1994: Castle Falkenstein

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

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It is 1870 and the war has been won these past four years. The Battle of Königsgrätz is over. The Second Compact, an alliance of Albert Edward, Prince of Wales, Sir Richard Frances Burton, Lord Kelvin, the Seelie Court led by Lord Auberon, Science Minister Jules Verne of France, the Templars and the Freemasons, led by King Ludwig of Bayern and Bayernese Aeronavy has stopped the conquest of all the Germanies by Otto von Bismarck, the Iron Chancellor of Prussia and his mighty Landfortresses, and a secret alliance of the Unseelie Host and the Steam Lords of Great Britain with their Babbage Engines. There have been many adventures since as a cold war descended upon New Europa and Bismarck, licking his wounds in Berlin, sought to reunite all of the continent, using whatever underhand means he could. He is yet to succeed though, and so there are plots to be uncovered and treachery to be foiled, as well as romances to be had, places to visit, balls to attend, duels to be fought, and adventures to take far and wide.

This then is the setting for Castle Falkenstein: High Adventures in the Steam Age, a roleplaying game of high fantasy, swashbuckling action, manners and magic, Wagnerian myth, Victorian melodrama, Anachrotech developed from the Lost Notebooks of Leonardo da Vinci, faerie, and fiction, that would win both the 1994 Origins Award for Best Roleplaying Rules and the Nigel D. Findley Memorial Award for the Best Role-Playing Product of 1995. Published by R. Talsorian Games, Inc., it was then a radical departure that contrasted sharpy with prevailing trends in roleplaying at the time and it was also a conceit. The early nineties were dominated in roleplaying terms by the World of Darkness series of roleplaying games published by White Wolf, such as Vampire: The Masquerade, Werewolf: The Apocalypse, and Mage: The Ascension, horror games that tended towards darkness and introspection. Castle Falkenstein did not. It was bright, exciting, and optimistic. It was also colourful—quite literally. In another departure from the then norm, Castle Falkenstein was in full colour—or at least half of it was—that presented the world of New Europa in a richly painted vibrancy that was startlingly different. The other difference between Castle Falkenstein and other roleplaying games was mechanical. It used an ordinary deck of playing cards rather than dice, because well, cards are more civilised than dice!

The conceit was that the world of New Europa, with its sorcery and faerie, Anachrotech and Babbage Engines, vile villains, dashing heroes and heroines, was real. An alternate universe into which computer game designer, Tom Olam, is kidnapped—or ‘spellnapped’—by Lord Auberon as a secret weapon to help restore Crown Prince Ludwig of Bayern to the throne, and once he finds his place in Bayern, the equivalent of Bavaria in our world, located at the end of the Inner Sea which splits much of New Europa, goes on to serve the newly restored King Ludwig the Second, the definitely not ‘mad king’, and has lots of adventures. He also finds time to introduce a roleplaying game to the aristocracy and write a cross between a novel and diary and that is what lands at the doorstep of designer Mike Pondsmith. The other conceit is that New Europa is a world where fiction meets fact. Sherlock Holmes attends concerts with Sir Arthur Conan Doyle, Jules Verne is Science Minister of France even as Robur the Conqueror has designs upon the whole world, and Rudolf V needs rescuing in neighbouring Ruritania! This is a world where it is possible to encounter Captain Sir Harry Flashman, VC, Count Dracula, Lady Ada Lovelace, Captain John Carter, Charles Dickens, Lola Montez, the Time Traveller, and Mark Twain. In the roleplaying game, Tom Olam even describes New Europa as being, “one part Lord of the Rings and two parts Jules Verne science fiction, with a little Prisoner of Zenda thrown in for good measure”.

Castle Falkenstein was upfront about the divide in terms of organisation of the book, with the world and its background presented first in colour, followed by the rules and mechanics of the roleplaying game on the parchment-style pages of the section that followed. It said, “The best way to think of Castle Falkenstein is as a novel that allows you to write your own sequels.” Which made sense, because the means to create those sequels came after the fiction of the setting. That fiction is not so much a novel as a cross between a journal and diary in which Tom Olam relates his experiences and then describes the wider world. Since it is written as a journal, we are introduced to Tom’s situation as he experiences the world, from his immediate arrival after his ‘spellnapping’ through to the aftermath of the Battle of Königsgrätz. In between we are introduced the Lord Auberon and the Wizard, Morrolan, who cast the spell; Castle Falkenstein itself, even more fantastic castle than Neuschwanstein Castle, and Bayern beyond its walls; the companions to be in his adventures to come, including Rhyme, a mad scientist Dwarf; and the threats faced by Bayern in the form of Bismarck and the Unseelie Court allies, led by ‘The Adversary’. Castle Falkenstein does not ignore the wider world and there are some interesting divergences here such as America being divided into three nations—the USA, where sorcery saved the life of Abraham Lincoln, the Twenty Nations Confederation which formed and stopped expansion westward by the white man in 1830, and what was once California, Nevada, Washington, and Oregon are now the Bear Flag Empire ruled by the benevolent, but probably potty Emperor Norton the First. The Ottoman Empire remains the ‘sick man of New Europe’, ruled by a crafty, if insane Sultan and various sorcerously powerful Viziers, whilst China is ruled by the First Dragon Emperors, who are actually dragons! Tom also tells about some of the people he has met and places he has been, some of the Masterminds threatening the world, from Captain Nemo and Doctor Manchu to The Invisible Man and Count Iglio Cagliostro, and many of the ingenious Steamtech devices being invented in New Europa and beyond. These are three types—‘Anachrotech’ consists of Victorian versions of twentieth century devices; ‘Gadgetech’ are everyday items adapted to be powered by steam; and Infernal Devices are typically weapons, vehicles, automata, formulations, and the like, the unique creations of Mad Scientists and evil Masterminds. The Steam Age was not only in full power well before Tom Olam arrived in New Europa, the resulting devices and gadgets were more widespread and progress had been enhanced by Dwarven engineering. Access to the Lost Notebooks of Leonardo da Vinci would speed it up further as well as enable Bayern to create an Aeronavy to defend itself.

Although Castle Falkenstein does not stint of the details of the weird and wonderful things to be found in New Europa, including information about the Dwarves, such as their being embarrassed about their ducks’ feet, and all the types of faerie that the adventurers might encounter, it also takes the time inform the lady or gentleman reader about the mores of polite Victorian society. This includes dressing the part, common phrases and manner of speaking, society and manners, the social order—noting that women of this ‘Neo-Victorian Age’ are emancipated, and good manners, virtue, and honour are not enough, then the etiquette of the duel. In Tom Olam’s journal, Castle Falkenstein presents a wealth of background and detail, all of it interesting, useful, and rich in flavour. What is also very good is the way in which the information is presented, all of it in quite short essays. So easily digestible, but at the same giving the Host—as the Game Master is known in Castle Falkenstein—and player alike, enough information without immediately needing another supplement. Of course, other supplements did follow, but as a rulebook, Castle Falkenstein: High Adventure in the Steam Age feels complete.

The second half of Castle Falkenstein: High Adventure in the Steam Age is titled ‘High Adventure in the Steam Age: The Great Game’. This is the roleplaying game itself, devised in what is the third conceit in Castle Falkenstein, by Tom Olam with the assistance of Albert Edward, Prince of Wales and King Ludwig the Second. The aim is to present an authentic Victorian Adventure Entertainment, for each player will have his own Dramatic Character and the company will need two decks of ordinary playing cards, ideally of two different colours. One is the Fortune Deck used to determine Fate’s influence during play, whilst the Sorcery Deck does the same for magic in ‘The Great Game’. What is not needed are character sheets, or rather it is suggested that each player keep a Diary for his Dramatic Character. Not only will it be used to record the story of the Dramatic Character’s adventures, but also Offstage activities between Entertainments—as Castle Falkenstein calls adventures—and personal goals, and so on. There is good advice for the Host on running the game and the various aspects she should ideally be drawing from Victorian melodramatic fiction—fiendish plots, insidious peril, imprisonment rather than the villain killing the heroes outright, ladies being menaced by a fate worse than death, and also the archetypes to be used as members of the supporting cast. These are categorised as either Heroes, Heroines, or Villains. A Hero is either a Heroic Hero, a Tragic Hero, or a Flawed Hero, whilst a Heroine is The Innocent Heroine, The Clever Heroine, the Tragic Heroine, or the Fallen Heroine. The Villain is either Honourable or Dishonourable. The descriptions include a good example each, such as Harry Flashman as a Flawed Hero and Irene Adler as a Clever Heroine. Add to this an array of supporting cast and the Host has a good choice of archetypes to choose from when it comes creating and portraying her cast.

The Dramatic Characters of the players will either be Heroes or Heroines. Various archetypes are suggested, including the obvious Adventuress, Consulting Detective, Dashing Hussar, Explorer, Gentleman Thief, Journalist, and Writer. Less obvious are the Anarchist, Mad Scientist, and Mastermind, whilst the Brownie, Dwarf Craftsman, Faerie Lord or Lady, Pixie, and Wizard are particular to the world of New Europa. Each suggests the Suits they are strong in, such as Fencing, Marksmanship, and Fencing for the Adventuress, plus possessions, what in their diary, and why they are involved in the Entertainment. If a Brownie, Faerie Lord or Lady, or Pixie, the Dramatic Character has a Faerie Power, such as Enchantment Faerie Lord or Lady and Love Charm for the Pixie. A Dramatic Character has several Abilities, which can be skills and different aspects of the Dramatic Character. They include Athletics, Charisma, Comeliness, Connections, Courage, Fencing, Fisticuffs, Social Graces, Tinkering, and more. Faerie have Etherealness and Kindred Powers, the first their ability to change shape or walk through walls, the latter their innate ability. Each Faerie also has very limited Sorcery, and it is also available to Wizards. A rating in an ability can either be Poor, Average, Good, Great, Exceptional, or Extraordinary. Each ability falls into one of the four suits from an ordinary deck of playing cards and when cards drawn from the Fortune Deck match the ability suit, a bonus is gained.

To create a Dramatic Character, a player selects an archetype, and then chooses one Ability he is Great at, four he is Good at, and one he is Poor at. He also answers a lot of questions about who the Dramatic Character is, filling in background and also deciding upon ambitions. Most Dramatic Characters will be men and women of good character, but some are also Dragons, Dwarves and Faeries. In their natural form, a Dragon is large, but fragile, being designed for flight, and naturally knows the spell Firecast, but it costs Health to cast. It is also exhausting for the Dragon to switch between his Human and natural forms. A Dwarf is immune to fire and highly resistant to magic, can only be male (Dwarves mate with other Faerie), gain a bonus to Tinkering when working metal, and begin play without a name. Earning a name is an important motivation for a Dwarf. A Faerie is subject to the Rule of Iron and iron and steel can irritate or even hurt him, and although cannot use Sorcerer, will have an innate ability according to the Faerie type.

Mrs. Harold McKinnon

Demimondaine

Abilities: Charisma [GR] • Comeliness [GD] • Connections [GD] • Courage [GD] • Fencing [AV] • Perception [AV] • Physique [PR] •Social Graces [GD]

Health 5 pts

Mechanically, Castle Falkenstein: High Adventure in the Steam Age uses a Fortune Deck, represented by an ordinary deck of playing cards. The players share one, whilst the Host has one of her own for the actions of her villains and other members of the supporting. To have his Dramatic Character undertake a Heroic Feat, all a player has to do is compare the difficulty of the task with the Ability required. If it is equal to, or greater than the difficulty of the task, the Dramatic Character at least partially succeeds. For example, to sway a mob requires a Charisma of Great, whilst leaping a yawning chasm of an Athletics of Good. Thus, Mrs. Harold McKinnon, with her Charisma of Great will sway the mob, but with an Athletics that is just Average—the default for any skills not selected—will need to rely upon the cards from the Fortune Deck to succeed or do better.

The cards have a face and a suit. The numbered cards have their straight value, whilst a Jack has a value of eleven, a Queen a value of twelve, a King a value of thirteen, and an Ace a value of fourteen. A Joker is worth fifteen points and when played, the player gets to choose the suit for that action. Similarly, the Ability Ratings also have a value, ranging from two for Poor and four for Average to ten for Exceptional and twelve for Extraordinary. The aim is to ensure that the combined value of the cards played and the Ability is equal to, or greater than, the difficulty of the Heroic Feat. A player has four cards in his hand and can play as many cards as he wants. However, if the suit of a card played does not match the suit of the Heroic Feat, it is only worth a single point, but if it does match, then the full value is used. The Clubs suit is for physical actions, the Diamonds suit is for mental and intellectual activities, the Hearts suit covers emotional and romantic feats, and Spades suit is used for social and status-related situations. The comparison of the total value of the Dramatic Character’s Ability and the cards played will determine how well the Dramatic Character. Results include Fumble, Failure, Partial Success, Full Success, and High Success. The total needs to be equal to the value of the Heroic Feat for the Dramatic Character to gain a Partial Success, equal to half the value of the Heroic Feat again for it to be a Total Success, and so on.

Combat is an extension of this, using either the Fencing, Fisticuffs, or Marksmanship Abilities, and are played out as contests with the quality of the outcome determining the amount of damage inflicted. The rules for duelling are more complex and do take some getting used to in comparison to the standard rules. Duels are fought over several Rounds with each Round consisting of three Exchanges, each Exchange a single clash of blades. Each duellist has a hand of six cards—two black, two red, and two face cards. Black cards are used for defence, red cards for attacks, and face cards for rests. On an Exchange, each duellist selects and plays two cards and both cards are compared. A defence card will automatically stop an attack card, but a rest card will not. So, there is tension built into duels as each participant knows what cards the other has played and it can get quite tactical and even cinematic once the terrain is taken into account. There is a good example of a duel to help the Host grasp the rules.

Combat does scale up once the great war machines come into play. For the most part it will be kept personal, and one way in which it is kept personal is no killing blows. The Dramatic Characters are by nature heroes and heroines and do not simply engage in wanton killing. Thus, in combat a Dramatic Character will wound someone or knock him unconscious, but not kill. Killing someone is a deliberate act and the intent has to be clearly stated rather than being accidental.

Sorcery requires an Ability of at least Good to cast spells. A spell can either be researched or learned at a magical college or society, and every spell has a Thaumic Energy Requirement. This is fulfilled by drawing cards from the Sorcery Deck, which represents the amount of Thaumic energy in the surrounding area. The Sorcery Deck can be depleted, indicating that all of the Thaumic energy is also depleted, but when a spell’s Thaumic Energy Requirement is met it can be cast. This works like a standard Heroic Feat, the difficulty set by the spell itself. Spells have aspects, which match the suits in the Sorcery Deck—Clubs for elemental magic, Diamonds for material magic, Hearts for emotional and mental magic, and Spades for spiritual and dimensional magic. There are guidelines too for magical artefacts and sorcerous duels. Lastly, there are rules for inventing and building Steamtech devices, a short adventure, some scenario hooks, and a bibliography.

Physically, Castle Falkenstein: High Adventure in the Steam Age is a book of two halves. It is well written and an engaging read, but the appearance of the two halves differs radically. The first half, the background, is gorgeous. In 1994 it looked amazing and it still looks good today. The second half, the rules section, works as a notebook, but is plain and even unattractive. It could also be better organised, so that the various sections are not interrupted by advice for the Host.

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Castle Falkenstein: High Adventure in the Steam Age was reviewed by E. Ken Fox in ‘Closer Look: Reviews of Games and Related Products’ in Shadis Issue #116 (November/December 1994). He was highly complimentary, starting by calling it, “… [O]ne of the most exciting games in the industry today” and praising the look of the book, “With its incredible artwork and layout the book fairly transports you into the realms of the world, while not taking away from the exchange of information. While some may find it difficult working within the boundaries of this format. I personally find it an exhilarating change to what has become the Standard Format.” Finally, he concluded by describing it as a “A sure-fire system with a fantastic world of adventure: isn't that just what we all have been looking for?”

As a ‘Pyramid Pick’ in Pyramid Number 10 (November/December ’94), Scott Haring was equally as praiseworthy of Castle Falkenstein, saying, “This is not a game of sullen anti-heroes, angst and moral dilemmas; this is a grand game of world-spanning plots, pure heroes and diabolical villains. [Designer Mike] Pondsmith has done a great job of setting the stage for grand dramatic battles between good and evil without once letting it descend into melodrama or parody. This is a game that believes in itself and its premise 100%, but without drowning in pretentiousness or self-importance.” His conclusion was that, “Castle Falkenstein is a breath of fresh air in roleplaying, a game where real heroes matter and don’t have to apologize. The book is physically gorgeous, the game mechanics fit the tone of the game world like a glove, the writing is wonderful, and the game world is enchanting.”

In the issue’s ‘Feature Review’ of Castle Falkenstein in White Wolf Inphobia #51 (January 1995), Rich Warren asked, “It’s high adventure in the Victorian age with a mixture of magic and technology. They’ve all been tried before, so what makes them work now?” He awarded the roleplaying game four out of five and said, “The game’s mechanics are simple but unique; it can take a while to adjust.”

In Dragon No. 214 (February 1995), in ‘When dungeons won’t do; Alternative fantasy RPGs’ for ‘Role-Playing Reviews’, Rick Swan reviewed Castle Falkenstein alongside ARIA and the ARIA Worlds Book, awarding a rating of six out of six and stating that with Castle Falkenstein that, “… [T]his is about as good as it gets.” He described the setting of the roleplaying game by saying that “… [T]is isn’t Victorian London per se, but an alternative reality that’s one part fact, ten parts fun house; it’s as if Pondsmith tossed a history text, a copy of Alice in Wonderland, and a Monty Python video cassette into a blender. New Europa, the game world, is a crazy quilt of steam-age technology and social anarchy.”

Castle Falkenstein: High Adventure in the Steam Age was voted in at number forty-five in ‘The Top 50 Roleplaying Games’ in Arcane Issue 14 (December 1996). Editor Paul Pettengale said, “Castle Falkenstein is one of those games that people tend to either love or hate. It has a unique atmosphere, combining alternate history, Celtic mythology, steampunk and a somewhat whimsical, fairy-tale feel. Likewise, the rulebook itself is quite different from many, being laid out as a novel, with important information pulled out in sidebars, and the rules coming later. This reflects the main thrust of the system, which is heavily geared towards roleplaying and storytelling over game mechanics and numbers, and drops dice in favour of a couple of packs of playing cards.”

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Castle Falkenstein: High Adventures in the Steam Age is a marvel of its age—optimistic, fun, and exciting—and like any classic, it still stands up not just as a superb design, but an innovative one as well. Its choice of mechanics are not only civilised, but they give a player choice and agency as to his Dramatic Character’s actions too. Above all, Castle Falkenstein: High Adventures in the Steam Age is a tremendous fabulation of fantastic Victorian fiction, Ruritanian romance, and swashbuckling Steam Age action.