Tuesday, 22 July 2014

Week of Synnibarr, Day Six: Fat games (and character creation part three)



So RPG blogger Zak S. of Playing Dungeons and Dragons with Pornstars once divided games into "fat" and "skinny" games. I think this is a pretty interesting distinction -- it isn't quite the same as rules-light vs rules-heavy, although they often go together. A "fat" game is a game with lots of stuff, usually mechanical stuff but not always. You can have a relatively simple core mechanic but still have lots of stuff in your library -- spells, monsters, items, abilities, that kind of thing. All of the different animals in Teenage Mutant Ninja Turtles and Other Strangeness are fat content, for instance. The monsters in D&D. All the weird equipment in Rogue trader, like porta-racks and synskin and hoverboards. The superpowers in Marvel Super Heroes.

I think this is often overlooked, honestly. When we pore over RPG rulebooks until late into the night, it's usually that kind of thing we care about. People who love Unknown Armies usually don't care about the game's somewhat clunky core mechanics (other than the excellent Madness Meters) so much as the many many different magic schools and Avatar paths and whatnot.

I think we can conclusively say that World of Synnibarr is a fat game. Although the rules are complex, with long character generation and lots of spot rules, the real density of the book is in the powers. (No, wait. These are p0w0rz.)

The book is 477 pages long, including index, appendices and all that stuff. Of this, 88 pages are monsters and a whopping 102 pages are spells, psychic powers and what have you. Character creation is the longest section of the rules, at 81 pages (!), but even then that's because it contains all the descriptions of the different classes and races and their various powers. The combat and spellcasting rules take up a mere 16 pages all told. There are lots of other spot rules here and there, but a lot of the rest of the book is taken up with setting description (33 pages), equipment (35 pages) and so on. Even the gods get 7 pages of dense three-column text.

So when I say that the game is complicated, it's not so much that the rules are complicated (although there are a hell of a lot of steps in many processes) as that there is a lot of stuff in it. You're never going to find, like, a fighter hitting a goblin with a sword. It's always going to be a Bio-Syntha Cyborg (who has a ton of special rules) shooting his Midnight Sunstone Bazooka (which probably has its own special rules) at a Sea Unicorn (which, in turn ...).

Now, fat games are deceptively simple for players in some ways. For instance, even though there are umpty-bajillion different magic schools in Unknown Armies, I as a player only need to know the rules for my one (though maybe I care about knowing what they all do in order to choose the one that's right for me, I guess). But the GM, of course, has to know what all the players' stuff does, and then also needs to know what all the monsters and NPCs and so on can do. In a D&D-type game, this is usually relatively simple. If I roll "wolf" on the random encounter table, I just turn to p. 101 of the Monster Manual and away we go. In fact, I don't even really have to do that -- I only need to know a handful of stats for the critter: move, hit dice, AC, to-hit, damage. I can fudge the rest.

But there isn't an equivalent of that in Synnibarr, as far as I can tell. Almost every damn thing has crazy powers, so I'll constantly be flipping back and forth to the powers section. Sandbox play becomes kind of a hassle.

The way around this, of course, is to be Raven c.s. McCracken himself and just have an encyclopedic knowledge of the game so that you can know without looking that a Black Titanium Wolverine has 5 attacks per turn + 1 for every 5 levels.

Anyway, character creation continues:



Monday, 21 July 2014

Week of Synnibarr, Day Five: The Werewolf comparison (and character creation part 2)


As you may know, I have been struggling through the process of World of Synnibarr character creation for the last couple of posts. A video recording of the second stage of my progress can be found below.

In response to these videos, a friend commented: "And I thought Rolemaster was slow setting up... "

Well, maybe. But although the character creation is taking me a hell of a long time, I'm not sure World of Synnibarr is really all that slow. There's certainly a lot of stuff, but part of it is that I'm unfamiliar with the terms and part of it is that I'm learning the setting as I go. So, for instance, I spent a good couple of minutes just learning what a Shadow Warrior was in the first place.

Consider another game from around the same time, Werewolf: the Apocalypse, which came out in 1992. The first time I create a new character, assuming it's a werewolf and not something else, I need to:

  • Choose my Nature and Demeanour from a big list. 
  • Prioritise and buy stats. 
  • Prioritise and buy skills. 
  • Choose a Breed.
  • Choose an Auspice (which means learning what they are).
  • Choose a Tribe (from a dozen or so, which again I need to learn).
  • Select some Gifts.
  • Assign Gnosis, Rage and Willpower.
  • Take Merits and Flaws (from a great big list). 
  • Explore some of the other Merits in more detail (e.g. Rites, Fetishes)
Is there anything else? I guess equipment if I have any, though that's a less important part of the game. 

I don't think it would surprise me if that took a good hour or hour and a half the first time I did it. 

The big difference is that the Synnibarr character creation process is much less interesting. When I am creating my Werewolf character, I'm making choices every step of the way. I decide what skills to buy, what Gifts to take, and so on. I'm choosing what I have. In the Synnibarr character creation process, I'm just looking shit up on tables or rolling randomly for it. From the moment I choose my class to the moment I go shopping -- which must be about 30-40 minutes at least -- I don't make a single decision, I just find stuff out and write it down. It's the kind of process you could automate. 

Now, there are successful games that have character creation systems where there is a ton of randomness -- classic versions of D&D are the most obvious example -- but by contrast, their character creation processes are relatively quick. I rolled up my first AD&D 1st ed character in probably less than 20 minutes, of which easily 10 minutes was shopping. I do like shopping. 

I guess what I'm saying is: 
  • Next time (hah!) it will probably go faster, but
  • It's not so much that this process is slow as that it's not very engaging. 
Shoping might be more fun, though -- I haven't done that yet!

Sunday, 20 July 2014

Week of Synnibarr, Day Four: O Canada! (and character creation part 1)


No Week of Synnibarr yesterday, I'm afraid -- I was out all day and not able to get around to it. However, I wasn't idle! With the aid of my lovely wife, I recorded what was intended to be a short video explaining the intricacies of Synnibarr character generation. However, while recording the "short" video we discovered the intricacies were ... intricate. My wife pointed out that around the 50-minute mark I said "now we're getting somewhere!"

So instead, I'm cutting it down and breaking it up, and this short piece is only the first installment. I hope you will enjoy it regardless.


The other thing I wanted to talk about today was Synnibarr's art. Unlike a lot of fantasy games, Synnibarr's art is very comic-like. Outside of comic-based games, I think this is actually pretty unusual in games, isn't it? The only example I can think of is Palladium, which always had a lot of art by comic artists, whether Richard Corben and Berni Wrightson in Beyond the Supernatural or Denys Cowan in Ninjas and Superspies. And there was some Mike Gustovich in there as well, but I assume that's because Palladium published a Justice Machine supplement for Heroes Unlimited. Come to think of it, Synnibarr is quite Palladium-like in some ways, although maybe I'm just saying that because it has a pre-DTP 80s-style layout and that's what Palladium games also look like.

Now, when we think of a 90s game that has lots of mutants and ninjas and whatnot and comic-inspired art, we probably assume that there's going to be 80 million teeth and lots of pouches strapped tight across the thighs, floppy hair, all that kind of thing. I hate that stuff as much as the next guy, but that's not what's really present in The World of Synnibarr. I think Synnibarr's art is actually more consistent with a sort of late-80s comic fandom in a lot of places. That's not to say that there aren't any obvious 90s-isms, like these guys:


I may just think that because of the hair.


But there's also what appears to be a lot of John Byrne influence, particularly around the mouths and also the wholesale copying of characters from Alpha Flight.

Take this image of a "Tiger" martial artist, for example. I looked at that and thought "hang on, that's Guardian from Alpha Flight."


So I Googled "Alpha Flight John Byrne" and what was in the first row of search results? 

Coincidence? You decide. 

Also, there's a fair amount of Iron Fist: 

Those weird areas of shadow on his chest are
even where the dragon's mark would be. 
Right down to the little ballet slippers!

And the Wendigo: 


There are also quite a few characters I strongly suspect of being comic characters but can't quite place.

The pose looks like Shaman from Alpha Flight, but a girl? 
And then how can any discussion of Synnibarr's art be complete without this cheerful little guy? 


Now, I don't want you to think I'm hating. Again, this is all part of the lifelong-RPG-campaign-ness of World of Synnibarr. When you made your first character, don't tell me your character portrait wasn't something you traced from a comic (or whatever). Legalities aside, I think it adds to the charm. 





Friday, 18 July 2014

Week of Synnibarr, Day Three: That old-time religion!


Right, we're back! It's Day 3 of THE WEEK OF SYNNIBARR and there's lots more looney business to explore. Yesterday we investigated the monster section and discovered all kinds useful foolishness. Let's see if we have similar luck in other areas. Today we're going to look at the setting and cosmology of Synnibarr.

Which is a hell of a mess, and is explained absolutely terribly. Seriously, once we're past the ToC and the forewords, the first page is deep, deep backstory:
In the beginning, 800 million years ago ... 
OK, squire, I'm going to stop you right there.

But seriously, it goes on for page after page, telling us about Aridius, The God of Hope and Command, and the Father of All, and Shadarkeem, the birth dimension of the Gods, and the creation of the Synnibarr worldship (it's the planet Mars, hollowed out to use as a spaceship and sent off to orbit around Shalom, the planet of peace. As you do) and Lord Midnight and the 72-headed chameleon hydra and the appearance of Sirius the Vampire Lord and and and ... it's not long as such, it's just crammed full of irrelevant sugar-high detail. It doesn't even get around to "What Kind of a Game Is The World of Synnibarr" until page 5.

Honestly, the idea isn't bad -- basically, you have this worldship, which is an environment which is self-contained but absolutely ginormous, and then all these different weirdoes running around on it and leaving behind ruins and artefacts and stuff, and then the worldship itself isn't quite working to spec. And this plague wipes out everyone, so no one really knows what's up with all these temples and labs and Great Reactors and Dark Lords and whatnot. It's kind of like Metamorphosis Alpha in letters ten feet high.

That's got some staying power, actually. I mean, basically it's not unlike Rifts, although more on the fantasy hackity-slashity side than the skiffy one.

The very first time I read The World of Synnibarr, I was with some friends, and we were reading the history section and deciding what to name our bands after. In my mind, "Lord Midnight and the 72-Headed Chameleon Hydra" is a great band name. Basically, you have Lord Midnight down the front in his tuxedo, and then each of the Hydra's heads has a different instrument. "Good evening, ladies and gentlemen, and welcome to the Starlight Ballroom. I'm Lord Midnight and this is the 72-Headed Chameleon Hydra. Hey! Flyyyy me to the moooon....".

Other band names included The Purging and The Rebellion of the Drakes.

But the good names don't last into the deities section, no sir. The weird blend of things is in full effect again. Actually, Synnibarr doesn't have a blend of things, because the different sets of influences -- fantasy fiction and Marvel comics and cartoons and what have you -- often coexist kind of weirdly. I think the names of the gods suggest that to me. They include:


  • Alorius, Goddess of Prosperity
  • Amarasis, Goddess of the Amazons
  • Aragorn (!), God of Chi
  • The aforementioned Aridius
  • Black, God of Mutants and Mutations, who appears as a "cattar"
  • Blade, God of Heavy Metal, Cragons and Martial Arts
  • Cat, God of Thieves
  • Drakomere, God of Drakes
  • Joe Null, God of Nullification and Matter Control, 
  • Maximillion, the Immortal
  • Li'eel, God of Lies and Mischief
  • Killgore, God of Technology and Unarmed Combat
  • Tuch, Lord of the Ninja (distinct from the god of Martial Arts, who is a ninja)
  • Ringzazerakrazad, God of Death (let's hope his name doesn't come up much)
  • Schernoklasptetor, God of Wealth and Metals, called Xrra for short
  • Watchhaven Storm, God of the Weremen
That's about half of them and the others are equally bonkers. 

In total honesty, it is easier for me to believe that the God of Ninjas
plays the guitar in a heavy metal band than to believe that
he wears a necktie. It's like eleventy million years in the future.
In addition to the worldship and various surrounding planets (which is where you find the giant space mantas with 116 million hit points that I mentioned yesterday), there's also a Psychic Plane, a full set of Elemental Planes, Limbo (the Plane of Time), an astral plane -- wait, two astral planes -- and an apparently infinite number of other dimensions, with rules for randomly determining what types of magic work in them.

 I might design a sufficiently demented setting-equivalent for a PA game some day, but I have to say that today's reading has proven less fruitful than yesterday's ... 

Thursday, 17 July 2014

Week of Synnibarr, Day Two: Monsters!


We're back with another installment of Week of Synnibarr. This week, in keeping with my promise to talk about good and interesting things in this game, I'll be focusing on the monster section. 

Not that the monster section is good per se, but it's definitely interesting. 

Most RPGs tend to specialise in one or two kinds of monster: your horror monsters, your fairy-tale creatures, your alien species, that sort of thing. Warhammer's main contribution is the Chaos stuff (including the Skaven); Call of Cthulhu is all about horror monsters, and so on. The big exception is, of course, D&D, which encompasses a pretty broad range of critters, which presumably is why other games tend to be comparatively limited in what new things they introduce -- because someone else already covered the basics. 

But Synnibarr -- I think this game legitimately includes a class of monster I've never really seen in a game before or even really considered. These are sort of drug-addled sci-fi fairy-tale equivalents of actual animals. It's as if the setting had been populated by someone who had been given a brief to recreate the animals of earth but who didn't have much to go on other than their names. As a result, in Synnibarr: 
  • Nurse sharks have healing powers. 
  • Tiger sharks turn into tigers. 
  • Thunder lizards shoot lightning. 
  • Antelope hooves, if struck together, generate an antigravity field. 
I feel like I'm reading some kind of medieval bestiary -- you know the kind of thing, where elephants don't have sex and antelopes bounce on their horns. Was it Aristotle who said bisons defend themselves using their flaming hot poop? It was someone anyway. 

So, regardless of all the other stuff, I think Synnibarr does actually have this one strange and unique feature. Most of the other animals are just huge, intelligent, magical versions of themselves, which if not particularly original is at least consistent with the game's "turned up to 11" aesthetic. 

There are also a lot of scenario-inspiring tidbits in this thing. Here are a selection: 

  • "If caught and tamed, the alouthrepa make good mounts, although they are a little hard to feed." (Because they are giant disease-ridden vampire bats that weigh a ton and have a 45-foot wingspan.)
  • "There is many a tale of a lone snow ape saving a doomed village with its powers". 
  • "Armapines appear similar to a cross between an armadillo and a porcupine ... their meat is one of the most sought after, having an unparalleled taste ... they can project the psi spell Intellect Annihilation six times a day."
  • "Over the centuries the mutant baboons have travelled throughout Synnibarr by hijacking ships..."
  • "The armoured bees create great hives constructed of secreted metal."
  • "Mutant hatchet buzzard". (One of the most ordinary animals in the game!)
  • "Winged cobras grow to be 25 feet long and weigh 50 to 300 pounds. They are fifth-level Dream Warriors."
  • "Cragons are the servants of Blade, the Immortal Ninja...". 
  • "Crocopedes are centipedes with the head of a crocodile and batlike wings. ... Their four eyes are on the end of stalks ... one of the few living beings that kill for fun."
  • " ... like all sharks, can transform itself into a humanoid form."
  • "The space mantas have 116 million life points...".
  • Green flies are a legitimately good monster! They just deliver painfully itchy bites; when the target is good and distracted by scratching, a nearby predator strikes. Presumably the flies feed on the corpse. 
  • "Midnight sunstone hydras have the choice between two different breath attacks: Venderant Nalaberong Black Fire or Midnight Sunstone Energy."
  • "Mutant lobsters have a nasty temperament, probably because their meat tastes so good."
  • "Scarlet Grimraver" is the name of a demigod. "The abilities of these fantastic creatures are incredible."
  • "There are two ranks of status within the Neria Bendix's militaristic society: the tech troopers and the supertroopers."
  • "Talking Raccoons are peaceful by nature."
  • "These creatures are cockroachlike, big, bright-red and, well, cockroachlike."
  • "There are seven different types of gases that the plague beast may use."
And so on and so on.

Now, just at a first glance, I am not sure how easy it would be to translate these critters into the system of your choice. The Synnnibarr system is, as I have said before, a baroque mess, and it's going to be a lot more of a nuisance sticking one of these into your Mutant Future game than if it were a more broadly compatible system. On the other hand, I defer to the knowledge of experts. 

Still, though, I think the Synnibarr monster section has a lot of things to contribute to a game. A certain type of game, I'll grant you, but I think that if you want to apply a more sophisticated filter, there's still something to get out of the crazy fairy-tale monsters. 



Wednesday, 16 July 2014

Week of Synnibarr: Day One!


Welcome one and all to WEEK OF SYNNIBARR, the only blog event awesome enough to merit all bold and all caps. If you're not familiar with World of Synnibarr, I think you'll enjoy finding out about it, and if you are, I hope you'll find that my approach to it is a little different from what you may be accustomed to.

The facts are simple enough: The World of Synnibarr is an "intergenre" RPG that came out in 1993, around the time that games were very intently trying to take themselves seriously. Deep settings and genre emulation were all the rage, White Wolf could do no wrong, everyone knew like a scientific fact that AD&D 2nd ed sucked out loud except for all the people happily playing it. It was a heady time. We were young, we were proud. We made mistakes.

Into this milieu plunged The World of Synnibarr, with a can-do attitude, a pair of wraparound shades, a feathered mullet and a jetbike. And it was torn to pieces. Reviews slated it, usenet (back when that was a thing) pilloried it, and it quickly became a gaming in-joke. Game designer Raven c.s. McCracken didn't do himself any favours by wading into the online discussion swinging. But in all honesty, it's hard to see what he could have done when he appears in the back of the game looking like this:


A moustache, a mullet, a suave-dude camera-point, a fantasy costume and a sword. An army of too-cool-for-school gamers were sharpening their knives from the moment they saw that. 

And the accompanying author bio, which is basically about polymath he-man Raven c.s. McCracken and his career from the early years of bitter struggle to the dizzying heights of RPG design success, didn't help. In short, McCracken was the RPG community's village fool and has remained that way for 20 years. 

This isn't about that. 

There are a million zillion places on the internet you can find people taking the piss out of Synnibarr and McCracken. You can read this Something Awful article or Darren MacLennan's punishing RPGnet review. Elsewhere, you can find bloggers and forum posters bagging on the game in moods ranging from good-natured ribbing to hysterical vituperation. 

What I'm saying is that it would be pointless for me to join in. I like a good vituperatin' as much as the next guy, I suppose, but leaving aside the fact that it sounds like Raven c.s. McCracken has had a pretty hard life and I would hate to bag on the dude further, it's all been done. So instead I'm going to spend this week talking about what The World of Synnibarr can bring to your (or at least my) game. 

Let me start with that infamous photo. It was 1993 in Seattle, WA. I'm talking the absolute height of grunge (well, maybe just sliiiightly after it; maybe the very height was late 1992. But whatever). And here's dude rocking the full-on Hey How You Doin' in a Black Knight costume. You know what that is? That's commitment. That's "doing you," as the young people appear to be saying. Raven c.s. McCracken looks like 100% of a bonehead in that photograph, but he's not a trendy bonehead. He's hopelessly uncool and he doesn't give a shit. Possibly he doesn't even know. And we're going to see the same thing repeated throughout the game -- McCracken and collaborator Bryce Thelin going in hard behind the dumbest, most worthless ideas imaginable. 

Over on my other other blog Bad Movie Marathon, founder Happyfett maintains a list of tags which we use to describe awful films. Among these are: 
  • Commercial
  • Boring
  • Pointless attempts at cool 
  • Unacceptable pretensions
I recently acquired a bunch of Dragon magazines from the early 1990s on Freecycle, and when I read them I want to track down whoever mandated this boring, snooze-inducing house style, roll up a particularly thick issue (maybe with an included Polyhedron) and hammer it down his gullet until he's sorry. And when I read a White Wolf book from the 90s ... well, actually, some of them are pretty good! But with a lot of them all I can think of is what a tiresome little shit I was as a teenager. 

But I don't feel that way about Synnibarr. It's bloated and broken and badly written and ugly and unplayable and dumb, dumb, dumb, dumb dumb dumb dumb. But there's something so charmingly dopey about it that I can't hate it in the same way I hate its slicker, more accomplished cousins. Here, let me give you an example. This quotation is from the Example of Play given in the book, which is mostly a lengthy example of the game's pointlessly baroque combat system. Our characters have just left adventuring academy or some crap like that. 

NINJA: "I want to stop at a weapon shop. I need a sword and some throwing stars." 
DRAKE: "Thermal drake [in response to an earlier question], and all I want is some food and a bullwhip."
[They shop for a bit] 
ADVENTURERS: "Okay, now let's go get a drink." 
FATE: [The GM] Holding the map of Terra open, "Which bar will you go to?" 
ADVENTURERS: Choosing a tavern they say "There, the Blind Owl. We will walk up to the bar and order three large milks in dirty glasses." 
DRAKE: "I'll take mine with a broken straw." 
[The GM rolls some dice and whatnot] 
HALFHAN: [The GM, speaking as the bartender] "Well, three milks it is. Hey, you guys looking for an adventure?" Whispering, "I know of a cave where a paradrake lives. The paradrake is guarding a temple or something. I'm not sure exactly what." 
MAGE/NINJA: In unison, "Oh yeah!"
If you don't think "three large milks in dirty glasses!" "And I'll take mine with a broken straw" is legitimately funny, I don't think we have a lot in common. And I'm a big fan of that "hey, you guys looking for an adventure?" to "Oh yeah!" as well.

I imagine it as this:



So yeah. During this week it's not that I'm not going to be making fun of Synnibarr. I don't know how you can write about it without making fun of it just a little bit. But I'm also going to try to appreciate the game for its virtues. Its derpy, 90s-ified virtues, but its virtues nonetheless.

See you tomorrow, when we take a look at the book itself.

Monday, 14 July 2014

Inspiration is everywhere: Day 7

So that was kind of a slog, and I'm not sure I did an amazing job. Still, I learned a certain amount. I should definitely start making notes continually, rather than waiting for the end of the day to try and mash out a blog post. I had kind of underestimated how mentally tired teaching a four-hour class in the morning makes me.

Ripping things off is a perpetual process.

However, while doing the Inspiration Week, I did have another idea for a series of posts relating to an unlikely source of inspiration. I'll be starting on Wednesday, hopefully. I call it ...


Awwww yis.