Champions System Review Part 2: 4th Edition


The Big Blue Book, and one of my all-time favorite RPGs.
Greetings, readers. Today I have the very real pleasure of talking about something I really love: Champions 4th edition. The year of this game’s release was 1989. I was in high school in Hot Springs, Arkansas at the time, and there was this huge book on sale at the local game store. I called it the Big Blue Book, and every time I picked it up, I found myself thinking, “Wow, there is a ton of interesting stuff in here.” Mostly the character write-ups of the Champions and the villains (especially the villain team in the adventure at the back, the Asesinos) are what drew my attention, which included a wide and diverse array of character types.
This was my first exposure to the Hero System, and at first it blew my young mind. Everything has a points cost. Some powers are restricted or outright dangerous to your campaign. Disadvantages (this was probably the hardest part for me to grasp), bases, followers. The differences between skills, perks, talents, and powers. The GM advice was also great – who can forget those examples with Blackfeet, Gobbler, and Nell the Generic Girlfriend?
Studying the characters in the book really opened my eyes to how building characters was a mini-game all of its own. I must’ve built over a hundred characters the first month I owned the book. And I knew I needed to find out more about this game, this system, this line of products.

A Legacy of Awesome

The thing I discovered about Champions 4thedition is that the big blue book was just the tip of the iceberg. There were tons of great products for this line. Every time I walked into the game store, I found something else that I eventually came to love. I’d say it all started with the big blue book, but the next step was Classic Enemies. Now I had two books featuring fantastic artwork, from the George Perez covers to the Pat Zircher interiors. And Classic Enemies included a ton of interesting characters as well, each one with a different power construction, a different way of building and using the mechanics of the game to mimic something right out of the comic books.
An absolutely unforgettable book for super hero gaming.

Book after book swiftly joined my library. Alien Enemies, To Serve and Protect, Mind Games, Classic Organizations, Viper! The list goes on and on and on. Nearly every single book that I picked up for the line made me laugh with joy at discovering new and interesting ways to use the game.

Champions in 3-D blew my mind again. So many awesome ideas for entire campaigns and story arcs spring from that book alone (with more outstanding artwork, both on the cover and inside). 
Champions of the North was a brilliant look at a different nation’s approach to superhumans, and expanded the Champions Universe at the same time (including the first link I saw with GENOCIDE). The Mutant File, High Tech Enemies, Corporations, Kingdom of Champions, Normals Unbound, and Allies (Zen Team represent!) continued to build and develop that world, a vibrant setting that seemed to leap right off the page. Crafted by future Hero System director Steve Long, Dark Champions started almost an entire mini-line on its own, with several outstanding products including Justice, Not Law and Underworld Enemies (crafted by the extremely creative mind of Chris Avellone). I could seriously write an entire review about any of the products I’ve mentioned here, and I still may someday.

A Style Like No Other

One thing that needs to be emphasized about 4thEdition Champions is that it was brimming with style. From the gorgeous full-color covers featuring art from well-known comic book artists like Perez, Ben Dunn, Storn Cook, Adam Hughes, and Dave Dorman to the beautiful linework of Pat Zircher, the artwork was extraordinary. 
But the style of 4th edition wasn’t just artwork! The content of the 4th edition line was full of life, full of enormous amounts of creative ideas culled from decades of comic book adventures. Just take a quick look at the different characters, tones, and adventure types you can find in Classic Organizations—ranging from the Cold War-era grittiness of Red Doom to the zany hijinks of CLOWN—for one example. 
My friend Scott Heine always blew me away with his amazing artwork for Mind Games, Alien Enemies, and To Serve and Protect – but it was the characters and the stories and the campaigns that are described by those products that really set my imagination on fire. Mind Games, for example, is an entire campaign in one tiny book. Scott Bennie’s brilliant VIPER sourcebook is, to me, the definitive approach to the trope of a Hydra-like organization of bad guys (at least from the 80’s).
If you like using this trope of bad guy, get this book.

Adding to the style of the line itself was that Champions 4thedition was blessed with some of the best 3rd party support the game’s ever had – Gold Rush Games produced the award-winning San Angelo: City of Heroes setting for it, along with a number of additional sourcebooks that expanded the setting. San Angelo, my friends, is one of the best superhero setting products ever, and its sourcebook line is also chock-full of high quality characters, storylines, events, adventures, enemies, and everything else you need to have a truly memorable game.

Also, 4th edition was the beginning of the “Ultimate” line of books that took a closer look at an individual character type, such as martial artists, bricks, mentalists, and so forth. Each of these books presented new campaign ideas, ways to use those powers, ways to build power sets, and much more. Each Ultimate book further expanded my mind with regards to game design and understanding how mechanics can influence the implementation of a tone and a style and a certain type of story.

Critical Misses

So, so, so, so bad.
This is not to say that Champions 4th edition had nothing but great books – there were a few products that simply weren’t very good, and one that is infamously bad.
For the “not very good” category, I’m going to list Murderer’s Row, Mystic Masters, Pyramid in the Sky, and Hudson City Blues. There’s not much to say here except that these books aren’t really that bad—they’re just not really /good/, in that their usefulness is, shall we say, questionable. Still, for a line that includes over 50 products, having only 4 (5 with the next entry, below) stinkers is a pretty good ratio.
However, there is one book that is just horrendously bad. Of course, I am talking about European Enemies. This book is so bad, my friend Michael Surbrook re-wrote nearly every entry in the book to make it work.
Again, if this is the worst thing I can find to point at for Champions 4th edition, I think that is another way of saying this edition was amazingly great in nearly every way.

Featured Creators

There are so many great creators for 4th edition, I had a hard time picking only a few to talk about.

Scott Bennie

Scott’s work for superhero games in general and for Champions specifically should never be overlooked. In 4th edition, Scott’s work includes Classic Enemies, Day of the Destroyer, Champions in 3-D, and Viper. These books are all chock-full of fun, and Scott seems to understand that sense of style that 4th edition was able to capture extremely well.

Steve Long

Steve’s work on 4th edition Champions includes the groundbreaking Dark Champions, which basically spawned a little mini-line of its own. He also worked on the Ultimate Martial Artist and Ultimate Mentalist, further expanding on the strengths of the Hero System, and Watchers of the Dragon, an expansion linked to the Ultimate Martial Artist.

Scott Heine

Mr. Heine created some truly landmark books for 4thedition, starting with the amazingly creative Mind Games. Check out To Serve and Protect to see another awesome example of a player character superhero team and how it operates!

Pat Zircher

Pat’s amazing artwork defined the early Champions 4thedition books.
 Above: Just a few examples of Pat Zircher’s awesome linework.

 

Mike Surbrook

I’ve interviewed Mike on this blog before. While Mike didn’t write any physical books for Champions 4thedition (he would end up authoring some great stuff for 5th and 6thedition), he led the charge on getting Champions supported on the internet. His site, Surbrook’s Stuff, nearly single-handedly sustained the Hero community in the 90’s.
He also wrote a Digital Hero product that was highly influential for my own career—the cyberpunk anime setting, Kazei 5. I’m planning a full review for this setting concentrating on the big book that it came out with for 5th edition Champions in the future. Kazei 5 heavily influenced the creation of my own Hero System setting, Shadows Angelus.

Pat Sweeney

Pat authored San Angelo: City of Heroes, which I’ve mentioned several times on my blog as one of the best superhero settings ever made. Pat clearly knows what makes superhero settings fun, and he added something truly special to the Champions line.

Pat Bradley

Normals Unbound and Atlantis are good books for the 4thedition line. Normals Unbound has been mentioned here before as one of the best supplements of all time! Pat also organized the Champions APAzine, Rogues’ Gallery, for many years.

Adventurer’s Club and Champions APAzines

The 80’s and 90’s were a wonderful time for gaming magazines (especially TSR’s house magazines Dragon and Dungeon), but there were others that were awesome as well. Some of my favorites were Autoduel Quarterly and, of course, the official Champions magazine–Adventurer’s Club!
AC had several decent issues and a handful of really good ones featuring work from guys like Aaron Allston, Ben Dunn, Steve Long, and many others.
 
However, Adventurer’s Club did not survive the 90’s, alas. It did have some spiritual successors, most of them driven by just one man: Dave Mattingly.
Dave is not only a friend, he’s a fellow gamer, and his enthusiasm for the Hero System is infectious. Dave was the guy in charge of three different iterations of Champions APAzines, starting with Haymaker!(still running strong), EZ Hero (which was replaced with…) and Digital Hero, the official Hero Games e-zine. Digital Hero started out in 4thedition as simply a way to publish books for Champions in an electronic format, but by the time DOJ took over the Hero System, it instead became the de factoreplacement for Adventurer’s Club.
Dave went on to found a great third-party publisher of Champions books, Blackwyrm Publishing.
It should also be noted here that Michael Surbrook, in addition to his awesome work on his Surbrook’s Stuff website, is by far one of the most prolific contributors to Haymaker!, EZ Hero, and Digital Hero.
In addition, there was Rogues’ Gallery, a collection of Champions articles that included content from Aaron Allston, Steve Long, myself, and many other Hero authors. Rogues’ Gallery was originally created by Aaron Allston, then taken over later by Hero System author and enthusiast Pat Bradley.

In Closing

My opinion is that 4th edition Champions was the game’s high-water mark – the overall quality of the writing, the artwork, the trade dress, and production values reached a peak in this edition that wouldn’t be seen again until 6th edition. In addition, 4th edition Champions is, IMHO, by far the best version of the game when it comes to presenting a unique style and tone. While 4th edition had some small issues with presenting mechanics of the rules and a few problem products, it had an all-star collection of creators—writers, developers, and artists—that brought the game to a pinnacle of excellence.
Speaking strictly about 4th edition, I could point to the hard work of folks like Scott Bennie, Dave Mattingly, Michael Surbrook, Sean Patrick Fannon, Scott Jamison, Pat Zircher, Steve Long, Allen Varney, Rob Bell, George MacDonald, Bruce Harlick, Steve Peterson, (not to mention Monte Cook, who edited several products of this line!) and many others that made this edition of the game so exciting, memorable, and triumphant.
Thanks for reading part 2 of my Champions system review – check back in with me later when I go over the 5th and 6thedition of Champions and the Hero System!

Tracon Afterparty Report: Finnish Sauna!


Greetings, readers! Back in my report on the Finnish convention Tracon, I mentioned that I planned a followup about the Sauna experience. Well, here it is!

There’s really not much I can add to discussing what Sauna is like to Vincent Baker’s excellent post on the subject, but I’ll do my best.
As Tracon started wrapping up on Sunday, I remember seeing both Eevi Korhonen (My “handler” assigned by Tracon for the guest of honor) and Outi Sippo-Purma (the head coordinator of Tracon) discussing the afterparty and both asking me if I was definitely going to Sauna.
One thing I mentioned in my Tracon Report is that I had made a commitment in my heart to do everything Finnish I could! So what I said was, “Of course I am going to Sauna!”
This seemed to make everyone quite happy, but there were a couple of folks at Tracon who did a doule-take. One of these was Pekka Wallendahl, who leaned in and said “You know this isn’t like a sauna in the US, right?”
It turns out that, no, I hadn’t really been aware of that. You see, in Finland, there’s a tradition (generally an older tradition) that the Sauna is a very sacred place where folk of both genders mix freely in a sweaty, naked, cleansing experience. The Tracon after-party was going to follow in that tradition.
There was a moment where my brain balked. Me? Naked? In front of other people, let alone women? It took me a second to adjust. Then, my brain re-engaged with a reminder of my decision—“I’m in.” I said.
After the convention closed down, we all went to dinner – and once again, I had several people look at me with that raised eyebrow and ask, “Are you going to Sauna?” It didn’t take long after dinner to get us all into a van and headed out towards the Sauna. It was in a pretty remote location from Tampere, on the shores of a lake tucked in behind a very picturesque forest. The party was already underway when we arrived, with sausages getting grilled out back, plenty of beer in the fridge, and people getting into the sauna in groups.
Outi took me aside. “You really need to read Vincent Baker’s post about this.” She told me. Pekka was grinning and already had the blog up on his ipad for me to read. I thought this sounded like a good idea, so I sat down for a bit and checked out Vincent’s words (and awesome graphs!) about Sauna.
“This is something I have got to try.” I said out loud, and I put my words into action.
I kept my glasses on, not for any prurient reason, but because I need them to see where I’m going. In the Sauna, you got slippery spots, stairs, super hot rocks, all kinds of hazards for people who can’t see – so I kept my specs!
Showering with other folks was a bit weird, I won’t lie. But I didn’t let it bother me. I remembered Vincent Baker’s words—“Shared Humanity.” That’s what I was feeling. I wore a towel into the Sauna (and this, I discovered, is totally fine).
And it was great.
Sauna was exceptionally cleansing. It was almost spiritual. The Finns were all very welcoming, and everybody spoke English while I was in the Sauna to make me feel more comfortable. Nobody was ashamed of their body and there was no discussion or even notice taken that people were naked together. It just was, well… shared humanity.
And then there was jumping in the lake afterwards. Wow! I don’t think my words will do justice to the sensation, but it was absolutely stunning. The lake water was cold, shockingly cold at first, but the water buoyed me up and I found myself swimming in a lake of stars, reflecting nothing but the night sky.
I went back in once more to do the whole thing again, and I would never have traded that experience for anything in the world. Finnish Sauna, especially Tracon after-party Sauna, was wonderful. If anyone reading this ever gets a chance to try it out, my recommendation is to simply surrender all your preconceptions, prejudices, anxieties, and worries. Just try it. You won’t regret it!

Interview Time: Bill Keyes


Today’s post on Rogue Warden is another interview with a veteran game designer: Bill Keyes.
I’m excited about this interview because Bill is not only a fellow member of the gaming industry, he’s also a good friend and a fellow gamer par excellence. He and his wife Tammy have been running games at Genghis Con in Aurora, Colorado (organized by the Denver Gamers Association) for several years now, and they are not only great people—they are great gamers too!
Bill (and the Bunny) sporting his dapper
steampunk Red Lantern cosplay.
Bill has worked as the Art Director for Hero Games for a number of years, and he’s also done quite a bit of graphic design and layout for numerous projects for Blackwyrm Publishing. In 2011, Bill also published his own game setting, a steampunk world of high adventure called The Widening Gyre.
Bill represents a gamer who lived his dream—he joined an RPG company as a professional and published his own creation. His story is one that hundreds of fellow gamers all want for themselves.  I wanted to feature Bill’s interview not just because he’s a friend, but also because his story is interesting—Bill’s just at the start of his gaming career, and doing it outside of the major game studios in the RPG industry.
As always, my questions are in red text.
RW: Can you tell me a little about yourself as a gamer and as a game industry professional?
BK: I’ve been a gamer for better than 30 years. I started with the original hardback AD&D books (which I still have, and will proudly show them off to anyone foolish enough to ask!) way back in 1980. We were just kids and we had no idea how to play, really. We just sort of rolled dice and made things up (so not much has changed between now and then!). I discovered the Champions Superhero RPG not too long after that, and I’ve been running various heroic adventures ever since. People keep coming back to play, so I guess I must be doing something right.
As a game industry professional, I’m primarily an Art Director and Layout Artist. My background is in technical writing – basically writing software and medical equipment manuals, which is a very different skill-set than RPG book layout. But somehow I’ve made the RPG thing work. I’ve also written one (well, two, but that’s another story) RPG setting book that’s been published (The Widening Gyre, a steampunk worldbook for the HERO System from Blackwyrm Publishing), and in my spare time I’m working on a couple of others.
RW: How did you get your start in the RPG industry?
Bill is the one who made me a believer in the power of Lucha.
BK: I have two stories here. As a writer, I heard about a small HERO System licensee who was looking for someone to write a steampunk book for their superhero setting. I submitted a proposal which they liked, and I got to writing. The book was eventually released in PDF format, and sold probably 20 or 30 copies, tops. But those few people who bought it really liked it and said I should write more. So I am.
As an Art Director, it starts with a sad story. The AD for HERO, Andy Matthews, passed away very suddenly, and the company had to scramble to find someone to finish the books they had in the pipeline. I’d never done layout for game books before, but I’d been a Technical Writer for the better part of a decade and I’d done more than my share of layout for other industries. So I put in my application. I’ve known the HERO guys for years and they trusted me, so they gave me a book called Lucha Libre HERO to put together. I had a lot of fun on it, and have been working on similar projects ever since.

RW: What is something great about working in the RPG industry?
BK: Um… everything? Seriously, this is sort of a dream come true for an RPG nerd like me. I’ve always wanted to write books, and more than that, to have people play in the game worlds I’ve created. I’m such a fanboy.
Oh, I know! It’s neat to stand next one of the people whose work you admire – a Jeff Combos, or a Steve Long, or an Aaron Alston, or a Ken Hite – and be able to say, “I’m one of you guys.” Of course, I’m like a 1st level adventurer standing next to a bunch of epic-level guys. But still, it’s cool to be part of that club.
RW: What is something really bad about working in the RPG industry?
BK: Quite frankly, the money. I know a number of people who make a living doing this, and I’m sure there are probably a couple of folks out there who got rich in the industry, but for the most part (in my experience) there’s just not a lot of money out there. Or maybe I just have expensive tastes, I don’t know. But if you’re thinking of quitting your day job and doing this full-time… well, let me know how you do it.
RW: How has your perception of working professionally in the RPG industry changed over the last 5 years?
BK: I’ve only been working professionally in the industry for about 5 years, so I can’t honestly say what it was like pre-2008. I still feel like I’m on the upslope of the learning curve about the industry, so everything that I find out is something new to me.
RW: You’ve been in charge of your own projects before… how would you do things differently now as opposed to the first couple of projects you were in charge of?
BK: One thing I do now that I never thought to do when I was first starting is to get as much groundwork done as you can before the project actually starts. When I’m doing layout, I work on designing my templates, choosing my fonts, and creating a watermark well before the finished manuscript even makes it to my desk. I ping my favorite artists to see if they’re available and interested. I will usually throw together a 5-page demo of what I think the book should look like so I can send that back to the writer and the publisher and get their approval. There’s nothing worse than having a finished manuscript and a hard deadline and not having any idea what the finished book is going to look like. I like to have all my ducks in a row, because I hate wasting time at the beginning of a project and then rushing to get everything finished at the end.
Same thing when I’m writing. I put together an outline, which is basically a list of all the things I want to write about. That way, I have a pretty good idea of where I’m going before I even start. Sometimes things change halfway through, and I come up with a new direction to go in or decide that an idea I had is not really panning out, but it’s good to create a roadmap before you set off.
RW: What do you believe is the most important aspect of professionalism in the RPG industry from the viewpoint of the freelancer? What about from the viewpoint of a publisher?
BK: Don’t promise what you can’t deliver. That’s what professionalism boils down to. If you tell someone you’ll return their phone call right away, do it. If you promise to get your project done by the end of April, you had better have it ready by the end of April. If there are extenuating circumstances that are going to prevent you from finishing on time, let everyone else know as soon as you know.
I’d much rather have someone I’m working with tell me up front, “I don’t think I can finish the project on this deadline,” rather than have them come to me after the deadline has passed with an apology. The first might disappoint me; the second can derail a whole project.

RW: If you could change one thing about the RPG industry, what would it be?
BK: I don’t know if I can answer this question. I still feel pretty new to the industry, so I’m not even sure what’s “normal,” much less what should be changed. Is that a cop-out answer?
RW: What do you feel is the best way for a game industry professional to engage with customers and fans?
BK: Even with the tools we have today (by which I mean the internet), I think there’s really no better way to meet people and show them what you’ve done and will be doing in the future than by meeting them face-to-face, and ideally, by gaming with them. That’s one of the many reasons I love to run adventures at cons. “This is the world I built/the game I’m creating/the system I’m working with” is a powerful thing to say. Gamers love to feel as though they’re part of the creation process, so play-test something with them!
RW: What do you feel is your greatest accomplishment as an RPG professional?
Bill’s exciting steampunk adventure setting!
BK: Again, I have two answers for this. As an Art Director, my greatest and favorite book is Lucha Libre Hero. It’s just so full of weird peyote-fueled nonsense that I can’t help but love it. I remember emailing my artists and telling them, “OK, I need a picture of a giant hourglass with the wrestlers trapped in the bottom, and a giant scorpion, and a line of can-can dancers, and a rocket ship about to blast off*. Can you do that?” And the artists would respond, “What did you just say???” And then a week later they would turn in some absolutely fantastic pieces of artwork.
But by far my proudest moment was when my first book got published. When my copy arrived in the mail, I just stood there and stared at it for about 10 minutes. I feel like such a geek saying that; does that happen with everyone when their first book comes out? Does it change when you get more books published? Like, by the time the tenth book comes out, do you just shrug and toss it in the pile with the others?
*This is actually in the book. I’m not kidding!
RW: What do you feel is your greatest setback as an RPG professional?
BK: I don’t know if this counts as a setback, but it was definitely a Charlie-Foxtrot. I was the AD for the 6th Edition HERO System Bestiary. It was a huge book, with a new piece of art on nearly every page. It was also a very dense book, and I was trying to cram the artwork in any place it would fit. On top of that, I was working against a very hard deadline, as I had a European vacation planned and wasn’t going to have access to anything for 2 weeks. I rushed the job and screwed up. I put art in that was the wrong resolution, I reversed a few pieces, I even used some archived art that we no longer had the rights to.
I have no one to blame but myself. I cut corners and I messed it up. Thankfully, HERO’s senior AD Fred Hicks was available to fix my mistakes and the book got released on time. And luckily for me, the guys at HERO were gracious and forgiving, and they’re still giving me work.
RW: How do you feel about representation of awards and recognition for quality in the gaming industry?
BK: You and I had a discussion about this after this year’s ENnie Awards ceremony. I suggested that perhaps the biggest players in the industry should graciously disqualify themselves from future nominations, allowing the smaller companies a better chance to take home an award. You countered that each book is written by an individual, and those individuals deserve recognition for their good work, even if they are working for the biggest publishers. That’s a very good argument, and it’s made me re-think my position.
RW: What is your favorite part of a gaming-related convention?
BK: I have two different answers to this one, depending on the convention.
At a smaller convention, like Genghis Con in Denver, my favorite thing to do is to run games. I love writing scenarios, creating interesting pre-gen characters, prepping my materials. I love the excitement just before the game starts. I like seeing what direction the players are going to take the game. I sometimes run “encore” games that I ran at previous cons, and it’s always a delight to see how a different group of players is going to deal with the same situations, and how they’re going to do things differently than previous groups. And I love talking about the game afterwards with my players, to see what was good, what could’ve been better, and what memories we created together.
At big conventions, like Denver Comic Con or Gencon, my favorite part is actually the people-watching. I’m not usually what you’d call an extrovert, but I love meeting people at these conventions, talking with them, learning which aspects of nerd-dom are their favorites. Are they gamers? Comic book fans? Film geeks? I’ve gotten to talking with people at conventions, and within 10 minutes it’s like we’ve known each other for years. I feel like I’m among my people.
RW: Tell us about the bunny! Roughly how many pictures has he starred in to date?
One of the Bunny’s many admirers.
BK: The Bunny! I got the bunny years ago when I was on a business trip. There was a table in the airport to let people sign up for a credit card. I did, and they told me I could take any of the free gifts from their table. Most of the gifts were crap, so I grabbed a little stuffed white rabbit. So I’m walking around the Denver airport with this bunny in my hand, wondering what I should do with him. If you’ve ever been through the Denver airport, you know that there are a lot of really weird art displays. So I started putting him up next to the art displays and taking his picture.
Now, whenever I travel I take the bunny (whose name is Jack, or J.J. for short) and take his picture everywhere I go. He’s been as far away as Ireland (I even have a pic of him kissing the Blarney Stone). When I go to conventions, J.J. gets his picture taken with cosplayers and celebrities. I have no idea how many pictures J.J. is in. I got about 400 shots of him at Gencon 2013, and that was with me working most of the time and not taking very many pictures. So it’s easily in the thousands.
Folks can check out the bunny’s photos on his Facebook page: Travels With Teh Bunneh.

RW: What is your favorite genre of gaming – superheroic, fantasy, cyberpunk, etc.? And why?
BK: My first love has always been high fantasy gaming. I got my start in AD&D, and while I love to dabble in other genres I’ll always go back to a good fantasy game.
RW: If you were a post-apocalyptic survivor, you’d be a…?
BK: I’d be the despicable and vicious leader of a punk-rock biker gang, prowling the wastelands. We’d be like post-apocalyptic Vikings, pillaging, looting, and burning everything still standing, until a heroic loner with a penchant for violence and a soft spot for women, kids, and animals finally puts a permanent end to our depredations.
RW: What’s your favorite RPG (that you have not worked on)?
BK: Tough question! There’s so many that I love. I’ve never really been a “One System To Rule Them All” kind of guy, so I’ve played all sorts of games and systems. You and I have argued about this one, but I have to give mad props to D&D4. I’ve been kind of getting into Savage Worlds lately, and I’m looking forward to doing more with it. Take it around the block a few times, see what it can do. I’m playing in a Rogue Trader campaign right now, which is all kinds of crazy fun. d6 Star Wars. Hollow Earth Expeditions. And of course, HERO will always be my true love.
Now, ask me about games I don’t like. No, on second thought it’s probably better not to. I don’t want to piss off anyone, much less everyone. 😉
RW: If you could pick up the dice and play an RPG right this very instant, you’d play…?
BK: Whatever you want to run, man. If you’re the game master, I’m in!
(Editor’s note: Aw man… thanks Bill!)

Champions System Review, Part 1


Greetings readers!
Yeah. The Hero System will use ALL of your D6’s.
Today’s blog post is going to be the first in a series of blogs about the Champions game system. It should be no surprise to longtime readers that this is one of my favorite and cherished RPG systems. This is just one reason why there’s going to be more than one blog post about it—another, of course, being that there are six editions of the game to talk about, with tons of supplements and over 30 years of gaming history as well.

My history with Champions

I started playing Champions in 1989 with the Big Blue Book (AKA Champions 4th Edition) and I’ve been a huge fan of the system (and the game as a whole) ever since. During my time as a Champions player, I’ve been blessed to be part of gaming groups that include various creators and luminaries of the Hero System, including Michael Surbrook, Scott Jamison, and Dave Mattingly.
I never ended up writing directly for Hero Games, but I have done quite a bit of writing about Champions through various APAzines like Digital Hero (and I’ll talk about those as well in a future blog post). I have two amazingly successful RPG campaigns that I ran using Champions (Shadows Angelus and Shadows Angelus II) and tons of other games (like Vendetta Rhapsody) that I have wonderful memories of from the past two and a half decades.
It’s not just myself who is a huge fan of Champions. Some other people you may have heard of include best-selling novelist Michael Stackpole, whose character “Revenant” was first created for Champions, and comic book artist and entrepeneur Ben Dunn, who not only illustrated some covers for Champions in 4th edition, but he also began his character “Tomorrow Man” from his Champions RPG experiences.
Today’s post is going to focus on an overview of Champions and a brief look at the first three editions. Most of my gaming history with the system is in the last three editions, so I’ll most likely focus on each of those editions in turn in future posts.

Champions Overview

Champions is another name for the Hero System, an RPG that is universal in that it can be used for nearly any genre. The system’s most prominent feature is that characters are built using a series of points and abilities are thoroughly defined by the adaptable ruleset.
Champions started out in 1981 and has been through six editions up to the current date. The game’s been around for over 30 years at this point, which is quite an achievement, and it has built up quite a bit of interesting history along the way. My friend Allen Varney has written an excellent history of the Hero System you can find here, so I’ll instead be focusing on my own experiences and opinions of it.
One of the few things I can add to Allen’s history is some saddening recent developments. In 2011, Hero Games sharply reduced itself down to only a handful of staff. The Hero System at large is supported by irregular releases primarily funded through kickstarter, and, for all intents and purposes, essentially exists now only as a legacy property. Hero did not have a booth at Gen Con in 2012 or 2013, further cementing the sad fact that the company and the game itself are mere shadows of what they once were.
Some third-party companies such as Dave Mattingly’s Blackwyrm Publishing and D3 Adventures keep the torch burning for Champions and continue to produce content for the Hero System.

The First Three Editions

The grand-daddy!
As I mentioned above, I won’t have too much to say here, since I really only started playing Champions in 4th edition on forward. However, I do own several products from these eras, so I’m going to give my thoughts.

1st Edition

Not much for me to say here except that I own it, and it was the first. Next!

2nd Edition

Although I never played games with this edition, I have some of the products from it. Some of the most notable supplements include one that I’ve talked about in my Superhero RPG Oddballs blog post: Autoduel Champions.
Another standout from this edition is the Circle & METE,one of famed creator Aaron Allston’s first Champions books.

3rd Edition

This edition of Champions is where I think most people started to really sit up and take notice of the game. There are quite a few memorable supplements and sourcebooks for this edition, and I’ll just list a few:

The one and only. Any superhero RPG fan should own a copy.
  • Danger International
  • Justice Inc. (with Michael Stackpole!)
  • Robot Warriors
  • Super Agents
  • The Blood and Dr. McQuark

There are two more special products for this edition of Champions that each deserve a note.
The first is Strike Force, a campaign book featuring Aaron Allston’s universe (and home campaign setting). Allston’s work on Strike Force has some truly impressive resonance down through the RPG environment, particularly in its use of inventive storytelling away from the gaming table (coining the term “blue-booking,”) his identification of player motivations, and much more. I’m very proud to have this product on my shelf.
The second is an adventure titled Wings of the Valkyrie. The premise of this adventure is that the heroes are being sent back in time in order to save Hitler from assassination during WWII. The adventure posits that killing Hitler actually makes the Nazi’s win WWII, and thus, Hitler must survive in order for the war to end with an Allied victory. This adventure was so controversial that it was actually recalled by the publisher.
 

Featured Creators

For the first three editions, here are the people who I think were the most influential as creators.

The Game Designers

Obviously the designers of the game itself deserve recognition: George MacDonald, Ray Greer, Steve Peterson, and Bruce Harlick. I’ve actually gotten a chance to meet Steve and Bruce in person, which is quite an honor!

Aaron Allston

Aaron’s contributions to Champions are many over the game’s thirty-year history. Strike Force on its own would give Aaron a nod here, but he’s also written some great books about his campaign and its characters for 2ndand 3rd edition Champions. For example, the Blood in The Blood and Dr. McQuirk are a fascinating group. Aaron has written a ton of additional Champions books in other editions, and I’ll just briefly mention a few here: Ninja Hero for 4th edition is a tour de force, and the 5thand 6th edition of the Champions genre books benefit greatly from his influence. Just take a look at his list of game credits!

What I love About Champions

It’s fair to say that I do absolutely love Champions and the Hero System. I hold it sacred amongst the many, many games that I own. Here are some reasons why I feel that way:
Depth: The system for Champions offers incredible depth—it is a game where designing a character and how his abilities work is a mini-game all its own. You win that mini-game by accurately modeling a tricky power set or building a character in a new or original fashion. I’ve written thousands of words just exploring the possibilities inherent in just one power or character concept.
Character Building: Champions is probably the first game I think of when I find a character I like from books or film and wonder “what would he be like in an RPG?” The Hero System allows you to build exactly the character you want, which is a huge strength for people who like that approach.
A Tinkerer’s Dream: Champions is really where I feel I started my journey as a game designer, because the Hero System is set up to allow—nay, encourage—tinkering. Designing your character’s abilities, reasoning from effects, and separating the mechanic from the flavor are all pieces of the game design puzzle that I first began truly understanding while playing Champions.
Any Genre: The Hero System is very strong as a universal system in that you can use it for fantasy, espionage, sci-fi, and any flavor of superhero RPG action.

Some Things I Don’t Love About Champions

While I do love the Hero System, I am not blind to its flaws. Here’s a small selection of the issues that plague this game:
Points Limits and Concept Compromises: The Hero System builds everything about a character via “character points.” This is linked with a limited number of total points that generally only apply to player characters. The intent of the limit is to present different ways to play the game. For example, if you want to play a game where the characters are all street-level crimefighters, it makes sense that they would be built using fewer points than a Justice League-style group of interplanetary superheroes. However, in practice, there are some concepts that simply require more points to work than others. For example, making a typical “super strong/super tough” guy in Champions is easy, even with a strictly limited number of points. Making a character who channels the power of a nation’s zeitgeist is not. Often, what this means is that some character concepts become compromised right from the start, forcing characters to feel “halfway there” for most of their campaign’s career.
Some Powers Don’t Scale: A companion issue to the concepts and point limits mentioned above is that some powers and abilities simply do not scale with varying levels of the game. The power of Mind Control, for example, is tied to a set number for achieving effects that simply require a certain number of points to even make possible. Building a character capable of mind control that you see in the comic books is simply not possible at lower points limits, and even when the points limits get high enough to allow the right number of dice, character’s defenses usually outpace the power’s effects anyway. Similarly, some abilities and powers don’t cross over well from comic books. A notorious example is that of the X-men character Rogue. While her powers are simple to explain, attempting to define them in the Hero System means that either Rogue has a points limit vastly higher than everyone else in her own team or that she takes numerous discussions with the GM to even begin to approach her potential.
Complex and Intimidating to New Players: The Hero System is not at all a casual RPG for beginners. It is a complex game that has a long and involved process for creating characters. The sheer size of the rulebook can be quite intimidating to new players, although in the first three editions, this was much less of an issue. There is also often a larger burden on the GM for the Hero System if he wants to build enemies, gear, or anything else not already covered in the book. Later editions of Champions did a good job of furnishing the GM with copious examples and resources to smooth this out, however.

In Conclusion

I’m just beginning to get into Champions, so stay tuned for further posts as we get more into the Hero System and more editions of Champions!

Ennies 2013: A Rogue Warden’s Critique


Greetings, readers!
Today’s subject is going to be another controversial one (and is bound to ruffle some feathers!), because it involves the Ennie awards program for 2013. In a previous blog post, I covered different awards for the tabletop RPG industry, including the Ennies. And at that time, I considered the Ennies to be a good—perhaps not perfect, but good—representation of industry awards. However, this year’s setup of the Ennies has definitely changed my opinion, unfortunately, not for the better.
Thank you, Mr. Jay Sherman.

To paraphrase Fight Club: I am Jack’s crushing disappointment.

Full disclosure & Counterpoint

Before I get into the meat of this discussion, I first need to address some relevant issues. Anytime you invoke serious criticism of an awards program, there are going to be questions about the critic. In this case, there are two main things I need to talk about in the interests of full disclosure: First, I had a nominee in a category this year—this blog, in fact, was a nominee for the Best Gaming Blog category. Second, a product I am going to talk about later is the Star Wars: Edge of the Empire Beginner box. While I have no direct connection to this product, I worked on the main core book for Star Wars: Edge of the Empire and I worked full-time for Fantasy Flight Games (the product’s publisher) for three years.
Here’s me in 2009 with awards for Creatures Anathema,
Disciples of the Dark Gods, and Dark Heresy
As a counterpoint, I want to make sure and note before we get any further that my criticism of this year’s Ennies has absolutely nothing to do with the winners. I have no issues with why any particular product won in any particular category. My concerns for this year’s program are purely focused around the nominees (some of which, of course, went on to becomewinners), the Ennies ceremony, and the judging process itself.
The next counterpoint I want to make clear here is that I have no personal dislike for any of the products I’m going to mention—they’re all quality products. There are some choices made about those products that I am raising questions about, but the products themselves are not at all under fire.
Hopefully getting these points across early in this post will help us keep the discussion centered around the issues rather than doubling back onto the critic (in this case, me!).

Nominations

Let’s dive into the nominations for this year’s Ennies. The nomination list is no longer available from the Ennies site, but you can find a list online. From this year’s list, there were two nominations that I feel are highly questionable.
Let’s look at one of the nominees for Best Production Values:
If you click on the link for this product, you’ll see what it’s all about with regards to production values. It’s got a nice, solid look. Character sheets, box art, it all looks like it was aimed at an old school product from the 80’s and it doesn’t strike too far off the mark.

However, if you take a look at the Star Wars: Edge of the Empire Beginner Box, you’ll clearly see that these two products are simply night and day in comparison. The Beginner Box’s artwork, graphic design, dice, character sheets, layout, and trade dress are all (In my opinion) clearly superior. While I have nothing against the Hyperborea boxed set (and in fact would love to own a copy), I can’t help but notice that having this product nominated for production values while the category ignores the Star Wars: Edge of the Empire Beginner Box makes no sense at all. (see the Judging section below for some more thoughts on this)

Let’s hope that the judges for next year carefully consider ALL the products submitted for the Best Production Values category so that it truly reflects the best the industry has to offer.
Another nominee I’d like to talk about is for the Best RPG Related Product category:
This is definitely a beautiful book. It is a product of the literary juggernaut that is Random House, and being a Game of Thrones fan myself, it is something I’d enjoy having on my shelf.
With all of that said, however, I’m puzzled as to how this is an RPG Related Product in any way. It’s not a game, nor does it reference any of the Game of Thrones games (Guardians of Order or Green Ronin versions). (Editor’s note: I suppose you could make the argument that George R. R. Martin plays RPGs, which he does, but… still seems very reaching to me) I’m also very uncomfortable with the idea of opening up this category to products from companies like Random House, who have resources orders of magnitude higher than other companies in the same category. It’s like letting a silverback gorilla take part in a weightlifting competition.
Just how far afield can “RPG Related” wander from the RPGs themselves? If a Random House collection of maps for a novel series that has been made into RPGs counts… why not a video game like the Dragon Age console series? (At least there would be a fairly direct link to RPGs there, and they would at least be games…) Why not movies like the Hobbit? (since it is connected to the One Ring).
None of the other entries on the list give me the same pause for concern that the Random House book does. I can only hope that the judges will think twice about this in the future and keep the Ennies focused more strongly on the RPG industry rather than wandering so far astray.

Judging

A former judge named Chris Gath wrote a blog post entitled “Ennies Expose” about this year’s judging. Chris was a former judge for the Ennies previous to 2009, and has often posted at RPG.net under the handle “Crothian.”
Chris claims in his post that the judges failed to discuss the nominations in real-time (according to Chris, this is normally done through skype). In this blog post, it is further alleged that one of the judges for 2013’s nominations refused to consider the Star Wars: Edge of the Empire Beginner Box for any category due to a dislike of its unusual dice mechanics.
I highly encourage you to check out the blog post and the comments section below, where other former judges (such as Jody Kline) weigh in with opinions such as “…the fact that you all didn’t convene a live panel to decide on the nominations is disgraceful.” Other posters, including judges from this year’s program, defend the decisions made in their own words.
The debate about this expose was fought primarily through comments attached to blog posts—there hasn’t been any official response from the Ennies themselves. Some other ENnies officials (such as Submissions Coordinator and Publisher Relations guy, Hans Cummings) have publicly claimed that Chris Gath’s expose is completely wrong, and point out that he hasn’t been an Ennies judge for over four years.
I don’t believe there’s much left to say here but to present the two sides of this issue and let you, the reader, make up your own mind.
For me, it seems clear that leaving the Stars Wars: Edge of the Empire Beginner Box out of the Best Production Value category was clearly a huge mistake. Its absence makes me question whether it should have been left out of other categories it was submitted for as well.
Beyond that, my largest concern is in regards to the Judging process, specifically the need for some kind of live skype call to discuss the nominations. I believe that the judges should make every effort to communicate in real time, whether that is through skype or some other interface. I believe that this kind of communication is crucial to the process, and as one poster said, “There are too many nuances that you can’t tell through the written word alone.”

Ceremony

I attended the ceremony for the Ennies this year at Gen Con, as I have every year for the last five years. This year, the ceremony was particularly noteworthy… but not in a good way. Let me explain what I mean.
I only wish the Ennies ceremony could be this cool.
The audience were, in general, not paying a lot of attention to the ceremony itself. People were talking, laughing, and mostly ignoring anything happening up on stage. This was not improved by the presenters—without going too much into detail, I’ll simply say that the presenters were very ineffective at getting the audience to focus, applaud at the right time, or even to sit down when the ceremony was ready to begin or resume after the intermission. The overall management of the ceremony failed to establish the right mood for taking the awards seriously, which stands in stark contrast to (in my opinion) how the ceremony has been run in the past.
The presenters were not simply being ignored – at least one of these presenters was clearly very intoxicated. He staggered on stage, rambled on at the microphone, and slurred his way through a few words about the category. In my opinion, this was very much not appropriate to the Ennies.
There was at least one category where no one at all showed up for the awards, both gold and silver. WOTC was likewise noticeably absent, especially when their joke-y “Imperial March” music is playing for a category they won. If the Ennies has complete absences for both entire categories and some of the largest companies in the industry, I’d have to say that my opinion is that something is very wrong.

Conclusions

Again, the points above are all illustrating my own opinion. I encourage you to check out the program for yourself–YMMV. With that in mind, here’s what I took away from the overall conduct of the 2013 Ennie awards program.
Based on the nominations and the discussions engendered by Chris Gath’s blog post, it seems clear to me that the judging process for nominating products needs some reform, particularly with regards to selecting appropriate products for the appropriate category and with regards to some form of live discussion of the nominations.
Based on what I observed at the ceremony, the Ennies have a serious problem with people simply not taking the awards seriously. Certainly not the audience—they were talking, joking, and far more intent on getting drinks from the bar than on honoring the awards themselves. Not the presenters, either–they showed a distinct lack of “giving a damn” about the ceremony as well. Some of the nominees themselves did the same by failing to even show up. Nothing sabotages the impact of the Ennies by having zero winners come up on stage for an entire category.
It’s fair to say I’m very concerned that there’s even a perception that the judges, the audience, the presenters and the nominees aren’t taking the Ennies seriously. If they won’t, who will? The Ennies should be something that we as gamers and game industry professionals can all be proud of. The Ennies should be, above all, a true measure of quality. To improve the Ennies, I believe we need some changes in the judging of nominations and the operations of the ceremony.
I should add that I am being this critical because I love the Ennies so much – to me, they were the first real RPG industry awards I could believe in, ever since their inception. I believe that the Ennies can be, and should be, the standard by which other industry awards are judged, and I hope that they can reach their true potential. Ultimately, I hope this blog post helps start a conversation that leads to discovering new solutions (one thing I wish this post could offer more of). 
Thank you for taking the time to read this!
If you agree, disagree, or had a completely different view of the Ennies this year, please don’t hesitate to chime in in the comments section below! I’m particularly interested in the thoughts of other folks who attended this year’s ceremony or ceremonies in years past who can compare the experiences.

Interview Time: Shane Lacey Hensley


Greetings readers!

Shane is no stranger to wearing a convention badge!

Today we have a great interview with Shane Lacy Hensley, the head Savage at Pinnacle Entertainment Group and creator of the Savage Worlds RPG system. Shane is also a novelist and has some impressive credits in the Video Game industry as well, from City of Heroes/City of Villains to End of Nations.

Some of Shane’s most recent projects include the amazing Weird Wars Rome setting for Savage Worlds. Possibly one of Shane’s most enduring creations is the Wild West horror RPG known as Deadlands.

Shane is not only a notable luminary of the RPG industry, he’s an extremely nice guy and a dedicated professional. It’s a pleasure and an honor to feature Shane’s interview here on Rogue Warden, and I hope you’ll check out all the interesting answers he provided to my questions!

As usual, my questions are all in red text.

RW: Can you tell me a little about yourself as a gamer and as a game industry professional?

SH: I got started as a freelancer with West End Games, then did work for everyone from White Wolf to TSR to FASA, including a couple of computer games. Later on, I started Pinnacle Entertainment Group where we created a historical miniatures game, a World War II collectible card game, and then the Deadlands and Savage Worlds roleplaying games. I also owned a retail store in Blacksburg, VA, on and off for about ten years…so I’ve done just about everything but distribution.

RW: How did you get your start in the RPG industry?

SH: I wrote a Halloween TORG adventure for our group in college. My friends seemed to like it, so I sent it in to West End Games. They pretty much slit their wrists in red ink on it, but I made the changes and Greg Gordon and Scott Palter were kind enough to accept it. From that point on I began working very hard at following the guidelines of the companies I was working for, hitting guidelines, and trying to write engaging, clear text. You can judge for yourself how well I accomplish the latter. 😉

SPQR spells awesome.

RW: What is something great about working in the RPG industry?

SH: Wow…that’s a great question. I guess in my heart of hearts I like to create worlds and situations and see how people interact with them. I have many friends in the industry who really just want to be novelists and think this is a stepping stone to that. I like writing novels too (I’ve written three), but I truly do love making game worlds and adventures. And I *do* like hearing about people’s adventures.
For freelancers and mid-tier publishers, it’s also wonderful to work at home. Yes, you will work more hours than you would in an office, most likely, but they’re your hours. If you have the discipline to work at home and not get overly distracted by all the entertainment options we have today, it can be a great life. If you have kids, it’s a challenge to work around then, but it’s also great to be there at home for them far more than most people can.


RW: What is something really bad about working in the RPG industry?

SH: The business side of it is a challenge. Pinnacle is lucky to be in a position where we’re very profitable, but it took over a decade and a half to get there.


RW: How has your perception of working professionally in the RPG industry changed over the last 8 years?

SH: You’re asking questions I’ve never seen before–kudos! I’ll answer for me personally–you probably have a better perspective on what it might be for others. I guess in the beginning it was all about becoming the next TSR or Games Workshop. I had visions of an almost college-like compound where all our people worked. Life would be a mix of hard work and hard play. Seems a little silly now, but when I was 21 years old, that was the dream. When that didn’t happen, I went into computer games for about 10 years. The pay for that kind of work is excellent, but the hours are demanding and I wound up being a manager (Executive Producer) rather than being creative so I found it less fulfilling than running my own company. These days, I work at home it’s all about making sure we stay stable and are able to keep going for years and years to come. I love the freedom it gives me, not only personally but also creatively as we can do any project we want. I don’t have to convince someone to do it besides myself.


RW: You’ve been in charge of your own projects before… how would you do things differently now as opposed to the first couple of projects you were in charge of?

SH: The main thing we do these days is make sure the money is already there to pay everyone and print the project before we start it. Sounds naive to do it any other way, but in the late ’90s and early 2000s when mis-tier publishers like Pinnacle had a staff of 21 people and made a constant stream of setting and “splat” books, it was truly “publish or perish.” That meant you were constantly “floating” money from freelancers to printers to staff. It was very dangerous and caused lots of problems. We abandoned that by about 2005 and became a “cash” company.
I think the modern-day equivalent–since most people aren’t in a “publish or perish” mode anymore–is over-promising on Kickstarters to the point where they actually lose money once all is said and done.
That’s the business side. On the more creative side, I’d say we start with a bit more focus on each project than we used to. Deadlands was a huge sprawling world designed to last for decades–and it has. Something like 50 Fathoms, a newer release from us, is designed to last for a few years and tell a more focused story.
A blast from the past, and a great RPG book.

RW: What do you believe is the most important aspect of professionalism in the RPG industry from the viewpoint of the freelancer? What about from the viewpoint of a publisher?

SH: I think they’re the same, actually. Timeliness is #2. Yes, I said #2. Number one? Write well, pay attention to the company’s writer’s guidelines or style guide. The vast majority of my time at Pinnacle is spent either asking a freelancer for rewrites or rewriting the text myself. Number three–write something the reader / player will love and remember for the rest of his life. 


RW: If you could change one thing about the RPG industry, what would it be?

SH: We have a great shortage of games designed for kids so our hobby is slowly aging out. George Vasilakos and I tried to do an Adventure Time game but Cartoon Network wanted too much. George has picked up the torch with Adventure Maximus, however (see edenstudios.net) and I hope we’ll see more of that in the future.


RW: What do you feel is the best way for a game industry professional to engage with customers and fans?

SH: All the usual ways are great–forums and Facebook–but you do need to keep a *little* distance sometimes or you’ll wind up arguing / discussing the most inconsequential details with a person who just can’t let it go when you should be focused on a thousand other things that keep your business going. 

RW: What do you feel is your greatest accomplishment as an RPG professional?

SH: Surviving. 😉 

RW: What do you feel is your greatest setback as an RPG professional?

SH: I cosigned on all of Pinnacle’s debts in the early days. In 2004 things got very bad. The OGL was in full swing and we didn’t handle it very well. We dual-statted our books but our fans thought we’d abandoned our own very popular system. We also didn’t do a good job with the d20 products we did make–our hearts just weren’t in it. At one point we were about half a million dollars in debt. So I laid off all the friends I’d hired–which was incredibly painful, of course–dug in to do most everything myself, and dug out of all but the last $144K. That was a Small Business Administration loan and I knew I had to get out from it or Pinnacle would close. I made amazing progress, worked my heart out, and got every individual paid; but this last bit was more than I could handle and still print books. Since I was personally cosigned on the loan, I declared personal bankruptcy. (Pinnacle did not go bankrupt–just me.) That was hard and felt like a personal failure for several years–my family is very big on personal responsibility.
In hindsight and now that I know a lot more than I did then, I’m very proud of how I handled it. But at the time, I was a wreck. I think I hid it pretty well from most, but I developed some serious health problems and it took many years to get back on track. When I did, I vowed to be a “cash” only business with everything paid for up front so I’d never get in that position again.

RW: How do you feel about representation of awards and recognition for quality in the gaming industry?

SH: I have a shelf-full and I appreciate them, but personally I care about the reaction of our fans more than awards. I don’t say that to sound pretentious or ungrateful–but the awards processes are a bit…arcane at best, directed at worst, and seem to change every year, so I don’t pay much attention to them these days.

RW: What is your favorite part of a gaming-related convention?

SH: The people. I’m fortunate enough to get asked to be a guest at conventions all over the world, and I’m always nervous as I jet out to some strange corner of the earth. But once I get there, inevitably and without exception, I find myself surrounded by guys and gals just like me who love to game. 

RW: What are some things that the video game industry and the roleplaying game industry could learn from each other?

SH: I think games like Minecraft are teaching video games that people like to create–which is something we see in the RPG industry every day. When I see how many different and varied settings are being run with Savage Worlds at a convention like Tacticon–everything from the somewhat silly “Post Apocalyptic Willy Wonka”  to more serious horror games and official setting–it’s very evident how creative gamers are.
Vice-versa is going to be a little boring to most, but RPG companies need to understand the importance of marketing. My numbers are a little out of date now that I don’t do video games for a living anymore, but I think the marketing budgets for Call of Duty and Red Dead Redemption, for example, were twice the development budget (they certainly exceeded it). I think we in the RPG industry think once we’ve finally put something out that it’s a matter of posting it on Facebook and moving on to the next project. And it certainly doesn’t help that there’s no easy way to market anymore–even if you have the money to do it. When we started Deadlands we sent posters to roughly 5000 game stores in the US. Now there are probably no more than 500 or so. There’s also no central magazine or website that everyone goes to…so how DO you market your RPG? We try many different venues in addition to the standard social media sites and are still figuring this out ourselves.

RW: Savage Worlds has become the foundation for a large number of wildly different campaign settings. Have you found any interesting trends about Savage Worlds settings? Are there some genres that you would like to see more or less represented?

SH: The only trend I see is that there isn’t one. At the last convention I want to there was everything from the post-apocalyptic Willy Wonka game I mentioned above to a dark “Archangel” setting to our own settings to those of our licensees. 

RW: Do you have any good stories about the development of the Deadlands concept?

SH: When I first ran it for Matt Forbeck and Greg Gordon, I already had poker chips as “Fate Chips.” But after the initial adventure in which the party took out a giant “chigger” queen (an insect that in the real world supposedly burrows into your skin), Greg had the idea of adding a “Creature Chip” to the pot. That chip could be used as a blue Fate Chip, or it could grant a one-shot use of a power associated with the chigger queen. (He called it the “Chigger Chip.”) That didn’t exactly work out for other reasons, but we did turn it into the “coup” power that Harrowed can gain by killing certain monsters.
Wild West action plus undead cowboys… its an amazing setting!
RW: If you were a post-apocalyptic survivor, you’d be a…?
SH: I’d want to be a wasteland warlord, but I’d probably be a loner scav type. 

RW: What’s your favorite RPG (that you have not worked on)?

SH: FFG’s 40K game that you, our illustrious interviewer, are largely responsible is a favorite, as is the original Warhammer RPG from Games Workshop. I did work on TORG, but it will always be one of my favorites. I was also a huge GURPS fan for many years.
(Editor’s note: Shane obviously has excellent taste!)

RW: If you could pick up the dice and play an RPG right this very instant, you’d play…?

SH: It’d have to be Savage Worlds, I’m afraid. The excitement and unpredictability of exploding dice, the ability to play anything, Bennies, and the ease of running and playing are what I was always looking for. 

Accursed Reddit AMA Happening Now!

We’re running an Ask Me Anything on Reddit for Accursed today starting at 1 PM CST. Feel free to drop by and ask any questions you want about Accursed to Ross Watson, the lead developer!

Tracon Report: A Rogue Warden goes to Finland

A Finnish werewolf in Helsinki

Greetings readers! This blog post is all about my recent journey to the Nordic country of Finland to attend Tracon 8 as the roleplaying Guest of Honor. It’s going to be a pretty long report, since I was in Finland for almost a week. I met a ton of great people and went to a bunch of different cool places, not to mention the convention itself.

Check out more about Tracon after the jump!

At first, I had my reservations—for one, I don’t speak Finnish, and I really didn’t know what I would be getting myself into. However, the allure of going to a foreign country as a guest of honor for a convention was pretty strong, and I found myself exhilarated by the prospect.
Marianna Leikomaa
As the convention approached, I got a lot of communication from the great Tracon committee, especially Marianna Leikomaa—she handled all the arrangements and encouraged me to look at some tourist-y things to do in Helsinki and Tampere. So, when the fateful day arrived, I was really looking forward to the journey. In my heart, I had made a commitment: I would go to Finland to discover what Finland is all about, and that meant that I would try everything Finnish that I could. No half-measures, no being picky about food or activities—I wanted to do it all!
Let me start this report with a note about the Finnair airline. I’ve traveled overseas before; twice to Korea and twice to England, so I have some idea of what to expect. Well, Finnair exceeded my expectations for international travel. The service was fantastic! The flight attendants wore gloves and impeccable uniforms, they served good food and drinks at the right intervals during the trip, and the plane landed so smoothly I almost didn’t know we had touched down. Major kudos to Finnair for providing the best international flight experience I’ve ever had.
Arriving in Helsinki, I met Marianna and we went out to look at the city. Helsinki is a really interesting city, and it has a unique feel—although there are over a half-million people living there, it doesn’t feel crowded or busy. Instead, it has a very welcoming and open atmosphere. The presidential residence is right in front of the main harbor, for example, and the streets are extremely clean and well-ordered.
Looking out at the Helsinki bay from Suomenlinna Sea Fortress.
I visited the Lutheran Cathedral, which is a fantastic site for imagining Assassin’s Creed-style adventures, and I took a look at Helsinki’s shipyards and the icebreaker fleet in their summer home. Later, I visited Helsinki’s video game museum and the very impressive Fantasiapelit chain of gaming stores. The highlight of Helsinki was going to the Suomenlinna sea fortress, which has a very interesting history and looks out over the beautiful vista of Helsinki’s ocean bay. Next, I went to Tampere and checked out the Lenin museum there, which is very interesting. We took a brief tour of the Moominmuseum as well, and then it was time for the convention.

A Note about Speaking English

So one of my concerns about going to Finland was that I wondered how well I’d be able to get along 
as a non-Finnish speaker. The visit completely put my mind at ease! I spoke to around 100 people, and roughly 97 of them spoke and understood English just fine. In fact, I felt completely comfortable, and I knew that should I ever find myself in Finland again in the future, I would have zero problems communicating with the Finns.

A Note about Finnish Food

Finnish food is really good—let me just start there. Reindeer tastes pretty great, and reindeer heart is so savory that it is something I could probably eat every day. I also tasted pickled herring, tar herring, elk, red deer, lingonberries (which are great, especially with any meat), and tar ice cream. OK, tar ice cream tastes like licking the underside of a diesel engine, so that may be the one exception! I had some Finnish Japanese food as well, and there’s a restaurant in Tampere that serves some truly exceptional teriyaki chicken.
By far the best place we went to eat is called Harald’s, which is a scandanavian-themed restaurant. They served us “shields” (wooden trays shaped like shields) full of food for appetizers, main courses, and desserts, and everything was absolutely delicious. Black angus steak with bbq sauce, Viking helmets, half-liter bottles of honey beer—it was a sublime dinner experience.
Half of the fun of eating at Harald’s was sharing the experience with Outi Sippo-Purma (the convention organizer), Tiina Uusi-Rasi, Hermanni Ketonen (the RPG coordinator), Iris Ronkko (the cosplay coordinator) Santtu Pajukangas and the cosplay guests of honor for Tracon: Elffi, Shinji, Calssara, and Risa. Not only are they fantastic cosplayers, they’re a lot of fun to hang out with!

A Note about Finnish People

Eevi Korhonen, my Finnish “big sister!”
I found the Finns to be, on the whole, quite gregarious and engaged. Knowing that most of the people I met are also fans of gaming, anime, and science-fiction/fantasy definitely helped… it only took one or two questions like, “What’s your favorite Doctor and Companion?” to get a lively conversation going! Tracon had a couple of “handlers” for the Guests of Honor this year; Marianna (as I mentioned earlier) and Eevi Korhonen. Marianna is a fantastic tour guide; she knows a great deal about Finnish culture (especially the Moomins!) and history (although she’d say otherwise!), and she was a really great companion to have when showing me around Helsinki and Tampere. Eevi basically adopted me and served as my Finnish “big sister” for my visit, always encouraging me to try out various Finnish foods and celebrating all things geek-y with me from video games to classic sci-fi books.

Tracon!

Artist’s alley in Tracon 8
Tracon is an unusual convention in that it has a split focus: it started out as an RPG-centric convention, and it features several gaming-oriented programs such as panels, interviews, and guests of honor (like myself!). There is also a very strong Anime contingent at the convention, and it is one of the biggest cosplay events in Finland. In fact, this year, the cosplay contest winners received a ticket to go to Japan and compete in the World Cosplay Summit, making Tracon a part of the “cosplay playoffs,” if you will, for Europe.
There were over 5,000 attendees this year at Tracon, the largest turnout so far! In fact, they had to turn away roughly 1,000 fans at the door because the limits on their venue, and many of these folks ended up hanging out in the park just outside the convention center. There was so much to see and do—even though I took almost 300 pictures, I ended up only glimpsing much of the action.

Tracon 8: Friday

Friday started with the opening ceremonies of the con, including a really cool dance opening to some sweet eurobeat music. I got to do an interview about working in the game industry with Hermanni Ketonen that was held in a big auditorium. It was the first interview I’ve done quite like it, and it was really fun. After that, I ran a session of Shadows Angelus with six players, including Eevi, and I felt it was a big success—I used a similar scenario that I had done earlier this year at Genghis Con. Lastly, I got a chance to meet James Raggi, the creator of the Lamentations of the Flame Princess RPG. James has moved full-time to Finland, and he had a lot to say about both indy game design and living as a game professional in Finland. It definitely made me consider following in his footsteps, because Finland—as I have learned from Tracon—is awesome.

Tracon 8: Saturday

My excellent Shadows Angelus gamers!
The second day of the convention opened up with a panel on worldbuilding that I shared with Mike Pohjola (novelist and RPG designer) and Miska Fredman (RPG designer). It was a great panel where we fielded some intriguing questions from Marianna (our moderator), and there emerged a strange theme revolving around the moon in our answers. I got another pair of interviews, including one with Playstation Universe, and then it was time for the Fan Meet! 
The fan meet was only sparsely attended (although I am told this is normal) but the people who did make it had some awesome comments and questions about my work and working in the industry. Mike Pohjola stopped by as well! Lastly I was invited to attend a panel about the game Planescape: Torment and its spiritual successors by Pekka Wallendahl and Jukka “NiTessinen” Särkijärvi. This panel was also a ton of fun, and it is exciting to see where the game has been and where it is going in the future.

Sauna!

After the convention, it was time to celebrate with dinner and a trip to Sauna. I need to write an entire blog post just about the Sauna trip, so for now, I’ll just say it was a moving and memorable experience and leave it at that. Vincent Baker has an excellent blog post about this subject you can read here in the meantime!

Special Thanks

Tracon and my visit to Finland was completely unforgettable, and it is entirely due to the people that I met during the trip. I want to make sure and call out all of these people for helping to make the experience awesome: Eevi Korhonen, Marianna Leikomaa (my amazing handlers), Outi Sippo-Purma, Tiina Uusi-Rasi, Hermanni Ketonen, Iris Ronkko, Santtu Pajukangas, Pekka Wallendahl, Jukka “NiTessinen” Särkijärvi, Mike Pohjola, Miska Fredman, Mikko Pervilä, Petri Hiltunen, Sari Polvinen, Mika Loponen, Orjo (my apologies, I don’t remember your last name!), Joonas Selin, Lassi Aalto (aka Brony Stark), Marko Leppänen, Karoliina Leikomaa and Pasi Välkkynen.

In Closing

All I want to say here is that Tracon and the gamers in Finland are remarkable in every way—I highly encourage any of my friends and colleagues in the industry to consider either attending Tracon or Ropecon, and if you’re lucky enough to get invited to go to either as a guest, say yes. It is totally worth it!

Accursed: My First Kickstarter


Greetings, readers! Today’s Friday the 13th, the perfect day to launch the kickstarter for my new RPG setting for Savage Worlds called Accursed.
Accursed is a dark fantasy setting where players take on the roles of classic monsters fighting back against the evil that threatens their world. I could talk about the setting all day, but if you want to know more, I’m going to point you towards the official Accursed Blog.
Instead, I want to talk about kickstarters today. When John Dunn, Jason Marker, and myself decided to do a kickstarter for Accursed, we knew we didn’t want to screw around.
We wanted to do this right.
Here’s the awesome cover for Accursed by Alberto Bontempi!
We looked at a bunch of kickstarters that have failed, and even worse, kickstarters that succeeded and then never produced a product (such as Dwimmermount). This fate was not going to happen to us. 
We analyzed over 30 different RPG kickstarters, trying to figure out where they went right (such as Fate Core) and where they went wrong. Then, we took those observations and applied them to our own launch.
Talking about the things we learned would be a very very long conversation, but I do plan to get more into that once the Accursed kickstarter is over and I have some real-world experience to back up my research!
One piece of feedback that we received that I thought was very insightful was that “you shouldn’t let your caution overshadow your love and passion for the project.” It is true that we were very, very focused on doing this kickstarter responsibly, but it is equally important to communicate how excited you are about the project as well.
Speaking of being excited about the project, I’d like to ask all my readers to please take a moment and spread the word about the Accursed Kickstarter—and most importantly of all—why you think it is special. Your help and support means the world to me, and I deeply appreciate it.

Interview Time: Andrew Fischer


Andy’s not sure about what he’s getting into here…
Greetings, readers! Today I’m very pleased to welcome Andrew Fischer to Rogue Warden. Andrew (or “Fish,” as we called him) was a part of my RPG team at Fantasy Flight Games, and I considered him then and now as a bright, energetic, and talented game designer. It was a pleasure to work together with Andrew on some great RPG books for FFG, and he’s now doing some really interesting things in the industry. For example, Andrew is featured on a panel at PAX Prime this year called “From Tabletop to Digital: Crafting Stronger Interactive Narratives.”
Andrew started out at FFG working on the Deathwatch line, but I would say he’s most well-known for designing Only War and Star Wars: Edge of the Empire. Andy is one of what I consider a small group of younger designers that have studied game design at a universities and have a unique perspective on the relatively venerable RPG industry. If you get a chance, definitely seek Andrew out at any of his convention appearances (such as PAX or Gen Con) and ask him about his philosophies on professionalism, systems design, and narrative.
Now that he’s been introduced, let’s dive into the interview! As usual, all my questions are in red text.
RW: Can you tell me a little about yourself as a gamer and as a game industry professional?
AF: Yeah! I am relatively new to the RPG industry, but I have been a gamer all my life. I am known among my friends as the guy who will play anything. I have a bookshelf overflowing with RPGs, a closet full of board games, multiple miniatures armies, countless decks of cards from different games, a gaming PC I built, and every video game console. My desire has always been to get a perspective on the design of games from every angle and approach. Each type of game can teach you something different about design, and I think that is important.
As a professional, I have been working at Fantasy Flight Games for just over three years. There I have worked on several tabletop RPG lines for both the Warhammer 40K and Star Wars licences. In my spare time, I am working on several indie games for PC and mobile platforms using the Unity game engine (although at this point that is more of a hobby).
RW: How did you get your start in the RPG industry?
AF: Through a lot of hard work and no small amount of luck. I went to college for Computer Science, and then later Game Design. In my design classes I impressed a couple of my professors who had connections with Fantasy Flight. Through their recommendations I got a volunteer position as a playtesting coordinator. There, I impressed a couple FFG developers with my ability to manage teams and provide clear, concise design feedback. When a position opened up on the RPG team, they recommended me.
The Imperial Guard has never looked so good!
(Editor’s note: Andy’s talking about me, here; I’m very proud to have been part of the decision to hire Andy into the RPG department at Fantasy Flight Games.)
RW: What is something great about working in the RPG industry?
AF: There are many great things about working in this industry. If I had to choose one, I would say it’s the people. I get to collaborate every day with intelligent, creative people who challenge me and help me achieve things I may never have been able to on my own. When I go to the office, I get to work with people who are incredibly passionate about the same things I am, and are committed to working with me to make the best games possible. That is awesome.
RW: What is something really bad about working in the RPG industry?
AF: It is a very competitive industry. To meet deadlines and produce quality projects requires a ton of hard work and long hours. I often run myself ragged getting my project where I want it to be before it heads off to printing. On top of that, it can be a very difficult industry to make a comfortable living in.
RW: How has your perception of working professionally in the RPG industry changed over the last 5 years?
AF: Well, I am pretty new to the industry, so 5 years ago I was on the outside looking in. I would say the biggest difference to me being on the inside now would be my perception of fan feedback vs sales. What I mean by this is that there can often be a huge difference between the internet’s perception of a product, and its actual success. The vocal minority on the internet can often be seen as the voice of the overall fanbase, either loving or hating certain games. Meanwhile, the actual sales and player numbers can paint a very different picture, with products the vocal few loved selling poorly, and products they hated selling well. This isn’t always the case, but it is very interesting to see the disparities that sometimes come up.
RW: You’ve been in charge of your own projects before… how would you do things differently now as opposed to the first couple of projects you were in charge of?
This game was a bold step into the RPG legacy of Star Wars.
AF: I do things differently on basically every project. Each project I do teaches me something I didn’t know before, and I evolve me process using this knowledge. There are countless things I have learned and changed from my first projects, but the biggest would probably be scheduling. Whenever I am scheduling out a task, I take the amount of time that task should take, and add %50. This is because nothing ever goes perfectly, and you have to integrate that into your plan. You have to be prepared for the bumps in the road so that when they come (and they will) they don’t adversely affect your project.
RW: What do you believe is the most important aspect of professionalism in the RPG industry from the viewpoint of the freelancer? What about from the viewpoint of a publisher?
AF: There are a lot of similarities between the ways freelancers and publishers should behave in regards to professionalism. Both should be punctual on everything including assignments, contracts, payments, and whatever else is involved in their work. Additionally, both should also be communicative – immediately and clearly communicating setbacks, changes, issues, or questions they have for the other party.
For freelancers specifically, a very important aspect of working professionally is sticking to the assignment’s instructions. Your employer is paying you to render specific service. This isn’t a time to get creative and go off the rails (unless you’re being asked to!). This is a time for following instructions to a tee and delivering exactly what was asked for.

For publishers specifically, it is very important to give immediate and clear feedback to your freelancers. They need to know what is good about their work and what needs improvement. If you do not communicate what you want from them or how you want them to change their work, they will not deliver. They can’t read your mind!

RW: If you could change one thing about the RPG industry, what would it be?
AF: I feel like this is probably a pretty common answer to this, but: bringing more people into the community! I think the more we can do to make RPGs approachable and appealing to the general public, the better. This is a great hobby with fantastic storytelling and entertainment potential, we just need more people to share it with.
RW: How do you engage with the fans of your work?
AF: Well, that is harder when you are part of a larger company like Fantasy Flight Games, we have an entire department dedicated to interfacing with the community after all! But, despite that, I do what I can. Primarily I answer e-mails about the game lines, attend company events such as Star Wars XP, play games at local games stores, and go to industry trade shows. In fact, I will be or already have (depending on when you post this) participated in a panel at PAX Prime this year that I put together on Interactive Narrative.
RW: What do you feel is your greatest accomplishment as an RPG professional?
AF: This is a tricky one for me right now. I am currently working on two very big projects: Age of Rebellion and Dark Heresy 2nd Edition. But I won’t list either of those games as my “greatest accomplishments” yet since I am still hard at work on them. Instead, I would have to say my biggest *finished* accomplishment at this point in my career is Only War. Only War is the Warhammer 40,000 RPG in which the players take on the roles of members of the Imperial Guard. I worked long hours designing this game, and I am very proud of the free-form advancement system that allows characters to grow in unique ways, the comrades system that give players another dimension to their character in combat, and the integrated vehicle rules that really up the stakes of the conflict.
RW: What do you feel is your greatest setback as an RPG professional?
AF: Haha, that is a tricky question to answer. Not just in identifying my own failures, but in what I can and should (or shouldn’t) talk about. I am lucky enough to have had a pretty great career up until this point. I have constantly had the feeling of moving forward, and haven’t had too many major setbacks. I think one of the hardest things when working for a large company is conflicts of vision. When working alongside many other creative professionals you are inevitably going to clash on some issues along the way. Usually you can work these things out, but sometimes you are going to disagree with the direction chosen. It is important to not only accept the decision, but embrace it, and that can be a challenge at times.
This is Fish’s newest game — a Star Wars milestone!
RW: How do you reconcile working on a game that, on the one hand, requires a set of rules… but on the other hand, encourages GMs and players to break the rules or come up with their own?
AF: I think creating a system that is fun and easy to deconstruct and houserule can often be just as important as any other aspect of the design. The easiest way to approach this from a systems perspective is to compartmentalize the design. This can be accomplished in a few different ways, but in general it means having the system broken into a series of distinct sub-systems that may not critically hinge on one-another. This way, the group can remove or replace certain sub-systems with their own creations without seriously disturbing the flow and balance of the rest of the system.
In the end, the most important thing is making a system that is fun and balanced on its own. It is the GMs’ and players’ prerogative to to deconstruct any system you hand them, but it doesn’t need to be designed specifically for that purpose. That being said, it is always fun to create something that encourages that and see what awesome things people create.
RW: If you were a fantasy adventurer, you’d be a…?
AF: A twitchy half-elf mage, constantly analyzing the situation from the back of the group as I experiment with spell components… sometimes with dangerous side effects.
…although looking over my shoulder while I’m writing this, my wife says I would be a human Paladin, inspiring and coordinating the party as we delve into our next adventure.
It is interesting to see how you see yourself vs how other people see you.
RW: What’s your favorite RPG (that you have not worked on)?
AF: “Favorite” can have so many different meanings. In another interview I did I answered this question with: I’d be lying if I didn’t say Dungeons and Dragons. That game (across multiple editions) not only defined a lot of my sensibilities, but the industry as a whole. I have played countless hours of D&D, and I love that game to death.
Now, for another approach to “favorite,” I have a different answer when it comes to the games I respect the most for their new, creative approach to the genre and innovative design ideas. Of those I have many, but the one I have been having the most fun with lately is less of a traditional RPG, and more of a storytelling game: Fiasco. It has just enough of a system to put quirky and creative ideas in the heads of all the players and launch the session into a disastrous misadventure befitting the name of the game.
RW: What do you look for… and what is a red flag… for a random freelancer submission?
AF: What do I look for from a totally random submission? Professionalism.
I know that is a reeeeally broad answer, so let me specify. First off, have a cover letter and a resume. When you submit for a freelance position, you are submitting for a job, so take it seriously. Part of this is also having a clear, concise, and well-formatted e-mail. Two uncapitalized sentences with no introduction or information is not sufficient or appropriate.
Second, make sure your writing sample is appropriate for the publisher you are submitting it to. If you are approaching an RPG company, rules and omniscient explanatory text would likely be the most appropriate. If you are approaching a novel publisher, then some fiction would likely be the best choice. Do your research, and know who you are submitting your work to.
RW: If you could pick up the dice and play an RPG right this very instant, you’d play…?
AF: Probably Monte Cook’s new game: Numenera. I got my Kickstarter PDF and read most of it over GenCon. It’s got this nice mix of modern, abstract, narrative mechanics and old-school RPG sensibilities that I think will create an interesting experience. It is also set in a killer, original setting that hits a lot of my favorite thematic elements in a world. I have been itching to give it a try, but with all my projects lately and multiple work playtest groups, I haven’t managed to get together my casual group of roleplayers in a while.
RW: What is special about your approach to designing roleplaying games?
AF: Well, I think everyone has their own, unique approach to design. The one thing I have noticed about my methods that is a bit unique, is my attention to detail, especially when it comes to numbers. I think this probably stems from my computer science background. When we are designing a lot of the top-level mechanics in a game system, I’ve noticed that many people I have worked with tend to go with their gut, designing what “feels” right to them. I on the other hand, tend to try to break down the statistics and probabilities of each new mechanic and analyse how it balances and synergizes with the other elements of the system.
This is not to say that there is one “right” or “wrong” way to do things. I have seen amazing results from all sorts of different approaches. I have just noticed that the approach I take to this part of design is a bit more unique from the approaches I am used to seeing.
RW: What is your process for working through a system design in an RPG or a miniature game?
Fish runs some new victims, er, players, through an Only War adventure.
AF: For an RPG, the first things I usually define are the basic building blocks of a character, and how those are used to resolve tasks in an interesting way (the “core mechanic”). This mechanic is the engine that drives the game, and once this is defined, everything else is built around it. Once I have the core mechanic, I start looking at how that is used to perform all of the specific tasks that need to be accomplished while playing through the experience of the specific setting I’m working with. As these systems are added on, I watch out for two primary things in the way these new systems interact with the core mechanic and each other: parallelism and emergent behavior.
Parallelism refers to any ways in which the multiple subsystems of the game can behave in the same way or follow the same rules. If a lot of your system uses similar mechanics and behaviors, it becomes much easier for new users to learn, and much more intuitive to for experience users to think about and optimize.
The second thing – emergent behavior – is when two parts of a system interact in such a way that it creates new, complex behaviors that weren’t explicitly written into the rules. Emergent behavior can give your system depth and complexity while keeping the ruleset people need to learn simple.
There are many other techniques and methods I use as I fill out the “meat” of the system, from running prototype playtests to creating decision-mapping spreadsheets. But the first step of defining the core mechanic and building the heart of the system around it, that is the most important part of creating a new system. Those mechanics are going to act as the foundation of the rest of the design, and so they deserve the most attention and work. If they work well, it will make the rest of the system that much easier to design.