Rules, Rules, and More Rules

I'm currently refereeing three different campaigns at the moment: House of Worms, using Empire of the Petal Throne; Barrett's Raiders, using the Free League edition of Twilight: 2000; and Dolmenwood, using the rules of the same name. Of the three, only two – EPT and Dolmenwood – can be called "old school" in the usual sense of the term, though T2K has a lot in common with many old school games, specifically its focus on hexcrawling and resource management. That said, I wouldn't really call Twilight: 2000 "old school" without some big caveats. That's no knock against it, since my players and I have been enjoying ourselves with it for more than three years now, but I think it's important to note these things, particularly in light of the topic of this post.

Empire of the Petal Throne is a very early RPG. Released in 1975, it's a close cousin to OD&D in terms of rules, meaning that it's not very mechanically complex. Dolmenwood is a little bit heftier, being largely derived from Moldvay/Cook Dungeons & Dragons (1981), itself a clarification and expansion of OD&D. Twilight: 2000 (2021) uses a variation of Free League's "Year Zero" rules, versions of which can be found in most of the company's games, like Forbidden Lands or Vaesen. The T2K variant is a bit more complex than the others, owing to its inclusion of modern firearms and vehicles.

In each campaign, I rarely use the game's rules as written. I don't mean that I've introduced lots of house rules (though I have in a few cases). I mean that I often ignore the rules. When playing, I often don't want to slow down the flow of the session by having to refer to a rulebook or a chart. Instead, I prefer to rely on my memory and that of the players, which means that we're more likely to strictly apply those that we remember than those we don't. I call these kinds of rules "sticky" rules, because they stick in your memory. 

One of the reasons I prefer old school RPGs like D&D is that I find their rules much stickier than those of newer games. To some extent, that's simply a function of familiarity. I've been playing D&D and Traveller for more than four decades; I know them almost like the back of my hand. I lack this familiarity with games I learned more recently. On the other hand, there's no question that most older roleplaying games are much more mechanically simple than those that came later. Again, this is a generalization and there are plenty of counterexamples. My point is that, as both a referee and a player, I'm much more comfortable with fewer and simpler rules, since I'm much more likely to remember and, therefore, use them.

But, as I already noted, even in games like EPT or Dolmenwood, I regularly handwave or outright ignore rules in the heat of play. For example, Empire of the Petal Throne includes spell failure rules. Depending on a character's level, psychic ability, and the type of spell, there's a chance a spell might not function. At mid to higher levels, this chance is minute, but there's still a chance of failure. Despite this, I don't always make the players roll, since there are many occasions when I feel it unnecessary or disruptive to the flow of the action. I defer to my own judgment here rather than the rules and the players have never complained. Were they to do so, I wouldn't hesitate to use the rules as written, but I like to think that, after a decade of play, we've built up enough trust that that no players worries much about how I'd adjudicate in-game situations.

I think about this question a lot, because many aspects of the new Twilight: 2000 rules, chiefly the combat system, are more complex than I like. There's nothing wrong with them and, by many measures, they're much simpler than the original GDW T2K combat rules. However, I'm not fond of them and I frequently dispense with many persnickety aspects of them in the interests of speed and simplicity. Again, the players rare complain about this and accept my judgments. Had I the ability to start this campaign over again, I might have opted for simpler, more straightforward rules, but, after more than three years, it's too late for that, so we muddle through. 

That's more or less where I am with rules these days: when give the option, I prefer simple, even simplistic, rules over more elaborate and complex ones. I'm not opposed to trying to model complicated situations and activities mechanically and, under the right circumstances, could even find that enjoyable. However, as a referee running a weekly game over the course of many years, I have come to find that rules I can't keep in my head without recourse to a book or a chart or a table don't hold a lot of appeal for me anymore. Consequently, my latest drafts of the rules for Secrets of sha-Arthan are decidedly much simpler than earlier ones. It's yet another way that my experiences as a referee have colored my own design work – and for the better, I hope.

Hope Among the Ruins

Owing to scheduling conflicts, my Barrett's Raiders Twilight: 2000 campaign didn't meet this week. While we've striven to meet every week over the course of the three years and three months we've been playing, such hiccups aren't uncommon. Still, I can't deny I was a little bit disappointed, because this week would have been the first session in the campaign to take place on American shores. After three years of war on the other side of the Atlantic Ocean, the characters are finally home. 

The reason I was disappointed is that playing Twilight: 2000 in post-war America is something I've wanted to do since the late 1980s. In a very real sense, bringing Barrett's Raiders to this point is the culmination of a nearly forty(!) year-old dream of mine. Back when I originally played T2K, I only owned the first four adventure modules – The Free City of Krakow, Pirates of the Vistula, The Ruins of Warsaw, and The Black Madonna. These are all set in Poland, so my campaigns stayed in Eastern Europe rather than venturing elsewhere. 

Clearly, though, GDW had a great interest in seeing Twilight: 2000 characters return to the USA. After 1986's Going Home, the company produced nine modules set in America. With the exception of the first, Red Star, Lone Star, which dealt with a Soviet-backed Mexican invasion of Texas – think Red Dawn but a little more grounded – the modules were all notable for their focus on rebuilding the country after the nuclear strikes of 1997 and the chaos that followed. 

Granted, the modules still offered plenty of opportunities for violent mayhem, but it was generally directed toward opportunistic warlords and authoritarian New America cells, forces that need to be swept away before any kind of rebuilding might be possible. And while MilGov and CivGov are most definitely at odds with one another, neither side is demonized or reduced to a caricature. It's a messy situation that creates lots of scope for interesting situations and scenarios.

And that's what most excites me about Barrett's Raiders finally making the transition to the Not-So-United States of America. As American soldiers brought home from Europe by the US Military Emergency Administration, the characters are put in a difficult situation: continue to obey the Joint Chiefs despite their extra-constitutional assumption of authority or put themselves at odds with their former comrades in arms. It's a situation made all the more complicated by the equally dodgy authority of President Broward and the reconstituted Congress – to say nothing of the threat of New America and others taking advantage of the breakdown in civil society.

Twilight: 2000 got a reputation in some circles as an immoral power fantasy RPG that made light of the deaths of millions in nuclear war. I think only the most superficial reading of either the game or (especially) its adventure modules could support such a false conclusion. This is most definitely not a game about reveling in the collapse of civilization but rather one where the characters can actively participate in helping to reconstruct that civilization. As campaign frames go, that's a truly worthy one in my opinion, one I've wanted to explore with some friends for decades. Now that I'm finally getting the chance to do so, my enthusiasm is high. Expect increased posting about Twilight: 2000 and the events of the Barrett's Raiders campaign. 

Retrospective: The Complete Book of Elves

By the early 1990s, AD&D 2nd Edition was in full swing, and one of its defining features was the proliferation of entries in the Player's Handbook Rules Supplement (PHBR) series, commonly called the Complete books. These were player-focused supplements initially aimed at expanding the options for various classes that were eventually expanded to other topics, including races. The series is mixed bag, with most volumes following in the footsteps of The Complete Fighter’s Handbook – solid and unremarkable. However, a few stand out for how bad they were, The Complete Book of Elves, published in 1993, being my candidate for the worst (feel free to nominate your own in the comments).

Written by Colin McComb, The Complete Book of Elves is, at its core, an expansion of the already-powerful elf race in AD&D. But whereas earlier material presented elves as skilled but balanced adventurers with unique strengths and weaknesses, this book instead leans hard into the idea that elves are just better –smarter, faster, more artistic, more magical, more attuned to nature, and, of course, longer-lived – than virtually every other playable race in the game.

This emphasis is the start of where the book runs into trouble. It doesn’t just provide players with more options for elven characters; it actively reinforces an attitude of elven superiority, sometimes to an absurd degree. Take, for example, this passage:

No elf will ever simply perform a function when he can do it with flair and style. If a human forges a sword, he creates a piece of metal that cuts and slashes. If an elf forges a sword, he creates a masterpiece of balance, beauty, and power.

That's more or less the tone of the entire book. Elves are naturally superior to humans and other races in virtually every way that matters. Their weapons are better, their magic is more refined, their civilization more enlightened, their senses sharper, their emotions deeper. Even their music is better! 

If it were merely a matter of tone, The Complete Book of Elves would simply be remembered as insufferable. However, the book follows suit with its rules expansions as well and this, in my opinion, is where it reaches a new level of egregiousness. The new elven kits, which are supposed to offer distinct roleplaying options, tend to be overloaded with benefits and underweighted on drawbacks. The bladesinger, for instance, is a combat-ready spellcaster with virtually no downside beyond its limitation to one weapon. The wilderness runner is an elf so in tune with nature that he can literally run faster than a horse. Even some of the purported elven disadvantages, like the elves' reluctance to use heavy armor, are framed as virtues rather than limitations.

It’s not as if the book is poorly written. McComb has a decent grasp of language and some of the information he presents, particularly concerning elven philosophy and their approach to magic, is interesting. However, it is so unbalanced in its portrayal of elves that it feels almost like a work of in-game propaganda rather than a neutral sourcebook. I don't think that was McComb's intention, but, even if it were, I think he went a bit overboard in his approach. I distinctly recall that, during the '90s, The Complete Book of Elves was the butt of frequent jokes by all but the most dedicated elf fanboys. In my local group, we referred to it as "The Complete Book of Gods," because of its overpowered kits and supercilious prose.

Despite this, The Complete Book of Elves still holds some interest today, if only from a historical perspective. It's an artifact of a time when AD&D was leaning much more heavily into the "story" or "narrative" approach that was pioneered almost a decade earlier in Dragonlance. The book has less concern for mechanical balance than it does for presenting a nonhuman race in sufficient detail for maximum player immersion. I don't think that's necessarily a bad thing – I'm a longtime fan of Roger E. Moore's "Point of View" series in Dragon, for example – but I can't help but feel as the racial Complete books, especially this one, go too far in this direction. 

Ultimately, I think The Complete Book of Elves serves as an object lesson in the dangers of overindulging a single race or concept in a game. I prefer it when a supplement expands options, not elevates one choice as obviously better than all the others. Based on my undoubtedly biased experience, this book simply exacerbated an existing problem: players already drawn to elves didn’t need more reasons to see them as superior. It's a flawed and indulgent book, worth a read only if you want a window into some of the worst tendencies of TSR and AD&D during the early to mid-1990s. 

REPOST: The Articles of Dragon: "The Nine Hells (Part I)"

(The original post appeared here.)

And so we come, once again, to an excellent article written by Ed Greenwood – "The Nine Hells, Part I," which appeared in issue #75 (July 1983) of Dragon. In retrospect, it's easy to see why Greenwood would enjoy such success; he was not only prolific but also imaginative. Plus, his articles were memorable. Even now, nearly three decades later, I clearly remember the first time I read this issue of Dragon, filled as it was with information about the lower planes, thanks to both Gary Gygax's extensive preview of new devils from the upcoming Monster Manual II and the first part of Ed Greenwood's tour of the first five layers of AD&D's version of Hell. I was absolutely blown away by what I read, much to the chagrin of my players at the time, several of whom found themselves on unexpected visits to the domains of one or more arch-devils.

Like Roger E. Moore's "The Astral Plane," "The Nine Hells, Part I" is a work of remarkable scholarship, mining the entirety of the AD&D corpus available at the time for hints as to what the planes of Hell might be like. Also like "The Astral Plane," this article wasn't content to simply regurgitate what we already knew. Rather, it expanded on that information in clever and sometimes surprising ways, painting a picture of the Nine Hells that was both true to its gaming source material but also evocative of other works of fantasy and myth. Greenwood doesn't present his Nine Hells as canonical for anything other than his own Forgotten Realms campaign, but it wasn't long before it received Gygax's blessing, which gave it a status it enjoyed until comparatively recently, where books as recent as 2006's Fiendish Codex II: Tyrants of the Nine Hells continued to make use of ideas laid down in 1983. That's a degree of influence that few articles (or authors) can match.

In addition to giving names to each of the Nine Hells and discussing their locales and points of interest, Greenwood also devotes a fair bit of space to their inhabitants, in particular unique devils. Prior to this issue of Dragon, the arch-devils were the only unique devils described in AD&D. Now, both Gygax and Greenwood provided a coterie of such personalities, which, as a referee, I found a terrific boon. Unique devils gave me the opportunity to pit the PCs against powerful devils that weren't rulers of entire planes. This not only gave the PCs a fighting chance to defeat them but, in the event that the PCs did defeat them, the multiverse wouldn't resound with their victory the way it might if they bested Dispater or Geryon. Greenwood also found a way to work Astaroth from "The Politics of Hell" (from issue #28) into his depiction of the Nine Hells, which I know endeared him to many older gamers of my acquaintance who adored Alex von Thorn's article from way back when.

"The Nine Hells, Part I" (and its sequel, which I may well wind up discussing next time) are in a rare class of Dragon article: ones I actually used. Ever since I started playing AD&D, I desperately wanted to run adventures in the Outer Planes, but I rarely did, in large part because the game gave so little information on them. That's why articles like this and "The Astral Plane" were so useful and inspiring to me. And, unlike "The Astral Plane," Greenwood's Nine Hells articles were remarkably concrete, describing people and places one could encounter in addition to providing rules for how magic worked differently in this plane of ultimate Lawful Evil. I liked that a lot; I still do.

Musings on Poll Results (Part II)

With two more polls closed, let's take a look at the results, starting with when were you first introduced to roleplaying games? When I posted this poll on March 3,  my initial guess was that most of my regular readers were introduced to tabletop RPGs sometime between 1979 and 1983. As you can see, my prediction was very close to the truth.

The period between 1980 and 1982, corresponding to the tail end of the Holmes Basic Set's run and the launch of Moldvay/Cook accounted for just shy of one-third of all votes, while 1977–1979 accounts for nearly one-fifth. Taken together, they represent almost one-half of respondents. Interestingly, the period between 1983 and 1985, during which the Mentzer's BECM boxed sets were released (I didn't appear until 1986) is a close third. Altogether, then, the nine-year period between 1977 and 1985 represents two-thirds of those who voted.

The fourth place period of 2000+ is worthy of separate mention. Though only 10.66% of respondents chose this option, it's still larger than the other remaining options. This proves, I think, that Third Edition was a consequential edition of Dungeons & Dragons, one that introduced a lot of people into the hobby who have continued to participate in it. Though 3e is far from my favorite edition of the game, I also think it gets a much worse reputation in old school circles than it deserves. (As an aside, I think it's even more notable that the reign of 2e seems to have garnered so few votes, but perhaps that's just a quirk of my readership.)

The next poll, which originally appeared on March 10, asked: how old were you when you first started playing tabletop RPGs? My prediction was that the winning answer would be somewhere in the 10 to 14 age range – and I was correct.

A little less than three-quarters of all correspondents chose either 9–11 or 12–14, with the latter winning by just two votes. This doesn't really surprise me. Most of the roleplayers I met in my youth were within a year or two of my own age – I started in late '79, having just turned 10. What does surprise me, though, is how much smaller than other age cohorts are, especially the 18–20 and 21+ categories, both of which are smaller than the 6–8 category. As ever, that may simply be a quirk of my readership, who largely seem to be middle-aged men who were born in the late '60s to early '70s. Even so, I remember older guys who roleplayed, like my friend's high school-aged older brother, for instance, and the college kids who hung around hobby shops. Where are they now?

Was Your First Tabletop RPG Dungeons & Dragons?

We've got a very simple poll this week: was your first tabletop RPG Dungeons & Dragons? I suspect that the vast majority of people who read this blog entered the hobby through D&D, but I'm nevertheless curious about the number who didn't. If you answered "no," please use the comments to indicate the tabletop RPG that was your first instead and, if you can recall, the year when you first played it. I'm very curious about the other games that might have served as gateways to roleplaying and when they did so.

 

Campaign Updates: Change of Course

This was a week when all three campaigns shifted gears to varying degrees – in significant ways for both the Barrett's Raiders Twilight: 2000 campaign and the House of Worms Empire of the Petal Throne campaign. 

Barrett's Raiders

This week, there wasn't much actual play. Instead, we devoted ourselves to tying up any loose ends in Europe, as the characters were about to head home aboard the assembled vessels of Task Force 34 (its flagship, USS John Hancock, depicted above). Chief among these loose ends was Private Ronnie Baxter of the British Army, who'd joined the characters in Kraków several weeks before. The British wouldn't be evacuating until the new year, so he bid the Americans farewell and rejoined his countrymen in Braunschweig, which served as the winter headquarters of the First British Corps. Several other player characters would also be departing upon arrival in Norfolk: Private Lou "Oddball" Guida (honorable discharge and returning home to Brooklyn); Seaman Jimmy "Aquaman" Jones (transfer to an actual naval unit), and Sergeant Jess "Cowpoke" Gartmann (other duties – the character of a player who dropped out of the campaign and stayed on as an NPC up till this point).

Much of the session was devoted to developing replacement characters for those departing, as well as the expenditure of experience points accumulated but not spent in previous sessions. I wanted to be sure that, when we resumed next week, everything was in place to pick up and play on the other side of the Atlantic. Lt. Col. Orlowski, the characters' commander, made a request to his superiors that his men be kept together for detached duties as needed in America. He argued that, having survived several months behind enemy lines in Poland, they'd formed a bond that would serve them and the Army well. This will form the new frame for the Barrett's Raiders campaign: the characters will be initially operating in Virginia and the surrounding areas during the period (December 2000–March 2001) when Naval Station Norfolk is still operational. After that, only time will tell.

Dolmenwood

Marid Aventi having joined the party, the characters spent the day in Shagsend, conferring with Windore Hoblewort, a breggle magician who acts as Lord Malbleat's representative in the town. It was soon apparent that Hoblewort didn't think much of his master, but he was a great source of information about him and his activities nonetheless. For instance, Malbleat was presently preparing to host an annua festival called the Hlerribuck, said festival being a commemoration of the life and deeds of his illustrious ancestor, Wrygott Gnarlgruff. Since the characters were already interested in Gnarlgruff and his supposed involvement with the recent intrusion into Fairy, this news caught their attention. Surely this could not be a coincidence.

The group then said their farewells and made their way southward toward Redwraith Manor, the estate of Malbleat. They weren't head there: the Hlerribuck would be held at Shadholme Lodge, which sits atop the mausoleum where Gnarlgruff is interred. Still, they were fascinated to see that the way to the Manor was barred by a wrought-iron gate and further secured by heavy chains. Malbleat clearly didn't want unexpected guests to show up on his doorstep. They then continued on toward the festival grounds set up around the Shadholme, directed to the right place by a grumpy groundskeeper, who, like almost everyone in the High Wold, deferred to Falin, since she's a breggle (the High Wold being "breggle country"). Though this continues to make her uncomfortable – she's used to being ignored in human lands – her companions urge her to make the best of it as they prepare to mingle with the aristocracy and well-to-do of the region.

House of Worms

Toneshkéthu is a student at the Colllege at the End of Time, a institution that literally exists at the end of Tékumel's timeline – and not just one Tékumel but every possible version of Tékumel, of which there are many. She's been an ally of the characters for many years, though, because of the nature of her "location," they often encounter her out of temporal order. This makes dealing with her complicated, as she sometimes remembers things that, from the characters' perspective, haven't happened yet (and vice versa). She gave Keléno a device to communicate with her when necessary, but he's loath to use it. The other characters are not quite so reticent, which is why he contacted her at the end of the last session.

Keléno queried her first about the mind-bars placed on Nebússa and Kirktá. She brushed off the one placed on Nebússa, "It's just ordinary sorcery; you can deal with that yourselves." The one placed on Kirktá, she admitted was unusual and powerful. However, she cautioned against trying to remove it. "The mind-bar will come down on its own in time. Parts of it are probably already breaking down – or soon will be. It's there to protect him from things it can't yet handle. Removing it ahead of time would like shatter his mind." Keléno then asked about Prince Dhich'uné and his plans, specifically whether or not they should try to avoid involving themselves in them further. Toneshkéthu replied, "Oh, so you've reconciled yourselves to the fall of Tsolyánu, then? Interesting." 

Needless to say, this horrified the characters. Were they supposed to aid Dhich'une, as Ki'éna suggested they would, or were they supposed to oppose him, as they preferred? They had no way of knowing, as Keléno declined to ask further questions of Toneshkéthu. He worried it might unduly influence their decisions one way or the other. He thanked her and bid her farewell. Before she severed communication, she told him to remember these words: The Inevitable of the Ineffable. The words meant nothing to him, but Kirktá immediately remembered reading a book of that title when he was younger. It was a polemic from Bednallján times, written by Artúkko Ala'á, a foe of the priest Pavár (whose divine revelation established the pantheons of Change and Stability). Ala'á argued that Pavár's religious reformation wold spell the end of the Bednallján imperium, as people abandoned the daily sacrifices to the One Other that sustained the empire.

What, if anything, this had to do with their present circumstances, the characters didn't yet know. They soon decided that the time had come to make Kirktá's existence known to the wider world. They would publicly announce his presence in Béy Sü and his status as an heir of the deceased emperor. By doing so, they hoped to draw out any who might be alarmed by his presence, including other heirs and factions vying for control during the interregnum. It was a dangerous gambit, of course, but they no longer wished to skulk around the edges of imperial politics. Now was the time to play their hand and see more clearly who their friends and enemies might be.

My Top 10 Favorite Traveller Images (Part II)

Part I can be found here.

5. JTAS #13 Cover

The Journal of the Travellers' Aid Society was GDW's in-house periodical for supporting Traveller (until it was replaced by Challenge in 1986). With a few exceptions, the covers of JTAS weren't notable, but issue #13 is one that really captured my imagination. Drawn by William H. Keith, it depicts a member of the Hiver species, one of the most interesting – and weird – nonhuman aliens of the official Third Imperium setting. Few of the subsequent depictions of the Hivers ever looked as good as this one in my opinion, not even those in the Alien Module devoted to them. Consequently, this particular piece has stuck with me for years as a high point in Traveller art, particularly of alien species.

4. The Traveller Book Cover

William H. Keith returns (for the last time) with his cover art for The Traveller Book. Its placement so high on this list is at least partially due to nostalgia, because I've used it as my go-to Traveller rulebook for decades. I readily acknowledge that, from a technical perspective, the cover is slightly amateurish. However, I care more about its grounded vibe. It's just a merchant crew warily disembarking their 200-ton Far Trader, armed and ready for anything. It's a terrific encapsulation of Traveller as a game and I love it, for all its weaknesses as a work of art.

3. Alexander Lascelles Jamison

OD&D had Xylarthen the Magic-User and Traveller had Alexander Lascelles Jamison. This 38 year-old merchant captain has been the game's sample character since 1977, but his portrait got a significant upgrade in The Traveller Book over its original version. Drawn by David Dietrick, who provided a lot of great artwork for Traveller during the mid to late 1980s (and in Thousand Suns, too, come to think of it). Dietrick's reimagining of Jamison isn't just how I imagine this particular character; he's my mental image of the default Traveller character. You can't get much more iconic than that.

2. Charted Space Map

I've raved about my love of this map before, so I won't say much more here. I will add that this image is very near and dear to my heart, both because of what it depicts and how it depicts it. The map is peak classic Traveller – elegant and evocative with just enough information to inspire. I had this map pinned to my wall for years, so it will always be very special to me.

1. Regina Subsector Map

If D&D is defined in part by graph paper, Traveller is defined by hex paper, or rather by its 8×10 hex-based subsector maps, the foundations upon which the game's conception of the galaxy are built. Regina subsector is subsector C of the Spinward Marches and the example subector presented in in many GDW products. Regina is thus like the Grand Duchy of Karameikos, the Dalelands, or Lakefront City – an example that grows beyond its original purpose to have a life of its own. Every time I look at this map, I quickly find myself imagining situations and adventures on its worlds, especially those located outside the main travel routes. Looking at this map makes me want to play Traveller, which is exactly what a good RPG image should do.

Situation Report

United States Military Emergency Administration (USMEA)

DATE: 15 September 2000

LOCATION: Virginia Theater of Operations

CLASSIFICATION: SECRET

1. SITUATION OVERVIEW

Virginia remains a highly contested region, with multiple factions asserting control over key locations. USMEA-aligned forces maintain a presence at certain military installations but face increasing pressure from Free State militias, the unrecognized civilian authority (UCA) in Omaha, and lawless elements. The CIA now actively supports the UCA, while the DIA functions as the primary intelligence agency for the USMEA.

Of particular concern are reports that some Free State communities are rallying around a new movement known as “New America.” This ideology is gaining traction in multiple regions, with increasingly authoritarian rhetoric and signs of organized militarization.

2. FACTIONAL CONTROL

(A) USMEA CONTROLLED AREAS

• Naval Station Norfolk (Partial Control) – Severely damaged by a 1 MT nuclear blast but undergoing limited reconstruction. Remaining personnel scheduled for evacuation to Fort Dix by March 2001.

• Fort Pickett – Largest intact USMEA installation in Virginia, serving as a hub for sustainment, logistics, and refit operations.

• Fort Eustis – Hosting a reduced command staff. Limited aviation assets available, primarily for reconnaissance.

• Fort Lee – Supporting logistical operations but vulnerable to disruption by external factions.

• Defense Intelligence Agency (DIA) Operations – Now the primary intelligence service for USMEA forces, focused on counterinsurgency efforts against the Free State militias and intelligence gathering on the UCA.

(B) UCA CONTROLLED AREAS

• Northern Virginia Enclave (Reston, Falls Church, McLean) – Acts as a regional capital of the UCA, housing remnant federal officials, intelligence personnel, and security forces.

• CIA Support – The CIA is actively supporting the UCA, providing intelligence and covert operations against USMEA and Free State-aligned factions. Reports indicate attempts to secure international recognition and foreign aid.

• Raven Rock Mountain Complex (Site R) – Essential to the UCA's intelligence network, coordinating communication security and strategic analysis.

My Top 10 Favorite Traveller Images (Part I)

Before I start, a couple of caveats and explanations. First, you'll note that I say "images," not "illustrations." That's because Traveller is rather (in)famous for its dearth of artwork, especially prior to the publication of The Traveller Book in 1982. However, the game never lacked for images, by which I mean maps, deck plans, and the like and many of these helped define the game and its approach to science fiction every bit as powerfully as did more "traditional" RPG illustrations. Second, I've purposefully limited my selection of images to Traveller products published by GDW between 1977 and 1986. There's a lot of third-party Traveller material published during that time, many with superb imagery, but, in the interests of focus, I've limited myself to only the main Traveller line. If there's sufficient interest, I might do a second series of posts that expands the scope a bit.

10. Diagram 1 from Shadows

Shadows is one of my favorite Traveller adventures, one I've refereed numerous times over the decades. One of my favorite things about the adventure are its maps and diagrams. All of them serve to describe the alien ruins found on the backwater planet of Yorbund that forms the location in which Shadows takes place. While several of them could easily have been chosen as an entry in this post, I think Diagram 1, pictured to the left, is by far the best and most interesting. As you can see, the diagram depicts the central shaft of the ruins, descending from a hidden entrance at the top of a surface pyramid tens of meters below the surface of Yorbund. It's a very practical image, enabling the referee to get a handle on how the various parts of the ruins relate to each other. It's also very atmospheric, establishing Shadows as a literal descent into the underworld. 

9. Snapshot Deck Plans

Another entry in this list and still no illustrations! Instead, gaze upon these deck plans from Snapshot. They depict two iconic starships from Traveller – the 100-ton Type S Scout/Courier and the 200-ton Beowulf-class Free Trader. These are probably the two most common "adventuring" starships in the game, in large part due to the fact that Scout and Merchant characters stand the chance of mustering out with one of them. They're also the perfect size for a band of characters. Though there are many other versions of these deck plans, it's these from Snapshot that are seared into my brain, thanks to having used them repeatedly in my youth.

8. Entering Jumpspace

Our first "proper" illustration and by William H. Keith, no less (a name that will appear several more times in this post and the next). In case the flash of red isn't enough to give it away, this piece appeared in The Traveller Book. That's the aforementioned Type S Scout/Courier as it prepares to enter jumpspace. Though very simple, it's a favorite of mine and has colored (no pun intended) my conception of what it Traveller interstellar travel looks like. Though I can't prove it, I suspect it was inspired, at least in part, by how the Millennium Falcon entered hyperspace in Star Wars.

7. Zhodani Battle Dress

The psionic Zhodani are the main rivals of the Third Imperium and were described in detail in the fourth Alien Module produced for Traveller. One of many great things about that supplement is the way it firmly established the esthetics of the Zhodani Consulate and their citizens and military forces. I particularly like this illustration (by Bryan Gibson) of Zhodani battle dress, complete with notations pointing out its various features, such as its distinctive clamshell helmet. This piece occupies a halfway point between being a traditional illustration and being a diagram, I think, but it's all the more effective for it.

6. The Patron

Another William H. Keith piece from The Traveller Book (note the red highlights), it depicts a distinctive element of Traveller – and one about which I'll be posting soon – the patron encounter. Many a Traveller adventure begins with meeting Space Sydney Greenstreet over drinks in the darkened corner of a startown bar, his bodyguard looming over the proceedings. Ironically, it's not a scene about which I can recall many illustrations in GDW products, which is probably why this one has stuck with me over the years. In many ways, this is the defining image of Traveller, or at least the way it was played back in my youth. If I didn't have other even more representative images, I'd probably rate this one even higher.