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 This is Hero Wars, 2nd edition
I know it's been reviewed several times already, but If there's been a game that has dominated my gaming over the past two years it has been HeroQuest. I played in a Arthurian Britian game, and for more than a year I've narrated an epic level game set in Glorantha, I've participated briefly in low-level localised Glorantha game, and have recently joined a French-language HeroQuest game in the D&D world of Mystara. I'd previously purchased and have since played one-off sessions of Hero Wars, the ill-fated first edition that came with so many new ideas but suffered from various layout, indexing and style issues. Once one got past these glitches it must be remarked that Hero Wars was quite a solid game in its own right, and indeed in some minor ways better than its prodigy.
You may read on the Issaries Inc FAQ for HeroQuest that HeroQuest is not a Hero Wars 2nd edition, even though it "uses the same basic rules system", but "every section and element has been streamlined and revised". That certainly sounds exactly like a second edition; indeed the difference in the rules is about the same between 1st and 2nd edition AD&D. Even Lee Moyer's cover art of a conflict between a leotard clad Orlanth and the Red Goddess is virtually identical. Frankly, to claim that this is not Hero Wars 2nd edition is nonsense and annoying. But I won't let their marketing strategy affect my review of the game.
The new edition comes in solidly-bound softback in the standard A4 size for RPGs. It has a good table of contents, a comprehensive (although less than perfect) index and a glossary of essential terms. There is an excellent use of content per page with the slight margins indicating the subchapter. The text has a two-column layout with the use of a readable sans-serif font, and icons to indicate "sidebar" discussions for players, narrators, examples and so forth. The examples, liberally dispersed throughout the text, are written in an 'actual-play' style, along with expressions of uncertainity, confusion, inter-party gibes and a plethora of bad puns. The artwork is invariably contextually appropriate and comes from a very stylistically diverse range; some of it's pretty average, most of it is quite good, but none of it is brilliant; some of it, it must be said is recycled from decades past.
In total there are fourteen chapters and appendicies, which can be considered in three blocks of character generation and advancement plus core rules, the various magic systems (basic, theism, animism, wizardy), and a narrator's section (narration, heroquests, creatures, Glorantha, sample adventures). Sometimes the organisation of the text is not the best, to say the least; for example, new skills an occupations are often scattered within the magic section rather than the character generation section. This is common throughout, and leads to significant page-flipping in actual play making the index more of a necessity than an aid.
In Glorantha's Hero Wars, You can be a Hero!
The default setting for HeroQuest is the mythical magical world of Glorantha, explored by a multitude of gamers since the publication of White Bear, Red Moon over thirty years ago and made famous by the early editions of RuneQuest. The world is a flat, giant lozenge floating in an eternal ocean. The sun is a god who travels across this landscape. Myths are real and repeating them will gain you the magic from that story. The period of time when the game is the "Hero Wars" when dramatic changes are occuring all around the continent if Genertela, and the PCs are more than a little above average to deal with those circumstances.
Character generation occurs in one of three methods. In the 'narrative method' you write up a background paragraph of 100 words, selecting three words to be 'keywords' (culture, occupation and magic) which start at 17 and other abilities which start at 13 and with 20 points distributed among the latter. In the 'list method' the player chooses their three keywords and adds another 10 abilities and up to 3 flaws, again with 10 points allocated to non-keyword abilities. The final method is 'as you go', quite literally to be made up during play. HeroQuest's character generation method is brilliant for designing characters in a hurry; if you're late for a game you can start play almost instantly by simply describing the keywords of a character, as these include a set of abilities in themselves ("I want to play an Heortling Law-Speaker, Initiate of Lhankor Mhy"). The occupations the generic fantasy adventurer type as well as all the normal people in normal society, something that its regrettably rare in many RPGs.
As described a keyword is a hero's culture, occupation and magic. These are all supposed to start at 17 and cannot be modified, although the sample character sheet has one at 20, which confused the daylights out of me until I reached p178 where it discusses giving older characters extra points for their keywords to represent experience. An ability is pretty much anything a character can do. It is used to represent physical attributes, skills, knowledges, personality traits, social relationships, the loyalty of followers, wealth and posessions.
The fact that these are all described with both the same rating and resolution system is extremely elegant and one of the best things about the game. The support material, over twenty-five pages of describing typical abilities for various occupations and various homelands throughout Glorantha is also extremely helpful. Indeed, it's necessary as what actually constitutes an ability is open-ended and ambigious. Narrator's can intervene in the assumed attempts to have broadly defined abilities, but sometimes I found that abilities seemed too narrowly-defined - such as the different magics required for "Sharpen Sword" and "Sharpen Axe" (p29). Despite this, the overall scope and general consistency of the abilities is nothing short of excellent.
This is a Narrativist System that uses Conflict Resolution
Abilities are rated in HeroQuest with the values from 1-20 and potentially with a number of "masteries" above that, represented by a number after the mastery Rune, W which can be used in conflict resolution to improve a character's result and decrease an opponents. Thus a character who succeeds with an ability of 15W2, may first 'bump' their success to a critical and then 'bump' down their opponent's roll by one level. The magical ability of a minor gods is about 10W4 level, whereas a swimming conflict against Magasta's Whirlpool is 10W10. As you can see, the system scales, and quite neatly at that. When engaged in a simple conflict a roll-under resisted d20 roll is made with an ability - any ability - and compared to that of an opponent's, with a default resistance of 14 if there is no active opponent. A roll of '1' is a critical and a roll of '20' is a fumble. Using an inappropriate ability will result in a modifier with examples of using Sword Fighting when wielding an axe (-5) to using Ride Horse to Surf Waves (-20+).
When the result of the opposed rolls are compared a result to the conflict is generated. A success versus a failure, for example, results in a "minor victory", whereas a "fumble" versus a "critical" results in a "complete defeat". Note that this is a conflict resolution method, not a task resolution. Being on the sample end of a "complete defeat" in a combat situation, doesn't necessarily mean that the character is dead or dying or has even taken any damage at all, although that is certainly listed a "sample consequence". One of the more questionable results is the way that this method conflates abilities with their potential effects. The same system is used for a variety of situations, and example consequences are provided for climbing, combat, finding your way, romance and social conflicts.
This is a narrativist system. By this I mean that there are elements in the game system which encourage thematic considerations, allow character determination and follow a 'narrative' flow of play. For example, ability ratings can augmented by similiar appropriate abilities which has an interesting narrative feel to it. If you hate your opponent for example, you could get a bonus in combat against them. Usually this is a simple 1/10th of the ability rating, but there are options for a more random - and sometimes negative - value. Systematic character input is expressed primarily through Hero Points. A PC starts off with 3 of these and receives an additional 1-5 at the start and end of each adventure. Now normally these are used to purchase extra abilities or improve existing ones. But they can also be used in play to bump results, just like a mastery. Narrativist flow is represented in the fact that each attempt of conflict resolution is an abstraction of a totality of attempts. If your PC is defeated in a 'pick locks' attempt, they can't have another go - the reel rolls on, and the character just has to deal with the failure.
A further narrativist component is extended contests. These represent cinematic conflicts which provide the feel of a "back and forth" struggle of import. In an extended contest, characters determine which ability they are initially going to use and total that rating as "Action Points". Thus a character with an Seamanship of 15W starts with 35 Action Points against whatever ability their opponent(s) are using. They engage in bidding a number of these action points and engaging in the conflict resolution to (hopefully) reduce their opponent to zero or less which will determine their consequence rating. The general rule of thumb is to bid cautiously initially to find out what is the most appopriate ability to use - yes, you can change this in the middle of the conflict, although your Action Points won't change.
Personally, I've never liked the Extended Contest system, preferring to run multiple simple contests instead. Extended Contests involves far too much book-keeping in a game which is usually at pains to avoid such number crunching which breaks the feel of dramatic tension. However it is the only resolution method which includes the possibility of both the winner and loser receiving negative consequences (through desparation stakes and parting shots), and differentiates between ability and effect (through edges and handicaps, which received much more prominence in Hero Wars). Also, both Simple and Extended Contests have a pretty whacky probabilty chart. Note in particular how rare complete victory and defeats are. When confronted by an opponent of equal value one will probably have to spend at least two Hero Points to ensure a "complete defeat". Again, despite these criticism, I largely approve of what is being attempted here and how it is implemented.
This is a World of Magic
Taking up about a quarter of the book is descriptions of the four types of magic in HeroQuest, i.e., Basic Magic, Animism, Theism and Wizardry. Notably absent is the Mysticism which was a significant part of the Hero Wars edition. The general rules are as follows; magic works "here, now and against that" and. very importantly, it is quite visible and obvious. If you want it to last further, longer and against multiple targets there will be additional penalties. There is various magical abilities which are inherently and especially hard because of the nature of the game world. This includes things like teleport, mind reading, invisibility and other alleged game breakers.
A useful Venn diagram explains the difference and similarities between the different types of magic. Theism is about gods, souls and worship through sacrifice. Animism is about spirits and worship through ecstatic rites. Wizardry is about scriptures, essences and worship through veneration. There are crossover points, such as supernatural aid, common to both wizardry and theism and supernatural helpers, common to theism and animism. Common magic is common to all three types. Magic can either be concentrated, meaning the user can only use one type, or paid for at a cost of double Hero Points. Sometimes cults engage in "misapplied magic", such as using ecstatic rites to worship a deity. It still works, but there's a penalty for doing so.
Theists follow pantheons, become worshippers, then initiates, perhaps concentrating as a devotee, and perhaps becoming an occupational priest. Each of these include their own abilities, benefits and obligations, perhaps the most important being the ability to pray for divine aid. Nine pages is dedicated to describing sample religions and the divine landcape. In contrast animists have traditions which contain one or more practises, but which they can become a spiritist, get spirits and charms, perhaps advance to a practitoner and have allies, and, as full-time occupations, become a spirit-talker. Like the theist section almost a dozen pages are dedicated to sample traditions, practises and the spirit world. Finally, the Wizardry section refers to organisation through Churches, the joining of Saintly Orders, attending schools, becoming a lay members, a liturgist, learning scriptures, becoming an orderly, or as a occupation, a clergyman, apprentice, or wizard. Wizards get to do things like call for miracles (incredibly rare) as well as the more mundane casting of blessings or curses. Like the other forms of magic, ten pages is dedicated to sample churches and the essence landscape.
This very brief summary doesn't really explain the degree of complexity that is involved in the three forms of magic or even the complexity within each chapter. Whilst it is understandable after several readings how the various magic systems works and interrelate with each other, along with the detail and variety that its on offer, it is not surprising that first time readers find the four chapters confusing to the point of being as clear as mud. These are almost universally considered badly written and somewhat poorly organised chapters; yes, I blame the writing more than the organisation. There is a reasonably good magic system once you manage to look through the almost opaque window, which give great (but limited) powers to animists, slowler but ultimately more powerful abilities to wizards, and with theists in the middle.
Your Glorantha Will Vary
Some ninety pages are dedicated to what most would consider the chapters most appropriate to help out the GM or, in HeroQuest terms, the Narrator. This includes chapters on Narrating, HeroQuesting, Creatures, Glorantha, and some sample adventures. The Narrating chapter is surprisingly (in comparison with a lot of the book) well written, giving clear examples of the management of abilities, ratings, and Hero Points, and how to play out and narrate contests. The chapter on HeroQuesting states the general rule of "Do the Story, Get the Magic", and explains how, through ritual recreation of the stations of a myth, it is possible for a character or group of characters to make the crossing to one of the "non-mundane" worlds, receive the magic embodied in the myth and, if they are very skilled or lucky, even make changes to the myth itself.
Almost twenty pages makes up the Creatures chapter which gives descriptions and statistics for over fifty of the most common creatures in Glorantha, including most of the mainstream sentient beings like Elves, Dwarves, Broo, Trolls, Dragonnewts and the like... like Ducks. For those unfamiliar with Glorantha, these beings are alien. Elves aren't humans with pointy ears who frolick in woodlands. Elves are walking, sentient plants, with leaves growing out of their stringy hair and bark-like skin. Glorantha has always been especially cool in the way it has presented its inhabitants and it continues to do so. One aspect which does bug me in the presentation of other creatures is the question of what default abilities they have; little information is providing on this matter and strictly according to rules, everyone has a minimum rating of '6' in everything.
A short chapter gives an overview of the mythic age, history and current circumstances of Glorantha with special emphasis on the central region of Dragon Pass, including the classic regional map by William Church from RuneQuest (2nd edition). The excellent four sample adventures that follow are all nominally based in the Dragon Pass region as well, allowing a GM to start running the game with a minimum of fuss. In addition, they are designed to easily run in sequence with each emphasising a key aspect of the rules and system. "High Pressure Front" involves a paying the ransom for the chieftan's son who has been stolen in a raid by a neighbouring tribe. In "Chasing Kites", the PCs are involved in a wild chase to save a clan's treasure and have to deal with madmen and othewordly beings. In "Fish Rain", unusual climatic change (as the title indicates) leads the PCs in a strange quest helping a minor God. In the final story, "Heavy Earth", the laws of physics take a beating as the PCs have to defeat a minor God who has altered the effects of gravity.
A Good Effort
HeroQuest is an excellent effort and is perhaps deserving of being considered a bit of a poster-child for narrativist, conflict-resolution systems with a highly unified mechanic.
In terms of style, the physical product itself is slightly above average, as with the layout and art. The product's readability could certainly do with substantial improvements, especially to improve the character generation chapters and the magic chapters. Finally, in both of setting and rules, this product does get bonus cool points, and certainly for its capacity to open one's eyes to a new style of playing.
Style: 1 + .6 (layout) + .5 (art) + .9 (coolness) + .3 (readbility) + .6 (product) = 3.9
In terms of substance, the game has a wide-sweep in terms of content, highly adapatable and scalable. The various examples and hints add significantly to the text. The game is a great deal of fun to play which is aptly helped by a flexible and fast character generation and resolution system. Whilst attention to consistency in the game could have been improved somewhat, the system as a whole receives a definite stamp of approval.
Substance: 1 + .8 (content) + .7 (text) + 1.0 (fun) + .4 (workmanship) + .8 (system) = 4.8
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