Friday, August 24, 2012

Boot Hill BH2 Lost Conquistador Mine – Classic TSR Old West Module

  

BH2: Lost Conquistador Mine, as the title suggests, is the second Boot Hill module in TSR's line for its miniatures and role-playing Western game. It was written by David Cook and Tom Moldvay, which is pretty impressive when you stop and think about it. Here you have the future principal designer of Advanced Dungeons & Dragons 2nd Edition working alongside the editor of the Moldvay Basic Dungeons & Dragons set on the same adventure.

As noted on the frontispiece, the adventure was originally written as a tournament module for GenCon XIII in 1980. Two years later it was revised and published for general release. That is not necessarily a bad thing, but like its Dungeons & Dragons cousins, the A1-A4 tournament series, it still shows signs of its origins. I've discussed this both here and elsewhere on the web. Tournament adventures are not inherently flawed, but they often reveal the constraints of what they were originally designed to accomplish. I could be off base in this case, however, as BH2 lacks the scoring system found in the A-series modules.

Right from the cover, I love the graphic design. Like BH1, Lost Conquistador Mine perfectly captures the feel of an Old West RPG. The hand-tooled leather motif evokes saddles, holsters, and cowboy boots, immediately putting the reader in the right frame of mind. The module follows TSR's standard 32-page format, and the interior artwork is equally strong. Jeff Easley, Jim Holloway, and Bill Willingham provide most of the illustrations, and the quality shows.

The introduction is fairly lengthy and assumes the referee is new to the game, which is not a bad approach. It also establishes the adventure's timeframe as 1868, meaning not every iconic firearm of the Old West is available. I actually like this restriction because it helps reinforce the historical setting.

Before the adventure even begins, however, the referee is presented with another batch of rules additions. Like BH1, there are noticeable gaps in the core Boot Hill rules that the module attempts to fill. This time we get rules covering vigilantes, NPC reactions, crime and punishment, overland travel, dangerous animals, night fighting, telescopic sights, and bronc busting. That is quite a list. As I mentioned in my review of BH1, if someone collected all of the supplemental rules from the first three Boot Hill modules into a single document, it would go a long way toward completing the game. I know I sound like a broken record, but while I think 1st and 2nd Edition Boot Hill have an excellent foundation, they clearly needed more development as role-playing games.

The next section introduces the town of Dead Mule, detailing its buildings and inhabitants. Like BH1, a number of smaller encounters can occur before the players ever reach the main objective, the Lost Conquistador Mine. The buildings themselves receive their own keyed descriptions, making the town feel reasonably complete.

The adventure hook is a variation on the classic "a man walks into a bar with a job." In this case, the man is an aging prospector named Dutch Jack, who dies after leaving his possessions, including a map to the Lost Conquistador Mine, to the player characters. In some ways it reminds me of "The Good, the Bad and the Ugly" where the dying Confederate soldier sets Blondie and Tuco on the trail of the buried Confederate gold. From there, the adventure shifts into overland travel, with the partially decipherable map serving as both a navigation challenge and a way to expand the adventure.

My biggest reservation involves the wilderness portion of the module. The keyed encounters often feel disconnected from one another once the players leave town. I am not entirely sure whether this is a weakness of the adventure or simply a challenge inherent to the Western genre. In BH2, many of the encounters feel isolated rather than contributing to a larger narrative.

If you are trying to emulate a classic Western, the various scenes should generally reinforce one another. A good example from another TSR game is O2- Blade of Vengeance for Basic D&D. That module succeeds because each encounter builds toward the climax. I sometimes wonder whether a Boot Hill adventure structured in a similar fashion would have been stronger. Here, we have a mixture of fixed wilderness encounters and broader wilderness scenarios that function much like the town encounters. Part of me likes the flexibility, while another part thinks it creates unnecessary confusion. Even after rereading the module, I am still undecided.

Interior Art for BH 2 Lost Conquistador Mine
The Crazed Prospector attacks!

Eventually, the players reach the eponymous Lost Conquistador Mine, where they explore a series of relatively small caves rather than a sprawling mining complex. I will not spoil the surprises for anyone who has not read the adventure, but this section occupies only a small portion of the module. And yes, just as you would expect, there is gold waiting at the end.

Of special note is the hedging on the supernatural by the authors. I don't fault them for a real-world explanation for the ghost of the conquistador. At the time there was some that did not like their RPG genres mixed together and over two decades before Deadlands came out. 

Overall, I like BH2, but I cannot quite give it more than 3.5 out of 5 stars. There is nothing fundamentally wrong with the adventure, but the Lost Conquistador Mine itself turns out to be a surprisingly small part of the overall module. In reality, it is more a collection of caves than an actual mine. BH2 illustrates a criticism I have heard for years. The designers often seemed uncertain how to structure Western adventures when they could not simply send the players into the local "monster hotel." It also demonstrates how difficult it is to make a cave-based finale compelling in a Western setting. You can only rely on mountain lions and bears so many times, and BH2 uses both.

Ironically, this is about as close as the TSR Boot Hill line comes to a traditional dungeon crawl, at least until BH5: Range War!, which I have yet to track down. Like BH1, it serves as an excellent introductory adventure for both new referees and new players.

In the end, I do recommend BH2, particularly if you are running the Promise City campaign, as Dead Mule fits nicely into that setting. Like a real gold mine, the adventure contains worthwhile nuggets, but you have to put in a little work to uncover them.

As an aside, I have been remarkably fortunate picking up these modules on eBay. Most have cost me between $5 and $10, and nearly all have been in excellent condition, with very little staple rust and few, if any, blemishes.

What are your thoughts on Boot Hill BH2 Lost Conquistador Mine?

Click here for my next Boot Hill review: BH3- Bullets and Ballots.

Thursday, August 23, 2012

Boot Hill BH1 Mad Mesa Review – Classic TSR Old West Module

 

Cover art by Bill Willingham

Boot Hill modules were something of a mixed bag. This is especially true when you consider that BH1 through BH5 spanned two different editions between 1981 and 1984. Granted, the structural differences between 1st and 2nd Edition are minor, but it’s still worth noting. Five modules in three years, with one being a Gen Con tournament module (BH2), is not a stellar track record. Of course, D&D was exploding for TSR at the time, so they rightly focused on their biggest seller. Can’t fault them for that.

As I’ve covered before, Boot Hill is one hell of a game. It was one of the very first RPGs ever written and was designed by Brian Blume and Gary Gygax.

Back to the modules: I’ll be reviewing all five:

Right now I have the first three and just finished reading through BH3.

First off, I’m a big fan of the graphical presentation of the first three modules. They have that tooled-leather look, and my favorite old-school TSR artist, Bill Willingham, did the cover. Anytime you get Willingham and two-gun action, it’s going to be good. There are also several of his interior pieces, which is even better. Everything about the look screams Old West, mission accomplished. The early covers also remind me strongly of the excellent Time-Life Series "The Old West series (which I finally completed!).

I even like some of the Jeff Dee and Erol Otus pieces here. Dee’s sense of motion is excellent. The inside cover has a map of the town of Mad Mesa, and the back cover features the Mesa Gazette. In general, there is a lot of art inside the module, especially for an early RPG product. Contrast this with A2- Secret of the Slavers Stockade which sparse in comparison but is around the same length.

BH1 Mad Mesa - interior art by Bill Willingham
Interior art by Bill Willingham

BH1: Mad Mesa

BH1 is a collaboration between Jerry Epperson and Tom Moldvay (of Basic Set fame). At 32 pages it’s a standard-length module for the era. Like many TSR products of the time, it includes a large solo-play section using “choose your own adventure” style rules. Before that, it adds new rules, something all Boot Hill products do. This can’t be overstated: the core 1st and 2nd Edition Boot Hill rules are incredibly sparse, skeletal is how I often describe it. Mad Mesa nicely fleshes out law & order and NPC reactions.

The solo-play premise is straightforward: Your character is riding at dusk looking for a place to spend the night when shots ring out. From there you follow numbered entries until the tale ends. It’s a quick way to learn the system and gives the referee (they weren’t called GMs yet) a chance to practice without players.

The multi-player section builds on the solo material and uses the central NPC “Uncle Zeke” (related to one of the PCs) to kick things off. This works well because in Western RPGs, NPC interactions matter far more than in fantasy games. Western adventures are driven more by character drama than by monsters in funny suits. BH1 gives the referee a bare-bones plot and plenty of encounters to expand upon.

The Kane-Russell Cattle War could easily stretch for months or years of game time. Many of the hooks can lead to glorious gunfights and TNT-flinging, and there’s nothing wrong with that.

I’ve only recently gotten deeper into Western RPGs, but Mad Mesa would work great as a Village of Hommlet or Keep on the Borderlands -style introductory module. The town setting keeps the scope manageable even with a large cast of NPCs. From there the referee can expand outward as the players get comfortable.

If I ran it, I’d set it in a slightly “mythical” Old West rather than strictly historical. I’m not talking full Weird West, but modern Western RPGs often lean too hard on “six-guns and sorcery” because pure roleplay-driven adventures are harder to structure than dungeon crawls.

BH1 Mad Mesa - interior gunfighters art by Bill Willingham
Even more Bill Willingham art!

Final Verdict: Out of 5 stars I give BH1: Mad Mesa a 3.5. There are no real flaws, but it also lacks deep, standout hooks. Like the core Boot Hill rules, it relies heavily on the referee’s skill to bring it to life. At its heart, Boot Hill feels closer to Chainmail than to D&D. In summary: I like it, it looks great, and it’s a useful module, just not a barn burner.

I should add that my next review might be Western City RPG before I tackle BH2, as I’ve also been reading through the Mongoose/Redbrick Western RPG I received as a gift. It’s a neat system, but I’m not sure I’d run it. More on that later.

What are your thoughts on BH1- Mad Mesa? 

Sunday, August 12, 2012

My Top 10 Favorite Westerns of All Time



 
NOTE: because of a tie at #1 there is no number #2 movie on the list.

Fueled by my growing re interest in the Old West in general, I have been either watching for the first time or re-watching many Westerns. My dad is a big fan of them and I watched quite a few in my youth and teens with him before I drifted away to other pursuits. As I noted in my post about Boot Hill, I never played it since we were so focused on AD&D. With my reawakening to Westerns, my thoughts have turned to western themed RPGs and my favorite westerns of all time.

My list is not going to be to everyone’s taste. Since I was born in a decade where Westerns were decidedly on the decline (the 70s), my list will reflect my age. If I were to ask my dad I am sure his would be different, with some overlap. Some films are timeless. So without further delay, here is my top 10 favorite Westerns of all time.

#1A Unforgiven (1992) Of all of Clint Eastwood’s westerns, which are considerable, this one stands head and shoulders above the rest. Forget for a moment that it won Academy Awards (earning Eastwood Best Director). Think of the script itself. Eastwood sat on it for 25 years so he would be just the right age to play William Munny. Normally I do not like anti heroes who are anti heroes for the sake of it, but Munny is cut from a different cloth: a man who was a drunken, stone cold killer whose acts include dynamiting the Rock and Island in '69, killing women and children. Let that sink in for a minute. So when he comes out of retirement for one more job, he is doing it for the sake of his kids. Of course he's really is coming out of retirement to kill two men who cut up a prostitute.

The cast is epic: Eastwood, Gene Hackman, and Morgan Freeman. Those three alone make it great. The interplay between William (Eastwood) and Ned (Freeman) carries the movie, then it shifts for the final scene where Munny takes it to Little Bill.

From the story side the best part is that the main characters are contrasted by W.W. Beauchamp’s writings throughout the movie with the mythological West and its events. In other words the hows and whats of what really happened versus how they were reported or perceived. Hackman’s Little Bill is menacing without being over the top, a hard man who utterly ruthless when need be.

The final scene is perhaps the finest scene of cinema related to a Western. They do not get better than the shootout, if one could call it that.

Best lines in Unforgiven:

  • “Hell, I even thought I was dead, turned out I was just in Nebraska.” - Little Bill
  • "That's right I've killed women and children. Killed just about everything that's walked or crawled at one time or another, and I'm here to kill you Little Bill. For what you did to Ned." - William Munny
  • "It’s a hell of a thing, killing a man. You take away all he’s got and all he’s ever gonna have." - William Munny
  • "You better bury Ned right...or I'll come back here and kill every single one of you sons of bitches." - William Munny

#1B Tombstone (1993) It is very tough not to list this movie as number 1, so1B it is. This movie is perhaps the finest retelling of the legendary gunfight at the OK Corral in Tombstone, Arizona, on October 26th, 1881. The previous standard was Gunfight at the O.K. Corral in the 1950s that left a lot to be desired.

The gunfight and the Earp Vendetta ride was THE event of the West, even with the myth that surrounds it, so it is fitting that this movie is at the top of the heap. Tombstone features an ensemble cast including Kurt Russell, Powers Boothe, Val Kilmer, Michael Biehn, Sam Elliott, Bill Paxton, Billy Bob Thornton, Stephen Lang, Jason Priestley, and Charlton Heston amongst others. But it is the acting of Kilmer as Doc Holliday that steals the show. Doc, as Wyatt would later recollect, “was the deadliest, fastest, nerviest man I ever saw.” The whole movie touches on almost every part of the Earp/Cowboy war and where it takes liberties it does a good job making them plausible and seamless.

The telling also does well in presenting a fairly balanced view of the Earps. The Earps were canonically the “good guys” but their dealings in town say otherwise. The Earps were not necessarily the good guys and the Cowboys were not necessarily the bad guys. The fact is that in the events of 1881 people on both sides were split in their loyalties.

The actors, particularly Russell, do a great job with the dialogue, making it seem that you are actually in 1881. With all this in mind Kilmer as a menacing, Latin quoting, stone cold killer with a southern drawl did the best acting as Doc Holliday. Closely behind him is Biehn’s portrayal of Johnny Ringo. Going hand in hand with this is the cinematography since it was actually shot in Arizona.

Best lines in Tombstone:

  •  "I'm your huckleberry." - Doc Holliday
  • “You tell um' I'm coming for um' And Hell's coming with me. You hear? HELL'S COMIN' WITH ME!" - Wyatt Earp."
  • "No me, I'm in my prime." - Doc Holliday 

#3 The Good,The Bad, The Ugly (1966) Out of the three in the Dollars Trilogy, The Good, The Bad, and The Ugly is by far the best. That is not to say that the others (A Fistful of Dollars and For a Few Dollars More) are bad. It is that The Good, The Bad, and The Ugly is that good.

The twists and turns of the movie leave you at the edge of your seat as the movie traces Tuco (the Ugly) and Angel Eyes (the Bad) pursuit of $200,000 dollars in Confederate gold. The Mexican standoff at the end with the soaring score is likewise impressive as is the ending.

Best lines in The Good, The Bad, The Ugly:

  •  "When you have to shoot, shoot. Don’t talk." - Tuco
  • “You see, in this world there’s two kinds of people, my friend. Those with loaded guns… and those who dig." - Blondie
  • "Two hundred thousand dollars is a lot of money. We're gonna have to earn it." - Blondie  

#4 The Searchers (1956) This is widely regarded as the greatest western of all time and was registered as culturally significant by the Library of Congress in 1989. That alone says something. Additionally the American Film Institute named it the greatest Western of all time in 2008. Directed by John Ford and starring John Wayne and Natalie Wood, The Searchers is THE Western for the older demographic. My own memories of it are hazy as I think I may have watched it one time only. It is already at the top of my list to rewatch. Because my recollections are dim I am looking forward to this one, as it will be like watching it for the first time.

Best lines in The Searchers:

  •  "That’ll be the day." - Ethan
  • I don't stand talkin' in the wind." - Ethan

#5 High Plains Drifter (1973) A Clint Eastwood western with a touch of the supernatural? Yes please. High Plains Drifter is a great story because the real villains in the movie are the townspeople themselves that the Drifter is there to defend. They are villains because the townsfolk murdered the sheriff. Time goes by and the mysterious Drifter appears in town. It is alluded to (but never said definitively) that the mysterious Drifter is the sheriff having returned from the grave. Drifter is one of those movies that makes you think, especially at the very end when the Drifter rides away from Lago and the midget is working on a tombstone that you cannot see what is inscribed on it. The midget says he does not know the Stranger, to which the Stranger replies, and as he rides away it shows the tombstone of Joe Morgan, the murdered sheriff.

Best lines in High Plains Drifter:

  • The only problem you've got Sheriff is a short supply of guts." - The Stranger
  • "Yes, you do." - The Stranger 

#6 Dances with Wolves (1990) Costner makes the list again, but this movie is impossible to ignore in the Western genre. It is telling that it is a great story that has nothing really in common with other westerns, mainly focusing on Indians and Lt. John Dunbar’s interactions with them. In other words it is a story that happens to take place in the west.

Dances with Wolves is a visual and auditory masterpiece with sweeping vistas and scenery and a magnificent soundtrack to accompany it. The majesty of Dunbar’s first ride through the plains cinematic gold with the swell of Journey to Fort Sedgewick/Shooting Star from the soundtrack swelling.

The movie and its characters span the range of human emotion: despair, loneliness, hope, friendship, love, hate, madness, pragmatism, and laughter.

Perhaps my favorite scene of the movie is the one where the old Indian chief pulls forth a Spanish conquistador helmet when he and Dunbar are talking about the coming of the white man. The chief says this was from the time of his grandfather’s grandfather, implying that the Indians would survive this too. The viewer gets a great sense of sadness knowing that the Chief does not know the tidal wave of settlers that is coming. Costner (the director too) side steps this by having the Indians leave their winter camp before the Army arrives. He then wisely ends the movie then and there, but sadly tells the story of the end of the Indian way of life as the end credits roll.

In short Dances with Wolves is nothing short of breathtaking.

Best lines in Dances With Wolves:

  • Somebody back east is sayin' "Why don't he write?" - Timmons
  •  "The strangeness of this life cannot be measured: in trying to produce my own death, I was elevated to the status of a living hero." -John Dunbar

#7 True Grit (1969) If I had to pick just one John Wayne film it would be this one. His portrayal of Rooster is great! Some might not like it because it is John Wayne playing John Wayne, but I liked it well enough.

Best lines in True Grit:

  • “Fill your hands you son of a bitch!" - Rooster Cogburn
  •  "I call that bold talk for a one-eyed fat man." - Ned Pepper

#8 A Fist Full of Dollars (1964) Ride into town on a donkey, tell the undertaker you need three coffins momentarily and then shoot the hell out of some desperadoes? Oh Hell yeah.

Best lines in A Fist Full of Dollars:

  • “My mule don’t like people laughing at him, gets the funny feeling they are laughing at him. ” - The Man with No Name
  • “My mistake…. four coffins.”  - The Man with No Name

#9 Silverado (1985) This is my guilty pleasure movie as far as Westerns, but you cannot go wrong with the cast. It is damn impressive: Kevin Kline, Brian Dennehy, Jeff Goldblum, Scott Glenn, Kevin Costner, Danny Glover, Rosanna Arquette, John Cleese and many more. It seems that ensemble casts work well in westerns and Silverado certainly has the right actors.

Silverado is a throwback to the traditional western tales after the revisionist westerns of the late 60s and 70s. The tale is fun. You care about the good guys and actually want them to win. The fact that the movie is well shot, directed, and done well in terms of cinematography just adds to it. The final gun battle at the end has so many great scenes it is hard not to like this movie.

Best lines in Silverado (so many its hard to choose!):

  • “I don't want to kill you and you don't want to be dead." - Mal
  • "Now we're going to give you a fair trial, followed by a first-class hangin'" - Cobb
  • "Where's the dog" (running gag) 

#10 Open Range (2003) This will surprise many people I think, but it is actually quite a good movie. Kevin Costner and Robert Duvall are great in this movie as is Annette Benning. In a few places the movie wanders off script in terms of logic and consistency, but for the most part it tells a very good story of the end of the open range and the rise of the cattle barons. In fact the end of the open range was one of the defining moments of the Old West.

Costner’s character Charlie is not an anti hero per se, but a man troubled by his past. When it comes to gun fighting however Charlie is more akin to an Old West version of Liam Neeson’s character in Taken. He just goes to town and obliterates everything in sight.

While some might see it as contrived the budding romance between Costner and Bening’s characters is a good representation of how people approached courtship in the 1800s: stilted, awkward but well meaning.

Best lines in Open Range:

  • “I ain't got no problem with Killin' Boss, never have." - Charlie
  • "Now he asked you twice, ain't gonna ask you again." - Charlie
  • "You won't find it so funny when you're shot to hell and dying." - Baxter 

Honorable Mentions Pale Rider, Hang em High, Little Big Man, Outlaw Josey Wales, Once Upon a time in the West, and Two Mules for Sister Sarah. There are plenty of great westerns and it is a shame that the current regimes in Hollywood have rendered them as “already been done”. The remake of True Grit and the movie Appaloosa are worthy westerns as well.

How about your Top 10? There are so many to choose from its near impossible!