Warlord Games’ Test of Honour is best described as a pseudo-historical or pop-history wargame, a kind of midpoint between “serious” historical wargaming (focused strongly on accuracy over balance, and often breaking rules of what is considered “fun” in traditional miniatures gaming senses) and pure fantasy or speculation. Its mission statement, according to a Wargames Illustrated article was to “evoke samurai movies rather than a slavishly historical view of feudal Japan” (Graham Davey, quoted in WI354) and in this respect it achieves its aim. The rulebook is wholly free of historical context, the painting guides are genericised and do not even provide a list of historical coats of arms to imitate for historically-minded players.
Writing the background for this army took significantly longer than the more comparatively cursory unit descriptions my Northern forces received. I came into possession of the Duellist’s Handbook, Southern Republic Army List and Southern Field Guide before writing this and so decided, as is my way, that if I was going to do this it was going to be done properly.
The immediate problem came from the fact I had just bought two Fer de Lances, and the Southern Republic Army List claimed on page 146 that only “a few dozen” of these Gears were in service, and “it is a capital offence for it to be used by any other Republican unit”. Thus I had to make a few adjustments to the background and came up with the Fer de Lance Beta (which is probably not strictly fluff-accurate, but sidesteps more awkward questions).
The only other major background howler I can think of is the move away from strict 5-Gear Cadres (something that the newest edition of the game rules and my choice of unit loadouts does not make particularly easy to do thematically).
As I mentioned in my previous post, my current miniatures wargaming project is nearing completion but still has several models unfinished. As I finished a key part of the army, the Kodiak Gear pictured above, I decided it was good material for a little longer piece of backstory, detailing exactly how awkward a malfunctioning and uncalibrated mech could be for a unit…
While not all of this army is currently built, I have taken the opportunity of using a new lightbox to get some photographs of what is currently finished, and write a little background for it. As it is a significantly larger force than would ordinarily be fielded, I decided to group the models into sample units and come up with background for the pilots within to try and give a picture of how the army might function as a whole.
In my longer review of Mirror’s Edge Catalyst I talked about how it was an ultimately anemic attempt at an activist piece of science-fiction; it failed to consider its liberal message on a level beyond what seemed to me to be the superficial. This was primarily a result of its creation of a bland dichotomy between terrorists on one end (who believed and exposited at great length that tacit acceptance of inequality made people a fair target for being killed in the name of the cause) and a peaceful progressive movement that seemed mostly to exist to make the protagonist appear to have agency. There was never a proper sense of struggle; the status quo seemed to be set up purely to hinge on the protagonist – and thus the player’s – actions.
Note: This article discusses in close detail the story of Mirror’s Edge Catalyst.
Mirror’s Edge Catalyst is a game I was eagerly looking forward to playing for no reason other than the flawed original’s immensely enjoyable gameplay; the first game offered something interesting and different, a first-person acrobatic platforming game which offered minimal combat. It was not perfect, and felt underdeveloped, but the sequel seemed to offer a fuller and more developed experience. I am thoroughly enjoying Catalyst as a game; its mechanics are more polished, it has a large amount of missions to complete and its aesthetics are excellent (and Solar Fields’ soundtrack, readily available to purchase online, is well worth buying for any fans of ambient music). But it is a game I am enjoying despite a lot of flaws; while there is a well-made game there, it is dressed up in a lot of superfluous and questionable design decisions.
Note: This review discusses in some detail the plot of Mirror’s Edge Catalyst.
Having recently played both Dishonored games in succession, I have had the opportunity to compose my thoughts about the series; initially I was eager to discount it as not for me simply because stealth games are not my favourite type and the nonspecific steampunk-pseudo-British aesthetic of the first game, all whalers, fog and clunky technology, seemed overplayed and uninteresting. However, I came to quite enjoy the games as I played through them and even ended up playing the second in a mostly non-lethal fashion, with attempts at a much higher level of stealth and creativity than the first game (which ended up as a kind of farce as a masked assassin roamed the streets lobbing grenades and land-mines and shooting pistols at anything that moved).
Note: This review discusses a number of plot points from both Dishonored and Dishonored 2 and assumes some familiarity with the games’ stories.
A Northern elite Gear, a testbed for a new loadout of the Grizzly chassis assigned to a notable Duellist and test pilot, had been shot down in the small town of Astragius. Both sides immediately diverted nearby patrols to recover the wreck, a Southen Jager unit racing to reach it before a Northern reinforced patrol of Hunters and Jaguars reached it. On the way, both commanders decided to call for reinforcements – Southern units were first to the fight, as Astragius was close to a nearby base. By the time combat was joined only a single Northern unit had arrived as backup, a heavy unit of large Gears intending to carve a path through the numerous Southern units and recover the wreck. The North, however, had another advantage – the patrol had been joined by Oliver Arseid, an ace pilot with a sterling record and highly-customised urban warfare Grizzly.
It has been some time since I last attempted to design a tabletop game, but I have recently been working on a ruleset.
The intent is to create a game in the mould of Osprey’s light and thematic miniatures skirmish games such as Black Ops, Rogue Stars and Frostgrave, except with a fantastical theme not currently widely served by other products.
Don’t Be Defeated By a Friend is intended to emulate the aesthetics and fights of Japanese console RPGs and young-adult action anime. Its inspirations are chiefly the Persona and Trails video games, and series such as Busou Renkin, Full Metal Alchemist and so on, although there are aspects of Final Fantasy present as well.
Mechanically the system draws on Frostgrave, Black Ops, Mordheim, A Fistful of Kung Fu, The Walking Dead: All Out War and Infinity to varying degrees.
Currently the ruleset is at beta version 0.4; all of the basic rules for unit creation, combat, movement and magic have been written as well as initial skill and equipment tables. Limited solitaire playtesting has taken place to determine what seem to be initial appropriate values for points costs, baseline statistics etcetera.
Missing are campaign rules, character advancement, advanced and magical equipment tables and rules for adult characters. Development of these, I feel, should not take place until the core mechanics are in a more advanced state.
I am putting a playtest version of the current ruleset up on this blog for people to read and hopefully playtest. While I have, in the past, started and abandoned many projects this one I feel is more complete and playable even in its current unfinished state.
v0.4 -> v0.4a
p4 – Regaining balance as part of a Push Back move rules, first sentence now reads “If this would take the defender over a precipice or drop, they must roll 1d12 and exceed the total distance they were pushed back to regain their balance…”
p6, “Base Statistics” – re-ordered statistics in body text in line with examples
Game Rules (Updated 31/01/17 @ 22:31 to version 0.4a):
Blank Stat Sheet:
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
As I come to the end of playing a campaign of Pandemic Legacy, I feel it is time to review the game; it is the first “Legacy” or permanent campaign-based game of its kind I have really played (apart technically from Time Stories and Sherlock Holmes Consulting Detective, which have a similar limited-plays nature but are a series of discrete missions to complete one at a time rather than a narrative campaign), and I was interested to see if it was as good as the reviews suggested. I have always had reservations about the idea of a board game with limited opportunities to be played, but I entered the campaign with an open mind.
Now the campaign is all but complete, I have thought about what I made of the experience; I enjoyed the game a lot, but at the same time a number of issues meant I never felt it was a truly great game. The potential is there for the Legacy boardgame model to do interesting things (although I still feel much of the design space it opens could be replicated with non-destructive alternatives such as apps), and I am eager to see how later games develop the ideas seen in Pandemic Legacy‘s first “season.”
Note: This review will discuss the development of the Pandemic Legacy Season 1 campaign, including details of hidden information and scenarios.