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    There's also a wholly-new nation, the Sarmatian Commonwealth, which sounds a fascinating place to visit.

    Here you can also read about the Church in all her various forms, pirates and privateers, secret societies and even monsters Next, down to business with Chapter 3: Making a Hero.

    You've already read about the nations, here are one-page summaries explaining what Heroes that come from each are likely to be like.

    You don't have to stick to them, of course, but may find yourself a stranger even in your own land if you stray too far from the expected unless you have an exceptionally good backstory, and even then that relies on people knowing it!

    Then there's the nine-step process for creating your Hero. It's billed as eight-step, but with a Step 0 that involves coming up with a concept before you start in on the game mechanics stuff!

    To devise your concept there are twenty questions to answer which should help you understand who your Hero is and what makes him tick. You may not want to answer them all, you may not choose to share the answers with anyone else, you may even change them as you get to know him better: but it provides a starting point.

    Once you have a handle on your Hero, you move on to getting some numbers onto that character sheet.

    We start with five Traits Brawn, Finesse, Resolve, Wits and Panache , and use a point-buy system to discern strengths and weaknesses.

    Next, stir in the appropriate bonus for the nation that you call your own before deciding on your background - the stuff you did before you became an adventurer.

    These are your past, the things you were and did. They'll give you knowledge and skills, contribute to your backstory, but they are not likely what you are now, as the game begins.

    Note that Sorcery occurs more than once in some of the lists you can choose from under various backgrounds. It looks odd but it's there for a purpose: if you want to be a powerful sorceror you can choose it as many times as it appears.

    You then pick skills, again via point-buy. There are also advantages to be purchased, they help round out the character as well as providing, well, an advantage under certain defined circumstances.

    All straightforward so far You choose or may draw Step 7: Stories is quite unusual and rather neat. This is where you work out, with the GM, the story you want to tell with your Hero.

    What aspect do you want to explore? What do you want him to accomplish? You can tell multiple stories, but only one at a time.

    For each, you need to decide on appropriate endings there may be more than one , and decide on the first steps that you'll take to resolve the situation.

    From then on in, it becomes part of the ongoing plot. There are loads of ideas and sample stories here, but the best ones are probably those that you come up with for yourself.

    Finally, in Step 8: Details you put the finishing touches to your character. There's also an outline of a very abstract system for determining wealth agonising over every last penny is inappropriate for a swashbuckler, after all , and a slightly flippant section on how character wounds are handled.

    Character done, we move on to Chapter 4: Action and Drama to find out how everything works in the game.

    Task resolution uses the character's Traits and Skills to overcome a Risk - the action taken in response to a threat, or one which has a consequence for good or bad depending on the outcome.

    It all starts with a situation There are plenty of examples to help you get your head around it. The complex bit is that you roll handfulls of d10s based on the points you have in appropriate Traits and Skills for the task in hand and then seek to get the most Raises, or 10s Raises can be used to accomplish the task, ameliorate the consequences e.

    There's a discussion of how rounds work, for when more than one character is involved in whatever the Risk is a swordfight say , and all manner of additional bits and bobs You can fail on purpose, too, getting a Hero Point and not rolling any dice at all.

    All this has the potential to make what should be a thrilling action scene horrendously mechanical. Just remember that the key is in the descriptions you give of what your character is doing, and once the group is used to the game mechanics and you don't have to think about what you are rolling when it all becomes much more fluid.

    When engaged in a scene other than one that produces a flurry of action, you can use a Dramatic Sequence instead - similar mechanics, but played out over a longer period, such as character actions during a party, attempting to charm or impress people.

    Or you may prefer to role-play this, but it does give a chance to those who maybe find it hard to come up with good lines to still have their character be impressive and witty!

    The chapter ends with some Game Master rules for things like handling Brute Squads - those hordes of minions villains always seem to have around - and Villains themselves as well as monsters.

    Next up is Chapter 5: Sorcery. Denounced by the Vaticine Church, feared or hated by many Most of it is associated with particular nations, woven deep into their culture and psyche, and most is extremely powerful.

    Handle with care, or you'll find yourself a Villain before you know it. There is a wealth of material here, some familiar to players of 7th Sea 1e but there is a lot of new stuff: it's more elegant and organised, more diverse, balances a blessing and a curse: that awesome power comes at a price.

    Swordfighting is the lifeblood of 7th Sea so it's no surprise that Chapter 6: Dueling is devoted to every aspect of sword play. This covers the Duelist's Guild, the trade body for sword-waving folk, and the myriad of Academies where they learn their art.

    There are many different styles of sword-fighting, and keen fighters can learn several, mixing and matching styles to fit the occasion.

    Each confers a specific advantage when it comes to combat. Next up, the other staple of swashbuckling adventure with Chapter 7: Sailing. This chapter provides information on everything from the skills needed to man a ship to the organisation of a crew and the difference between a pirate and a privateer.

    To get into true sea-dog mood there are nautical superstitions, then details of different types of vessel and notes on the different seafaring nations.

    Ships have histories too, mostly for flavour but they can confer game mechanical advantages as well. Information on carrying cargo and engaging in sea battles, as well as the monsters of the deep round out this section.

    Then comes Chapter 8: Secret Societies. Joining one confers benefits and obligations upon a character, and should never be embarked upon lightly.

    Characters may join a society during character creation or in the course of play if the opportunity arises.

    It adds loads of flavour and many ready-made opportunities for adventure. Finally, Chapter 9: Gamemaster which opens by talking about that magical moment when a player stops talking about his character and says 'me' There are standard tropes here, the golden rule of having fun with its rider that if someone isn't having fun, find out why and sort it out , prior preparation and planning, and the GM wearing three hats author, storyteller and referee.

    These are all explained and used to provide ideas about how to run games of 7th Sea to best effect and often will work whatever game you are running, so make for a good read anyway.

    There are loads of ideas for themes and plots, a look at how to take that plot idea and turn it into a well-crafted adventure and much, much more.

    It also touches on improvisation, character death, enforcing rules and other thorny matters. There are even suggestions for how to be mean to the characters, making the players feel that there are real risks to be taken even in a game where it's quite hard to kill player-characters off.

    There are ideas for handling players too, rewarding the good ones and coping with uncooperative or otherwise disruptive ones.

    All in all, it provides an excellent textbook for being a good GM. Overall, this is a masterful retooling of an already enjoyable game.

    All the good bits of the original are here, but it's been refined into an elegant coherent package.

    If you want to swash your buckle in a mix of Musketeers and Captain Jack Swallow style adventuring, this is the game with which to do so.

    Actually I am ashamed that I helped to finance that pice of crap. I am a big fan of 7th sea for 15 Years now and I love the World and the System.

    With the 2nd Edition you made everything wrong that you could, exept for one thing: the design including the Map is awesome. The rest ist … crap.

    First: resetting the World to is a slap in the face of all people who played in that World for years and all the history that happened.

    Thats stupid! Destroying one oft he most interesting conflicts in a world is stupid. What is it with that crappy Commonwealth stuff?

    Why inventing a new realm? And that silly history oft hat Realm. The last I want to speak about ist he System. And give a player an extra die because he discribes what the character is doing?

    How silly ist hat. The discribing is the most fun part of a Roleplaying game, to award that makes ist cheap. I never played the 1st Edition, so this review considers only the mechanics of 7th Sea 2E on its own objective merits.

    Also bear in mind that I have an interesting opinion of John Wick works in general, in that I tend to think the ideas are really unique, but the rules are a little too light for me.

    In brief, if you want a fast-paced , action-oriented system without a lot of number-crunching , this is a great way to go.

    In essence, 7th Sea 2E expects both the players and the GM to actively tell a story , rather than react to strict rule conventions and what I like to call "gamey circumstances" IE, "do the math, try to decide what your best course of action is".

    The presentation of the book is nice and clean. The art is lovely, the world is intriguing, and everything is laid out in a fairly aesthetically pleasing and easy-to-read way.

    If you want rich lore , 7th Sea 2E is going to deliver. There's a lot to read, mind, but it does an excellent job of mixing various historical cultures with unique, original concepts to place you in a familiar, yet exotic world.

    Now let's get to the meat: The gameplay. First, something I'm taking some getting used to is that the game isn't designed for traditional, hack-and-be-hacked combat.

    Actions are conducted in the framework of "Risks", which utilize a dice pool to generate "Raises" that can be used to affect the scene.

    You do react to circumstances at times these elements are called "Consequences" and "Opportunities", which you buy off or simply buy , respectively, with Raises.

    Otherwise, and generally speaking, you take action using Raises, and I emphasize this for a reason.

    In most systems, you choose your action, and your action dictates what you roll to determine success. In 7th Sea 2E, you take your action after you roll by simply spending a Raise.

    What do you want to do? Spend a Raise, and you do it. In this way, players alter the course of the scene itself more often than they react to circumstances.

    Your Approach defines your general strategy for tackling a Risk, as well as what your dice pool will be. Anytime you wish to do something the GM judges to be outside the scope of your Approach, you have to spend an extra Raise.

    For example, if I approach a Risk saying "I cut my way through to the foul Count, my blade dancing like a dragonfly on the water. But let's say the GM informs me during the course of the round that a spear trap is headed for an ally, and I decide to grab it and brute force it from extending all the way.

    Very different than my Approach states; I'd have to spend 2 Raises to do this. In general, Risks are conducted on one of two stages: the "Action Sequence" or the "Dramatic Sequence".

    Action Squences are quick, visceral periods of excitement, and where combat will generally take place. Dramatic Sequences are longer narrative periods, spanning hours, days, or even weeks.

    The danger of an Action Sequence is physical harm; the danger of a Dramatic Sequence is deciding how to spend your resources to get what you're after despite all potential obstacles.

    The reason I say combat is nonstandard is because of the way it flows seamlessly with all the other action occurring within an Action Sequence.

    Could you do a typical back-and-forth combat sequence using these rules? But the design is to mix it up, swashbuckling style.

    For example, rather than simply saying "I swing my sword," you're expected to have the option of saying "I rush up to the balcony for a superior vantage point.

    Likewise, there may be situations where you flow from running across a rooftop, to fighting a foe, to continuing to run, to sliding down a rope onto a moving carriage, to dueling the villain atop that carriage, all in the same round of action.

    NPCs are handled in a very concise, effective manner. They come in three forms. Brute Squads are your mooks. They come in groups and act all at once, bearing a single stat, Strength, and possibly a special effect they can employ.

    Strength is the number of people in the Squad. It's applied as damage to a single target at the end of a turn order, and every Wound sustained by a Brute Squad is the death of one of its members.

    Villains are the extremely dangerous foes you'll face over several sessions. They have two stats - Strength and Influence - and can also possess the Advantages your PCs have access to.

    Strength and Influence together make up a Villain's dice pool, making them extremely dangerous to take on without thinking. However, Influence can be eroded through play, encouraging players to topple a villain by taking on his empire, slowly weakening him through several sessions.

    Conversely, Villains can attempt to regain Influence through schemes the players can attempt to interfere with. Honestly, it feels a little like a tabletop version of Shadows of Mordor 's system of Orcish power structure, if you've played the game.

    Monsters are a bit of a cross between Brute Squads and Villains. They have Strength ratings, and can also carry a few Monstrous Traits that make each monster uniquely dangerous.

    The crux of NPCs , in my mind, is this: they are quick to make and play. This means a reduced burden on the GM, who can focus more effort on actually running a fun game.

    What makes each Villain unique isn't their character sheet, but how they behave. How they utilize their power and influence.

    It's very much a writer's system in this regard. Sailing mechanics are also nice and streamlined, and poised to be easily house ruled if you find them a bit too lacking in complexity.

    You have a ship that has a tangible history, that can take so much punishment before it's useless. You have a crew that you can split into up to two Brute Squads to have at your disposal.

    You have Cargo, bought or looted, that you can sell for Wealth, which must be divided to your crew each session lest they grow mutinous.

    It's quick, it's clean, and it does its job well. It also comes with a lot of fluff about seafaring in the world of 7th Sea 2E's setting, which helps those of us who have minimal knowledge about sailing to roleplay with.

    If I had to compare it to anything, and I can only do so in terms of crunch, it's closest to Cypher or Fate. More crunch than Fate, less than things like Basic Roleplaying ; roughly on par with Cypher's degree of number crunch, if just a tiny touch more.

    What it is , is a smooth, relatively lightweight system that emphasizes collaborative narration. I strongly recommend it for small groups who enjoy writing the scene as they play, or larger groups who want a little less bookkeeping.

    The faster that those two facts are realized and accepted, the easier it is to fall in love with this game. I truly believe that 7th Sea: 2nd Edition is one of the most brilliant systems I've ever seen.

    Since 1st edition, John Wick has clearly become much more of a storyteller. I don't think it's even possible for a rule in this game to stop play for more than 45 seconds.

    The system is so intuitive that the action can just keep on going. It all just depends on the GM, which brings me to my next point.

    The raises system is really neat and it adds a small metagame to rolling dice that's just easy enough to keep the story moving, but just different enough to make players take a second and think about how they want to make their raises.

    All of the other rules in the game are so simple to add on that it truly makes 7th Sea: Second Edition a breeze to play. So it really is completely up to the GM to move the drama in unique and interesting ways.

    The GM is to be constantly and creatively setting new consequences for the risks the players take, while simultaneously thinking of opportunities that are enticing enough for players to risk taking the consequences for.

    I'm not going to lie, crunch in a game can be a fun time. But at the end of the day, I don't want my players to feel like they cheated death because of some mechanic, I want them to feel like they've surpassed their obstacles by being creative and pariticpating in telling a good story.

    It's the stories we remember most about gaming. Of course, many games still work great if you just ignore some of the rules, but 7th Sea: Second Edition is meant to be a game built from scratch for the purpose of telling an elegant, cinematic tale of swashbuckling, sorcery, romance, intrigue, and adventure.

    In conclusion, I think John Wick and his team took a huge risk by making such dramatic changes to this beloved game.

    However, while this might not be a system for grognards, it certainly is a masterpiece for the purposes of storytelling. Die Versprechungen während der Kickstarter Kampagne waren hoch, die gesammelte Summe gewaltig.

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