electronic collection of games that I had missed. Being a huge Traveller RPG fan, I stayed with GDW RPGs for the longest time. Sure, I dabbled in other systems (like the James Bond 007 RPG), but I really tried to stay away from Dungeons & Dragons. I had tried my hand at D20 Modern, invested heavily in the Star Wars: Saga Edition, and even looked at Savage Worlds, but none of then really captured my interest.

From en.battlestarwiki.org

#2 – Battlestar Galactica (Published and discovered 2007)

Being a huge fan of the show, I just had to have Margret Weis’ Battlestar Galactica RPG. I was immediately sold on what is now known as the Cortex Classic System (which, in retrospect, is not so different from Savage Worlds). The Battlestar Galactica RPG was a major turning point for me because it was with this game that I truly embraced designs beyond the Classic Traveller system. The Plot Points system, i.e. a tangible game currency for the players to influence the story, was a major break from my previous gaming philosophy. I realized that I was too fixated on systems like Classic Traveller, with its many sub-games, which is very wargame-like and not actually a great storytelling engine. I continued to follow the Cortex system, and these days really enjoy the Firefly RPG using the Cortex Plus system.

From en.wikipedia.org

#3 – Star Wars: Edge of the Empire (Published and discovered 2013)

While Battlestar Galactica started me on the path to narrative RPG play, I didn’t truly arrive until Star Wars: Edge of the Empire. I had got the core rule book and the Beginner’s Game and tried to play with my boys. But at first I just didn’t “get it.” What do all those funny dice really mean? One day I discovered the Order 66 podcast, and listened to their advice on Triumph and Despair. At that moment it all clicked. From then, I was sold on the the system and strongly believe that this game is the best marriage of theme and gameplay. That said, I have to say that the later volumes of this game system, Age of Rebellion and Force & Destiny don’t hold my interest as much as Edge of the Empire does.

From evilhat.com

#4 –Atomic Robo (Published and discovered 2014)

After Edge of the Empire, I started looking for other narrative RPGs. Somehow, I happened across a copy of Atomic Robo. I picked up the game (mostly on a whim) but after reading it was so intrigued by the gaming possibilities. As fortune would have it, I also discovered a Bundle of Holding that had many FATE products. I discovered I had been missing out on a great game system. Now, in addition to Atomic Robo, I enjoy Diaspora (FATE 3.0) and Mindjammer (FATE Core). I have even played a few games using FATE Accelerated with the boys, much to their (and my) enjoyment.

Truth be told, these days I pay much more attention to the “game engine” than the actual game. I admit that my favorite “game engine” these days is FATE Core. That said, I still enjoy Traveller (and even the much-maligned Traveller 5) although the newest Mongoose Traveller Second Edition is not impressing me.