Admittedly, I’ve hadcautious feelings concerning the Lord of the Rings game by Decipher. While I have a great deal of faith in, and admiration for, Steve Long, as well as the other former LUG staff, such as Christian Moore and Ross Isaacs, I was not for certain as to how well the newly-designed Coda system would handle the Middle-earth setting. Still, I felt it deserved as fair a chance as I’ve given other, less deserving products of late, so, when I discovered that my new, local gaming store had acquired a copy, I drove down and picked it up.
The first thing that struck me when I picked up this book was, naturally, the cover, with its depiction of the One Ring, displayed prominently on the armored hand of Sauron (as shown in the recent Fellowship of the Ring film). Simple, yet telling, to my mind. This sort of imagery is found throughout the book, often drawing on stills from the Fellowship of the Ring film, intermixed with a few pieces of artwork (such as the renditions of the example characters). All in all, I think that the layout is quite beautiful, and is certainly one of the nicest looking roleplaying products that these eyes have ever seen. Also, during my quick, initial glance, I could not help but notice the use of proper English (as in the use of the word ‘Defence’,, or ‘Armour’). I think that this is quite appropriate, both for the setting, and as an homage, of sorts, to Professor Tolkien. Additionally, the book appears to be bound quite well, which is quite a welcome change from recent products produced by other companies (no need to mention names, as we can all think of examples, I’d imagine).
So, after a quick glance through at all the pretty pictures, as well as the nicely worded chapter titles, I decided to dive right in and see if the Lord of the Rings Core Book would meet my hopes and expectations.
Introduction
This is your typical introduction to roleplaying section, telling you what a roleplaying game is and what you need to play. Additionally, there is an overview of the book, breaking down the book by sections (character creation, rules and guidelines; the Coda system; and Narrator tips and tools). Also, there is a handy glossary which defines certain terms used throughout the course of the book.
Chapter One – There and Back Again: The Realms of Middle-earth
At a Glance: This chapter describes various regions and locales of Middle-earth. Emphasis is given to the major (as presented in Tolkien’s works) areas, such as Eriador (the western part of the Middle-earth continent), The North (where various Mountain areas are found, as is the realm of the Witch-king, Angmar), The South (where Gondor and Rohan are found), and Mordor.
The Good: There is a good deal of information about the emphasized regions, and there various locales (such as the lost kingdom of Arnor, Rivendell, the Shire, Mirkwood and others). Additionally, other areas that aren’t described in great deal, such as Umbar, Harad and Rhun, are given brief, descriptive sections. All of the selections are written in such as a way as to provide hints for Chapters (adventures), and in some cases ideas for Chronicles (campaigns). Additionally, most areas are described in at least two periods: The late Third Age (War of the Ring) and the early Fourth Age. Granted, much of this information can be found by exploring the various appendices at the end of the Return of the King, but for those not interested in doing a lot of novel-scouring, the information presented should prove to be quite useful and informative, both for player and Narrator alike.
Also in this chapter is the beginning information for creating a Middle-earth character, as well as a variety of character archetypes. These are presented as ready-to-play characters with no advancements, and can, if nothing else, serve as a model for crafting a character of your own, and seems to be placed here to sort of get the players ready to start thinking about the process of character creation.
The Bad: While there is a nicely designed map of Middle-earth to be found on the interior covers of the book, as well as in this first chapter, I think that players and Narrators would have benefited from a separate map of the major Middle-earth setting (as is often found in various Tolkien books). While there is a ‘travel matrix’ to be found later in the book, I’ve often found that things are a bit easier to describe (in terms of travel or whatnot) when everyone involved can look at a map, especially if the players are attempting to plan a journey and don’t have access to a resource like 'The Atlas of Middle-earth', by Karen Wynn Fonstad.
Chapter Two – Might and Majesty: Attributes
At a Glance: This chapter begins the character generation process in earnest by describing the primary and secondary attributes, the Reactions (think Saving Throws), as well as Courage, Health, Defence and Renown.
The Good: Personally, I like the basics of Coda character generation. There are, as is typical, two ways to generate a character: die rolling, or point assignment. Both are relatively generous, especially if players are used to generating characters with only average or slightly above average attributes. Each attribute is described, along with a relevant quote from one of the novels to illustrate the attribute in the setting, and examples of how the attributes are used in the game are given as well. Additionally, the flexibility of the Coda system shines here in terms of the Reactions, wherein a player may choose from one of two attributes for each Reaction to determine its base value (this isn’t relevant after the start of the game, but it provides a bit of flexibility at the beginning, which I think players will appreciate).
Additionally, there is an excellent side bar (actually two pages, but presented in sidebar-style), detailing the qualities of heroes in the Lord of the Rings setting. If, as a player, you’ve ever had issues with heroism, or if, as a Narrator, you’ve ever had players who have had issues with heroism, I would highly recommend reading this section. It provides some good insight into the idea of roleplaying a hero in the Tolkien style, but could be useful for pretty much any roleplaying setting.
Finally, there is a brief section on the concept of roleplaying the attributes of characters, again offering descriptions of the various attributes, and how to reflect the attribute range for each attribute. Not a necessary addition, to my mind, but useful nonetheless.
The Bad: It is here that I find both my first like about the Coda system (its flexibility) and its first flaw (as a game limitation): The attribute cap. Now, granted, and Narrator may simply take this cap and toss through the Doors of Night into the Void, but I’ve never been fond of a system that tells me, “This is as good as you can be…no better.”. This is the feeling that I’m getting here (as well as in the skill system, which I’ll touch on later). Imagine, if you will, that you manage to roll all 12’s for your starting character (something that, while probably not likely, is certainly possible). Given that, you’ll be portraying a character who has peaked (in terms of raw ability) at the outset. Additionally, this artificial limitation doesn’t seem to allow for the oddly strong Elf or Hobbit, or any other sort of out of the ordinary attribute/race combination that you might think of. Like I said, it’s something that can be easily ignored, but I think that it’s something that could have been left out altogether
As a side note, before anyone accuses me of being some sort of munchkin gamer or whatnot, there are some game-mechanic issues with the attribute limits (which will rear its head in the Coda system chapter).
Chapter Three – The Free Peoples: Races of Middle-earth
At a Glance: Ah, the races, something that I have felt would be a major point of contention for most people picking up this book. With issues of ‘game balance’ on the lips of most gamers these days (for good or ill), dealing with the Tolkien representations of these races (particularly the Elves) should probably make for some lively debate amongst gamers for some time to come. Detailed in this chapter are the major Free Peoples of Middle-earth: Dwarves, Elves, Hobbits and Men, and the various sub-races (where applicable). Each racial section contains information on the natures of the races, the lands where they typically dwell, some background lore concerning the race, the languages that they typically speak, example names, famous members of the race, favored Orders and reasons and ways that members of the race might adventure. Additionally, racial attribute adjustments are provided, as are possible background packages for players to choose from (as opposed to using the skill and trait picks that are provided). Finally, the racial abilities are detailed, both for the sub-race (again, where applicable) and for the race as a whole.
The Good: For the most part, the races seem to have the ‘feel’ that I had hoped to find, in terms of information, racial adjustments and abilities. Here, it seems, Steve and The Gang have decided that, for the most part, game balance had to be ignored, as Elves have superior racial adjustments, sub-racial abilities and general racial abilities. Still, that’s what I had expected, and I think that anything less wouldn’t have been very true to the setting. Additionally, I like the background packages, as they can assist players who may not be ready to just have some points handed their way, or who may not have much of a background idea in mind. Particularly in the case of the latter, the packages can be a real boon to players, as well as to Narrators who may be making NPC’s.
The Bad: While I like the idea that characters have some starting skills, even if they have no Orders or Advancements, and while I like the basic mechanic of taking the characters Wits score, times three, to determine these skills, I’m not a real fan of these skill picks being limited solely to Language and Lore skills. To my mind, it seems odd that a character would have educational or scholarly skills, but no access to practical skills (like Craft or whatnot). Now, it could be said that, if the character wanted to learn about these other skills, or had learned these other skills, then they would be in an Order that would have these skills as Order skills. Yet, let us say that I know how to carve wood, sew, swim, or do any number of other things. I could only select these skills with my 6 background picks, or with the 5 free picks that I get at the end of character creation. Again, though, this can be easily modified by allowing, for example, the Wits times three point total to apply to any skill from the racial skill list presented for each race.
Chapter Four – Warriors, Wizards and Kings: Orders
At a Glance: This chapter details the Orders (professions, classes, what have you) and Elite Orders (more advanced Orders) of the Lord of the Rings setting. Orders include: Barbarian, Craftsman, Loremaster, Magician, Mariner, Minstrel, Noble, Rogue and Warrior. Elite Orders include: Archer, Captain, Knight, Ranger, Spy and Wizard.
The Good: Primarily, the options presented here! There are lots of options for character choice here, and I couldn’t really find anything that stood out to me here as missing. With these Orders I think that any Tolkien character could be recreated, and probably in a more accurate fashion than in any other previous Middle-earth game system (particularly through the use of multiple Orders, which can easily be selected through the expenditure of Advancement picks). While being both a good and bad thing, players should carefully consider how they want their characters to advance, in terms of Order, as no character can be active in more than two Orders at any given time. To go back to an Order, the Order must be re-purchased, though retiring an Order does not cause any skill or ability loss.
Also presented here is an intriguing option (intended, I think, for the more mature gamer): starting with no Order. As is discussed later in the Core Book, the idea of the ‘naďve hero’ is one that plays a prominent role in Tolkien’s writings, and is suggested here as a player option, thus allowing for the player to evolve the character as the story progresses. To me, this seems like a good idea for someone who might not have any real Tolkien experience, or possibly any roleplaying experience, or someone who just doesn’t really know what sort of character (in terms of Order) that they might want to play.
The Bad: I didn’t really have any complaint or issue with this chapter. I think that it was well-done, and included everything that it really needed to. Some might take issue with the “no more than two Orders at once” rule, but I can certainly see the design perspective of “having ones hands in too many pots at once”, so I’ve got no real problem with that particular rule.
Chapter Five – Ringing Anvils and Rhymes of Lore: Skills
At a Glance: This chapter details skills, skills and more skills! Discussed are how skill groups and skill specialties work, the different categories that skills fall into (academic, physical and social) and the different attributes that might apply to skill tests in varying situations. Also discussed are skill affinities, which are bonuses that can be applied to a skill test if a character is skilled at two related skills. Finally, the varying degrees of success are touched on briefly, though they are more fully explored in the Coda rules chapter.
The Good: The skills that are presented are quite flavorful, and seem to encompass the range of skills that are prevalent in Middle-earth. Skill groups and skill specialties seem to be well thought out, and the idea of skill affinities system seems more thought out that other, similar systems (like synergy bonuses in D&D). Additionally, each skill has a Test section, where different task levels are described, with the levels ranging from Simple to Virtually Impossible, so as to provide a Narrator with a basis for assigning Test Numbers, and allows a player to try and gear his or her characters skills to a level that will allow them to accomplish what they desire, without spending more picks than they feel is necessary. A good example can be found in Languages. If you want your character to only have basic communication skills in, say, Black Speech, then being able to successfully succeed in a Routine (TN 10) test would be all that you’d need for simple conversation, while speaking to the Witch-King about the Sorcery lessons that Sauron taught him would be quite a bit more difficult. Also, the notion that alternate attributes can apply to skill checks in various situations was an excellent inclusion. Sure, most Narrators allow such a thing as a house rule, but that Decipher has opted to address the issue straightaway in the Core Book was a good idea, to my mind.
The Bad: As mentioned previously, I’m not a big fan of the artificial limitations, in this case the limitation of skill ranks (no more than 12 in any skill). Granted, if you have 12 ranks in a skill, and a decent attribute modifier, you should be able to accomplish most, if not all possible (and some impossible) tasks. Still, just because you reach a point (12 ranks) where things are possible, that doesn’t mean that you should necessarily stop learning about something, or that, reasonably, your character has learned all that there is to know about the subject in question. For instance, would someone with the appropriate skills and 12 ranks in those skills be able to accomplish legendary feats like crafting Rings of Power, or Simarils? Given the rules, it would appear so, though I’m certain that some Narrators might have a thing or two to say about this.
Chapter Six – Stern Men and Resolute: Traits
At a Glance: This chapter details the Edges (perks, advantages, what have you) and the Flaws (disadvantages) that characters can choose from.
The Good: These edges and flaws, like the Orders and Skills, seem to capture the flavor of Tolkien rather well. All have appropriate novel references, and relatively easy requirements to meet, to allow for maximum flexibility, in terms of select-ability. All have varying degrees of usefulness, but, as I read through this chapter, I found that I liked all of them (not a good thing when planning a character). As noted at the beginning of the chapter, a character does not have to have a particular edge or flaw to display the appropriate characteristic, though, so my advice here would be to choose wisely. The flaws, too, are quite appropriate, and it’s hard to read through their descriptions without finding flaws for most, if not all, of the major heroes from the Lord of the Rings. As the chapter notes, heroes often have flaws, and it is these flaws that help to define the characters.
The Bad: Not a lot of bad stuff, here, really. As previously mentioned, the edges and flaws feel pretty appropriate for the Lord of the Rings. Some players will not be pleased by the lack of a mechanic for eliminating flaws after the start of the Chronicle, aside from the player eliminating the flaw through roleplaying (which seems more than suitable for this system) or Narrator generosity, but I think that complaints here would be minor, at best.
Chapter Seven – Words of Power and Runes of Might: Magic
At a Glance: This chapter deals with one of, if not the most tricky of Tolkien-related roleplaying: magic. Detailed within this chapter are the typical spells of Middle-earth (over 70 in all), as well methods of spellcasting (songs and runes) and spell specialties (like specializing in a school or type of magic). An overview of magic in Middle-earth is presented in its two main forms, wizardry (general magic) and sorcery (evil magic) and a section and sidebar and the goodly practitioners of magic (magicians and wizards) and some skills that spellcasters might know of and use. Another section details the ‘subtle magic’ of Middle-earth, and finally enchanted items are discussed.
The Good: Firstly, I was greatly impressed with this chapter. I had been curious to see how magic would be handled in Middle-earth, and if it would properly capture the feel of Middle-earth. I feel that Steve and The Gang have managed to do this quite well (better, in fact, than any previous system, including Rolemaster or Merp). Great care is taken to insure that magic isn’t overpowering, and is intended for effect than for a representation of sheer force (though Middle-earth magicians and wizards can still accomplish major feats through the use of magic).
Mechanical rules for spellcasting are presented, including standard spellcasting (vocal and somatic), and the Weariness factor of spellcasting. Failure of a Weariness check might remind you of the meeting of the Fellowship and the Balrog in Moria, when Gandalf “…faltered and leaned heavily on his staff. ‘What an evil fortune! And I am already weary.’” (The Lord of the Rings, p. 321) Additionally, rules for combining spells (think Elrond’s use of the water of the Ford and Galdalf’s creation of the watery horses), counter-spells and magical abilities (like the shape-changing ability of Beorn in The Hobbit).
More impressive to me in this chapter, though, is the various magical variations and tools that are presented. For instance, does your wizard wish to be a wielder of the Secret Fire, like Gandalf? Then acquiring the Spell Specialty Order ability for wizard or magician and choosing Secret Fire as your specialty will make you more adept at those sorts of spells, such as the mighty Flame of Anor (that Gandalf used on the bridge in Moria). Do you want to have your character to have the ability to engage in epic duels with songs of power (like from the First Age), then selecting the Songs of Power spellcasting method would be the way to go. Want to be able to carve magical runes, to set on swords, armor or those infamous Dwarven doors? Then the Runes spellcasting method will get you there. Basically, if you can think of a way to cast spells, as presented in Tolkien’s works, then this system will let you. Each specialty has its benefits, but not all spells can be cast using all of the available methods, which is certainly fair and fitting. Sorcery and its spells are discussed, more for NPC tools than for PC use, as the use of Sorcery can lead to nasty Corruption effects for the character in question (this is discussed in the Coda rules chapter).
The most impressive element of this chapter to me, though, is on the ‘subtle magic’ of Middle-earth. This is primarily a tool of the Narrator, and can be used for dramatic effects for story purposes, though characters can certainly use subtle magic as well. Subtle magic can take many forms, from a tree planted by a hero, for a goodly purpose, always bearing fruit to sustain those who might feed from it, to the gathering of clouds and the feeling of wariness when heroes discuss Sauron at length, to the refreshing water of a stream that seems to take weariness from those who bathe in its waters. Subtle magic can also enhance spellcasting, when the Narrator feels it is appropriate (typically in dramatic, heroic situations). A fine example of this would be in the confrontation between the returned Gandalf the White and the Witch-king at the gates of Minas Tirith. Gandalf, perhaps, cast a spell like Evoke Awe, which would be quite potent by itself, but then, for dramatic effect, the subtle magic of Middle-earth kicks in, and,
“…a cock crowed. Shrill and clear he crowed, recking nothing of wizardry or war, welcoming only the morning that in the sky far above the shadows of death was coming with the dawn. And, as if in answer, there came from far away another note. Horns, horns, horns…Great horns of the North wildly blowing. Rohan had come at last.” (The Lord of the Rings, p. 811)
In this instance, the subtle magic would have probably allowed the sun to shine at that dramatic moment, providing a moment of weakness for the forces of evil, in particular the Witch-king who, while not fearing light, would not welcome it. Further, the carrying sound of the horns of Rohan would have brought an additional level of dismay to Sauron’s forces, as well as bolstering the forces of Minas Tirith. This mechanic is something that can greatly add to the Lord of the Rings setting and, while not having firm rules for its use is described well enough to allow me to envision a wide variety of uses for this tool in any Chronicle that I might Narrate. Subtle magic has many other uses, though, and to describe them in detail would take many pages, so I would instead encourage reading the chapter, but, for sake of completeness, subtle magic can be used for the following, in addition to other ideas that a crafty Narrator might come up with: the power of words (such as calling upon the Valar), oaths and curses, fate and foretelling and prophecy.
Finally, rules for enchanted and heroic items are presented. Enchanted items, are, well, items that have been empowered by spells, like Sting and Glamdring, the doors of Moria, some Dwarven toys, and Elven items like cloaks, rope and food (lembas). Additionally, some major items are explored, like the Palantiri (the Seeing Stones of the Numenoreans) and the Rings of Power, primarily the One, the Seven and the Three, though the Nine Rings of mortal men are mentioned, as are the lesser rings of power that came before the major rings. As mentioned above, heroic items are discussed in a sidebar. These are items that possess bonuses, but are not enchanted. They are items that have acquired special properties through legend and lineage, like Aragorn’s sword, Anduril. They make for a nice alternative to proper magic items, and allow characters to have items that are possessed of special qualities without having the characters loaded down with magic items. Additionally, heroic items allow for characters to, over the course of their lives, create items of legend though the use of ordinary items and dramatic heroism and success. For example, if a character starts off with a sword and, through the course of his or her career manages to defeat many enemies, particularly of a certain type, like Orcs, then eventually the sword may be shaped with the subtle magic of Middle-earth into a heroic weapon that provides a bonus in combat against Orcs, and provides a bonus to Intimidate Orcs. Naturally, there are a vast number of options for heroic items, limited only by the imagination of the players and the Narrator.
The Bad: The only thing that I disliked about this chapter was a lack of detailed rules for the creation of enchanted items. Granted that this information will probably appear in the upcoming Fell Creatures and Wondrous Magic book by Decipher, but, still, a little more explanation here would have been nice, especially in terms of applying spells to items, and how to make spells permanent on items. Still, it’s a minor thing, one that players and Narrators can work through, especially given the typical rareness of true magical items in the Lord of the Rings setting.
Chapter Eight – Axe and Sword: Weapons and Gear
At a Glance: A very short chapter, only 8 pages in length, which discusses the weapons, armor and other sundry equipment of Middle-earth.
The Good: Not really a lot to say here. Not that’s a bad chapter, but there’s just not much to talk about here. The concept of armor absorbing damage rather than increasing defense is a nice touch, and one that I whole-heartedly approve of. Armor styles seem to be relatively true to the Middle-earth setting, with nothing greater than plate mail (presented as chainmail with plates). Armor-wearing heroes will be pleased by a relative lack of Nimbleness penalty for wearing armor (the biggest penalty should be -1 to Nimbleness tests, -2 for an Orc Hauberk). Mithril is addressed, and seems to be quite powerful (as it should be, in terms of protection), and is balanced by its rarity. For example, Frodo’s Mithril Chain would absorb at least 16 points of damage per strike (5 from being Chain, 1 from Masterwork and 10 from being Mithril). Thus, it’s easy to see how a mighty orc chieftain with a spear would only cause bruising damage to him.
The Bad: I really feel that this chapter could have been expanded on. I realize that adventuring in Middle-earth isn’t about having a pack with candles, string, a mirror and other typical adventuring equipment, but a bit more equipment might have been nice (for instance, the inclusion of the two-handed sword). Additionally, a greater variance for weapon damage might have been nice, but given that we’re working with only 2d6 here, it’s acceptable enough. There also seems to be a bit of errata needed for this chapter, particularly for shield parrying bonuses and ranged attack penalties, and the protection value of Mithril (which appears as 10 here, but 12 in another chapter).
Chapter Nine – Good Words and True: The Coda System Rules
At a Glance: This chapter details the Coda system rules. It includes rules for skill tests, actions, combat and ‘unseen attacks’, such as Fear and Corruption. Additionally, rules for running battles can be found here, as can managing unit combat. Also, rules for buildings and sieges can be found here. Injury and healing is covered, with topics like injury effects, ways of healing and the times involved. Also, Weariness is addressed again, this time in general terms (unlike in the Magic section) and the effects of encumbrance on Weariness. Damage is discussed as well, including various types of damage, such as falling, fire, drowning and poisons. Finally, the previously mentioned travel matrix can be found at the end of this chapter.
The Good: Understanding how the Coda system works is a relatively easy accomplishment, as the system is simple (though not so simple that it seems simplistic) and easy to follow. Rules for various actions and tests are provided, with easy-to-access tables found throughout the chapter. Rules for ‘impossible tasks’ are presented here, with the suggestion of spending a Courage point (or more) to be able to attempt the impossible. Also, rules for Contests of Will are presented (such as the contest between Aragorn and Sauron for the dominion of the Orthanc Palantir). Reactions are also discussed, with some example reactions presented. The combat section is short (which can be good and bad), and pretty straightforward, with a variety of options presented, including options for greater than normal successes. The rules for battle resolution are pretty straightforward as well, and are good if the players don’t want to play round-by-round through a large-scale battle, or if combat units (such as cavalry or archers) are employed. It is my understanding that these rules will be expanded on in the Two Towers sourcebook, which is due out next year. Still, they seem sufficient, as presented, for large-scale combat resolution. Finally, the travel matrix is useful for Narrators and players that want to use quick numbers for the estimation of travel times across Middle-earth. Included in the travel section is a variety of modifiers for travel speed, which will help in speed and travel time estimation.
The Bad: Ok, here’s the part I’ve been dreading. After reading my section on the Magic chapter, it might seem like I’m a fanboy or some such, but this section probably will wipe those assertions away. While I appreciate the simplicity of the Coda system, I think it could have stood for some tweaking and playtesting (particularly the combat system). Movement actions are discussed, and the Run skill is mentioned, but the Run skill appears to only be primarily useful in combat (for combat maneuvering). Additionally, movement speeds mentioned in the Movement Action section don’t seem to match up with the Movement Rates in the travel section (for instance Sprint as a Movement Action is approximately 12 miles per hour, while Sprint in the Movement Rates section is only 6 miles per hour, before the addition of any other modifiers). There are references to casual movement and tactical movement, and with some flipping between the sections and a bit of thinking a suitable answer can be deduced, but having this a little clearer would have helped things out.
Next, combat. At first glance I was pleased, but as I re-read this section, I found that I had some issues. First, the topic of initiative. The rules state that initiative is determined with an initiative test, “…which is conducted exactly like a Swiftness test.” (p. 226). Additionally, in Chapter Six, the Wary edge states “You receive a 3 bonus to Swiftness tests to determine initiative.” (p. 153) Still, on the character sheet, it’s indicated that initiative is determined by the characters Nimbleness modifier, plus any Miss. Modifier, plus (presumably) 2d6. Like a Swiftness test? Sure, but, by the same token, all tests use the base 2d6 mechanic, so noting that it’s “like a Swiftness test” isn’t all that clear. A clarification (or an example of a combat round) would have been nice, I think.
Combat actions come next. At its most basic, characters have an allowance of 2 combat actions per round, which is fine, as there are abilities that can grant more actions for characters. Some of the action costs, however, seem a bit odd to me. First, Dodge and Parry/Block. If a character spends a combat action, he or she may Dodge for an entire round, using a Swiftness Reaction ( 3 if the character has the Dodge edge), yet, if the character wants to block or parry, he or she must spend an action for each block or parry action that the character takes. Again, this seems odd. It would seem that, in terms of combat movement, one would be actively blocking and parrying anyway (unless the character, after swinging his sword, simply drops it down to his side and waits to attack), while he can use movement to avoid blows with no greater cost in terms of combat movement than one swing of a sword. Personally, I’d like to see a bit of reasoning behind this, or some clarification. Then come the offensive actions. The rules imply that swinging a two-handed weapon (or a longsword, for instance, with two hands) takes 2 actions, as opposed to the standard one. Personally, I don’t see the use of a longsword with two hands that much slower than using a longsword with one hand, though, from a game-mechanic standpoint, I see that Decipher is trying to off-set the bonus to damage that a two-handed attack gives. These are relatively easy fixes for a Narrator, but take some time to find, so a group may find that the first few combats are a little slow, as everyone adjusts to the system, and rules alterations and clarifications are taken care of (should they be felt necessary).
Chapter Ten – Saga and Grandeur: Elements of Epic Fantasy
At a Glance: This chapter begins in earnest the Narrator section of the book, and deals with Chronicle (campaign) design and implementation, weaving the various backgrounds and goals of characters together, as well as integrating them into the world of Middle-earth. The concept of Epic Fantasy is explored, along with its various elements, such as the world itself, goodliness, the concepts of good and evil, questing, the use of subtle magic, the use of tragedy, and fate, free will and using prophesies.
The Good: At its most basic, this is an excellent chapter, and can benefit even the most seasoned Narrator, though beginning Narrators will probably find the greatest level of usefulness in this chapter. The elements of Epic Fantasy, something so obvious for a Tolkien setting, are explored at length and, even though this isn’t a long chapter, is packed full of great tips for Narrators. Again, a good read for anyone who is a Narrator, or who aspires to be a Narrator.
The concept of the naďve hero is readdressed here at greater length, as is the concept of the questing character, whose spiritual and personal journey mirrors the progression of the Chronicle. I find it refreshing that roles are suggested for the beginning player (the naďve character) and the more seasoned character (the questing character). These are nicely illustrated from the novels by the characters of Frodo and Aragorn.
Additionally, this chapter has the basic information for running a Chronicle, and how to integrate the epic adventures of the PC’s into the already epic landscape of Middle-earth. Suggestions are given for starting a Chronicle, with an excellent suggestion of breaking down the Chronicle for ease of handling and preparation.
The Bad: The only potentially negative thing about this chapter is that, to a beginning Narrator, it may come across as a bit daunting to try and run a ‘Tolkienesque’ Chronicle, and this chapter doesn’t really seem to dispel those thoughts. I have, for instance, been a Narrator (Gamemaster, Dungeonmaster, what have you) for over a decade, but I still found this chapter to be a bit daunting in terms of the challenge that Steve and The Gang lay at the feet of the future Chronicle Narrator. Perhaps, though, this isn’t so much a bad thing as it is a potential eye-opener and preparatory tool. I suppose it’s up to each individual Narrator to decide.
Chapter Eleven – Storied Heights and Firelit Halls: Creating and Running the Chronicle
At a Glance: This chapter explores, at greater length and with greater detail, the running of the Chronicle. The role of the Narrator is explored, as is the basics of creating a Chronicle, story elements for the Narrator to use, and potential types of Chronicles for the Narrator to consider. Also, experience and rewards are discussed in this chapter, as is the spending of Advancement picks. Finally, Renown is addressed, and potential Renown rewards (called Renown Triggers) are discussed
The Good: This is another good chapter for any Narrator to explore, though the section on experience will benefit the beginning Narrator more than the experienced one (no pun intended). The expectations of the Narrator are a nice inclusion, and will help to shape Narrators for greater effectiveness (by letting them know what they really need to know, as opposed to trying to know everything, which can be a bit daunting). The section on Chronicles and Chapters is helpful, particularly in discussing the concept of story arcs, which, again, may help to take some of the pressure off of an already daunted Narrator. Suggestions for creating characters to fit the chronicle that the Narrator wants to run seems a bit obvious, but still bears mentioning, and the section using the three-act model (used primarily in television) can help Narrators to better envision the unfolding story of their Chapter and Chronicle.
The section on story elements is also useful. Providing tips for NPC development can certainly help a Narrator, particularly for a setting like The Lord of the Rings, where characters, even supporting ones, are often given a greater level of detail than one would typically find in other settings. The Rules for Tolkienesque Drama was a section that I particularly enjoyed, as it’s useful for both Narrators and players alike. Pacing is also discussed, and the concept of combat pacing (applying a necessary number of successes to defeat an opponent rather than simply whittling away his health) is presented, and seems to be a worthy inclusion to the game, especially if you want your legendary warrior to be able to beat back dozens of Orcs! Another section about combat, concerning wounds and healing, provides an interesting insight into the heroic character and his often lack of physical injury (something that I hadn’t really considered before, but certainly fitting within the context of Tolkien).
Finally, different types of Chronicles are detailed, with suggestions for either before the War of the Ring, the War of the Ring, and the Fourth Age (after the War of the Ring). A short timeline is presented detailing the time from Bilbo finding the One Ring to the beginning of the War of the Ring. Suggestions for Chronicle locations are also offered, with a variety of interesting suggestions. The War of the Ring is offered as a Chronicle suggestion, with proper warnings about affecting canon (and the positive and negative ramifications thereof). An interesting sidebar presents the notion of playing the Fellowship, or replacing Fellowship party members with their own characters. Finally, the Fourth Age campaign seems to present a variety of options, particularly if one wishes to avoid changing events too much (for good or ill). For First and Second Age fans, suggestions are provided for running Chronicles in these legendary times (though, due to licensing issues, they cannot really be explored at great length by Decipher).
The section on experience is pretty basic, and easy to follow, with a table showing the costs of various character advancements, presented in terms of Advancement pick cost. This would probably be a table worth reprinting for players, so that they can have an idea of how they want to plot the advancement of their characters. There is also a small section on having characters of varying advancement in the same party (with the Fellowship as the example), or simply having characters start with more advancements. Pretty basic stuff, really.
Finally, Renown is addressed, as is the issue of Renown awards (triggers). A nice table is presented with samples of actions and deeds that can warrant the awarding of Renown, though PC’s can also purchase Renown with their Advancement picks.
The Bad: Again, not much to find fault with here. A discussion of awarding Courage points for heroic or dramatic deeds would have been nice, rather than expecting players to simply purchase more Courage (at a rather steep cost).
Chapter Twelve – The Fear and the Shadow: The Enemy and his Servants
At a Glance: This is the basic ‘bad guy’ chapter, with information on a few select NPC’s (The Witch-king, The Nazgul, Saruman, Gollum and Wormtongue. Information on basic enemies, such as Orcs, Uruks (the Uruk-hai), Half-orcs and Trolls, as well as Fell Beasts and Monsters, such as the Balrog, Shelob, the Fell Beasts of the Nazgul, Wolves and Wargs are presented here.
The Good: The basic opponents are presented, as most characters will be fighting against Orcs, Trolls and Wolves (and Wargs). Certainly, I wouldn’t anticipate combating the Witch-king or the Nazgul, but they make for a nice representation of the power of the forces at Sauron’s disposal. Sauron, too, is discussed in this chapter, though no numeric values are given to represent him (not that he really needs them, anyway!). There should be enough stuff here to keep PC’s busy for some time, at least until the Fell Beasts and Wondrous Magic book comes out.
The Bad: There’s a nice selection of basic enemies, but more notable enemies, perhaps of more varied advancement, would have been nice. Granted, most of these will appear in various sourcebooks, so the attempt to avoid future repetition is noted and appreciated, but some mid-advancement enemies would have been useful to help design NPC’s for the PC’s to combat. Additionally, a greater selection of Monsters would have been nice, but, again, this avoids overt repetition as these will appear in the Fell Beasts and Wondrous Magic book, due out ‘later’. Also, I was surprised to see the inclusion of the Werewolf, which I had thought only appeared in the Silmarillion (though I could be wrong). Not a bad, really, but just a surprise.
Summary
Like all games, The Lord of the Rings has its good and bad points (which I’ve hopefully illustrated in a fair and critical manner). As I’ve noted, the game has some (to my mind) issues, but I feel that these can be resolved with relative ease (probably with a FAQ and some errata).
I feel that the Core Book could have warranted a higher rating with a more (or any?) playtesting, aside from the workout that the Coda system rules got during the Star Trek game design phase. Still, as I’ve noted, I don’t feel that any of the issues with the game are so great that they can’t be solved with a bit of player-Narrator thought and creativity.
All in all, it’s a product that I’m pleased with, and glad that I purchased, and I look forward to future products for the Lord of the Rings in the future.
Thanks for reading, and happy gaming!
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