GenCon 2012: Day One

Day one of GenCon 2012 is over. Busy day.

Things started pretty wild when they opened the dealer room doors. There’s always a pretty intimidating rush of people, but it seemed like a larger crowd this year. I was grateful to be in the booth, avoiding a trampling.


I managed to sneak out to grab my preorders for Night’s Black Agents and The Zalozhniy Quartet from Pelgrane Press, where I met Paula and Steve Dempsey, which was a treat. Then I headed over to Margaret Weis Productions to snag my preorder copy of the Marvel Civil War Event Book. I got to say a quick hello to Cam Banks and meet Amanda Valentine – a most excellent editor – and also Jen from the Jennisodes podcast. She gave me a Ninja Panda Taco button, which was nice because I’m looking forward to that game coming out.

I managed to get some generic tickets and found the Games On Demand room, where I ran into Matthew Gandy, another excellent editor. He filled me in on how the room worked, and Clint and I came back for the 8:00 slot to play some Apocalypse World.


The game, though of necessity short, was a lot of fun, and gave me some much-needed insight into how it works mechanically. Many thanks to Trevis for running it, and to the other players for making it fun.

And now to bed.

Night’s Black Agents

Last week, Pelgrane Press made their new GUMSHOE game, Night’s Black Agents, available for preorder. The preorder included a bare-bones-layout version of the game and, being a ravening GUMSHOE fanboy ((Not to mention a ravening Ken Hite fanboy.)), of course I had to grab it and spend the weekend reading it.

The premise of Night’s Black Agents is that a small group of ex-official spies – the PCs – working in the modern European intelligence underground stumble across evidence that a conspiracy of vampires ((That almost works as a collective noun, doesn’t it? A conspiracy of vampires. Not quite, but getting close.)) exists and is now aware of them. To avoid the vampires killing them, the newly clued-in spies must destroy the conspiracy.

That’s the bare-bones, unmodified version of the game. One of the things I like about NBA is that it is eminently customizable, and Ken provides four different modes of play that you can mix and match to get the flavour of spy story that you prefer:

  • Burn Mode focuses on the emotional and social cost of being a spy. Think the Bourne series, or Alias.
  • Dust Mode is the default setting, a gritty thriller-style game, like Three Days of the Condor or Sandbaggers.
  • Mirror Mode is pure Le Carré paranoia and betrayal, where trust is a commodity and identity is fluid.
  • Stakes Mode focuses on the higher purpose that motivates the heroes, highlighting their drive and dedication to get the job done, as seen in James Bond films and Tom Clancy novels.

As I said, you can mix and match these modes to get the right balance for the story you want to tell. You can also decide if the story you’re telling is a thriller, adding in special Thriller Combat and Thriller Chase rules to up the level of action.

The core of the game is the GUMSHOE engine, which has been tweaked to emphasize covert operations rather than pure investigation. The Investigative Abilities see the addition of Human Terrain, Tradecraft, and Vampirology, and the General Abilities get Network, Cover, and Surveillance ((There also seem to be more cross-over skills, i.e., General Abilities that you can use as Investigative Abilities.)). You can also buy some specialty packages that give you a bundle of Investigative and General Abilities – these don’t give you a point discount, but are useful for seeing what kinds of skills an agent would have if they specialized that way.

One interesting tweak ((Which is not available in Dust Mode. Or rather, it is recommended that it not be available in Dust Mode.)) to character creation is the MOS – Military Occupational Specialty. It lets you pick one General Ability and, once per session, automatically succeed with that ability. It’s an interesting idea, and I think it could lead to some neat metagame resource management. There’s a nice little sidebar that talks about using the MOSs of the team as keystones when the agents are planning an op.

The other major tweak to the system is providing something special – a Cherry – for almost any General Ability with a rating of 8+. These are either something you can do for free (hotwire a car with a Drive of 8+), extra points in Investigative Abilities (1 free point of Diagnosis with Medic 8+), or a new way to spend points from that ability (get an extra die of damage from an explosion for 3 points from Explosive Devices). For the lo-fi Dust Mode, a lot of these Cherries are off the table, but there are a few marked as being appropriate for that style of game.

This iteration of GUMSHOE uses Sources of Stability, but it prescribes what they are. Each agent gets three, one each of Symbol (a representation of an important ideal, like a flag), Solace (a person the agent seeks out for human contact), and Safety (a person and place the agent would flee to without thinking). These three categories are chose to highlight the isolation of being a spy, and also to give the GM some nice, concrete targets when time comes to gut-punch the agent.

There are also twelve Drives to choose from, specifically chosen to fit into the spy genre. These are things like Patriotism, Restoration, Atonement, and Nowhere Else to Go. A sidebar provides some ideas for adding personal arcs, an idea first seen in Ashen Stars. The information here is far less detailed and structured than in AS, if only because NBA does not mirror an ongoing TV serial as tightly as AS.

The rest of the rules are pretty standard GUMSHOE stuff, with the exception of the Thriller rules and Heat. Thriller rules are options for combat and chases that add a more cinematic, over-the-top feel to the game – stuff like extra attacks, called shots, parkour chases across the rooftops, things like that. The book states right up front the fact that adding these in, while making for more extravagant action, will add a layer of complexity to the normally very fast GUMSHOE rules. None of them is overly complicated, but they are more involved than the extremely simple and light base GUMSHOE rules for such things.

Heat is a mechanic to determine how much official notice the actions of the group attract. It’s a number that climbs with every dead body, every police chase, and every heist, and drops only with time or evasion. Heat is rolled during a session to see if the authorities take notice and get involved to complicate everyone’s lives. So, quiet spies are safer spies.

The gear section of the book lays out not only a fun laundry list of spy toys, but also a vampire-hunter’s arsenal. So, beside the comms laser and flash-bangs, you’ll find garlic and wooden bullets ((Not that there’s any guarantee that these will work on the vampires in YOUR game.)). There are also details on how the agents can get all the good toys, considering they’re likely on the run and on a budget.

Following the gear section is a chapter on special tactics that the agents can use to represent their training. Things like Tactical Fact Finding, which uses Investigative Abilities to gain an advantage in a tactical situation ((Yeah, that’s kind of convoluted. Best I could boil it down, though. The book makes the use pretty clear, but it is a lengthy explanation. It’s a cool tweak, though.)), or Tag-Team Tactics, which is pretty much what it says on the tin – using one ability to provide a benefit to someone else using a different ability. This chapter also includes a brief primer on Tradecraft and Asset Handling ((Though I found myself wanting more information here. Fortunately, Wikipedia came to my rescue!)), and finishes with a short section on Adversary Mapping, to help the group make those neat picture-and-string organized crime diagrams you see in TV and movies.

Next comes vampires. This is where I really fell in love with this game.

Ken Hite, as anyone who has read Trail of Cthulhu or his Suppressed Transmission column knows, is a master of providing a range of options for any single idea, whether it’s an interpretation of a Great Old One or a possible reason the Dogon people know so much about the star Sirius. Here, he turns that skill to vampires, providing a pantry-full of ingredients to let you build the flavour of vampire you like best for your game. There’s a range of origins, powers, weaknesses, and motivations that you can blend together into pretty much whatever kind of vampire you want. To show how it all fits together, he provides four examples of very different vampires ready to be dropped into your game.

I cannot stress enough how much I like this chapter, and this entire approach. One of the problems with using vampires as the main bad guys is that everyone knows all about them, and thus there is no real surprise about what they can do and what they can’t. This is mitigated somewhat by the fact that there are dozens – if not hundreds – of different vampire versions out there in the world of fiction ((I want to note for the record that sparkling does not appear as one of the vampire powers/weaknesses. Just sayin’.)), and they all have different strengths and weaknesses. What this chapter does is leverage that fact, drawing on fiction and folklore to provide enough options that the agents will need to do a lot of field testing to make sure they know how to go up against the vampires. It brings uncertainty and fear back into the vampire equation, where it belongs.

Oh, and it makes it clear that vampires are monsters. They are not misunderstood. They feed on and kill humans, whether because they’re evil or because they are alien and indifferent to human suffering. They’re the bad guys, not the dangerous romantic leads.

After the four statted-up versions of vampires, the book provides stat blocks for a few related creatures: the lamia, the bhuta, the dhampir, stuff like that. Handy if you want to throw a supernatural enemy at the agents, but don’t want to go full-on vamp on them just yet.

The last few sections of the book deal with building the conspiracy and campaign. There’s a discussion of what vampires need to survive, what their agenda is, and how to put together a diagram of the conspiracy.

This is my one criticism of the book. While there is a discussion at a high level of vampire motivations and requirements in a conspiracy, and and a discussion of what kinds of things fit in at each level of the conspiracy, and a finished conspiracy diagram ((Called the Conspyramid.)), I would have liked to have seen an example of building that diagram – going from the raw material and thoughts to a concrete finished pyramid. Just a little more guidance here would have been very helpful.

There’s also a good section on quickly roughing-in cities for the game, coming up with the bare minimum to fit the place into your ongoing campaign, as well as a few roughed-in examples and one more detailed city laid out.

The advice that follows, about building stories and the overall campaign, and determining the conspiracy’s reactions to the agents, is meaty and solid. There’s good advice on how to pace things, how to structure things, how to plan, and how to improvise madly when your plan goes off the rails. All in all, a very useful section of the book.

The book ends with an introductory adventure. I don’t want to say too much about it, so as not to spoil things, but it’s got some nice twists, with desperation and paranoia baked right in. It does a good job not only of introducing the vampire conspiracy, but also of showcasing the cold, dark, desperate world that is the espionage underground of modern Europe.

Final thoughts? Of course I love the book. Now, you might dismiss my opinion because I’m an ardent Pelgrane and GUMSHOE fan, but I don’t like the games because I’m a fan. I’m a fan because of the great games.

Specifically, I like this book for a few reasons. First, it provides an interesting combination of genres – you don’t see vampire/spy stuff anywhere else that I know of. There’s not even a whole lot of vampire hunter stuff out there. Second, it makes vampires scary again. They are monsters, and they are horrific and powerful. Third, the structure of the campaign fits the kinds of things I like to do in games. It provides a finite story, of a length determined during play, with a built-in climax that does not guarantee agent success. And fourth, it has enough tools and dials that I can customize the feel of the game to what my players want. Whether we go over-the-top James Bond style, or down-and-dirty George Smiley style, the game has the tools to support and reinforce the feel we decide on. Hell, there are even options for adding weird powers for the heroes, or removing the vampires entirely.

If you like scary vampires, if you like espionage games, if you’re looking for a dark, modern game of horror investigation, I heartily recommend you pick up this book, if not now, then in March when the hardcover is released ((I just couldn’t wait that long.)). You’ll like it.