Posted on November 6, 2018
Apparently people are really ideological about the ascending/descending armour class issue. I never understood this. I can understand why some people prefer ascending armour class and positive to hit bonuses to THAC0, on the basis that addition is easier than subtraction, I guess, but on my Basic D&D character sheet, I always wrote down the score needed to hit each armour class. As a player anyway this is even easier than ascending armour classes and bonuses to hit – you just add your Strength bonus to your roll and glance at the table to see whether you hit an opponent with a given AC. For example (for level 1 characters in Basic D&D):
|To hit AC:||9||8||7||6||5||4||3||2||1||0||-1||-2||-3|
To avoid blundering into the ascending/descending AC holy war (seriously people), and also to remain compatible with AD&D’s different base AC I suppose, many OSR/DIY D&D modules now present monster and NPC armour class not with a number, but with an armour type.
This is quite neat. Let’s look at the basic armour types from Basic D&D and their numeric armour classes from Basic, AD&D, d20 and 5e (slightly simplified):
Not only are there different armour classes between each generation of D&D as shown in the table above, but the gaps between armour classes is also inconsistent. In trying to provide a “look up” table similar to the kind written on your character sheet in Basic D&D with rolls required to hit for each armour type listed, I have by coincidence settled upon the d20 AC numbers (they tend to be either the same as the roll required in Basic or between that number and the 5e AC):
|Armour Type||Roll Required (1d20 + To Hit Bonus)|
The “To Hit Bonus” is the Strength (melee) or Dexterity (ranged) modifier plus the proficiency bonus (5e), base attack bonus (d20), or 20 – your THAC0 (in TSR versions of the game).
Posted on November 2, 2018
As discussed in my response to the OSR questionnaire, Castles & Crusades was my pathway to the OSR. There’s a variety of reasons for this. The system is more familiar to 3rd edition/Pathfinder players than 1e AD&D, but the game has that 1e feel in play, but this familiarity is overstated, in my view. Probably the biggest reason is that C&C looks the most like a “modern” game as a result of its full-colour, hard-cover rulebooks, and as such, is the easiest sell. Even though I am not currently playing C&C, I like the game a lot and I have continued to back its Kickstarters and buy the odd book when they’ve been on sale, because I think I probably will run C&C again one day.
I am embarrassed to say that I backed The Adventurer’s Backpack and then forgot about it until just recently. Since The Adventurer’s Backpack was launched on Kickstarter and funded, Troll Lords Games have launched other Kickstarters and fulfilled them. The production quality is always high, and the Trolls do a good job of staying in touch with backers without completely spamming them with updates (despite the opinion of some publishers, there is in fact a balance). The Kickstarter was nevertheless late by over a year, which isn’t great, but I’ve come to expect this from Kickstarter generally and probably didn’t miss the book because my C&C campaign fizzled out a while ago. The book was worth the wait, nevertheless!
The book is 144 pages long, full-colour, with a hard-cover, like TLG’s other handbooks. The main feature of the book is a set of pre-designed “backpacks”. In addition to this, the book includes 14 new character classes, new spells, expanded rules for spell-casting and magic, and rules for mounts and unarmed combat.
I am going to talk about the book’s titular feature first: the backpacks. Effectively, these are “quickstart” equipment packs. At the end of character creation, you roll your starting gold as usual, but rather than go equipment shopping, you go backpack shopping. I still say shopping because there is a huge range of backpacks to choose from – enough that you may even question whether this is any faster than simply buying all the equipment item by item. There are four broad types of backpack:
- Common Backpacks (in dungeon, overland, and city varieties – both “basic” and “expert” levels which basically come down to cost)
- Terrain-specific Backpacks (for cold weather, deserts, mountains, and sea-faring)
- Speciality Backpacks (in effect these are for different “professions” rather than character classes and I suspect they’re intended for use by NPCs)
- Class-specific Backpacks
The last three types are also generally labelled “shoulder packs” implying you can carry one of them in addition to a common backpack. Thus, despite there being 32 backpacks (and assorted related things like spell component packs and pack animals), the division into these different types of backpacks simplifies use. Most players can simply buy the one backpack intended for the broad sort of adventure they’re expecting (common backpack), then add shoulder packs for the type of terrain and their character class. Then the player can buy their weapons and armour as usual. In all likelihood, they will not be able to afford one of the shoulder packs, depending on their starting gold.
The packs contain an interesting mix of old favourites and flavourful “this might be handy” style equipment, the latter being more common in the “shoulder packs”. Although the prices are calculated with the C&C equipment list, these backpacks are fairly translatable to most OSR games, and substantially speed up the part of character creation which I find most tedious. As such, the core of the book is a really useful aid in play.
This core has also been translated into equipment cards, which you can buy separately if you prefer that format. I don’t have the cards so I can’t say much else about them. While I didn’t see the point of these when I backed the Kickstarter, I can see the point now, and I’m contemplating buying them.
The new character classes in The Adventurer’s Backpack are an interesting collection. My first comment is that the classes are not what you might expect looking at the name. For example, there is a class called “Magic User”, which I can assure you is nothing like the venerable Magic User of Basic D&D, but rather a class which uses magic to manipulate the outcome of rolls rather than to cast spells. There are a few other such examples – “Arcane Thief” is not just a wizard/thief, for example. In some ways I am reminded of the Pathfinder Advanced Player’s Guide, only the classes in The Adventurer’s Backpack are unique and creative and not just a way to multiclass without having to use the multiclass rules. As someone who is generally ambivalent about the prospect of new character classes, I actually found myself pleasantly surprised by the character classes and think that these may help hold the interest of players from a 3rd Edition/Pathfinder background who are used to more character options than are typically provided by Castles & Crusades a
One comment on the presentation. I note that many OSR products, although generally printed in black and white, feature outstanding layout which not only looks great but is very thoughtful and deliberate. The layout of many OSR books enhances their “game-ability” at the table dramatically. The Adventurer’s Backpack has a fairly stock standard two column format. It’s not terrible, but it’s not up there with work like Jez Gordon’s layouts for Lamentations of the Flame Princess. The art throughout is in full-colour, which adds to the presentation since, as mentioned earlier, the full-colour, hard-cover presentation of C&C books helps them hold up against Paizo and WotC books in the eyes of “new school” players considering whether to give C&C a
I think The Adventurer’s Backpack has a lot of great gaming material for Castles & Crusades players. It’s nice to see a product for that system come out which caters to players rather than Castle Keepers. I am not worried at the possibility of overwhelming “rules bloat” either – Castles & Crusades has been around since 2004 and even if you have every book of optional rules, the game is still sleek and smooth. Even though it is new content, the core of The Adventurer’s Backpack mostly exists to streamline play by adding “speedy shopping” options which still preserve the realism of equipment management. As such, this is one “expansion” which won’t bog down your campaign.
If you would like to support this blog and purchase a copy of The Adventurer’s Backpack all at the same time, you can buy the book as a PDF from DriveThruRPG through my affiliate link below. The cards are also available, although I haven’t really reviewed them (I’m intrigued though!).
Posted on October 24, 2018
Judged by my reading of the OSR blogosphere, it seems that online play via Google Hangouts alone without virtual table top software (like Roll20 or Fantasy Grounds) is quite popular with OSR players. This might be for a number of reasons:
- OSR players are old people who find new technology hard
- OSR players prefer “theatre of the mind” and eschew the use of miniatures and battle mats
- Roll20, Fantasy Grounds and other solutions do not support OSR rulesets very well
I am going to rule out the first point out of hand, because my observation of OSR people is that even if they are old, they are hardly technophobes! Witness the recent coordinated mass-migration to MeWe – sure we haven’t worked out everything yet, but people have generally embraced the task of learning something new.
The second point – about OSR players preferring “theatre of the mind”, could well explain things. That’s probably a topic worthy of its own blog post because the use of miniatures in the original D&D seems overlooked in some OSR circles, in a reaction against the perceived over-reliance on them in modern versions of the game. The miniatures topic was well discussed on Grognardia a long time ago (http://grognardia.blogspot.com/2010/04/miniatures-are-old-school.html) so I won’t presume to do it here. I do think that keeping the focus on the faces of other players rather than on a screen-sized battle mat plays a role in the preference for tools like Hangouts over Roll20, but I think this is only part of the explanation again.
I think the biggest contributor is that Roll20 and Fantasy Grounds do not support OSR rulesets very well, at least by comparison to their support for 5e and Pathfinder. As a consequence, OSR VTT games are high-prep games. Pre-made characters sheets are available for many popular OSR games, but there aren’t pre-made modules ready for purchase and deployment, nor compendiums, not built-in scripts etc as are available for 5e and Pathfinder. Castles & Crusades has pretty good support on Fantasy Grounds with a huge range of modules and support products available for purchase, but even popular OSR games like Lamentations of the Flame Princess and Swords & Wizardry do not.
I want to stress here that there is nothing which requires a VTT game, using any system, to be a high-prep game. If you don’t want to use maps, tokens, etc, if you’re content with a blank screen, character sheets, nifty dice rolling, and voice/video chat, you can run whatever game you like just fine. If that’s the case, then there’s not much point to using a platform like Roll20 over Discord or Google Hangouts, I suppose. However, I find there is something about the VTT format which demands more visual aids than the face-to-face format. Perhaps it is something about sitting at a computer rather than around a table with my friends which makes me feel like the players need something to look at on the screen – and not just occasionally when combat calls for it, for example, but all the time. I think using the extra features a VTT provides over a simple online chat (e.g. Google Hangouts or Discord) makes playing online more engaging. These extra features also enhance one important aspect of many OSR games:
Mapping! Rather than describe the dungeon and have players keep their own maps, I can have the dungeon unfold visually in front of the players, effectively “drawing” the map on their screen. With Roll20’s Pro features (dynamic lighting and advanced fog of war), this map can be unique for each player, and reflect only the features of the dungeon which have actually appeared in the player character’s line of sight. OK, I grant, this is not really mapping, true old school style, but truth be told my players do not generally make their own maps (either face to face or online), but this automatic mapping overcomes the “player laziness factor”. The examples below are from my Roll20 Lamentations of the Flame Princess campaign – from the excellent James Raggi module “The God that Crawls“. If you’ve played this module, I think you’ll agree it benefits from mapping.
Another location from the same campaign (this one not from any published module) which is “zoomed in” helps show the distinction between areas the player can see, areas the player has not explored, and areas the player has explored but cannot see right now (note that players cannot see the health bars of any tokens except their own, despite what is shown in these images):
Something else you may notice from these “zoomed in” pictures – the beautiful custom tokens made especially for my Lamentations of the Flame Princess campaign by the very talented Peter Saga. Peter is also very easy to work with if you are thinking of commissioning similar tokens for your game, by the way: https://www.artstation.com/petersaga_1 These tokens effectively take the place of miniatures, which many people (certainly my players) find both visually exciting and engaging – can’t do that in Discord.
To really get the most of the visual advantages of virtual table top, you need to do quite a bit of prep. First, you need to find/make token-scale maps (effectively battle mats) for more important locations in your game. You can also incorporate regional and kingdom maps, although these can be in any scale they come as precise location of individual player characters tends to matter less. Then, you need to load the maps into your virtual tabletop. To take advantage of the Pro features in Roll20 which enabled the effects above, you need to both pay for a Pro subscription and to draw your dungeon’s walls again in Roll20 to allow dynamic lighting to work its magic. To do this, you need to jump to another layer, and then draw in the map lines, preferably in bright lines so they stand out (don’t worry, you won’t see them in play). When a player character opens a door, you need to jump back to the dynamic lighting layer to remove the line through the door, then jump back. It’s time consuming for large dungeons like The God that Crawls.
Now, I have to make a referee confession at this point. I have never been good at consistently preparing for game sessions, especially in the preparation of maps. And yet, despite becoming adept at flying by the seat of my pants, preparation does make me a genuinely better referee. It means I save my improvisation skills for where it is really needed and that the game world is much more consistent. Playing a VTT campaign forces me to prepare lots of maps before playing – maps that cover everywhere I think the players might go. Preparing these maps also means I stock locations in my sandbox as I go. Dare I say, players also have more agency because I am not “forcing” any scraps of ideas I have on them – they choose where to go and what things to get killed by, not me.
So, at least for me, VTT games are high prep games, but that’s not a bad thing.
Posted on October 19, 2018
In my last post I mentioned that you can already find a lot of maps to run B1-9 In Search of Adventure. Some of these, by more talented artists than I, are available commercially through OneBookShelf (affiliate links ahoy – I get a commission if you buy these):
- B1 In Search of the Unknown Realistic Maps by John Pintar
- B2 Caves of Chaos Realistic Maps by John Pintar
- Iconic Encounters: B4 – the Lost City by P Daniel Johnson
- B5 Horror on the Hill Map Resource Kit by Daniel Pryor
- Iconic Encounters: B6 – The Veiled Society by P Daniel Johnson
Some other very talented artists have made their maps available for free:
- Palace of the Silver Princess
- Thorfinn Tait has made beautiful maps for Mystara, including virtually all of the overland maps, city maps, and town maps required for B1-9 In Search of Adventure.
That covers a lot of maps but still leaves me quite a few to draw myself with my limited ability! If you know of any other sources for the missing maps, free or paid, please let me know.
Posted on October 18, 2018
The combination module B1-9 In Search of Adventure (that’s an affiliate link, giving me a commission on any sales) is kind of like a Pathfinder Adventure Path for Basic D&D. I can actually hear OSR people wince as they read that, but it’s kind of true. It links all of the “best bits” of the classic B-series modules for Basic D&D together. It doesn’t do this in a straight “only one path” order, fortunately, and actually starts with module B9 or B7 first.
Since I am soon going to run a virtual tabletop Basic D&D game via Roll20 for players who are new to Basic D&D (and in some cases, new to D&D period), I want to give them the definitive Basic D&D experience. This is why I’ve selected the “best of the B series” combination module.
Virtual tabletop play demands a bit more in terms of preparation. Since you’re not sitting around a real table together, visual aids become more important, at least in my experience. I’m also not trying to recreate just any Basic D&D experience, I am trying to recreate the feeling of the 1991 Black Box which introduced me to D&D. Those who can remember that version of the game might remember the large fold-out map of Zanzer Tem’s dungeon. In effect this was a large battlemat and the other modules which came out for this version of the game tended to include similar fold-out maps. Long story short – I want maps I can display on the screen in “battlemat” scale (1 inch square = 5′ square).
There are, fortunately, some great such maps already made available online and quite frankly almost everyone is better at making pretty maps than me so some of these I have already been able to find. Some are even available commercially – I may review these as separate posts. But for others I will have to make my own VTT versions of these maps. If you are like me and would rather spend your time playing, then I will post these maps as I draw them in the hope that they will be helpful to you.
Here is the Castle Caldwell dungeon level, made in Dungeonographer. This is a player map – you will need the referee’s map from the module (p133) to use it. It is not quite in native Roll20 scale but can be easily resized to Roll20 and since it is fairly plain doesn’t really lose anything in being resized anyway.
Posted on October 18, 2018
Zak S posted a fun questionnaire on his blog: http://dndwithpornstars.blogspot.com/2018/10/osr-guide-for-perplexed-questionnaire.html
1. One article or blog entry that exemplifies the best of the Old School Renaissance for me:
My chosen blog entry is not game mechanic or even directly play related, but speaks to something I think is important to the OSR: http://grognardia.blogspot.com/2008/03/pulp-fantasy-d.html
2. My favorite piece of OSR wisdom/advice/snark:
If you, as the referee, are rolling dice, then stick with the numbers you rolled. Instead of fudging, don’t roll at all when you’re not prepared to accept a possibly “adverse” outcome.
3. Best OSR module/supplement:
A Red and Pleasant Land by Zak S: http://www.lotfp.com/store/index.php?route=product/product&product_id=190
4. My favorite house rule (by someone else):
I like most of these: http://tenfootpolemic.blogspot.com/p/the-ten-foot-polemic-unified-house-rule.html
5. How I found out about the OSR:
I started playing Castles & Crusades and that led me to the rest of the OSR.
6. My favorite OSR online resource/toy:
7. Best place to talk to other OSR gamers:
As of about a week ago… MeWe!
8. Other places I might be found hanging out talking games:
9. My awesome, pithy OSR take nobody appreciates enough:
Balance is a lie.
10. My favorite non-OSR RPG:
King Arthur Pendragon
11. Why I like OSR stuff:
The system is familiar but what’s done with it is as creative as hell.
12. Two other cool OSR things you should know about that I haven’t named yet:
Flatland Games’ Beyond the Wall and Other Adventures is a truly unique OSR game. I would describe its aesthetic as “hearth fantasy”. I am not sure if that is actually a thing, but I think it sufficiently descriptive of Beyond the Wall and Other Adventures that I think you’ll know what I mean even if you’ve never heard the term before. Mechanically, what makes the game unique is its playbook approach to character generation which means that as you generate your character’s ability scores you also generate their personal history and their relationships with other player characters. The game is also intended to be low preparation for the referee, with playbooks to generate scenarios as well. The campaign supplement, Further Afield, has an excellent mechanic for collaboratively building a campaign setting which would be easily adaptable to other fantasy games as well. Check out Beyond the Wall and Other Adventures here: https://www.flatlandgames.com/btw/
13. If I could read but one other RPG blog but my own it would be:
Probably Jeff’s Gameblog by Jeff Rients because it is still going: http://jrients.blogspot.com/
I also really appreciate Swords & Stitchery: http://swordsandstitchery.blogspot.com/
But, my favourite RPG blog (now long abandoned) is/was Grognardia (http://grognardia.blogspot.com/)
14. A game thing I made that I like quite a lot is:
My son has been drawing and designing monsters and I have been helping him make game stats for them, which he finds exciting because then he can fight the monsters in D&D. Example below!
15. I’m currently running/playing:
I am currently running Lamentations of the Flame Princess and King Arthur Pendragon (see https://www.savevsplayeragency.net/2018/10/12/what-im-running/).
16. I don’t care whether you use ascending or descending AC because:
It’s your game, do what you want. How could that possibly bother me?
17. The OSRest picture I could post on short notice:
Posted on October 17, 2018
I was originally planning on following up my last post about my campaigns with some details about my Lamentations of the Flame Princess campaign and the resources I used for that. Before I got started on that though, I learned that Greg Stafford had passed away. Chaosium’s blog broke the sad news: https://www.chaosium.com/blogvale-greg-stafford-1948-2018/
I never met Greg Stafford, but in a strange way I felt that I knew him, because of what he had written, especially for King Arthur Pendragon. Objectively, I know that knowing somebody’s art is not the same as knowing the person. Despite this, when I read the news, I felt genuine grief for the passing of this man whom I never met.
So why did I feel like I knew Greg Stafford? I think the answer is that Pendragon was a very personal game for Greg Stafford. He has said so in several places (for example, in the welcoming message on his personal webpage about the game, http://www.gspendragon.com/):
King Arthur Pendragon is my gaming masterpiece. I’m very proud of all my gaming work, especially of Glorantha, but Pendragon holds a special place for me. The main reasons for this are:
• It combines two of my major interests: medieval history and mythology. These two come together in the Arthurian legend.
• It’s a roleplaying game, which have been a major part of my life.
• I did all the work. I have generally worked with committees to develop RPGs, because the task is monumental and requires a team to finish it in a reasonable length of time. However Pendragon was done almost entirely by me, both the game design and the background writing.
• I have accomplished a lifetime goal with these publications, of finding a way to share my passion with others in a meaningful way.Greg Stafford, www.gspendragon.com
The current version of Pendragon, 5th edition (including 5.1 and 5.2), including all of its supplements, is almost exclusively authored by him. This is Greg Stafford’s vision of the game, with no adulteration, no “committee” with which to compromise. The thousands of words which comprise the game are his alone.
Pendragon is a unique game. More than any other roleplaying game I have ever played, Pendragon perfectly captures its source material. It feels mythical and historical at the same time, and its system of traits and passions leads to player knights behaving like knights in Malory and other classic Arthurian retellings. The Great Pendragon Campaign book is a behemoth, lavishly detailing the whole mythic history of Arthur, from the reign of his father and the civil war which led to his conception, through to his final conflict with his son. As you play through this epic campaign, you’ll find that Pendragon plays differently in different eras, the rules perfectly complementing the campaign. Greg Stafford was right to call it his gaming masterpiece.
The crazy thing is, Pendragon isn’t his only masterpiece.
Glorantha is one of the great fantasy settings from the early era of roleplaying games, probably the first fantasy gaming setting which felt truly mythic in its scope. Glorantha is the quintessential RuneQuest setting (although there were versions of RuneQuest without it) and is certainly as worthy of the title masterpiece as Pendragon.
I think it says a lot about Greg Stafford as a giant of the gaming hobby that he has two unquestioned masterpieces. There are a lot of designers who have a portfolio of great games, but true masterpieces are rare. The creative genius responsible for creating two such masterpieces is rarer still.
Greg Stafford is dead and I fear our hobby will never know his like again.
Posted on October 11, 2018
I have been playing a lot of old school roleplaying games in recent years, both original TSR versions of D&D, and a number of retroclones/modern OSR games. The version of D&D which introduced me to the hobby was the 1991 “black box” basic D&D set. Despite selling half a million copies in the early 90s, this version of the game seems almost forgotten by the OSR community today. Probably OSR gamers are slightly older than me and got into D&D with earlier boxed sets and thus don’t have nostalgia for this one, but the Rules Cyclopedia remains very popular and the black box came out at the same time. Another potential reason is that it doesn’t cover as complete a range of rules as Mentzer Basic, even though it covered levels 1 to 5. Whatever the cause, the 1991 black box had a lot to commend it.
This is the box which contained “Dragon Cards” in a small red combination DM screen and folder. The Dragon Cards taught the game in small, digestible chunks. In addition, there was a conventional rulebook, full-colour fold-out map in the style of modern “battlemaps”, a complete set of fold-up figures for player characters, NPCs, and monsters, and of course, a set of funny-shaped dice. I bought this box set with money I had for my birthday as a kid, with no prior experience of D&D or tabletop RPGs, and the contents of the box were sufficient for me to teach myself how to DM, and to teach my friends too.
Incidentally, for years, I secretly worried that we weren’t doing it right because everybody who gamed with me had learned how to play from me and this black box!
I am planning a new “black box” campaign to introduce my children and their friends to D&D. I am also preparing a virtual table top Basic D&D game to introduce the game to some adults too. The virtual table top game will probably be shorter, and I want to give the players an authentic feel for what Basic D&D was/is as opposed to the more modern versions of the game some of them have played before. To get this feel right, I am leaning towards running B1-9 In Search of Adventure, a module which combines most of the best bits of modules B1 through B9.
I plan to post on this blog about how preparation and play for each of those campaigns progresses, among many other gaming topics and thoughts.