Monkey Magic!

If you are English and of a certain age, you will remember a television series by the name of Monkey. Although based on the Chinese novel Journey to the West, the television series was in fact Japanese and would be dubbed into English as Monkey. It was broadcast by the BBC in the early evening on BBC2 beginning in 1979 and would become a cult favourite, telling as it did of the adventures of the upstart Monkey King, who after having been released from Heaven-imposed imprisonment by Tripitaka, a Buddhist monk, must accompany by the monk on a pilgrimage to India. They are joined by Sandy and Pigsy, ex-angels who were expelled from Heaven for failing to prevent the irrepressible Monkey’s misdemeanours and turned into ‘monsters’. The series ran for two seasons and was noted for its over the top wuxia action; its ‘Oriental’ accents; and its boundless optimism.

Irrepressible! is the RPG based on Monkey.  Published by Postmortem Studios via Chronicle City, it is a diceless RPG of mythic moral adventure in a China of fable and legend. The players take not the roles of Tripitaka or Monkey, Sandy or Pigsy—though the stats for all four are included in the rulebook—but Pilgrims like them. Heroes, monsters, monks, and other who have been cast out of Heaven for transgressing its many laws, or even the undead or demons, they are all pilgrims trying to get back into Heaven. In order to do that, they must redeem themselves and society at large, which Buddha says has lost its way and fallen prey to earthquakes and floods, famine and fire, banditry and warfare, corruption and immorality. By exposing the corruption and immorality and saving the peoples of the Earth, the Pilgrims can bring enlightenment to society and achieve redemption.

Each Pilgrim is defined by a Weakness, a fatal flaw that he cannot overcome; a Curse, whatever punishment Heaven has opposed upon him; four Traits, powerful skills, abilities, or powers such as Monkey’s ‘Cloud Flying’; and six Virtues. Each Virtue has a yin/yang value, essentially a Virtue/Demon pairing. The six are ‘Charity/Selfishness’, ‘Uprightness/Wickedness’, ‘Forbearance/Impatience’, ‘Dispassion/Passion’, ‘Dauntless/Cowardice’, and ‘Contemplation/Impetuosity’. Each pairing has a mid-point, representing perfect balance, and can go five points either way. Virtues represent a Pilgrim moving towards Enlightenment and grant him Karma, whilst Demons are easier to call upon and more effective when undertaking actions. 

A player chooses his character’s Weakness and Curse, Traits, and assigns fifteen points to his Virtues and Demons. Of each pairing, a player can only assign these points to one side of a pairing, thus to ‘Uprightness’ or ‘Wickedness’, but not both. Lastly, he adds up all of the points assigned to Virtues. This is his Enlightenment. When it reaches twenty-five, the Pilgrim can ascend to Heaven—and so becomes an NPC.

Our sample Pilgim is Shi Yusheng, was once the darling of the court, mannered, pretty, charming, and talented. Yet such a situation could not last and she found her position at the court slipping as it became enamoured of one young ingénue after another. She knew that she had to find a way to reclaim her beauty, her search involving ever stranger methods, finally settling upon alchemy as a means to gain her looks and keep it. It took years, but eventually she managed it, but upon attaining both, she was punished for her transgression against the Mandate of Heaven. She has been cursed to be eternally ugly except for a single hour per day when she as beautiful as she once did—during the rest of the time, she usually wears a veil.

Name: Shi Yusheng
Weakness: I can never look less than my best
Curse: Immortally ugly
Trait: Alchemist
Trait: My clothes are my weapons
Trait: A lady of the court
Trait: I am old and wise

Virtues & Demons

Charity OOOOO/O/XXXOO Selfishness

Uprightness OOOOO/O/XXOOO Wickedness

Forbearance OOOXX/O/OOOOO Impatience

Dispassion OOOOO/O/XXXOO Passion

Dauntless OOXXX/O/OOOOO Cowardice

Contemplation OOOXX/O/OOOOO Impetuosity

Enlightenment

7

Doing anything in Irrepressible! involves drawing from the Six Demon Bag. It contains not just the potential universe, but its luck and karma—the latter represented by beads. It contains five white beads for each Pilgrim, plus white beads equal to the value of each Pilgrim’s Virtues. So for example, Shi Yusheng would contribute just seven white beads to the Six Demon Bag as well as the standard five white beads. In addition, the Six Demon Bag contains a single black bead—this represents the negative karma.

The base difficulty of an action determines the number of beads to be drawn to succeed at it, the difficulty modified by the appropriate Virtue or Demon and by the Pilgrim’s Weakness or Curse if appropriate. If all of the beads drawn are white, then the Pilgrim succeeds, if one is black, then he suffers a setback, or even a disaster. If a Pilgrim wants to succeed spectacularly, then he can draw yet more beads. All of the beads drawn are kept in front of the players and only go back into the Six Demon Bag when the black bead is drawn. Essentially the Pilgrims are pushing their luck whenever they draw from the Six Demon Bag and the more actions they attempt, the more likelihood that one of their number will suffer a setback or disaster. This adds a degree of dramatic tension to the play of Irrepressible! It is possible to add beads back into the Six Demon Bag during play and to increase the number of beads by doing something heroic and gaining the notice of Heaven in doing so, or by a Pilgrim improving one of his Virtues.

Scenarios are described in terms of ‘Scrolls’, mini-campaigns in terms of ‘Books of Scrolls’, and whole campaigns of ‘Books’ in terms of ‘Sagas’, the latter representing a whole pilgrimage. Each Scroll is bookended by a proverb at its beginning and a lesson discussing what happens if the proverb is fulfilled or what happens if it is not at Scroll’s end, just as was heard at the beginning and end of each episode of Monkey. Solving the intervening adventure involves making one or more moral choices, which ultimately should fulfil—or not—the proverb that inspired the adventure. Irrepressible! includes a lengthy list of Chinese proverbs. It also includes a sample scroll, ‘The Blood Village Scroll’, a short, ready-to-play scenario that serves as a solid example of a Scroll. 

Unfortunately, as much fun as Irrepressible! might well be, the rulebook is anything but that. It opens poorly. Once the engaging introduction is out of the way, the rulebook jumps straight into a fifteen-page description of Heaven and its various inhabitants, from the Jade Emperor down to all of the lesser gods. None of this information is irrelevant to the game or its setting, but it takes twenty pages—one third of Irrepressible!—before an explanation is given as to what the players and their characters do in the game. It takes another fifteen pages—now over a half of Irrepressible!—before the author gets round to explaining what the GM and his players need in order to play Irrepressible!; vitally important because the game is diceless. Thus there is no mention of the Six Demon Bag, let alone the fact that Irrepressible! requires beads to play. Despite containing fifteen pages devoted to Heaven, Irrepressible! contains nothing describing where the adventures take place—Earth. Except that is, in the included Scroll. A bibliography would have been nice too.

Ultimately Irrepressible! is let down by self-editing and underdevelopment. It deserves to be better organised and better presented—perhaps in a second edition? Nevertheless, although just like Monkey, Pigsy, and Sandy, Irrepressible! has its problems, it rises above them to present a simple narrative driven game of redemption, moral choices, and Monkey magic!

If you ain't got that...

An alternative title to Agents of S.W.I.N.G. from Postmortem Studios might be The Avengers RPG – and by that we do not mean the American comic series, but rather the iconic British television series, The Avengers, in which the umbrella swinging, bowler hatted John Steed investigated an array of Cold War, criminal, science fictional, and supernatural threats with a pretty and capable assistant by his side. Similarly, an alternative title to Agents of S.W.I.N.G. from Postmortem Studios might be the I.TC. TV RPG. For those of you not in the know, I.T.C. was a British television company headed by Lew Grade that during the 1960s and 1970s produced some of the United Kingdom’s most iconic television series and sold them worldwide. The Saint, Danger Man, The Prisoner, Thunderbirds, Captain Scarlet and the Mysterons, Department S, The Persuaders! , The Champions, and Jason King to name but a few. What these series had in common, including The Avengers, was their genre and the fact that they were “Cool.” Their genre was that of the “Adventure Series” or “Spy-Fi” and their Coolness was borne not just of the fact that they were good shows, but also that they were British and the 1960s, Britishness was cool and London was swinging…!

In Agents of S.W.I.N.G., you get to be cool, suave, and sophisticated, working as an agent for S.W.I.N.G. – “Supreme World Intelligence Network Group,” an international espionage and counter-espionage organisation that deals with threats to world peace and security above, beyond, and below the global obsession with the West versus East of the Cold War. Just like The Avengers, the agents will be investigating an array of threats and mysteries, but Agents of S.W.I.N.G. has the capacity to push further at the envelope of its genres in a number of ways. First, it draws upon the equally as cool action films of the period, most notably the James Bond films, thus moving more towards the “Spy Fi” genre. Second, it follows both the Adventure Series and I.T.C.’s output out of the 1960s and into the grimmer, more cynical decade of the 1970s, best typified by series such as The Sweeney and The Professionals, so shifting towards the crime genre. Third, it can shift towards the supernatural and the outré with series such as Doctor Who and Sapphire & Steel, neither of are necessarily produced or distributed by, but are nevertheless both Adventure Series and thus not only part of the genre, but also cool. Fourth, it can do the Science Fiction Adventure Serial such as Thunderbirds or Joe 90.

If this seems like a lot of genres for Agents of S.W.I.N.G. to encompass, it probably is, but its actual genre is not many but one – the Adventure Series – and that genre can include elements of many other genres. It is up to the game’s GM or Control to decide how far he wants to go with any one genre with his Agents of S.W.I.N.G. game.

For its mechanics, Agents of S.W.I.N.G. uses the FATE 3 engine. First seen in Evil Hat Production’s superb pulp action RPG, Spirit of the Century, the Fate system is a Fudge variant, one in which Fate Points play a major role. Just as in many other RPGs they can be spent to gain a bonus to a roll, but here they have a greater versatility. Like many “Indie” style games, a player can spend them to create and bring small elements into the game, what is known as “dramatic editing,” but under the Fate system, Fate Points can do a whole lot more. They can be spent to invoke a character Aspect and bring it into play, to tag another character or location related Aspect to bring it into play, to power a Stunt, or to make a Declaration, adding some small element to the story. The Fate system also ditches traditional attributes, instead defining characters by Skills, Aspects, and Stunts. It plays fast and easy – the player rolls two six-sided dice, each of a different colour, and deducts one from the other to a number from +5 down to -5. This number is added to any bonuses derived from Skills, Aspects, or Stunts to try and beat a target number, or to roll higher than an opponent in a contested roll. In a contested roll, the amount by which one side beats the other determines the amount of damage or Stress inflicted, whether Physical, Composure (mental), or Social Stress.

Sometimes though, a player will need a third die – a “SWING die.” Whenever a player rolls well, he earns one of these dice and gets to keep it in front of him. Later on in the game, the player can choose to use his “Swing die” to substitute the negative or the positive die in order to get a better result.

For example, the S.W.I.N.G. agents want to get a pass from an enemy agent, Gustav Zimmerman, which would give them access to a high security laboratory. They have followed Zimmerman to a masque ball where Claudia Romanov will engage the agent on the dance floor and attempt to distract him whilst slipping the pass out of his pocket. Control decides that this will be an opposed roll against Zimmerman’s Mental rating of +2. Claudia’s player decides to use her skill of +3 (Solid) Sleight of Hand and spends a Fate point to trigger Bump and Grind Aspect. Control agrees and allows her a +2 bonus to her roll. Control rolls +3 and -6 to get a total modifier of -3, which reduces Zimmerman’s +2 Mental down to -1 Bent. This gives an excellent target for Claudia to beat and her player’s roll of +6 and -3 gives a modifier of +3, which when added to her current Sleight of Hand skill gives a total result of +8 or Atsonishing. Since this is 3 higher than the target, Control awards Claudia a Swing Die to use later. Control also rules that Zimmerman was so oblivious that he will be delayed getting to the laboratory himself whilst he looks for it!

Characters are defined by their Skills, Stunts, and Aspects. Skills are areas in which a character is trained in, his knowledge and expertise; his Stunts are related to his Skills and grant a character small bonuses or permissions within the game; while Aspects define the character in some way, such as “You won’t break me” or “Champagne Charlie” and are the more interactive elements within the game. Sample skills might be +1 (Cool) Guns or +4 (Neat) Science, while possible typical stunts include abilities like Architect of Death and Hide in Plain Sight or possessions such as Custom Ride gives you a favoured vehicle that you have added a gadget to (tied to the Drive skill). Most Stunts do not require the expenditure of Fate Points, but those that do are slightly more powerful. A Fate Point can be spent to Invoke one of a character’s Aspects and so gain a bonus, but if Compelled by Control and brought into play, so developing complications and driving the story along, then the character earns a Fate Point. Lastly, Aspects belonging to another character, or to an object, place, or a scene can be Tagged by another character, again by paying out Fate Points. When choosing Aspects for a character, the designer’s advice is that they should never be boring and it should always be possible to view an Aspect in both a positive and a negative light. Otherwise, a character cannot participate in the game’s Fate Point economy – bring negative Aspects into the game and letting it act as a story hook, gets a character more Fate Points to spend in his favour.

At its most basic, character creation is simply a matter of choosing Skills, Stunts, and Aspects. A quick method of creating characters is provided, but of course, the game wants a little more than that from its players, asking them to create a simple background and tying Aspects to their character’s Section (the department that they work for in S.W.I.N.G.), past, and cover identity before being given a free choice of another five. A player has twenty points to assign to Skills, these ranging from +1 (Cool) and +2 (Hip) up to +7 (Far Out) and +8 (Out of Sight); four Stunts to choose; and lastly some equipment to take. It should be made clear that although Agents of S.W.I.N.G. gives detailed lists of Skills and Stunts, players are expected to create their Aspects, tying them into their agents’ concepts.

The first of our two sample characters is based on a character that I originally played in a friend’s James Bond 007 RPG campaign. She is of an impoverished White Russian noble family, who followed her father into his elicit trade of theft and burglary, stealing from the rich to support the family. She worked the high society scene around the world before being caught by a S.W.I.N.G. agent into whose room she had broken. Now she commits burglary as a S.W.I.N.G. agent herself.

Name: Claudia Romanov
Concept: Reformed Jewel Thief
Section: Section 10 – Acquisition
Cover: High Flying Photographer

Section: “In and Out Without a Trace”
Past: Nobility in Reduced Circumstances
Cover: “My camera gets me in everywhere…”
Aspects: “Looks can be deceiving…”, Takes a thief to catch a thief, Like good Russian vodka, Always dressed the part, “I did complete finishing school”
Skills: +5 (Groovy) Burglary; +3 (Solid) Sleight of Hand, Stealth; +2 (Hip) Academics (French, Russian), Photography, Social Standing; +1 (Cool) Contacts, Deceit, Fists
Stunts: Acrobatics, Bump and Grind, Network of Contacts, Unruffled

Stress
Physical Stress OOOOO Composure OOOOO Social OOOOOOO

Our second example character is based upon a friend of mine who happens to be a fan of the Adventure Series genre and uses elements of characters that he has played in the past. Doctor Exton was kidnapped whilst working in Nepal and when he returned, found that he had developed strange abilities. These were detected by other members of Section 8 who recruited him into S.W.I.N.G.

Name: Doctor Simon Exton
Concept: Psychic Doctor
Section: Section 8 – Uncanny Affairs
Cover: Consultant Toxicologist

Section: “I know your body, I know your mind”
Past: It was a strange holiday
Cover: Let me through, I’m a Doctor!
Aspects: “My, that does look painful”, It’s just a scratch, Sardonic Wit, I have just the thing for that in my bag, I sense that there is more to this
Skills: +6 (Fab) Science; +4 (Neat) Academics; +3 (Solid) Fists; +2 (Hip) Empathy, Intimidation; +1 (Cool) Contacts, Mysteries, Resolve
Stunts: Cold Read, Developed Immunities, Psychic Telepathy, Sixth Sense

Stress
Physical Stress OOOOO Composure OOOOOO Social OOOOO

The setting and genre is supported with rules for equipment and gadgets, organisations, a year by year breakdown of events of the setting’s timeframe – the 1960s and 1970s, along with some notes on Superscience! and the Supernatural. If Control wants to push his game in either of those latter two directions, he might find the guidance somewhat light. Then again, both usually figure as elements within the Adventure Series genre rather than serve as its mainstay or focus. Further, the primary genre for Agents of S.W.I.N.G. is “Spy-Fi.”

Advice for Control on running Agents of S.W.I.N.G. is well done, but essentially boils down to keep the game light, keep it moving, and take your cues from the players and their agents. Agents of S.W.I.N.G. do not come with a scenario as such. Instead it includes a detailed outline that can be used as scenario, all but ready to play.

Perhaps where its Adventure Series genre is best displayed in Agents of S.W.I.N.G. is in its chapter of SWINGers. Or rather, its chapter of some thirty or so S.W.I.N.G. agents, each of them drawn from the various television series that are the inspiration for the RPG. If you know your I.T.C. and other series, then there will be certain pleasure in recognising who Cobalt and Iron, John Chain, Agent Crimson Saul Metford, Andrew Bowie and Richard Foyle, Jackson Queen, and John Swan are, and which television series that they come from. That said, there is no explicitly given use for these characters, whether as sample player agents or NPCs. The given sample “Villainous Schemers,” which include a Chinese criminal organisation, an extremist Left wing revolutionary movement, and a American neo-Nazi movement, are of more immediate and useful use, providing something iniquitous for the player agents to investigate and interdict.

Physically, Agents of S.W.I.N.G. comes as a three-hundred-and-fifty-six page black and white digest sized book. The layout is done as if from a series of report files, illustrated with silhouettes of ladies in various action poses, sometimes armed, sometimes not, but either way, reminiscent of the opening film credits of the James Bond series. The only other artwork in the book is the illustrations of the sample characters. Unfortunately, whilst Agents of S.W.I.N.G. is readable, both layout of the book and its editing are at best wanting. Some of the book could have been better organised, and whilst the choice of fount, Courier New, is perfectly in keeping with the book’s genre, its size is too large, often leading to ragged paragraphs because the column width is too short. As to the editing, the book just needed another polish, preferably from another pair of eyes than those of the author’s.

There is one last issue with Agents of S.W.I.N.G. and that is Mike Myers. Much like a game of Pendragon threatens to tip into absurdity a la the film Monty Python and the Holy Grail, a game of Agents of S.W.I.N.G. can easily lurch into a parody of its genre, the Austin Powers trilogy of films. Given the title of the RPG, there is certain inevitability to this, but it is certainly within the purview of both the players and Control to rein any such tendencies to “schwing” that way in their Agents of S.W.I.N.G..

Being a “Spy-Fi” or Adventure Series RPG, Agents of S.W.I.N.G. is anything other than a serious treatment of the espionage genre. Agents of S.W.I.N.G. is not Ron Edwards’ SPIONE: STORY NOW in Cold War Berlin or even Crafty Games’ SpyCraft, but is rather a light, almost coy take upon the espionage genre, whilst also serving as a toolkit to do other light, almost fantastical genres. So for example, whilst Agents of S.W.I.N.G. will do The Avengers or even The Man from U.N.C.L.E. with a wink, a tip of the bowler hat, and even a cocked eyebrow, with a little effort upon the part of Control, it would also do Thunderbirds, U.F.O. , or even The Six Million Dollar Man. Overall, despite lacking something of the flair its genre calls for in terms of its production value Agents of S.W.I.N.G. is a pleasingly light version of the FATE engine that demands just enough from the players to do its genre justice.

A Batrachian's Evening Play

Kiss of the Frog God is several things. First, it is the first Third Party support to appear for Lamentation of the Flame Princess’ Weird Fantasy Roleplaying Game. Second, it is the first scenario to be written and published for the game that has not written by the game’s designer, James Raggi IV. Third, it is part of Postmortem Studios’ “6-Pack Adventure” series, each designed with a “pick-up and play” functionality, which in the case of Kiss of the Frog God includes pre-generated characters, a battle mat, and tokens for use with the battle mat as well as the scenario itself. The aim of the “6-Pack Adventure” series, just like that six-pack of cans of your favourite beverage, is for it to be consumed or rather played through in a single session.

Designed for a party of four to six characters of third level, Kiss of the Frog God finds the adventurers on a pilgrimage, each of the six pre-generated adventurers possessing a reason to seek religious atonement. One of the stops along the way is the village of Morbury, which sits atop a hillock amid a festering swamp. Morbury was once a reasonably wealthy village, its income coming from farming, hunting, and logging, but the curse of a swamp witch and the near constant rain has turned the surrounding fields and forest into a sodden quagmire. With a down turn in the village’s fortunes, the outlook of the villagers has turned inward and insular.

The adventure itself is quite simple. The visiting pilgrims are asked to find two girls that have gone missing, the village priest suspecting that their sinful ways have lead them into the forest. Within a matter of hours their bodies will be found mutilated at the forest’s edge and blaming the swamp witch, the villagers will ask the pilgrims to seek her out deep in the forest and revenge not only the deaths of the girls, but end the curse.

Despite its simplicity, there is quite a bit of detail to Kiss of the Frog God. The backgrounds and motivations of the various NPCs are well drawn as are all six of the adventure’s encounters. Plus there is room enough for the GM to add more if needed. In terms of rules, it is simple enough to run for other Retroclones such as Labyrinth Lord or other Old School Renaissance style games, although it is specifically written for use with the Grindhouse Edition of the Weird Fantasy Roleplaying Game. If there is anything lacking in the book it is overall advice on running the adventure and perhaps advice on adding to it or scaling to different numbers or levels of characters.

Physically, Kiss of the Frog God is decently put together. The full colour card cover provides a map of Morbury and the battle map, but because both replace the front and back cover, as a product it lacks the title to tell the potential purchaser what the book is called and a blurb on the back to explain what it is, what game it is for, and what level characters the adventure is designed for. Indeed, there is no indication of what level the scenario is designed for until the reader examines the pre-generated adventurers. Inside, there is a lot of white space, but this means that each of the pre-generated adventurers has its own sheet for easy copying, as do the scenario’s monsters and the tokens for both with use of the battle mat. The internal artwork is also good, it being a pity that it appears only in black and white.

In terms of editing, Kiss of the Frog God is a little disappointing. There is a certain degree of repetition and whilst I can agree with the author and publisher’s attitude towards homosexuality, I do think that it could have been better handled with a degree of subtlety that should have been applied throughout. The issue here is that in dealing with the sexuality of two of the pre-generated adventurers, the tack taken by Kiss of the Frog God is to preach at both the GM and the potential players. In comparison, almost nothing is said regarding the relationship between the missing girls bar the fact that the village priest considers it to be unclean and unholy.

There are plenty of Dungeons & Dragons style adventures that deal with the village in peril to the point at which the format is a cliché. Kiss of the Frog God gets away from the cliché by depicting a low fantasy setting in which the grot has set in and have the adventurers face a very grimy foe perfecting in keeping with the “Weird Fantasy” of the Weird Fantasy Roleplaying Game that it is written for. Pocket friendly and session friendly, Kiss of the Frog God is straightforward and enjoyable.

Bug Eyed Dumb Arse Monsters!

InvaderZ is a pick up and play RPG from PostMortem Studios designed to be run as an occasional alternative to deeper, longer, more involved games. Describing itself as a “beer and crisps” RPG – we have to go to particular vendors if we want pretzels in this country to go with the beer – it plays quickly and easily, and with a single read through, the GM will have a grasp of just about everything involved in InvaderZ. It comes complete with background, fast character generation, rules, some twenty “Battle Plans” or rather, Mission Seeds, plus a sense humour.

In InvaderZ, the players take the roles of aliens who serve the planet-sized Jerkian Emperor. Primarily, these aliens are the Jerkians themselves, clones of his Imperial Immenseness who serve in his army as Troopers, Assault Troopers, Scientists, Engineers, Embedded Reporters, and so on. Alternatively, they might be one of the Jerkian Empire’s slave races, like the loathed, polyamorous Furrian diplomats, the annoying Hamstoid Minesweepers, or the pent up with rage, Squaloon labourers. Whatever their training, which includes extracurricular activities such as baking or brick laying (or whatever a player can devise), the Jerkians and their slaves are assigned to a squad along with an A.R.S.E. (Automated Robotic Servile Entity) and sent to latest planet targeted for admittance into the Jerkian Empire – Earth. There they will perform missions that hopefully lead to the defeat of the Earth Emperor, Heff-Nor. Performing these missions to the best of their abilities will gain the Jerkian Troopers merits and possible promotion, especially if their efforts entertain the Planetoidal Potentate who might be watching if they have an Embedded Reporter assigned to their squad. Of course, missions will often result in the death of one or more Trooper. Which not a problem, as replacements can easily be sent very quickly via the Empire’s teleporters.

Character generation is fast and simple. A player rolls for his character’s name and role, the latter providing one or more skills that he is Good at; selects a second skill to be Good at or increases a skill he is Good at to a skill he is Very Good at; and lastly, rolls for an extra piece of equipment. The result takes a minute or two, which is can only be a good thing as it makes it easy to replace a dead Trooper.

JIP-155
Assault Trooper
Meat: 5
Brain Meat: 2
Expertise: 3
Luck: 3
Skills: Good at Hitting Things, Good at Baking
Equipment: Power Mittens (+1 Hitting Things, -1 Expertise), nifty black leather pseudo-leather outfit, extra ration pack

To do anything, a player rolls a single six-sided die and adds the appropriate attribute and skill, if applicable, to the total. A Good skill adds +1 to the roll, a Very Good Skill adds +2. An average target is three, while an impossible one is eight. Combat in InvaderZ is just as fast as the simple mechanics suggest, with Troopers and most objects have three health levels – Fine, Disabled, or Splatted.

Much of InvaderZ is devoted to the possible equipment that the Troopers might have to deal with. Much of it is unreliable, but the GM will have to rule exactly how unreliable. My advice would be when it is funny. The rest is devoted to providing an “Earth Field Guide” that the Troopers might be able to consult and that which should be as much a source of mission ideas as the lengthy equipment list. This is in addition to the given twenty mission seeds.

InvaderZ comes as a one hundred and eighteen page, 6.95 Mb PDF in black and white. The artwork is odd mix of line art and sixteen bit sprites reminiscent of computer games of the eighties. The writing is clear and laced with humour that is reminiscent of the Classic RPG, Paranoia, though the humour in InvaderZ is broader, more tongue in cheek, and not quite as black, being perhaps reminiscent of the Warner Brothers cartoons with Marvin the Martian. Of course, this being a game about the alien invasion of the Earth, much of that humour revolves cows, posterior probings, and the aliens’ – or rather the Rotund Ruler of the Jerkian Empire’s – interest in Earthian women. In particular, he is interested in the women who serve the Earthian Emperor. The game’s elevation of Heff-Nor to the position of “perceived” Emperor could have been worse of course. It could have been Silvio Berlusconi instead…

As a game InvaderZ is anything other than demanding upon its players, but to the get the best out of it, the players need to relax and throw themselves into the silliness of their characters and the situation that they are in. They need to accept that their characters are as throwaway as InvaderZ itself almost is. In addition, they need to accept that the GM in InvaderZ is going to be anything other than impartial – the rules do say that it is perfectly reasonable to bribe the GM! If I were running this, it would be mandatory for every mission briefing to end with the singing of the Jerkian Anthem, which is included in the game.

InvaderZ is a game with low expectations, low demands, low humour, and a low price. There is nothing wrong in that because sometimes, gamers need a change of pace, and if they play down to InvaderZ’s standards, then they will still have fun.

What's Your Stand?

@ctiv8 is the result of a challenge made to the designer, James “Grim” Desborough. It is not his first, but where Hentacle - The severely adult card game for hentai-loving reprobates came out of being challenged to create a game based on that most outré of Japanese anime genres, the challenge here was to create an overtly political game. Not political in terms of politicking and jockeying for power, but in taking a stance that is explicitly political and expressing it within the game.

Published by Postmortem Studios, in @ctiv8, that stance is best described as “militantly liberal;” and if not anti-political, it is both anti the current state of both politics and democracy. It takes the idea that both have failed the electorate, and because of this, many have turned to other means. In an age of single issue politics, when all politicians seem alike and never seem to listen to the voice of the voters, these means take the form of activism. Primarily radical activism, in which the activists take the law into their own hands, deciding for themselves the rights and wrongs of an issue. Whatever the cause in question—an anti road protest, free trade, anti-corporate, anti hunt, green issues, race rights, animal rights, and so on, ordinary (and not so ordinary) members of the public have had enough and are taking direct action. Their point of congregation is “@ctiv8.”

Inspired by the dispersed nature of online communities and file sharing software, “@ctiv8” is both one of these communities and a piece of software. Once downloaded and installed, it gives the surveilled, vetted, and profiled new member access to this self-regulating community which comes together over an issue and organizes a group of individuals best suited to dealing with it. Sometimes this may mean co-operating with other groups and parties that may have the resources to help and agree with the issue, but might hold to less palatable politics. The dispersed nature of “@ctiv8,” which operates on a high degree of trust, makes it difficult to infiltrate.

Set if not in the here and now, then this evening after you have finished work, @ctiv8 casts the players as members of this global anarchist conspiracy willing to do what it takes to make the world a better place. Not just the one member, as @ctiv8 uses troupe play, with it being suggested that a roster of characters be created from which the most suitable activists can be drawn. This can be as Experts, Sponsors (providing both equipment and money), Placements (whose position helps get a task done), or Volunteers (who have nothing but enthusiasm to add). Besides the use of multiple characters, @ctiv8 is radical in that character cannot earn experience or improve, and is wholly intended to be disposable.  To further support the use of multiple, different characters, it is suggested that the game be run as a series of episodes.

Rather than beat you over the head with its political stance, @ctiv8 points the reader towards its inspirations—the comic book (and television pilot) Global Frequency, internet communities, the act of filesharing, and particularly, the news. Indeed, the 10 adventure seeds were all mined from the BBC news site from a single day in August, 2005. Of course, both players and GM are free to interpret these stories as they want, especially if they disagree with the game’s political stance. It is also entirely possible to play @ctiv8 as a more traditional conspiracy RPG, and there is already a “them versus us” structure built into the game.

Mechanically, @ctiv8 uses the “Xpress System,” a new set of rules that will appear in future Postmortem Studios releases. They may also include the experience point system missing here. A dice pool system, six-sided dice are rolled to score successes. The pool size is determined by one of ten paired attributes, the target by the skill value which lowers it from a default level of six. The range of both attributes and skills is between one and six. Any successes rolled can be re-rolled once and counted towards the total, with three successes being counted as an average result. The difficulty or ease of a task will lower or increase the target, and even add or subtract dice if particularly easy or difficult. Dice can also be added for skill specializations (for example, Guns/Pistol) and skill focuses (Guns/Pistol/Glock 17). The accompanying combat system is short, bloody, and brutal, emphasizing in particular, the time it takes to heal.

Character generation consists of purchasing ten paired attributes made up of active and passive statistics, buying skills, and finally creating merits and flaws. There are different pools for both attributes and skills, and points from either can be spent on merits and flaws. Both of the latter need be designed by the player and agreed upon by the GM, and can be fairly expensive. Alternatively, a quick play method is given, which includes the numbers for attributes and skills. They only need to be assigned. The Xpress System is rounded out with rules for vehicle chases, and a short equipment list.

Physically, @ctiv8 is decently presented, its activism given a nod in the front and back cover, a collage made up from LiveJournal icons, and in the method of introducing “@ctiv8,” as a chat room discussion. The internal artwork is reasonable, but one problem is the book’s last two pages. They are blank. Room then, for the character sheet which is absent, and maybe even some more seeds or a fuller scenario. Perhaps even similar to the support already provided weekly for @ctiv8 in the form of a news story expanded and developed into a gaming friendly format. GM advice is present, and fundamentally addresses the problem of running a game in which making a change or difference is the objective. How far can changes be effected before the world is no longer our own? Even despite this advice, finding a balance between an immutable world and a thoroughly altered world, is a hard task.

In examining @ctiv8 you have to answer a single question. Has the author created a political game in answer to the gauntlet thrown down before him? Well, yes, but not unconditionally so. The problem is still that beyond taking the stance, the game cannot follow through on it without veering away from its core concept of making a change. How often can a change be made before the world itself becomes unrecognisable? If making the big change is unrealistic then, perhaps the steps need to be much, much smaller—deal with the big issues at the heart of the game in increments. Such increments would correspond to the suggested episodic structure of the game. At this level, then the players can execute change and be political, making @activ8 a political game about small changes.