Book of Glorious Joy

In case you haven't heard (and its hard to believe that many people reading this haven't), after nine long years, The Book of Glorious Joy has finally been published. Seeing it in print at last is, indeed, both glorious and joyful.

You can buy it, in paperback, hardback, or just as a PDF, here. I don't get royalties, but, obviously, I'd like to encourage you all to do so nonetheless!

This is the book that would have been Lords of the West 3, and the first three chapters of Lords of the West 1: Heroes of Malkion added at the beginning for good measure, and in order to set the scene. It primarily serves as an overview of the magical and idealistic Kingdom of Loskalm, one of whose valiant wizard-knights you can see riding through perilous lands in the superb cover by Jon Hodgson.

I'm not sure there's much more to say here about the book that I haven't said already, so I'll gloss over that. I will say that I actually don't know what has happened to Lords of the West 2: Kingdom of the Flamesword, which would have covered Seshnela and the Rokari in the same way as BoGJ covers Loskalm, and would have also included the full write-ups for the more widespread saints and wizardry schools from LotW1. The last I heard it was still due to be published - but not in a single standalone volume - but more recent attempts at communicating with the publishers have not been successful, so that may no longer be the case.

Commoner Cults of Jonatela

So, in my last post I discussed the reasoning behind the rule mechanics I used for Jonating commoner caste magic in the recent piece at my home page. As I said then, I can think of two other questions the piece might have raised in the minds of readers, and I'll discuss them now.

To begin with, if the Elmoi are supposed to represent a denuded form of Ernalda worship, and they really are theistic, which gods are we talking about here? I see no reason to stay being mysterious about that, and people might wonder, so that's something I can quickly deal with. It should be said, though, that I think it's more important that the cults are distinct, than whether or not the beings behind them are, so I don't think it really matters much. Which means that anyone else's interpretation is as good as mine - if I thought it was important, and made a meaningful difference, I'd have put it in the article, not here.

At any rate, Frona is, I think, fairly clearly some sort of aspect of Ernalda the Great Goddess. She's mentioned as a grain goddess in RQ3, and Thunder Rebels reinforces that the grain goddess cults are different ways of worshipping the great earth mother. Frona, clearly, is the mother goddess and land goddess for Fronela as a whole, and will have her own, regular, theistic cult elsewhere.

Uryana and Vilecha are also aspects of Ernalda, and remember, we're told in Genertela: CotHW that the Jonating commoners worship Ernalda as their main goddess, so it makes sense that she gets the key roles. I don't think of Vilecha as a Chalana Arroy, incidentally, because she's just not powerful enough.

The Magic of Malkioni Commoners

Yes, it's been several months since I've posted here. Not that I haven't been busy writing in the meantime, of course. For one, I have managed to write weekly posts at my mammalogical blog, Synapsida - and those do require quite a lot of preparation. There have been many other bits of writing besides, some of which may eventually appear somewhere for public perusal. But, on the Gloranthan front, I have also continued to write some fan material on Jonatela - what would have been LotW4, had the series not been cancelled.

The latest instalment has taken a while to appear, because its quite a big one - ten new cults, in fact. The next will focus on the wizardry schools and that, too, may take a while because of its complexity (I predict early September). But I think the latest one will likely raise a few questions that I think its worth answering here, rather than in the more formal outlet of the web page itself. The questions are:

1. Why did I treat the commoner caste cults as I did?
2. What, if anything, is their relationship to the Orlanth cults?
3. Why did I even bother?

Taking the first question first, we have to go all the way back to the days of RuneQuest 3. That was the first rules edition to address Malkioni magic in general, or Jonating magic in particular. The RQ3 publication Genertela: Crucible of the Hero Wars says, in the Players Book, that about 75% of Jonatings follow the Orlanth pantheon and gain "the benefits of a barbarian initiate", while the remainder follow the Malkioni religion and receive, unless they are professional wizardry adepts, some limited sorcery magic. There is no indication that - priests and adepts aside - this is anything other than random. That is, parts of Jonatela are Orlanthi, with all the magic that implies, and parts are Malkioni, with all the implications of that.

d101 Con

I've just returned from the d101 "convention" in Matlock, Derbyshire. It's not really a con in any meaningful sense, just a group of people renting out a cottage to do some gaming for a weekend. It was a pretty enjoyable weekend away, and it seems to have been popular enough with those who could attend that we may do it again next year, possibly renting out a second cottage to allow a larger group of players. My thanks go to Newt Newport for arranging it, but my main purpose for posting here is to ruminate on the games we played.

We started off with Action Castle, which, is basically a fun party game for those old enough to remember 1980s computer RPGs. This means we are all now "King of Action Castle"! Cool...

Being too tired from travelling to do anything more taxing on the Friday evening, we kicked off the RPing proper on Saturday morning with Savage Worlds. I've played this once before, but the game is a flexible one not tied to any particular genre, so it's not surprising that the experience was very different. That time, the setting was the old Captain Scarlet TV series, but this time it was a rather more serious sci-fi setting, with distinct Travelleresque overtones. I gather that d101 is planning to release this as a more formal setting at some point, possibly using the easy-to-obtain Savage Worlds license. The setting was a crumbling interstellar empire, with various different factions vying for control, including mad cyborgs and sinister telepaths.

Because the Captain Scarlet game obviously used characters from the TV series, those were all pre-gens, but this time we all made our own characters up on the day. Considering that few of us had any experience with character generation in this system, this seemed a remarkably quick and painless process, which suggests that Savage Worlds would be a good system for use at conventions where you don't want pre-gens. In general, its a pretty simple system, and plays quickly, and has fairly straightforward mechanics, perhaps with something of an emphasis on pulp style excitement. Here for example, is the character I came up with:

Lady Corinia

Agility: d6                    Guts d4                        Psionic Background d8

Strength: d4               Healing d6                  Psionic Resistance d4

Vigour: d4                    Investigation d8

Smarts: d8                   Notice d6

Spirit: d8                      Shooting d4

Psionic Powers: Obscure, Stun, Pyrokinesis

Edges: Mentalist, Rich, Alertness

Drawbacks: All Thumbs

Weapons: Engraved laser derringer (carried in handbag)

...which was enough to give me a reasonable overview of the character, without over-complicating things, or making it seem all overly generalised and simplistic.

In the afternoon, time for a game of HeroQuest, using the Call of Cthulhu setting. Obviously, I'm very familiar with both the system and the setting, although I've never seen the two used together before. In this instance, it seemed to work very well, with, for example, lingering penalties being used to reflect the inevitable loss of sanity that accrues as one continues investigating. The scenario, created by Newt, had the wonderfully appropriate title of "Normal for Norfolk" (unfortunately, if you're not British, the meaning of this reference may not be obvious). Since it was set in the 1970s, and the PCs were all members of the Flying Squad, the inspiration we ended up using was, perhaps, inevitable... Our characters were perhaps, not entirely serious, and we never really got to the end of the scenario, but I won't give out any more details, in case d101 should choose to publish it some day. At any rate, this was my character:

DC Bob Bawdsey

Drive Like a Lunatic  18       Boozing                 13

Shooters              13       Hate Scroats            13

Ignore Procedure      18       Plant Evidence          13

Streetwise            13       Blag Way Out of Trouble 15  

Boxing                13       Look Hard               4M

The actions of our DS (another PC) perhaps got a bit too extreme towards the end, but, being a con game, that was easy enough for me to ignore.

On the Sunday, there was only time for a single game of Burning Wheel, using the introductory scenario from the rulebook. Burning Wheel was once recommended to me (I won't say by who) as a flexible, rules lite, modern system with plenty of options for different ways of resolving things. Most of that seems true, but what would make anyone think it's "rules lite" is beyond me. Indeed, in an age where RPGs seem to be getting simpler, it has to be one of the more complex new systems on the market - although there are plenty of older ones of similar complexity. It's fun enough to play in, especially as a one-off, and it does seem to be very good at describing characters and fleshing them out, but its way too complex and detailed for me to want to ever GM it. I've run a version of GURPS in the past, but that was stripped down so far, that I consider it an entirely new system. Still, even that was more than I'd be happy with today, so while I have no doubt that Burning Wheel is very good at what it does, as a GM, it's not my cup of tea.

But, as a player, I had no problem with it, and it seemed to work fairly smoothly. I certainly had fun with the pre-gen character, who was a somewhat snooty and sinister sorceress. The scenario worked well, and it was an enjoyable game. I'm certainly glad to have tried it, and I wouldn't object to playing it again - so long as I don't have to run it!

The rest of the time was spent relaxing, chatting, watching old movies, etc. making it all a pretty enjoyable weekend, mostly with gamers that I haven't played with much before. Since this was a d101 event, I'll also add a brief update on Book of Glorious Joy: about two thirds of the interior artwork is in (and more came in over the weekend), all of which looks pretty cool. Things are stepping up, and I don't think its going to be too much longer now.

On similar lines, there should be further updates to my unofficial Jonatela material soon - the next one is quite large, which is why its taken longer than usual for it to appear. And, for my ponderings on mammalian biology, there's Synapsida, which has been updated fairly regularly of late. I'm not fully happy with all of the latest posts there, but its something I'm learning as I go along, and I think its getting better.

Just possibly, most likely if I can get something to run put together, I might attend Concrete Cow 11, but no promises there. As for cons later in the year... well, we'll see.

Thoughts on Ratings in RPGs - pt 2

So, earlier I posted about my recent experiences on providing ratings guidelines for an online RPG, and how they might (or might not) be more generally applicable. I touched on general issues of theme there, and I'll now look at how we implemented more specific guidelines, and what those might indicate.

Language
The use of strong language is naturally something that might concern both film censors and anyone involved in text-based RPing. Among a group of friends RPing together over the table, its likely that it really doesn't need to be spelled out, but when you have a larger pool of players, perhaps from different backgrounds, it can be a different matter. As with theme, this can be an important aspect of simulating a particular written or filmed genre - Harry Potter should not, it seems to me, sound like Pulp Fiction.

On the other hand, that cuts both ways. I recall a few years back commenting on a mailing list about someone planning a Torchwood campaign. Now, in Torchwood, especially the first season (which at the time was the only one released), there is quite a bit of swearing. Is that an inherent part of the genre? Arguably not, but equally it wouldn't occur to me that a campaign might have tighter restrictions than the source material on which it is based, so I said - to the shock of other posters - that, unless someone told me otherwise, I'd assume that strong language was permissible. The characters in the series do it, why would I assume a PC should be different?

In the case of our Hogwarts RPG, we went with a 12-certificate. We didn't have to follow the full guidelines for that, of course, but we mostly did. At 12-certificate, only the strongest words are outright forbidden, although the use of others should be limited. Deciding that Americans are more offended by the F-word than we are, we banned that one (specifically permitted at 12-certificate), along with discriminatory words (e.g. that one that begins with "N") and terms relating to the reproductive anatomy.

This, in fairness, allows considerably more leeway than actually appears in the books or films. It means that we allow some moderately strong British swearwords - possibly because many of the Americans don't know what they mean, and consequently aren't offended - that Harry & co. certainly don't use. In general, our players haven't take much advantage of this, and I think that's a good thing. Writing swearing so that it seems natural, rather than being inserted for the sake of it, isn't always that easy. Going back to Torchwood, strong language is still found in the later seasons, but after the first one, it wasn't so noticeable, largely because the writers seemed to be using it only when it made sense, rather than "ooh, I can have a character say 'f***'".

Which probably means our players are showing more restraint than some professional writers. Good on 'em.

Drugs & Alcohol
Speaking as a European, it has often seemed to me that Americans in general have a fairly odd attitude to alcohol. That may be unfair, but its notable that one of the rules we had on the site for some time was "no alcohol". This, despite the fact that alcoholic drinks are clearly mentioned in the books. On the castle board, where the characters are all underage, that's sensible enough, but it felt slightly odd to me on the board for Diagon Alley and Hogsmeade - which, notably, have pubs. I used to get round it by having characters at the pubs "have a drink" without specifying what it was they were drinking, but it still felt a bit strange.

Now that we've relaxed that - albeit with specific restrictions on underage drinking - I've noticed that it's actually the most popular of our new, expanded guidelines, to see use. To begin with, a lot of that revolved around players tormenting their own adult characters with vicious hangovers (some of which were, in fairness, pretty good to read in a black humour kind of way). More recently, it seems to have extended to scenes where characters drown their sorrows, or just the casual mention of the stuff that I missed not being able to write. So its being used to develop emotional plotlines, and just to have your character feel more realistic.

Fantasy RPGs usually have a quasi-medieval setting, and in the real world, medieval folks tended to drink a lot of wine or beer, not least because it was safer than the water. Taverns are a staple in such settings, being such good meeting places, and its hard to think of a teetotal fantasy RPG (I'm sure there must be one, though, especially if it's based on medieval Arabian culture).

Other drugs tend to be a different matter, especially where we're talking about anything that exists in the real world. Particularly in a text-based game, it's probably wise to avoid real details, or to portray harmful drugs in a positive light, if there's any risk of younger players reading. So far, that one's not cropped up for us, unless one counts mind-altering, but non-addictive, magical potions, but one can see it possibly being relevant in a modern game, or something like Call of Cthulhu.

Violence
Violence of some kind is pretty endemic in tabletop RPGs. You may be only inflicting it against foul monsters, or whatever, but, at some level it seems to be integral to almost all of them. (I actually can't think of a system that doesn't have at least some rules for combat, although there probably is one somewhere). But, when it comes to violence as an indicator of a more "adult" game, we aren't talking so much about "I hit him for 5 points of damage" as whether or not the descriptions are graphic.

I'd suggest that, in tabletop games, this probably makes little difference unless you're planning on being really gory in your descriptions - which would suggest a horror game, anyway. Text based games may rely more heavily on description, and the issue here would be how much the text dwells on blood or mutilation. For our 12-certificate game, that meant no dwelling on detail, and its a game setting where much of the violence will be in the form of zapping people with spells rather than hewing at them with axes, that's a pretty easy guideline to keep to. There is some mild gore in the books, but not much, and that seemed a fair limit for us, too.

In point of fact, there seems to have been no demand to use the relaxed rules on our site at all. Contrary to the likes of D&D, it seems our story lines do not generally focus on combat, outside of tightly regulated practice duelling.

Sex
So we come to the area that's probably most touchy. The British Board of Film Classification treats nudity and sex as separate topics, the former being of more significance in a primarily visual medium than it would be in tabletop or text-based RPGs. Merely saying that your character gets undressed, or has a shower, is somewhat different from showing full frontal nudity on the screen. If there is an equivalent to the latter in a text-based game, it would be going into a lengthy description of your character in the buff, which seems a slightly odd thing to do, especially in a supposedly non-sexual context.

But, if nudity doesn't matter in itself, sex is different. People do, rightly or wrongly, get concerned about that kind of thing. There's nothing further than snogging in the HP books, and, since most of the characters in our RPG are going to be underage anyway, that's a good place to draw the line. Adult characters in the game had previously become pregnant, although never with any indication of how they got that way! It could be argued that that was quite sufficient, and that this was an area where we could be stricter than the 12-certificate guidelines.

My own attitude is that, if we're going to allow nastier things to happen to the characters, we should also allow them to have a bit more fun, too. So, for adult characters outside the school, we instituted a rule that allows story lines that make reference to "off-screen" sex, without describing it. Barring mention of nudity in a sexual context also makes it clear where you should be "fading to black", even if, as noted above, nudity per se isn't much of an issue. This, I think, allows a wider range of story possibilities without showing anything that's not strictly necessary for the story to work - it's the consequences that are more likely to be key to a story, after all.

There are also gradations between that and "insert Tab A into Slot B", which might be appropriate in other games. I can certainly see how character development might be enhanced by exploring that side of a character's life and personality in more detail, for instance. And, if there's any area where ratings of proposed campaigns might be relevant, other than horror (which is usually implied by the setting, anyway), it's probably this one.

Thoughts on Ratings in RPGs - pt 1

As some of you will know, in addition to face-to-face RPing, I have, for many years now, also been helping to run a message board RPG based on the world of Harry Potter. It's effectively a parallel universe, and doesn't feature any of the characters from the books, but the background and locations are the same (or at least very similar), and the general theme - wizards in a boarding school - is, naturally, also the same. I mention this because I've been reflecting on the effects of a change we went through recently in the rules for RPing on the board.

A message board RPG is different from a face-to-face one in that it has a large number of players, most of whom will not know each other in real life, and may come to the game with different expectations. It's also a 'sandbox' setting, which means that a wide range of different themes could crop up in different story lines, and the admins (GMs) can't possibly keep a track of them all, let alone read and vet all of them. As a result, the site has rules for what sort of stories and descriptions are considered acceptable - a rating system of sorts.

I'm not really suggesting that such things are easily extendible, or even relevant, to most face-to-face games, or e-mail games, for that matter. Certainly, its unlikely they'd be required in face-to-face games among a small group of friends, unless, perhaps, there is some intention to have different ratings for different campaigns, and the players need to be clear on what those are in advance. But, nonetheless, the fact that we recently reviewed, and changed, our ratings strikes me as something of general interest in RPing.

Our previous rules on this particular subject were fairly simple. Essentially, we said that the site was intended to be PG certificate, and mostly left it at that. The choice of PG made some sense at the time, since the first two films had this certificate (in both the UK and US) and were pretty close to the books they were based on. It seems to me, if you want to simulate a particular literary source, you'll want to follow its conventions, and the rating is part of that. (There are, of course, sites on the internet that are ostensibly based on the HP books but allow all manner of hardcore material - that's a perfectly valid approach, but I think there is very much a place for following the theme of the books. After all, if somebody likes the books, the absence of such content might be part of their reason).

However, with time, it became clear that there were a couple of problems with this. The more obvious one, perhaps, is that the later films, once they came out, had a higher rating. In general, they had a PG-13 rating in America, and a 12-rating here in the UK - and, by implication, the same could be said of the later books. Since the message board we host on does not permit members under the age of 13 anyway, there was a good case for raising our rating to match that of the later films. I think, in practice, a number of players had done this anyway, without us jumping on them, and it made sense to formalise that.

So, when some players raised the issue with us, we polled the members of the board, and agreed to switch to a higher rating, one more in line with the later films and books - which are darker in tone than the first two. However, there is another problem with stating "this site is considered PG certificate" - what does that actually mean? The rating system of the Motion Picture Association of America is fairly vaguely defined (although the website linked to there is actually rather more informative than it was at the time) often boiling down to "if we don't think its appropriate, it isn't". And that was pretty much our rules at the time, as well. So, when we updated it, we instead used the system of the British Board of Film Classification, and went with a 12-certificate.

By adapting the rules of the BBFC to writing, rather than film, and spelling them out in detail, I think we made it much clearer what was and was not acceptable. This means that, hopefully, everyone knows where they stand, and I think that, in addition to allowing a greater freedom for players to explore their own story lines, it also makes it much clearer what we won't accept. Once again, I'm not suggesting that such detailed guidelines would be of much use in a face-to-face game, but I think there is some interest in looking at them.

One point to make here is that we run the game over a number of different boards, reflecting a wide range of different in-universe locations and activities. For example, there are separate boards for quidditch, magical duelling, and for magic lessons, in addition to the main one at the castle. Most of these have the same rules. However, the board that deals with the world outside the school is mainly populated by adult characters, and we felt that that made a significant difference to the sorts of stories that would be appropriate. Thus, it has the same general rating, but the actual rules are slightly more relaxed, reflecting the fact that a story in which an underage character does a particular thing may be very different from one in which an adult does the exact same activity. In practice, if one were going to extend these rules more generally, there could be a lot of changes like this, depending on the particular genre and expectations of the players.

Theme
The general theme of an RPG is the sort of thing that is normally included in a campaign description, whether any more specific ratings are needed or not. If you're playing Call of Cthulhu, its fairly obvious you're going to have a horror theme, and something that would be at least the equivalent of a 15-certificate were the game a film or video. Its also a reasonable expectation of a game like Vampire, although there is a fair degree of leeway there in just how dark the game could be (depending, for example, on how you portray the feeding).

Many other RPGs have an inherently dark theme, and this is the sort of thing that I feel it is generally useful to spell out when proposing a particular campaign, especially if it's radically different from what the group have been done in the past. In the case of our message board Hogwarts RPG, it seems to me that keeping a theme generally in keeping with the books is  good thing to do. I suspect that the inclusion of dementors, and later, of zombies, was the main reason for the 12 (or PG-13) rating the later films got, and this shows that mild horror is certainly acceptable within the genre.

There is, I think, something to be said for writing within a particular genre, and selecting limits for oneself based on that. That doesn't mean that taking a particular world and exploring some of its implications beyond what the source material covers doesn't also have its place. For instance, that the Potterverse has vampires and so on in it has some fairly dark implications that aren't explored in the books because of their target audience. I find it interesting to note though, that on our site, there seems very little demand for horror stories, although there have been some darker themes with respect to, for example, murder. Plus, we recently opened a Necromancy class, which is proving popular - and will, I suspect, lead to something a little darker than our usual fare.



In part 2, I will ponder on some more specific aspects of ratings an "adult" gaming.

Sartar Companion - Review pt 2

The Sartar Companion includes six scenarios. They are not linked together by any common theme, and can be run in between sessions of the Kingdom of Heroes scenario, or separately. The first of these is "Return to Apple Lane", which is a sequel to the original Apple Lane scenario, first published in the late '70s, and later, for RQ3 in 1987. Its hard to avoid the feeling that this is a nostalgia-fest for those whose first experience of Glorantha may well have been this introductory adventure way back when. However, no knowledge of the original is required, and the scenario will work just as well for those new to the hamlet.

Details of Apple Lane itself have been changed to fit the new rules, but most of these changes are fairly minor, and the majority of the original NPCs are present - albeit five years older. The only ones who are obviously missing are the Humakti weaponmasters; their building is shown on the map, but they appear to have left the hamlet at some point, perhaps to prevent them offering too much assistance to the PCs. The scenario itself is also reminiscent of the original, with the heroes once again finding themselves defending Gringle's Pawnshop, this time from the Lunars.

The conclusion to the scenario is fairly scripted, although it feels natural enough, rather than railroading the players. Suffice to say that "Return to Apple Lane" is also a bridge between the original RQ version and "Sheep, Clouds, Thunder" from the Gathering Thunder scenario book for HQ1. That received some criticism for the way it treated the hamlet; at least this time the heroes get to salvage something first, and the ending isn't as downbeat as might be expected.

The second scenario, "The Hero and the Grove", is a short heroquest about strengthening the magical pact between the Colymar Tribe and the local wild lands. It's a fairly average heroquest, but does have the advantage of being a good introduction to the concept of re-enacting myths in the Otherworld. If possible, it would probably be a good idea to run this (or something like it) before the more dramatic otherworldly adventure in Kingdom of Heroes, at least if your players are new to the concept. A nice touch here is the description of how the myth was enacted first by Orlanth, then Heort, then Colymar, showing a common historical theme in heroquesting.

"Treasure of Two-Face Hill" is an expansion of a plot hook provided in the background section of the book. There's a good chance the players will need to spend some hero points just to have their characters survive the first part of the scenario (although its also possible to side-step this entirely, if they're more sensible than your average PC), but from then on it turns into a question of how to defend your clan from something that's essentially unbeatable in combat. This is one of those areas where the HQ2 habit of rating opponents as "Nearly Impossible" to defeat, or whatever, really does make sense - if the enemy wasn't significantly tougher than the heroes, there wouldn't be a scenario.

For my money, the best scenario in the book is "Ghosts of the Ridge". Here, the players are presented with a problem that can be solved in numerous ways, all with their own pros and cons. The judicious use of extreme physical violence is certainly one of the options, although perhaps not the best one. While the heroes are certainly free to try that, and other possibilities besides, the scenario nudges them towards seeking a legal solution to their situation, and undertaking a rather cool heroquest to recover an item of considerable magical power. Characters following Lhankor Mhy, god of knowledge, will probably get as much chance to shine in this one as the warriors, if not more so. The heroquest can also be run as a stand-alone scenario, should the characters choose another way of dealing with the central issue in this one.

"The Gifts of Stone" starts out fairly scripted, with some obvious scenery-gawking, but later turns into a return visit to another old RQ scenario, in this case the Sazdorf tunnels from Haunted Ruins. The nature of the heroes' mission makes this feel somewhat different from the original, and there are a few reminders that you're not here to just steal treasure from the trolls!

The final offering isn't so much a scenario as a bit of scenery setting. The Crimson Bat arrives in Sartar, eats a bunch of people, and then buggers off to Whitewall. This can be used as an opportunity to do all sorts of things, and is rather more dramatic than it may sound. If you already know what the Crimson Bat is, 'nuff said... if not: "scary" about sums it up.

So, the actual narratives of the scenarios are, on the whole, pretty good. Where they fall down is for the same reason as in Kingdom of Heroes: the lack of any stats. This was, to my mind, a significant drawback in that book, and it hasn't been fixed here, either. This flaw naturally extends to the encounters, and, to some extent, the background material, as well as to the scenarios.

To be fair, the writers are quite up-front about it - literally so; they mention it in the introduction. Their argument is that stats "aren't necessary" in HQ2, which is technically true, but doesn't mean that they aren't highly desirable, at least for some GMs. Instead, anyone who thinks such things are useful is just told to go away and do all the work themselves, which isn't terribly helpful.

Now, one of the problems with HQ2 as a system - if you like the style of gaming I do - is that you couldn't give numbered stats to NPCs if you wanted to. The system doesn't work that way, and sometimes (as in "Treasure of Two-Face Hill", mentioned above) that's an advantage, and sometimes it isn't. Either way, nobody can blame the writers for leaving out the numbers, since they just wouldn't make sense.

But that isn't to say that you can't give a clearer idea of what the NPCs and other encounters are capable of. A listing of significant abilities is all that's required. In fact, this is done for one particular being (p226), so why not the others? You're presumably supposed to infer any stats you might need from the text descriptions, but this really isn't very satisfactory, especially for the more important characters, like the villain in "Return to Apple Lane". Yes, you can do all the work yourself, as you're advised to, but you shouldn't have to.

A rather sour note to end on, then, although it has to be acknowledged that many people won't find the lack of stats a problem at all, and some will doubtless rejoice in the freedom it gives them. But, really, it's my only major criticism of the book, which in every other respect (except maybe the proofreading) is of high quality, and eminently useful for any Sartar-based campaign. If you don't mind going only PDF-only, you can even get it for almost half price, which is pretty good value, all things considered. There's a lot of really good material here, and the book deserves to do well.