Press Release: Green Ronin to Release Cinema & Sorcery

FOR IMMEDIATE RELEASE

GREEN RONIN TO RELEASE CINEMA & SORCERY

The Comprehensive Guide to Fantasy Film in Stores This June

May 9, 2016–SEATTLE, WA: Green Ronin Publishing announced today that Cinema & Sorcery: The Comprehensive Guide to Fantasy Film is at print and will be in stores in June. The book, by authors Arnold T. Blumberg and Scott Alan Woodard, features a full chapter on each of 50 sword and sorcery movies, from The Thief of Baghdad to The Hobbit: An Unexpected Journey. It then provides shorter write-ups of over 400 additional fantasy films!

“Cinema & Sorcery has been five years in the making and we think it shows,” said Green Ronin President Chris Pramas. “Arnold and Scott researched every aspect of these films and the result is something special.”

The main entries include behind the scenes stories and notes on the critical reception of each production, so readers can understand how these films got made and what sort of impact they had. The entries also discuss gameable elements and include an overview on what was happening in gaming during each movie’s year of release. “These films were such an inspiration to gamers and we are, of course, a game publishing company,” said Pramas, “so we wanted to highlight the connections between our two industries.”

The Cinema & Sorcery e-book is available now. Those who pre-order the print book from https://greenronin.com/S1S9K can get the e-book (in epub, mobi, and PDF formats) for only $5. The print edition is at press now and will be in stores in June.

You can read a sample chapter from Cinema & Sorcery at https://greenronin.com/7QzI1. To keep up with news about the book and other Green Ronin releases, please visit https://greenronin.com/.

 

Cinema & Sorcery: The Comprehensive Guide to Fantasy Films

Author: Arnold T. Blumberg and Scott A. Woodard

Format: 496 page softback, 7.25” x 9.5”

MSRP: $29.95

Product Code: GRR4003

ISBN: 978-1-934547-71-7

Release Date: June, 2016

From the dawn of feature films, fans—be they artists, gamers, visionaries, writers, or dreamers—have drawn inspiration from the big screen. Now, between the covers of Cinema & Sorcery, embark on a decades-long journey through time from the earliest days of sword and sorcery films up to the present day. Learn the who, the what, the where, and the how of your favorite fantasy movies (and perhaps a few you may have never even heard of until now). Fifty films are covered in great detail, followed by shorter entries for every fantasy film we could find. So turn up your Krull soundtrack, slip into your Labyrinth t-shirt, and brush up on your Princess Bride quotes, this is Cinema & Sorcery: The Comprehensive Guide to Fantasy Films!

 

About Green Ronin Publishing

Green Ronin Publishing is a Seattle based company dedicated to the art of great games. Since the year 2000 Green Ronin has established a reputation for quality and innovation that is second to none, publishing such roleplaying game hits as Fantasy AGE, Dragon Age, and A Song of Ice and Fire Roleplaying, and winning over 40 awards for excellence. For an unprecedented three years running Green Ronin won the prestigious GenCon & EnWorld Award for Best Publisher. Last year it worked with Wil Wheaton to create the Geek & Sundry web series Titansgrave: The Ashes of Valkana.

 

Green Ronin Media Contact

Nicole Lindroos

nicole [at] greenronin [dot] com

Ronin Round Table: Share Your Enthusiasm

People often talk about how important “word of mouth” is. About how important it is to get people who like something to talk about that product or service, because it can have such a huge impact on others who are interested, but haven’t made up their minds yet. That’s where you come in!

In the age of ordering online and downloadable PDFs, word-of-mouth is more important than ever, because curious shoppers can’t page through a book before buying it like they can in your favorite local game store. Sure, people can read the description of a book or game on a company website, but that stuff is written specifically to make it sound as interesting as possible and to get you to buy the book. What curious gamers really need when they’re visiting a site like DriveThruRPG or Amazon are reviews from people who’ve already downloaded, read, or played that game.

You’ve probably been in that situation before; “This looks interesting, but how good is it really? How’s the art? What sort of rules crunch is inside? I can’t tell.” And what I’m hoping—what I’m asking—is that you take some time to leave a review for our games and sourcebooks after you have a chance to read through or play them.

Green Ronin’s been around for well over a decade now, so the quality of our games is well known to our fans and in the gaming industry, but for new players or people who are curious about what we make, reviews are very important.

So, if you enjoy a Green Ronin game, book, supplement, or PDF, please share your enthusiasm! We’re not looking for you to stroke our egos since that doesn’t really help anyone—and we’re not looking for feedback about why you hate a thing because it’s the sort of thing you hate. What I’m asking is that once you’ve had time to think about what you’ve purchased, that you go back to the site you bought it at and give us a star rating—or even better—write a short review about what you liked and what you thought was lacking. That helps curious shoppers make more informed decisions, but also gives us designers, writers, and developers tips on how to improve.

If you picked up the Cosmic Handbook, Fantasy AGE, Titansgrave, the Song of Ice and Fire RPG, or any of our recent PDF releases, like Freeport’s Curse of the Brine Witch, Rogues Gallery: Chakram, or any of our other games, please take a few minutes and write a review. We’d all really appreciate it and so would all those people who look at those supplements after you!

Thanks!

Jon Leitheusser

M&M Game Developer

 

 

Book of the Righteous Interview: Aaron Loeb

On Monday I interviewed Robert J. Schwalb (you can read that here, or here, if you missed it). Today I’ve got an interview with the man himself, The Book of the Righteous author Aaron Loeb! He is in China on a business trip but still found time to answer my questions. Thanks, Aaron!
Aaron Loeb

Aaron Loeb

Q: About six months ago you texted me one day and asked, “Why isn’t there a 5E version of The Book of the Righteous yet?” What made you feel like the time was ripe for a new edition of the book?

A: When 3E came out, there was a lot of excitement about it. It was like the D&D we grew up loving was having a re-birth. I got that same feeling from 5E. And it’s been over a decade since we released the original, so I thought now might be the right time to bring it back as new players are coming into the game — or others are returning — due to 5E.

Q: When you were writing The Book of the Righteous, was there a particular type of gamer you had in mind? Or did you try put in something for everyone?

A: Yeah, it was definitely for the hard core roleplayer. There was a lot of “crunch” in it — a lot — a whole new class, prestige classes, tons of spells and artifacts and monsters. But at its heart, the book is for people who want to have their character’s or their campaign’s mythology have depth to it. It’s so rewarding when you’re playing a character whose powers come from a religion to have a deep mythology to draw on.

Q: You’ve run several campaigns using The Book of the Righteous cosmology. Any tips you want to pass on to GMs planning to do the same?

A: Once you have a meaningful religion in your campaign, it opens up whole new plotlines and conflicts — and not just for the characters with religious powers. Every character in the campaign can, if their players are interested, have a meaningful relationship with their god and it can lead to compelling storylines for them as well. Sometimes it leads to conflicts within the party. It opens up a whole new area of mentors and trainers for all the characters, and new justifications for quests.

In campaigns most of my life (I’m not sure about others), the religious characters have some basic idea of what their religion is. Sometimes they even developed pretty deep background on their churches. But the other players didn’t necessarily have any connections to their religion or church. They didn’t have any reason to develop what their character thinks about the other character’s religion. And of course, there were those campaigns where one player worships Thor and another one worships Zeus or something, and it always felt like the less said about religion the better — because the very topic would break the bubble of the fantasy.

Q: Before he moved into the game industry and went to work at Wizards of the Coast, Jeremy Crawford was in your game group. Was there one of the gods he particularly favored? 

A: Yes, indeed! We had a great long campaign where he played a scholar of Tinel, a 60 year old wizard. It was a great example of religion playing an important role for a character without religious powers as he was a scholar in a Tinelite lyceum. I still remember his character’s regular cries of “Outrageous!”

Q: Your day job is in video games. Can you tell folks what you do, and how it relates to your roots as a tabletop gamer?

A: Sure! I’m the President of Worldwide Studios & Live Services at Kabam. We make mobile games, with a focus on games that are massively multiplayer — meaning games with deeply-embedded competitive and cooperative gameplay. Our games include Marvel: Contest of Champions, which is one of the most popular mobile games in the world.

Core tabletop roleplaying systems are at the core of nearly all of our work, because our games are services that last for years. Tabletop roleplaying games pioneered the game design concepts around continued character development over years and years. When you look at RPG design, you can think of good design as a series of connected gears — some large, some small. Just as you advance one gear, it advances another, but now creates a new challenge or set of choices to advance a different gear. For instance, every time you play, you gain experience points, constantly advancing one gear that eventually triggers a level. Every time you turn the level gear, you advance other gears — powers, spells, etc. And each of those has embedded within them their own systems that involve interesting choices and challenges.

This all comes from D&D and other tabletop games and it is at the heart of nearly all game system design for massively multiplayer games in the modern era.

Thank you, Aaron! We are closing in on $14,000. Hopefully, we will have The Book of the Righteous funded by the time you get back from China. 

Book of the Righteous Interview: Robert J. Schwalb

Reposting from yesterday’s Kickstarter update, here’s an interview Chris did with Book of the Righteous developer Rob Schwalb:

Today I’ve got something fun for you: an interview I conducted with Robert J. Schwalb. Thanks to Rob for taking time out of his weekend to answer my questions.

Robert J. Schwalb

Robert J. Schwalb

Q: You’ll be developing the new edition of The Book of the Righteous and working on the rules design with Rodney Thompson. What’s the most exciting part of the project for you?

A: A billion years ago, when I was getting my start in the business, The Book of the Righteous was one of those books that left me astonished. It really was one of the high-water marks for d20 publishing and few supplements have ever come close to the imagination, the comprehensiveness, and the utility found in its pages. Further, it screamed to be used. You could pick up the book and build a world around it or just pull out the pieces you needed to flesh out your existing campaign. The chance to help bring this mighty tome to 5th Edition is both intimidating and exciting. The whole project is awesome and I’m thrilled to have the chance to bring this book to a whole new crop of D&D fans.

Q: What do you think your greatest challenge will be?

A: What made BotR such a powerful tool was that it took full advantage of 3rd Edition’s mechanics. Not only did the book produce a new class (the holy warrior), it also introduced a swathe of prestige classes, spells, feats, monsters, and more. Two editions later, we find D&D in a very different place from how it was almost fifteen years ago. We don’t have the same mechanical buckets into which we can chuck the various options. A domain, for example, is now a far weightier game object than it was in 3rd edition. Rather than go back to the prestige class well or try to emulate 3E design, Rodney and I are taking the story and finding the best way to express it through the current mechanics. In some ways, it’s like starting from scratch. Some might be simple, needing only to point toward an existing option in the game, but most will require entirely new design. Rodney and I will create new domains, oaths, and options for other classes as well. Each needs to stand on its own and be portable to other cosmologies/pantheons to ensure maximum usage.

Q: You wrote The Unholy Warrior’s Handbook, which was a sort of sequel to The Book of the Righteous. Are you going to fold any of that material into the new book?

A: Whew! That takes me back. Whether or not we get to incorporate any material from that book depends on how many pages we get to play with. I would love to include paladin oaths for Thellos, Naran, and the other evil gods. We are getting some room back since we won’t need as much space to express the mechanics as the original book needed, but stuff from the Unholy Warrior’s Handbook will only come forward if we have the space.

Q: Are there aspects of the Fifth Edition rules you think work particularly well with The Book of the Righteous?

A: Fifth Edition took many great steps forward, but one of the most interesting, and the one to our great advantage, was in class design. Classes represent big story ideas. They are broadly conceived to encompass several different archetypes. At some point in the character’s development, sometimes at level 1 and others at higher levels, the player faces a significant decision point, which involves choosing a subclass. Now the Player’s Handbook calls these points by many different names—ways, paths, archetypes, origin, patron, and so on, but they all have a similar function, which is to provide players with a way to customize their character along a particular development route. A rogue character with the thief archetype is pretty distinct from a rogue with the assassin archetype.

The subclass system lets us capture the holy warrior domains without needing a new class. We can get to the same place as the holy warrior took us by creating new oaths to model paladins of different religions or point readers to existing oaths when it makes sense to do so. Similarly, we can create new domains to make clerics of one god very distinct from those in service to another god or, again, just point the reader to an existing domain. In the end, subclass mechanics let us shape classes in a variety of ways without having to replace a class or add one to the game.

Q: When we first talked about the project, you felt strongly that we didn’t need to revisit prestige classes in the update. Do you think that’s a concept whose time has passed?

A: I really wrestled with this one. While not everyone in the universe loved the proliferation of prestige classes in Third Edition, I still feel they were a valuable addition to D&D and one that fit in well with how the game handled multiclassing. Most prestige classes were hyper-specialized around a set of mechanics or particular story, so going back to this design could be interesting in Fifth Edition. However, I resisted because I don’t think 5E needs them.

Classes now take up a lot more conceptual and mechanical real estate than they did in previous editions. For example, paladins in 3E were presented as champions of order and virtue. Variations on the paladin either came into the game as variant class features or through the domain system utilized by the holy warrior class. You could also customize your paladin through skill and feat selection.

In 5E, the paladin class is more broadly conceived, large enough to accommodate a wide range of expressions as shown in the Sacred Oath class feature. This decision point, more or less, grabs all the customization options and compresses them into this decision point. So if you want to play a classic paladin, choose Oath of Devotion. If you want to be more like the 4E warden class, choose the Oath of the Ancients. If you want to be like the 4E avenger class, then the Oath of Vengeance is for you. This decision, along with others like them, let the root class shoulder a lot of the work in delivering classic D&D classes. Rather than populating the game with dozens and dozens of classes, we can just make the core classes bigger by introducing new options for the big choice point.

When I looked at the prestige classes in 3E, I realized many were really just specializations of a particular class. While they could be accessed by a variety of classes, certain classes stand out. Assassins, for example, typically had levels in rogue. Likewise, archmages usually had levels in wizard. In a way, prestige classes function as 5E subclasses but lurking outside core classes. Since almost all customization options beyond level 1 live inside of classes, it makes sense to nest prestige classes inside the associated class. Doing so makes it clear what kinds of characters are likely to move into that area of specialization and removes the prerequisite hoops for doing so and without forcing groups to use the multiclass rules, which are optional. For groups who are using multiclassing, characters interested in moving into specialization from can simply do so by using the normal multiclassing rules described in the Player’s Handbook.

For example, let’s take the god Urian. The Book of the Righteous says this deity has three major orders: Skylarks (clerics), Eagles (paladins), and Hawks (a prestige class). The prestige class’s description says that hawks often come from the ranks of barbarians and through their training become “just as the bird for which they are named … trained to hunt and maul.” Rather than create a micro-class, we can instead build a new “path” choice for the barbarian class, perhaps called the Path of the Harrier. We can then build mechanics that reflect the sort of training members of the Hawks might receive. Barbarian characters worshiping Urian could choose this path when they reach 3rd level, while characters belonging to other classes who have Strength scores of 13 or higher can access them using the normal multiclassing rules. Best of all, even if your group isn’t using the full pantheon described in the book, the new path option offers barbarians a new choice even in games that don’t make use of this book.

Q: To date Wizards of the Coast has been focused on The Forgotten Realms setting, so many new campaigns are using it as a setting default. What do you think Realms players can get out of The Book of the Righteous?

A: One of the great things about the Realms is the size. There’s no shortage of gods in the realms and introducing the pantheon or parts of the pantheon from our book would only enrich the setting. Even if you don’t want to adopt the cosmology presented in BotR, you can easily plug the orders in to the religions of other gods. Finally, many of the new paths, domains, oaths, and other subclasses are setting agnostic, so you can plug those into whatever world you’re using.

Q: After you left Wizards of the Coast, you designed your own game, Shadow of the Demon Lord, and had a hugely successful Kickstarter for it. What’s new in the world of the Demon Lord?

A: It’s been an exciting year since the campaign ended. Since last April, I’ve released something like 75 products and we still have many more in the pipeline. Last month, I released Terrible Beauty, a juicy supplement filled with dark, twisted faeries and the hidden kingdoms in which they live. This month, I’m releasing Exquisite Agony. My take on Hell, it’s an alarming book, dripping with evil, and lavishly illustrated. I think the kids are really going to like it.

Thank you, Rob. We look forward to seeing what you do with The Book of the Righteous! And those of you who haven’t seen Shadow of the Demon Lord should check it out. It’s like, how much more Schwalb could it be? And the answer is none. None more Schwalb. 

Please check out the Kickstarter, and we’d appreciate any support you can give us.

Chronicle System PDF: Spark to Powder

Chronicle System: Spark to Powder (PDF)

Chronicle System: Spark to Powder (PDF)

Now available in our Green Ronin Online store is Spark to Powder, a new PDF release for the Chronicle System. Spark to Powder moves the Chronicle System’s technological “slider” a little bit further up the timeline, to what might be termed the Gunpowder Age. This PDF book presents equipment and Benefits that reflect the advent of gunpowder and firearms technologies, but also examines some of its ramifications on a House’s Holdings and its Warfare Units as well.

Add a bang to your Chronicle System campaign!

Return to Freeport, Part One: The Curse of the Brine Witch (Pathfinder Adventure PDF)

Return to Freeport, Part One: The Curse of the Brine Witch

Return to Freeport, Part One: The Curse of the Brine Witch

In other Freeport news, today we present Return to Freeport, Part One: The Curse of the Brine Witch

Return to Freeport
Freeport is known for its adventures, from Death in Freeport (the one that started it all!) to the mega-adventure Black Sails Over Freeport. Now the City of Adventure goes back to its roots with Return to Freeport! This six-part adventure series for the Pathfinder RPG is a new way to begin your Freeport adventures.

Part One: Curse of the Brine Witch
For weeks a supernatural plague curses the eastern part of the city. Folk from every eastern district are losing their minds, taking their own lives, going on murder sprees, falling sick with incurable diseases, or simply vanishing. Rumors of monsters and black magic swirl through the city, and many believe it is the return of the Brine Witch—a powerful and vicious sea hag that preyed upon the city during the Freeport-Mazin War. Freeport’s newest heroes are thrust into this the middle of this chaos and do their best to discover the truth.

Return to Freeport, Part One: Curse of the Brine Witch (Pathfinder Adventure PDF)

Ronin Round Table: Heroes of Freeport: Janica Flamefist

Heroes of Freeport present the backstory of some of the characters depicted in art (and sometimes text) in Freeport: City of Adventure, and the Return to Freeport adventure path. They serve as examples of the kinds of characters that may be found in the City of Freeport, and be used as inspiration for PCs or as NPC backgrounds for the GM to draw from.


“We thought it was just a bad year. Illness spread through the streets, and we blamed rotten food. Neighbors disappeared, and we blamed the cutthroats. But the truth was far worse. A cult of maniacs had begun to loose ghouls in the sewers nearby. No one believed us, and no one helped us. So we learned how to fight the undead ourselves. And I learned how to do it better than anyone else.”

—Janica Flamefist, Monster Slayer (Freeport: City of Adventure, 371)

P345_Malika__vpcorbella_2.0Janica is a third-generation citizen of Kizmir, and the granddaughter of Captain Janyr Flameblade who commanded the sailing ship Sultan’s Fist 102 years ago when the azhar Sultan Mustafa VI invaded the southern coast of the Continent. Her grandfather was at the front of the forces that marched northward and helped claim the land that is now the nation of Kizmir, and in return he was rewarded with lands and privileges. Along with several other ex-soldiers, Janyr founded Tzeset, a large town in northern Kizmir lying between the Ozkurt Forest and the Broken Land. The people of Tzeset turned their eyes to the woods of the Ozkurt Forest, and began to conquer them.

The trees on the northern edge of the Ozkurt are ancient, tall, and strong, making them perfect for long keels and high masts. Felling these trees and shipping them south to the nation’s capital of Milsar has brought wealth to Tzeset for more than fifty years. Such work is not without risks – kobold warrens often raid the logging operations, and larger, more dangerous creatures sometimes attack out of the Broken Lands, but within the stout walls of the town the families of Tzeset grew wealthy and content. As long as the lumber continues to be shipped to Kizmir’s great shipyards, to ensure the sea fleets of Sultan Mourtos II (Master of the Azhar and Keeper of the Eternal Flame) are always expanding, the Sultanate does not much care about local affairs.

Normally, this suited Janica and her family quite well. Fiercely independent, the azhar townsfolk enjoyed being largely left to their own devices. When the logging went well, the town would hold great festivals. When it went poorly, if the effort to cut the wood was too costly or some threat proved bloody to overcome, the townsfolk banded together and pushed on. Janica’s family were well respected and rich, and used their considerable resources to help the less fortunate in bad years.

Then came a very bad year.

The Ruin of Tzeset

Illness spread rapidly through Tzeset, and dozens died. Entire logging parties failed to return from the woods, and supporting farms were razed to the ground. The azhar were saddened, but not overly concerned. Raiders from the Ivory Ports sometimes attacked outlying groups and monsters from the Broken Lands had caused damage in the past, but the town itself was always safe. Many of its bravest and boldest went out to find the cause of their ills, and set them right. Janica, more interested in business than warfare, paid such efforts no heed.

Until none of the brave heroes returned.

The situation within the town itself grew worse. Dismembered bodies were found in the street. Strange symbols were etched in alleyways. The town’s sewer system, a marvel of underground engineering built by gnomish experts from Iovan, began to echo with growls, moans, and cries for mercy. New disappearances occurred every week, and those who wished to flee the town soon discovered that small parties outside the town walls at night were beset by pale humanoids each night, and suffered even greater losses than those in Tzeset. Janica’s family organized patrols in the neighborhoods near their manor, and Janica did not hesitate to join them. From above the mantle, she removed her grandfather’s massive falchion, supposedly forged in the City of Brass itself, and carried it over her shoulder.

Both lone couriers and large, armed parties were sent to outlying towns and even Milsar, begging for help. None came.

As the deaths and disappearances mounted, panic began to set in. The attackers grew more bold, bursting out of the sewers, covered in the stench of the place, to slash with long claws and bite with sharp teeth. Their victims often made no effort to defend themselves, and whispers began that the attackers were so horrific that to see them up close was to be paralyzed with fear. There appeared to be no safe refuge, no way to flee, and no hope of aid arriving.

The Nightmare Lair

Janica’s family did not panic. They gathered together those friends and allies who still trusted them, and made a simple statement. This evil comes from the sewers. So into the sewers we must go, to seek out the source, and destroy it. Janica and each of her parents swore to lead whoever would follow in three parties, to assault the major entrances of the sewer all in one night. They asked for aid from hundreds of the people of Tzeset. When they gathered that night, they were joined by fewer than two dozen.

Janica’s memories of that night are confused, and drenched with blood. Within the sewers were the horrific monsters of fang and claw, and the scent of them was worse than the smells of the sewers themselves. But there were also elves, humans, and even a few azhar, dressed in tattered robes marked with yellow sigils, and if anything they were worse than the pale creatures of fang and claw. Many of Janica’s allies died that night, but so did many of their enemies. And Janica discovered she could, if pressed, unleash her inner fire, her ancient hereditary connection to the efreet, and release a light so pure, the horrid pale attackers fled before it.

Janica’s family hauled several mangled, clawed bodies to the surface, and showed the town the face of their horror. The creatures where white, with long elven ears, but hairless and hunched. They smelled of putrescence, they left wounds that festered, and their touch could paralyze. The Flameblade family searched the records of their family and found a name to put to this evil – “ghouls.” The next night, armed with scores of emboldened townsfolk, the Flameblades struck into the sewers again. And the night after, and the night after that.

For three months, Janica and her parents lead the assaults into the tunnels and chambers beneath their hometown. Janica studied every ghoul corpse her group killed, and read every manual found on the increasingly rare yellow-sigil-marked cultists. Many of the people of Tzeset became adequate ghoul hunters, but Janica excelled. The town blacksmiths forged armor for her to wear, and her growing militia called her “Flamefist,” to honor her accomplishments.

For a season Janica led the people of Tzeset in reclaiming their town. The ghouls became less and less common, and then suddenly one night there were none. The town’s sewers were fully mapped, with every new chamber and crude tunnel explored. The cultists had fled, leaving behind only a few notes on rituals used to create ghouls, and a vague mention of returning to “our brethren across the sea.” For the town of Tzeset, the long horror was over.

But not for Janica Flamefist.

She and her militiamen carried word of the attack to Milsar, and personally put it in the hands of the Sultan’s head Vizier. She then bid her militia return to their families, and stepped on a ship headed east. In her hand she clutched a scrap of a cultist’s journal, on which had been scrawled a single word.

“Freeport.”

Art by Victor Corbella.