Book Review – The Role-Playing Game Primer an Old School Playbook (By: Chris Gonnerman)

The Role-Playing Game Primer is a book by Chris Gonnerman intended to be used as an introduction to RPGs in general and “old-school” RPGs in particular. “Old-school” here being mainly “retroclones” of older RPGs (as opposed to those games themselves) such as Gonnerman’s own “Basic Fantasy RPG” (Based on the Dungeons & Dragons 3rd edition rules using the Open Game License {That gets complicated}) and “Iron Falcon” (Based on older D&D {Also under the OGL}) games, and several others that are mentioned by name (but those names don’t really mean much to a person who isn’t in the culture yet). But just how good is it at being the “primer” it set out to be?

I’m not exactly the best one to evaluate this book, as I don’t really need “priming” on the whole RPG thing. I am far from an “old-school” gamer, but I generally know the differences in play styles between them and the “new-school” (or whatever they’re called) gamers. So this book was more of a curious read and not me actually looking for an introduction. And it was a nice, short read. The 62 pages have slightly larger than average text and a good amount of illustrations. These illustrations are either: stock images, those sent in by contributors for Gonnerman’s “Basic Fantasy” game, or maps of areas designed as examples. At least that’s my assumption, since, while the art is good, it varies wildly in style and has almost nothing to do with what is written on the page (a common theme in most “OD&D*” books I’ve seen). But it’s still nice to look at and gets the job done. (*Original Dungeons & Dragons)

The text is divided into chapters, but can be further divided in my mind into the first part, where Gonnerman describes new players starting up a game with the Game Master (GM) (using his own system as an example), and the second part, where he talks directly to the reader and gives them advice. I really like the first part. It does a good job of giving an explanation and examples for how to play a Role-Playing Game (even if the dialog is a bit unrealistic at times). It’s one of those reaffirming sections where one can go “whoo… I’m not doing this thing wrong” in reference to starting up and playing an RPG. And it’s short enough to not overstay its welcome. The second part needs to be taken with a grain of salt as it’s written with an obvious bias against newer RPGs (but maybe the title gave that away) that’s never really given adequate justification. One might, through some unlikely circumstance, come out of this book thinking that “old-school” role playing is simply “better” or “the way to play” rather than there being different sets of people who enjoy either. With that aside, however, it does do a very good job of explaining how “old-school” games work for both players and GMs while providing some nice tips along the way.

The brevity of this book is another plus. The language is nice and concise while being informative and not particularly confusing (as far as something being about an RPG can not be confusing). It moves along fast enough that it can be easily recommended as a read before diving into, or while beginning to read, one’s first role-playing game (it does help if it’s one in the older vein, though). The advice, information, and explanations are informative and well laid out (probably from years of experience) while being simply but not dumbly written. Aside from one humorous example where an “old school building” is referenced and in the text hard to differentiate from the many other times “old school” is used in reference to RPGs I was never confused when reading (though as I say I did know about the subject going in). Gonnerman’s experience in the area and writing skill show through when reading.

It’s far from and essential book, but it’s inexpensive (being print-on-demand), short, and well written. I would recommend looking into it as a beginner, but I have to question whether or not it’s really worthwhile with so many good forums, blogs, and videos on the subject out there. If one doesn’t want to sift through that content or wants a more focused experience, this book would work great (and I also can’t imagine you ever finding this review). Otherwise it’s more of a curiosity so that one may, like me, make sure they aren’t “doing it wrong” and maybe get a few helpful tips along the way (except for the part where he calls the traditional way to draw {dungeon} maps into question, but maybe the reason is only obvious to me).

Book Review – I Sing the Body Electric (By: Ray Bradbury)

I Sing the Body Electric is a collection of short stories by one of the greats: Ray Bradbury. These are from the (early) middle of his career, after most of the books you’d recognize, but (long) before it ended. There are 13 stories in the book, all of varying types and lengths, enough that I think it might be tedious (and spoilerific) if I were to go through each one, so I’ll try and hit the highs and the lows while giving my overall impression of the book.

How do I always get these obscure editions where the cover is impossible to find in good quality?

I am a Bradbury fan. The Illustrated Man is one of my favorite short story collections, and I’ve enjoyed many other stories he’s written. This one starts by hitting it out of the park with The Kilimanjaro Device which filled me with enough emotion to make it difficult to sleep that night. I would say it’s probably the best story in the book, but it fits my taste better and I could easily see how someone else would like one of the other stories more. From there, it maintains its classic Bradbury feel, with all sorts of weird twists, contextual literal meanings, waves of emotions, and extensive flowery language.

Some of it’s typical Bradbury stuff (there is not one, but two android-based stories {One of them, Downwind at Gettysburg, is mentioned on the back cover as “humanoid Abe Lincoln”. When was he not humanoid?}), but typical Bradbury isn’t very typical. They range from the strange and water-based The Women, to the raw but humorous depression era The Inspired Chicken Motel, to the terrifying Mars loneliness of Night Call, Collect. There are a few themes: androids, as previously mentioned, Mars, and Ireland; (specifically Dublin) are each in two or more stories. As with most short story collections, they all run in strange channels and sometimes ooze strangeness with every word. Loneliness and just basic emotion are also frequent themes, again, like many short stories. But some are simply amazing; Heavy Set is one of the most moving stories I’ve read in a long time (and it has that strange spelling of Hallowe’en).

Still, while the subjects and stories are fantastic I must complain a moment about Bradbury’s writing. There’s nothing technically wrong with it (the only errors I noticed are in The Tombling Day, and that’s likely an editor’s or typesetter’s fault), but he seems constantly overcome with the desire to let one know exactly how many words he has in his repertoire. I think his stories are fantastic, and the language used is essential to pull off some of the emotional moments, but in many cases Bradbury has the uncanny ability to make the most interesting story in the world boring to read, and it’s a testament to his imagination that I continued on. It’s not bad, it’s just boring sometimes. And boring in the strangest way, as I want to get through it quicker, but not stop reading. This is most apparent in his novels and in dialogue. He doesn’t have the time in these short stories to launch into a one-page description using every word tangentially related to (and sometimes not related to at all) the subject, to convey a “feeling” you’ll forget, about a thing that is inconsequential to the story (at least that often). He does, however, have the time to use a bunch of dialogue that no human would ever speak. I have a bit of a pet peeve about unrealistic dialogue and some of the worst examples of that are in these stories. That flaw is made up for upon occasion with how interestingly it is assembled. It reads like poetry at times, but it can also be a garbled mess. There is a point in the final story The Lost City of Mars, where a character is obviously meant to sound pompous or “too-wordy” and he ends up sounding just like quite a few other characters not meant to share that personality trait.

The Lost City of Mars has another problem by itself that is, thankfully, only present in it (I actually get to talk about the end of a book here without spoiling it). I’m not sure if it’s meant to have anything to do with the other “Martian” stories but it feels like it’s trying to create a world, and in that world a great many story possibilities are brought up (in just a few pages) that would be as or more interesting to me than this particular story, though it is a good one.

But for all my griping about the flowery language, or a slow story (such as The Cold Wind and the Warm which tries to take something mundane and spin it as miraculous), or missed opportunities, or the bit of sexism thrown in to remind you when the book was written, for all that, Bradbury still writes a good fantasy. Often the overdone bits fade into the background to form a foundation on which you can read and really feel, or think, or be absorbed into a fantastic world where the mind can go anywhere. Often you don’t want to stop reading because you want to see where it goes next. You want to hear everything about The Man in the Rorschach Shirt or Tomorrow’s Child. You want to enter the fantasy and enjoy.

And I did enjoy this book; even at the slow pace I read it. I might not have enjoyed every minute of it, but I would read it again. I might even have to considering how bad my memory apparently is, as its huge variety of story types and lengths doesn’t make it easier to remember the shorter ones or the start when one gets to the end. It does mean that there’s probably a story in there for everyone, and not a lot of “wading” to do to get to it. It’s not my favorite Bradbury, but it did far better than to make me lose hope. If you’re a fan of that 60’s sci-fi and fantasy scene, short stories, or of Bradbury at all, I would give this one a look. It’s a great read with all its ups and downs and twists and turns.

Book Review – How to Draw Fantasy Art and RPG Maps (By: Jared Blando)

How to Draw Fantasy Art & RPG Maps: A Step by Step Cartography for Gamers and Fans is a book with quite a long name that is aptly described by said title. It’s a “how-to” art book detailing the creation of fantasy or “medieval” maps for use generally with role-playing games. I picked a copy up mainly to get some inspiration from the included examples and not to actually get any solid drawing information from, as my in experience most “how-to (art)” books I’ve read don’t provide any real benefit other than that (the worst being the “Step 1: Draw a circle, Step 2: Perfectly draw a bunny then color it” kind). But does this one break the mold?

All first impressions indicate that this is a fairly standard, if nicely produced, how-to-draw book. The almost 8½ x 11” size is nice and fitting while the 128 page length is right in the middle of books of this type (most good ones at least). The cover stock is decent and the inside pages are heavy and well coated. The image quality is phenomenal; it’s all nicely printed and well laid out (and meant to look old on the covers. meaning the damage to the corners caused by shipping doesn’t show up as much)

The actual content of the book is where it seems to lose purpose. Not necessarily the art, which is very good if a bit overly specific, but in the writing, which spends most of the books length telling you “now sketch/draw/fill in X” without giving any real hints, tips or tricks. And sometimes I get that, maybe there aren’t any “tricks”, but at that point the text could just be omitted. It seems like the author was only writing most of the book because it was supposed to be a “book” and not show-and-tell, but I’m not necessarily against show-and-tell, especially in this context. The worst part is that even with all of the unnecessary text there are constantly little blocks like pop-up ads in book form that “inform” the reader of “free content” on the publishers website (that I’m sure will be around for as long as all physical copies of the book last). I personally haven’t looked to see (now I have, it’s not much) what’s there but they are used frequently enough (to fill space I’m guessing) that it almost seems like there’s a second book online I should be looking at (there isn’t, just wallpapers).

Still, there is some good stuff in the book; scattered around are helpful “aside” boxes that have useful information (generally better than the regular guidelines) and most of the information and images are on a solid foundation. The shield chapter is particularly nice (if short) one where many examples and color palettes are provided to give the reader some inspiration. This stands in sharp contrast to the previous icon chapter where little-to-no variation or creativity-inspiring options are presented, with boring text that at times (citadels) is directly in opposition to the drawing being displayed. This chapter is by far the worst example of the main problem with the book; that is, just stating the obvious about what is drawn. I have eyes and can see that that is a circle, I also know that the first step in drawing it is a circle, but the book explains that to me. I kept reading in the hope that some interesting fact or technique would be presented but none were (or very few at least). It’s still a problem, but much less so in other chapters where the drawings being directed are actually slightly complicated.

But that’s always been a problem art books have. They provide very few options because they can’t provide more. They don’t know exactly what you want, and when they start to provide the reader with options they lose their cohesiveness. Even this book, which is very straight forward and “constricting”, seems to be about how to make two very different styles of map, but they’re presented as one, in chapter order like you’re supposed to follow. But if you included each of the elements suggested in each chapter as you made the map, you’d have a hard time fitting everything in nicely and you’d end up with a graphically confused and cluttered map.

The book fulfills the purpose I bought it for in giving general inspiration and techniques for creating “fantasy” maps, and it’s an alright beginners tool. The author is a very good artist even if he wasn’t given the ability to flex his writing muscles (that may or may not be there) and the whole thing is nice looking and well produced. I think it would have been better served (like most art books) as a series of images to use as “suggestions” or to draw inspiration from, but if one knows about that (perceived) flaw in books like this going in it is no real problem. If one is looking for actual instruction, the sections on supplies, inking, and digital manipulation at the start and end of the book will do the job with little in the middle being particularly helpful. I am glad I got the book, but I’m not sure how much I could recommend it; it’s nothing special in the world of “how-to art” books and I’m not much of a fan of the (quite digital) aesthetic. So maybe take a look at all of that “free content” on the publisher’s website before making a decision (it just takes one to a page to enter their email address to get “wallpapers”, hardly worth it. I’d try and leaf through the book at the store or with an online “quick look” feature before considering it).

Book Review – Genghis Khan: and the Making of the Modern World (By: Jack Weatherford)

Genghis Khan: and the Making of the Modern World is a 2004 book by Jack Weatherford in his series of books about reevaluating the place of certain peoples in history. I got it as a present for my father, who had it on his books-to-read list, and I picked it up after he recommended it (it turns out I already had a copy but that’s neither here nor there). It supposedly illustrates how, unlike our normal ideas about Genghis Khan and his rule, the Mongol Empire was ahead of its time, and was a major factor in the enlightening of our modern era. Is it convincing?

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The cover of the (edition I have of the) book says “”Reads like the Iliad… – Washington Post”” I believe that is a terrible thing to say, but then again I don’t like the Iliad. I would be more disposed to saying something along the lines of “it reads like the Iliad would have felt to the audiences of its time”. Meaning, the (first part of the) book is very good; it’s wonderfully written, fascinating, exciting, and enlightening. This first part, which is almost exactly one half of the book, is about Genghis Khan himself, using the (relatively) recently deciphered “Secret History of the Mongols” text and the travelings of the author and his academic companions as a basis for a narrative of the life of Temujin, the man who would become the Great Khan. The detailing is wonderful. The explanation of how Mongol society and the civilizations around them worked are as long as they need to be and not overbearing. Battles are not given an unnecessary (and likely unavailable) amount of detail, and the politics of the relatively complicated situation are related in an understandable way. It was one of the few books where I actively wanted to read more and would take more time out of my schedule to do so. The text in this section is so lovingly crafted, the areas covered so vast and interesting, and the man presented with his faults (but mostly his accomplishments) in such a way that it seemed to be forcing me to read more. And, throughout, one gets the same feeling toward Genghis Khan that they would experience about Caesar when reading a Colleen McCullough book: a grand reverence and fascination.

The same cannot be said about the second half of the book, which the reader collides with almost like a brick wall. This section, detailing the lives and accomplishments (/failures) of Genghis Khan’s dynasty, is at times excruciatingly boring, and seems tacked on and forced. I would get the impression that the author only cares about the history of Genghis himself, but the history of his empire after his death is important only to illustrate how “ahead of their time” (my words, not his) Genghis and the Mongols really were for the relatively short time they were in power. It is, from what I can tell, an accurate summary, if a bit biased toward the Mongols (even as they fail), but there are a lot of accurate technical documents I would rather not read. Compressing the amount of time (more than a few lifetimes of the man himself) into a section the same size as the one about Genghis Khan prevents the type of characterization and wonderful language that made the first half of the book so good, and coupled with the fact that, again, none of these people are people it seems Weatherford actually cares about (I guess they weren’t in the secret history) creates a section that has a very different tone to the previous one. This section that has more in common with a history textbook that bores students than the wonderful tale that came before.

Still I’m not sure the section should have been omitted (perhaps written by someone else) as a book simply about Genghis (with the level of detail in this work) would have been much too short and not have made the intended point. And the book does make a point, however refutable some think it is, while doing a very good job of staying out of the trap of many history-based books with a point, that is, constantly ramming the point down the reader’s throat. It gets worse about this in the latter half but for the most part these retreadings of old ground feel more like helpful little reminders and not an unnecessary constant restatement of the book’s central idea. This main idea is “somewhat” controversial, but perhaps a bit overstated in the title and some of the inside text. What is presented as “the Mongols were the first truly modern empire!” or “the Mongols were so far ahead of ‘X’ civilization!” comes off more like “the Mongol empire and its accomplishments have been largely and unduly overlooked since the Mongols were labeled as ‘barbarians’”. The first two statements are controversial but I feel the third is not so much. And this book does a good job of explaining and showcasing both the triumphs and failures of the Mongol empire, with many of the same lessons that can be learned from studying large empires, but a few that are uniquely Mongolian. It is guilty of minimizing some of the underlying truths; this book and many others are guilty of using the phrase “taken as wives” in place of “kidnapped and raped” to make their “great empires” (and it happened with every empire) less appalling to modern sensibilities. But many books do this, and after all, the point is to showcase the empire’s strengths and “modern-ness” rather than its weaknesses.

A secondary point to the book is how much the Mongol Empire affected the progress of human technology and interconnectedness for the better, an idea that more and more historians have been exploring in recent years. I think it makes the case well that human “progress” was “improved” by the Mongols, and that the state of technology, science, and trade was better during and after their reign that it was before. But then again I came in to the book already believing that idea. Large amounts of land, excess money, and trade (like that accumulated by the Mongols, Romans, British, Arabs, Chinese, and French) always lead to technological improvements and a general raising of the quality of life, though many do have to die for such excess to be available in peace time. The effect the Mongols had in this way is well- (and over-) explained and believable, though I don’t agree with every point. It does seem obvious that the effect of the Mongols on world development has been overlooked. Though I’m still not entirely buying Genghis Khan’s “uniqueness”, the author talks about him like he was doing entirely new things with strategies and technological appropriation, while I was sitting there reading and thinking ‘that sounds a lot like what Caesar did”. And the whole “relying on people based on ability instead of familial connections until it comes to choosing a successor for your empire” thing strikes me as very poor planning.

But moving on to some things about the physical book, which I have little to say about, but more than I do for most books. The printing is superb. It feels like a Penguin book, which are my favorite books to hold. The cover design is fine, but the spine is a problem: it is way, way, to easy to damage. I finished the book without much wear but that was because I had seen several copies before and held the book carefully to avoid it. While it doesn’t really affect the functionality, I do think it is bad design to have a book made in such a way that simply reading through it in a normal way would leave it visibly “damaged” (worn). The copy I picked up second-hand was terrible in this respect. Inside the book has mainly words, but there are some wonderful ink drawings at the beginnings of some chapters, and a few maps. These maps are… not great. They do convey their message, and to me, someone who reads maps a lot, they are quite legible. But to someone unfamiliar with the geography of the area or without a keen sense of gray-differentiation, they will very easily become confusing. I think it would have been very easy to do them better but they also aren’t the main part of the book and don’t distract too much.

I liked the book, and I would recommend that most fans of history books take a look at it. I’m not entirely on board with every idea presented, but it is a fascinating and exciting look at an often-overlooked culture and empire in the grand, usually European, scheme of the world. The very fact that this book is based off of a historical document that was found recounting the events of foundation of an Eastern empire that westerners were allowed to see and interpret is a historical anomaly worthy of looking into on its own. But that the first half of the book was crafted so lovingly and well, and the usual pitfalls of historical books of this nature so well avoided, brings it above the standard historical work and even overshadows the sub-par (but not awful) second half. As a teaching tool or a “book that will change your life/view/the world” I can’t really say it works, but for a more balanced and interesting look at history I would definitely give it a look.

Book Review – All the Knots You Need (By: R.S. Lee)

All the Knots You Need is a 1999 book by R.S. Lee about, surprisingly enough, knots. It is a fairly short and heavily illustrated guide to the knots most people would need in their “day to day” lives (quotes because I rarely need knots and I probably will only need a bowline and a square knot in my life) and it took me way longer to finish than it should have. But that’s not the point here; “did it teach me how to tie knots?” is the point.

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The book has around 60 knots that it shows you how to tie, give or take 10 for similarities, like the knots being “the same” but in slightly different configurations, and how you want to count them as “individual knots”. Each one has between 1 and 4 illustrations associated with it, mostly on how to tie it, but sometimes with what it looks like tied. These illustrations are very simple, and clear, but do have more of a flair than just a line telling you what to do (they actually look like rope). They suffer from what all “how-to” books suffer from, they don’t quite explain exactly what to do in a 3-dimensional space. Even with the worded explanations provided I found myself having to try knots again and again with slight adjustments and reviews of the diagram. Since most of the images are singular they don’t provide the proper context for the “process” that is tying the knot, and even the multiple images convey motion very poorly. But that could also be a function of how “knot-illiterate” I am.

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Included in the book along with these knot-tying instructions is information about materials, the parts of a rope, rope repair, rope care, and a glossary of terms related to ropes and knot-tying. All of this information is presented in easy-to-read and understand ways, with minimal but well-written (and drawn) text and diagrams. Almost everything is easy to understand (once you get the hang of it or are interested in an application) and nothing superfluous is added to inflate the book’s length. That being said, some of the sections were incredibly boring to a person (like me) who wouldn’t have a need for those knots on a regular basis (the fishing knot section comes to mind) and if one doesn’t closely follow the instructions it isn’t hard to get lost. But, as I said, I’m not one who needs many knots; the fishing, hoisting, farmwork, and sailing knots aren’t of particular use to me, and the sections aren’t “enthralling”.

For a newbie like me just starting to really learn knots (I didn’t retain much boy-scout knowledge) this is an unintimidating way to get started. The knots you really need are present and presented in a generally understandable format. It is worth mentioning that you pretty much need a rope or the described tying device (fishing line in some cases, or a frayed rope to whip and mend) to get the full effect. And reading this book is almost useless without a lot of practice during and afterwards. Knots aren’t just things that you throw in your brain and then can do perfectly. They need to be practiced in order to be effectively executed. But while the book can’t do that for you, I’d say it’s a good place to start.