Chaosium’s upcoming revision of RuneQuest will be the 4th edition of the game issued by its home company. Indeed, the copyright notice at the back of this set of quickstart rules (including an adventure) produced for Free RPG Day refers to this new version as the 4th Edition, though of course there they might simply want to avoid any implication of trying to claim copyright to text actually produced by Mongoose or Design Mechanism.
Still, some will no doubt see these quickstart rules as a decisive rejection of the direction that RuneQuest took for the two Mongoose editions and the version Design Mechanism produced. For my part, I tend to instead see it as a tacit acknowledgement that that particular fork of the system already has a very good expression in the form of Design Mechanism’s Mythras (which is what they relabelled their Runequest 6th Edition as). If there is going to be a point to Chaosium’s new RuneQuest, it needs to do something different from Mythras – and from all the other BRP-inspiredfantasy systems out there.
As with any game with its long pedigree, the publishing history of RuneQuest is awkward and complicated and has included more than a few missteps – I get the impression, for instance, that Moon Design/Chaosium these days consider farming the publication out to Avalon Hill and then to Mongoose to have been serious historical mistakes, and given how annoying overcomplex RuneQuest 3 was and generally shoddy the Mongoose RuneQuest products often were I can’t altogether disagree with them. However, between that, Mongoose’s SRD experiments, and Chaosium’s own attempts to promote the Basic Roleplaying system in other ways when they no longer had control of RuneQuest (including putting out the component booklets of RuneQuest 3 as Basic Roleplaying monographs), there has been a proliferation of fantasy-leaning setting-agnostic Basic Roleplaying-based systems out there.
I already covered Magic World in my review of the Stormbringer RPG, due to the fact that Magic World is basically 5th Edition Stormbringer with the Moorcock scraped off and a new setting tacked on the end, but it’s probably worth taking a look at various other BRP-based fantasy RPGs I’ve gathered over the years and see whether they are entirely redundant, or whether their differing focuses makes them useful for different purposes. It seems particularly apt at this point in time because the new Moon Design-controlled Chaosium has made it clear that generic or setting-neutral RPGs are not where their heart is at: they would rather put out games where, as in pre-Avalon Hill editions of RuneQuest, or Call of Cthulhu, or Stormbringer, the game is constructed around supporting a strong setting from the get-go, rather than a setting being an afterthought, opting to allow other publishers to struggle over the crowded “generic BRP-ish fantasy” space.
I’m reading the Guide to Glorantha at the moment, and this bit of art brought joy to my heart. Not just the awesome depiction of dragonewts – though they are cool – but how in the background you can see a dragonewt negotiating with a party of ducks.
Now, these are unabashedly ducky ducks. We’re not dealing with the sort of situation you see sometimes in D&D, where someone takes a creature whose description was originally a bit goofy and tries to make it look a bit more badass and realistic (like how Demogorgon’s heads don’t really look like chimp heads any more). No, these are not watered down at all. And that’s great.
For those who don’t know, ducks are in RuneQuest effectively as a little homage to the awesome Carl Barks Scrooge McDuck comics; folk of my generation may be less familiar with them, but will be familiar with Duck Tales, which was basically Carl Barks’ Duck Comics: the Animated Series. Ducks aren’t a sloppy, crowbarred-in addition, mind: they have a very specific history and cultural place in the world which incidentally makes them total badasses.
Unseen Phil’s tumblr post compares the duck thing to the way people react to the “men culturally ride side-saddle if they ride at all so all cavalry warriors are women” thing in the default setting of Reign, but I think there’s a mild difference there. Both Glorantha and Reign‘s setting are a bit weird – with Reign I personally found the side-saddle thing not especially odd, since it’s basically a cultural assumption, but found the shonky geography to be kind of annoying – but I think there is a crucial difference. Reign‘s weird bits have a whiff of “try-hard” about them, like Stolze is straining to throw in odd little things simply for the sake of being odd. Conversely, Glorantha’s oddness is richly contextualised, and so far as I can tell has been from the start. It probably helps that Greg Stafford was thinking about and developing the setting for about a decade before producing any games or other publications set in it, whereas Reign‘s setting comes across as something Greg Stolze made up on the fly when cooking up the game because he thought a more generic version of the system wouldn’t get traction.
Either way, for whatever reason I find that I can buy into the eccentricities of Glorantha far more easily than those of the default Reign setting. Anyone whose imagination can embrace wizards, vampires, werewolves, owlbears, monsters that have literally evolved to look like treasure chests for the sake of trolling adventurers, and a host of “animal heads on human bodies” creatures of all varieties but balk at angry death-worshipping waddling heroes defending the cosmos against undead horrors is welcome to take it up with Donald here.
In the not-too-distant future one of my Monday night group is going to be running some of Peter Cakebread and Ken Walton’s Clockwork & Chivalry, so I thought I would check it out. The conceit is that it’s set during an alternate version of the English Civil Wars of the 1600s (exactly how many Civil Wars were fought in that period is apparently a non-trivial question). The twist is that Parliament, supported as it is by the craftsmen and merchants of the middle classes, can bring a range of amazing clockwork devices to bear on the battlefield; meanwhile, the Royalist forces bolster their chances by turning to alchemy, and whilst most of those persecuted for witchcraft in this age are innocents, there are a few genuine Satanists with true magical power lurking in the shadows.
The default starting point for the game is the aftermath of the Battle of Naseby, which deviates from the result in our world due to it being the first fight where the various clockwork and alchemical contrivances were used on the battlefield. In this version, King Charles was captured and quickly executed by Oliver Cromwell, who has declared himself Lord Protector; however, the Royalist forces under Prince Rupert of the Rhine still control significant sections of the country (King Charles II is too young to lead the war at the moment, so he is staying in Paris with his mum). An uneasy break in the fighting has occurred as both sides come to terms with the twin shocks of the apocalyptic battle of Naseby and the sudden regicide following it – but surely that cannot last.