Monday, 20 November 2017
Friday, 17 November 2017
One feature that I had forgotten about was a regular update on RPG fanzines: basically, fanzine creators would send their wares into the magazine and the editor would provide details on how to get them. Out of curiosity, this evening when I got home from work I started googling some of them. I quickly found myself descending into a rabbit hole. There is something unbearably nostalgic in reading about these artifacts of an ancient era - the time of geocities, letters, international postal reply coupons, photocopies, staplers, the post. You can't help but feel an overwhelming sense of affection for that distant and optimistic decade, and a huge warm fuzzy glow for all of these dedicated amateurs slaving away over labours of love for (presumably) scant reward.
Here is what I have found regarding the 'zines mentioned in Issue #2:
Sumo's Karaoke Club: Described as a "well-written" 'zine respected for its direct attitude (the publisher "isn't afraid to print what he sees as the truth"). It seems to have been primarily focused on board games. It cost £2.95 per edition. I have managed to track down an index and some further information to this site (http://pages.pacificcoast.net/~greg/); apparently it ceased trading in 1998 but has a still-living descendant, Counter.
For Whom the Die Rolls: A play-by-mail 'zine which ran its own games (including Rail Baron and Railway Rivals) and had articles on how to run PBM games. It is listed as costing 30p plus P&P. Staggeringly, it still apparently existed through to 2014 (2014!!) and had 215 issues in its run. Its website and a back catalogue are all available here: http://www.fwtwr.com/fwtdr/
The Ides of March: Another play-by-mail 'zine specialising in Diplomacy. It is described as being "held together by one cock-eyed staple in the top left corner" and having a "lively" letters column. It cost £1. I have had difficulty finding information on it, although it is listed as number 64 diplomacy-archive.com's list of Greatest UK Diplomacy Zines of All Time (yes, really); in the same website's 1995 Zine Poll it came in at number 7 (although the publisher is castigated for his "insistence of winding up his subscribers through his own brand of moral Conservatism" - the snail-mail version of shitposting?).
Vigilante: A free (yes - all you needed to do was send an SAE with international reply coupons to the Irish publisher) RPG 'zine specializing in WoD games. It is described as "pushing hard to achieve professional status" with "surprisingly good layout". I can find out absolutely nothing about it on the internet, and it seems to have disappeared without trace.
Flagship: This seems like it was a big fish in the PBM pond - it even had separate editions for the UK, USA and Europe and its own Wikipedia entry. "Slick, clean, and extremely useful for anyone who is remotely interested in PBM games". It was £3 and staggeringly (again) it lasted for absolutely ages - 1983-2010. Its website states that it widened its coverage to board games and RPGs in later years.
Life's Rich Pageant: Another PBM specialist - a "grassroots fanzine that simply bubbles with enthusiasm". Information on this one is thin on the ground, although I found mention of it in another Diplomacy zine, Spring Offensive. (Why do I begin to get the impression you could write an entire PhD thesis on the world of Diplomacy 'zines?)
PBM Zine: An "amateurish" looking affair with well-written advice but "annoying" layout. It cost £1.50 and looks like it was very yellow. It has such an un-Google-able title I just couldn't find anything on it online. I expect there must be something on it somewhere.
One Man's Rubbish: Described as being expensive because it is £1 (£1!) for 24 pages, this is another PBM-focused affair which also published reviews of RPGs and card games. It "does not have any content of sufficient interest to make it worth buying regularly" (ooh, the burn). Oddly, there is an entire scan of one volume available online - you can read it here: http://www.whiningkentpigs.com/DW/oldzines/rubbish2.pdf. It is an amazing thing - articles on the Proper Care of Floppy Disks nestling alongside rules for Armchair Cricket and a History of Motorsport. It already had fifty readers by its second issue and what looks like a lively correspondence with its readership; to think that we used to actually communicate with each other with letters and do so voluminously. How the world has changed in 20 years.
Games Games Games or G3: Originally titled Small Furry Creatures Press, this 'zine seemingly had ambitions of getting into retailers and had a good reputation "as an oracle of advice and reviews for gamers". It was £1.95. There is a Wikipedia stub entry for the publisher; I also dug out this page, which says the 'zine went quiet in 2001 after its anniversary issue - which staggeringly (again, again), was #150.
Games Gazette: A "genuinely amateur magazine" stuffed with reviews of all kinds of games. It seems to have been old even in arcane's day (it had recently celebrated its 15th - 15th! - anniversary) and, staggeringly (again, again, again) still exists in the form of this website (which definitely has the same owner, a man called Chris Baylis).
There is way more - way, way fucking more - of this to follow.
Wednesday, 15 November 2017
Pupa man hates person man.
Pupa Man: HD 1+1, AC 14, #ATT 2 (1d2/1d2), Move 120, No. Enc. 3d20
*Pupa men attack relentlessly, chanting their hate. For inspiration, roll 1d20 on the following table:
1 - Pupa man hates oily sweat!
2 - Pupa man hates noisy chatter!
3 - Pupa man hates swallowing lips!
4 - Pupa man hates oozing pores!
5 - Pupa man hates fleshy skin!
6 - Pupa man hates hairy bodies!
7 - Pupa man hates squirming legs!
8 - Pupa man hates wriggly fingers!
9 - Pupa man hates floppy arms!
10 - Pupa man hates grunting coughs!
11 - Pupa man hates stupid eyes!
12 - Pupa man hates reedy voice!
13 - Pupa man hates gibbering words!
14 - Pupa man hates veiny hands!
15 - Pupa man hates mammal stink!
16 - Pupa man hates phlegm-snot-spit!
17 - Pupa man hates breeding organs!
18 - Pupa man hates filthy orifices!
19 - Pupa man hates feelings!
20 - Pupa man hates person man!
Tuesday, 14 November 2017
HD 7, AB +8, AC 16, #ATT 2 (War fan 1d4+2, Tetsubo 1d6+2), Move 120
Lion: HD 4, AB +5, AC 14, #ATT 2 (Bagh nakh 1d4+1 x 2), Move 120
Tamers: HD 2+2, AB +3, AC 14, #ATT 1 (Lassoo), Move 120
HD 7, AB +3, AC 14, #ATT 1 (Cane, 1d4), Move 120
1 - A random magic item
2 - A random 'special' treasure
3 - A random gem stone
4 - A random item of jewelry
The Wrestler and Strongman both have STR 18.
HD 5, AB +6, AC 15, #ATT 1 (Sumo rush 1d6+2), Move 120
The Old Widower can also cast Command, Glyph of Warding, Sticks to Snakes, and Insect Plague three times a day.
Old Widower: HD 3, AB +2, AC 12, #ATT 1 (Stick 1d4), Move 90
Old Widower's Child: HD 2, AB +1, AC 12, #ATT 1 (Tanto 1d4) Move 120
The Garuda is only interested in hunting, stalking and killing.
HD 7+3, AB +9, AC 16, #ATT 2 (Karambit 1d6+2 x 2 [special]), Move 120
The Chinese Maiden is pursued everywhere by the Drunken Persian King and his Followers (see below); she is almost never seen without them being within earshot. The Drunken Persian King longs for her hand in marriage; she will never give it, but will call on him for aid without compunction.
The Chinese Maiden undertakes to marry anybody who can bring her a blue rose. She can cast ESP, Audible Glamer, Phantasmal Force, Stinking Cloud, Confusion, Fear and Passwall, all once per day.
HD 3+3, AB +1, AC 12, #ATT 0, Move 120
Followers: HD 2, AB +3, AC 14, #ATT 1 (Halberd 1d8), Move 120
If the Monk is attacked or his bowl stolen, it is revealed to be empty.
The Monk's cane can be used to cast Teleport three times per day.
HD 2+1, AB +1, AC 12, ATT 1 (Cane 1d3), Moe 90
Friday, 3 November 2017
Comments on the last entry raised the possibility of playing a PC sage-with-bodyguard double-act. The sage gets the glory; the bodyguard gets the XP. This keeps sages nicely wimpy (why bother with the frivolities of combat or the hocus pocus party tricks of spellcasting?) while providing an outlet for their XP gains and proper protection for dangerous expeditions. I like the idea.
I wonder if it could be expanded to general play. Every time your character garners enough XP to gain a level you can instead elect to find him a henchman who the XP goes to. Your first level fighter could go up to second level.... or, instead, get a first level thief as a glamorous assistant. The XP left over (because a thief level costs so much less than a fighter one) gets saved towards that nice new first level magic-user you've had your eye on.
The DM might want to restrict the number of henchmen, chiefly at higher levels - big XP rewards could theoretically allow a PC to employ a miniature army of first level thieves. But then again that's not all that different to what happens at name level anyway. There's also a natural break on numbers because XP rewards get diluted the more henchmen there are - if a PC has five henchmen, all getting shares, he garners less XP to spend on his growing throng.
Tuesday, 31 October 2017
One of the reasons I don't begrudge paying the TV license fee is BBC wildlife documentaries. (Do foreigners know that if you have a TV in Britain you have to pay a tax of £150 or so which goes to fund shite like Dr Who? Well...you do.) Blimey but we, as a nation, make bloody good wildlife documentaries. I have serious reservations about the way things have gone in recent years - there is way too much slo-mo and musical grandstanding in the recent big budget hits like Planet Earth II and Africa - but we are still streets ahead of the competition, and the excellent Springwatch is a great counterbalance to the OTT Attenborough flagships.
Ever since I was doing my old Monstrous Manual thread on rpg.net (see links to the right of this page), I have always had it in mind to do a game about the "sages" who appear in almost every entry speculating about monster origins, habits and behaviour. A campaign in which the PCs are a band of scholars heading out into the wilderness or underworld in search not of treasure but of knowledge about its denizens. Making records ("Ah, so the death mold uses sverfneblin tears as an aphrodisiac!") and getting XP for it.
You could do something similar about wildlife photographers - on MARS! or other alien environment of your choice. (Another variation would be idle aristocrats exploring the Lovecraftian Dreamlands or similar, taking Daguerrotype photographs with incredibly long exposure times and trying to stay alive long enough to get good shots.) PCs going out with the aim of documenting rather than looting - at most collecting samples.
The problem I invariably stumble against is how to measure success in such a game. So let's muse aloud. Getting XP for documenting facts about monsters can be calculable on a rarity basis (50 XP for uncommon, 250 XP for rare, and so on) but from there things would get complicated. You could divide or multiply the number of XP based on the clarity or accuracy of the information. You could also do it with the significance of the facts learned (appearance alone being a low XP reward; information about abilities being higher, and so on). And you could increase the ratio for the obscurity of the fact - it is harder to learn some abilities than others. If photographs were being used, the XP reward could be clarified by quality of the shot.
The problem is that you would end up spending a lot of time, I think, caught up in calculating XP, and consulting lists of XP for different monsters and/or categories of fact (how much XP is it worth to learn about a vampire's restriction on entering a home uninvited?, etc.). This would be a lot of work for DM and players alike. Are there any alternatives? Answers on a postcode or - at a push - a comment.
Saturday, 28 October 2017
I've got a thing for popular reference books. I can control it, though. I never let it get out of hand - only three or four books a night, and never enough to get more than a little bit educated.
The ultimate reference resource is wikipedia, of course, and I love getting lost on that website clicking from link to link, but its ubiquity had made the good old-fashioned coffee table reference book seem outmoded. This is a great shame, because physical reference books allow something no website can emulate - the flick-through. You can go to a random page on wikipedia if you want. But what you can't do is flick through all its entries rapidly and stop when something catches your eye. You can have serendipity, in other words, but not bounded serendipity.
Bounded serendipity is the function of a physical flick-through-able book. You pick it up. You flick through. You see something that intrigues you. You stop to make use of it. You repeat the exercise. It isn't random but nor is it structured. It provides value through being semi-random while making use of your own eye as final arbiter.
Bounded serendipity is one of the main reasons why physical bestiaries are important. Flicking through a bestiary will not give you purely random monsters like a generator could, but it will result in certain entries leaping out at you as you flick - influenced not by a dice roll but by subconscious creative forces. You need a monster for stocking a hex lair and as you page through your Monster Manual the Peryton stands out to you as somehow appropriate. It does not stand out through fluke alone but due to a mixture of fluke and deep creative tides churning somewhere in the ocean behind your eyes. It's a heady mixture of luck and unconscious choice.
The bounded serendipity of the flick-through also works well with spell lists and treasure tables for similar reasons, although a special mention has to be made of books of maps - whether fantasy maps or the road atlas variety.
Tuesday, 24 October 2017
*The hyena's bite attack does 1d6 damage as she hoists her victim off the ground; in the next round she swallows him or her whole. Victims can be cut from her belly if she is killed but they will die within 3 rounds of swallowing.
*The hyena can suck the colour out of the sky, turning it permanently grey and rendering the sun a mere plain white orb for a radius of one mile. She can do this once a day. In colourless zones the plants gradually die and nothing will grow. If she is killed the colours of the sky can be removed from her belly and used by an elven weaver to create material for a dozen robes or other garments worth 1,000 gp each.
*She trails saliva everywhere and can be tracked without requiring any sort of dice roll.
*She is accompanied everywhere by a dozen slave males (2 HD, AC 6, #ATT 1, DMG 1d6, Move 180, ML 7).
Friday, 20 October 2017
Have a read of the wikipedia entry for Garuda, the mythical gigantic bird-gods of Asian legend. Check out this paragraph:
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
A bird with a wingspan of 2640 miles. I can only speculate on how big that would make a feather, but think about what kind of societies might exist buried down beneath the plumage in what would presumably be near-darkness. Underdark creatures burrowing through the skin. Cities built into the hollow spaces within the feathers (living on the brink of potential apocalypse when a feather comes loose or the bird gets too vigorous with its preening). Blood farmed (mined?) for food or other purposes. Constant efforts to overcome radical shifts in the direction of gravity as the bird alternates between flying and perching upright. Legends of the great open space above, which can only be seen by climbing far, far upwards beyond anybody's wildest imagining...
Maybe I ought to stop reading wikipedia entries.
Thursday, 19 October 2017
Whether the jungles of South East Asia, the taiga of Siberia, or the ancient mixed woodlands of Europe, forests fascinate me. I like being in them and I like thinking about them: to be in a forest is to be completely surrounded in a gaia-like ecosystem, made all the more interesting because it obscures your vision and plays tricks with sound. This means that exploring a forest is a bit like exploring an overland dungeon - you never know what is around the next corner.
There is also some sort of primitive fear - the fear of a Savannah-dwelling early human/primate - of those dark, closed-off, cool spaces. To stand in an open space looking at a wood is like standing at the threshold of another, different world. A world where you don't belong. A wild place.
Woods are not like other spaces. To begin with, they are cubic. Their trees surround you, loom over you, press in from all sides. Woods choke off views and leave you muddled and without bearings. They make you feel small and confused and vulnerable, like a small child lost in a crowd of strange legs. Stand in a desert or prairie and you know you are in a big space. Stand in the woods and you only sense it. They are vast, featureless nowheres. And they are alive.
But there are difficulties running games in forests realistically, by which I mean, without just being yet another bunch of adventure locales except featuring treants, dryads and wood elves rather than derro and drow and whatnot. Taking advantage of, and emphasising, the uniqueness of the forest as an environment. I think there are chiefly three sets of problems.
1) First, as Bryson also puts it, when describing the experience of actually walking through a forest for day after day:
There is no point in hurrying because you are not actually going anywhere. However far or long you plod, you are always in the same place: in the woods. It’s where you were yesterday, where you will be tomorrow. The woods is one boundless singularity. Every bend in the path presents a prospect indistinguishable from every other, every glimpse into the trees the same tangled mass. For all you know, your route could describe a very large, pointless circle. In a way, it would hardly matter.
At times, you become almost certain that you slabbed this hillside three days ago, crossed this stream yesterday, clambered over this fallen tree at least twice today already. But most of the time you don’t think. No point. Instead, you exist in a kind of mobile Zen mode, your brain like a balloon tethered with string, accompanying but not actually part of the body below. Walking for hours and miles becomes as automatic, as unremarkable, as breathing. At the end of the day you don’t think, “Hey, I did sixteen miles today,” any more than you think, “Hey, I took eight-thousand breaths today.” It’s just what you do.
Existing in a mobile Zen mode is nice, but not really what an RPG session is all about. In other words, exploring a forest is fun and interesting, but in reality also full of nothing-much-at-all in terms of excitement, danger, and adventure.
You can add excitement, danger and adventure with random encounters, of course, or hex locations, or even pre-planned encounters, for that matter, but at some stage it seems to me that if you're doing that too much you're not really being faithful to the nature of being in a forest as opposed to other sorts of environment. Emptiness and featurelessness is part of what journeying through a forest is.
2) When you are walking through a forest, you get surprised by things all the time. It's not an environment for humans (unless perhaps you are born into a tribe in the Amazon, and even Amazonian tribespeople manipulate their "forest" environment a lot). Your senses don't function well there: your main strength is sight, which is rendered defunct by the lack of visibility, and in comparison to just about any animal you could name, you have pathetically rudimentary senses of smell and hearing. The long and short of it is: whatever is round the corner knows you are there before you know about its existence. You are forever flushing grouse, being scared out of your skin by sudden bird alarm calls, and trying to identify the sources of mysterious movements in the undergrowth. You could be hunted and stalked with embarrassing ease by any serious predator.
This would make for good natural world as survival horror gaming (there is death lurking everywhere and it will get you) but not, I think, a long-term campaign.
3) Forests are in a sense featureless, but if at any given moment you stop while walking through one, you will be confronted by a radically different geography than you would have five minutes earlier. There are inclines, crevasses, streams, clearings, fallen trees, boulders, pools, a whole array of different features swallowed up by the trees and undergrowth and suddenly revealed to you as you pass by. More than in any other environment, the surroundings really matter - there is stuff everywhere.
So a realistic encounter in a forest has to take account of that. Want to fire an arrow? Deal with the fact that it's more difficult for your target not to be in cover. Want to creep up on an enemy? Deal with twigs and dried leaves everywhere. It's not so much that there's plenty of scenery to interact with, it's that you are overwhelmed by scenery; you have scenery up to the eyeballs, more scenery than you know what to do with.
This, among other things, makes forest adventuring - doing justice to what makes a forest a forest - one of the true last great frontiers of gaming.
Friday, 29 September 2017
Dwarf fortress infested with Tulpas.
Secret crystal dragon treasure stash guarded by enchanted beasts (shishi, chinthe, etc.)
Observatory taken over by its automata caretakers.
Mine whose slaves have uncovered ancient magicks transforming them into ab-humans.
Great forge on the coast which uses sea water for cooling: it has created steam devils as a side effect and they have killed the owners.
Tomb of an ogre-mage trader on the back of a wandering giant tortoise.
Maze built by fakirs out of giant butterfly wings as a meditation aid to walk through 'mindfully'.
Major rakhosh's dwelling place: on the underside of a giant waterlilly leaf in a vast lake.
Quarry originally used for making statues; galeb duhr have been disturbed and they now use the quarry to store 'statues' of their own in the form of corpses.
Inverted pyramid home of an archmage which balances on a mountain peak which rises through the middle of a glacier.
Thursday, 28 September 2017
Hairy McLary from Donaldson's Dairy
Charismatic Leader 4
As Big as a Horse 4
Covered in Spots 4
Like a Bundle of Hay 4
All Skinny and Bony 4
Schnitzel von Krumm
With a Very Low Tum 4
The Toughest Tom in Town 4
It practically plays itself!
Thursday, 21 September 2017
On G+ somebody asked about an underwater campaign setting I was supposedly writing, called "Unit Swim" or "Union Swim" or something. This tickled me tremendously, but it also gives me the opportunity to talk about Behind Gently Smiling Jaws a bit - which I haven't done in a while.
One of the rules I made myself promise I would follow, pretty early on, is that nothing in BGSJ would come from or be based on other existing works of fantasy. It all had to be either completely novel or based off real world history or legend. This has worked well in large part, but has created a real sticking point in one area of the world map - the Underwater Ziggurats. These are remnants of alien cities on the sea floor which the crocodile supposedly saw in some lost era, akin to Atlantis - the conceit being that aliens did actually colonise the ocean bottom millions of years ago and the crocodile was witness to this. It's based on the Yonaguni Monument/Formation.
So far so good, but it turns out it is really difficult not to turn this area of the campaign setting into Deep Ones and Cthulhu and Father Dagon. Coming up with a concept of aliens living in underwater cities which owes nothing to Lovecraft is hard. His work is practically the first and last word on the subject.
I'm working on it.
Another stumbling block is more practical: format. I know that producing an eight-volume slip case is a really bad idea. A really, really bad idea. A really, really, really bad idea. But sometimes bad ideas sound very good - like that decision to eat a Double Decker after lunch, or that decision to miss the last train home on a night out, or that decision to have a cigarette when you know you shouldn't.... The multi-volume slip case idea just will not relinquish its hold.
Friday, 15 September 2017
A: The Gerontocracy of Basiney. A city where one in a thousand citizens is born an immortal struldbrug, who gradually accrues more and more wealth until he wields immense power and influence (but is too decrepit to enjoy it). A place in which corporatism not merely dominates but has run amok, like renaissance Florence or early modern Amsterdam as imagined by Gordon Gekko.
B: The Platinum Mountain. Ruled by a white dragon demigod who spins platinum thread, mined by his dwarf serfs, into webs and coils which he then magically animates into automata to serve him.
C: Servasser, the Sea Wolf Port. A fishing settlement which now lies largely abandoned; the population of fishermen and fishwives were infected by lycanthropy which spread through them like a plague. Now they inhabit its dilapidated ruins and raid the surrounding seas to assuage their ravenous hunger.
D: Gwenteliver's Castle. A fortress owned by the storm giant Gwenteliver, who surrounds herself with human slaves who she gradually interbreeds with giant insects, reptiles and other beasts. Her collection of art is unrivaled and strongly desired by almost all the Gerontocrats of Basiney.
E: The Smugglers' Cove. A small, secluded bay where smugglers from the neighbouring land of Celquinox come to liaise with rogue traders sneaking goods for trade past the tax collectors of Basiney. The people of Celquinox are a race of mutes who extend their necks with metal bands until their vocal chords no longer function; they employ their children to communicate on their behalf with strangers, and talk to each other with secret gestures they do not teach to outsiders.
F: The Entrance to the Spirals. An underground network of caves extending far beneath the surface of the earth, created in the ancient past by a burrowing worm which dug in endless repeating spiral tunnels. Somewhere these spirals connected with the tunnels of underground denizens such as the duergar, neogi, kuo-toa and the like, and they now throng with busy subterranean life which boils up from the bowels of the earth towards the surface.
Wednesday, 13 September 2017
What I've learned from all of this is that, just when you think you have a feel for how much variety there is in the natural world, you find out you don't know the half of it. Grasslands are unbelievably varied. Today I was in a more-or-less unique habitat - a strip of land about a mile long and no more than 100 yards wide along the side of a river. Mine run-off containing traces of heavy metals such as cadmium and lead had been put into the river during the industrial revolution and gradually this had seeped into the banks at various locations up and down its length. While the river is now pristine, the heavy metals have remained in the soil. This was one such location, and it had resulted in a blend of plant life that you would find nowhere else on earth - including a sub-species that you find literally nowhere else other than these slivers of land on the upstream banks of the Tyne.
And that was just in the afternoon. In the morning we had been at an abandoned quarry where the limestone scree happened to produce the perfect conditions for a certain rare alpine flower. The site could have been no more than 400 yards in diameter. Go outside of that limit in any direction and you would be in a different habitat altogether and noticeably so.
The world is a patchwork of different environments so multitudinous it is almost mind-boggling. When creating a hexmap we tend to paint in very broad brush strokes - forest, grassland, desert, etc. This makes life easy, but causes us to miss out on some benefits that thinking in very granular detail could bring. Consider: what different types of grassland might exist in a world where there is not just mine run-off but also materials left over from magical duels? What types of unique habitats might sprout up around the corpse of dragons? What might the existence of a megadungeon do to the area around the entrance? And what kind of druids, treants, and other guardians would exist to protect these unique environments?
Monday, 11 September 2017
One of my favourite bits of DMing advice comes, in all places, in the 2nd edition DMG. Zeb Cook (I am paraphrasing because I don't have it to hand) basically foreshadows some OSR thinking in one place only, which comes in his discussion of stat requirements for character classes. Don't let players access any class they want, he recommends; keep the stat requirements for rangers, paladins and so forth strictly. Encourage players to play the stats they are given, so to speak. Let the dice fall where they lay; so your PC didn't end up getting the 17 CHA required to be a paladin. Stop being titty-lipped about it - you can play a fighter who always wanted to be paladin but failed (or hasn't yet succeeded).
In other words, a fighter who wants to be paladin is already way more interesting than a paladin. That's a PC with a ready-made goal and pretty much ready-made personality too. He may not have special paladin powers but being "awesome" isn't what the game is really about. It is more about trying hard and applying yourself and getting involved.
You can tell 2nd edition was very much focused at a younger audience - this is the kind of advice that's important for kids, whereas adults should in theory at least have already learned those lessons. But the wider point holds for all ages: it's good for starting PCs to have goals. It makes the PC part of the world and gives the player an impetus to drive things along, which helps the DM tremendously.
Friday, 8 September 2017
Tuesday, 5 September 2017
It all began back when I was living in Japan. My then-girlfriend had this electronic dictionary which resembled a mini-laptop; it contained more or less every English and Japanese dictionary ever published, and allowed you to search and cross reference between them in very powerful ways. (It was the kind of thing now rendered defunct by ubiquitous smart phones and Google; dictionary websites and Google Translate are much more superficial but allow the language learner to translate simple words and phrases just as quickly if they don't mind some inaccuracies and decontextualisation.) One day I was bored for some reason and started looking up simple words in it in pocket dictionaries, like "cat" and "table", wondering how they had been defined. I suppose I was entertained by the sheer redundancy of having the word "cat" in your bog-standard definitional dictionary; in what universe are there people who are good enough at English to be able to read and understand the definition of "cat", but who don't already know what a "cat" is?
Of course, such words are in there because of the need for completeness and because the mother of all dictionaries, the OED, is not really a catalogue of definitions but a catalogue of word histories and genealogies. But you get the idea: it's interesting to imagine an obscure people living in a parallel reality who understand our language but are fascinated by concepts such as "cat" and "table" as they page through our dictionaries.
(If you're curious - or if you are one of those people in that parallel reality - a cat is a "small animal with soft fur that people often keep as a pet" and a table is a "piece of furniture that consists of a flat top supported by legs".)
The interesting thing about these definitions is they don't really tell you a great deal. They flirt at descriptiveness without being particularly descriptive. A cat is a "small animal with soft fur" - so it could have six legs or two; it could have a single cyclopean eye; it could have no head at all but eyes and mouth located in its torso. Looked at this way, dictionary definitions are quite inspiring and lead to all sorts of flights of fancy. Consider:
"A domesticated carnivorous mammal that typically has a long snout, an acute sense of smell, non-retractable claws, and a barking, howling, or whining voice."
"A tailless amphibian with a short squat body, moist smooth skin, and very long hind legs for leaping."
"A gregarious burrowing plant-eating mammal, with long ears, long hind legs, and a short tail."
"An eight-legged predatory arachnid with an unsegmented body consisting of a fused head and thorax and a rounded abdomen."
"A long limbless reptile which has no eyelids, a short tail, and jaws that are capable of considerable extension."
"A large perching bird with mostly glossy black plumage, a heavy bill, and a raucous voice."
"A heavily built omnivorous nocturnal mammal of the weasel family, typically having a grey and black coat."
What images do they call up in your mind, once you've got past the actual image of the real-world creature referred to? What does the large perching bird say with its raucous voice? Why does the heavily built weasel wear a coat? Why is such prominence given to the domesticated carnivorous mammal's non-retractable claws? What direction to the long limbless reptile's jaws extend in?
Seen in this way, the dictionary becomes a source of great inspiration for monster design. You could, if you were minded to, create an entire setting that way: replacing all the real world animals with new creatures based only on their dictionary descriptions. A world in which people farm sheep and cows but they're not our sheep and cows; hunt foxes but they're not our foxes; put down traps for mice but they're not our mice....and so on and so forth. Alternatively, it's just a way to come up with something different when the juices aren't flowing. What's in the next cavern in the dungeon? Ok, a snake...but its jaws extend forwards.
Friday, 1 September 2017
A group of old men - old farts, let's face it - were sitting on the next table on the pavement, having what seemed like a regular meeting. They were old friends who may very well have been meeting up for a cuppa every day for the last 40 years; that was the kind of vibe they gave off. However, you couldn't, if you had tried, come up with four more different characters.
One of them was big, Jabba the Hutt corpulent, wearing a black waxed jacked despite it being summer, and with his thinning hair plastered to his scalp with styling gel in a manner that suggested he had scooped fistfuls of the stuff out of a bucket and lathered his head with it an hour previously. But, to top it off, he had somehow managed to get what looked like a half dozen or so pigeon feathers stuck into it. He didn't seem to be aware of this, and his friends were seemingly too polite to tell him, but they were right there, plain as the nose on your face. I imagine his name was Derek.
Next to Derek was another portly character but one who carried it with that sort of rotund dignity which some older men can pull off - he was the kind of guy who would pat his stomach after dining on a dessert of a cheese platter and port and announce "I always say that a belly on an older man signifies a certain joie de vivre!" He was wearing an expensive blazer and a turtle-neck sweater and had a neat beard. He looked like a retired art salesman. Let's call him Jeremy.
Standing chatting to them, obviously not quite having got round to ordering a drink yet, was a more wiry character dressed head to foot in expensive cycling gear as though he had literally just finished completing a stage in the Tour de France five minutes earlier. Skin-tight blue lycra, slipstream helmet, the works. He had the body that most fit 55-60 year old men have: skinny everywhere except an overhanging pot belly they can never get rid of. He was plainly having his mid-life crisis 15 years too late. He looked like a Brian.
And pulling up a chair as I sat there was somebody we'll call Gary - tall, thin and slightly dreary, a long drink of water. He was an ageing hippy sort, wearing a colourful woollen garment I can only describe as a smock, sandals, and ragged denim shorts. He was the kind of guy who has thumb rings. I think he may have been wearing a CND badge. What I am absolutely sure of is that he was carrying a Waterstone's bag and brought out of it to show his friends a biography of Bob Marley he had just bought.
I felt immediately like somebody ought to write a novel about Derek, Jeremy, Brian and Gary. They were, clearly, a cabal of wizards, vampires, or occult investigators. Why else would they be meeting up like that, except to discuss the sacrifice of virgins or plot the assassination of a shaman in Mongolia via astral projection?
Better yet, they were self-evidently NPCs in a campaign of Call of Cthulhu, instantiated into our reality from a gaming session taking place among a group of teenagers in a flat nearby. These gamers had concentrated so hard, and smoked so much weed, that their shared imaginings had actually manifested themselves corporeally in the form of these men sitting in Hexham high street. That could surely be the only explanation, couldn't it?
The good thing about Call of Cthulhu and World of Darkness, I always think, is that you only have to really look just around the corner for inspiration to smack you in the face. With D&D you have to work a little bit harder. Fantasy is one thing. The real world is a much stranger place.
Wednesday, 30 August 2017
In Britain, at a certain point in their career, celebrities start to get referred to as "national treasures". The exact stage at which this happens differs by the individual, but at some specific moment, as though it is preordained, journalists collectively begin to use this phrase to refer to a given person whenever they mention them. Usually these people are extremely obscure to foreigners - Bruce Forsyth, David Attenborough, David Jason, Victoria Wood, and Ken Dodd are the names that spring immediately to mind; Stephen Fry has been making a concerted effort to achieve National Treasure status for what seems like decades now.
In Japan they have a different and more official "national treasure" club. Skilled craftsmen of whatever kind can, in recognition of their excellence in pottery, metalwork or whatever, be bestowed with the status of "living national treasure" (literally translated, a "human national treasure"). This entitles them to a lifelong government stipend, among other things. In Japan, they take crafts seriously.
Anyway, I was thinking about this earlier today: what if there actually were human treasures, who were worth XP just like gold or silver? Don't think slavery. Think in-game rewards for having sway over great artists and craftsmen.
What if, as well as for recovering a treasure chest from the dungeon, you could also earn experience for rescuing a kidnapped artisan of great renown? What if you could get XP for having a famous sculptor under your exclusive patronage? What if you could gain a level by persuading a brilliant potter to switch his allegiance from one lord to that of your own liege? I suppose what I'm saying is: What if there was a systematic way of valuing human capital in D&D?
Saturday, 26 August 2017
Friday, 25 August 2017
Wednesday, 23 August 2017
Each adult member of every clan specialises in a certain task. For instance there are Armourers, who use the scales to fashion mail; Skinners, whose job is to separate hide from flesh without damaging either; Ivorists, who work the claws and teeth into useful products such as glue and paste; Ocularists, who use the lenses of they eye to produce fire-starting devices; and different artisans for every internal organ and muscle group, and more besides. Most prestigious of all are those with the dangerous task of making useful items from the glands which produce the dragon's breath weapon attack.
These different specialists each have different titles within each clan, and each clan can recite generation after generation of masters and apprentices all the way back to great antiquity. Because their way of life is so reliant on maximizing the use of whatever they find - for the high mountains are barren and can support little life - the greatest sin for the body snatchers of the mountains is sloppy workmanship, and the greatest virtue devoted craftsmanship.
A clan may go for vast stretches of time without finding a corpse, so the discovery of one is a great bonanza. It means that the clan is guaranteed food, shelter and other amenities for the foreseeable future. The rare occasions when clans go to war against each other come when two of them come across the body of a dragon at the same time. If the corpse is that of an ancient wyrm they may reach a compromise. But if it is that of a mere mature adult or younger, only a fight will resolve ownership.
Monday, 21 August 2017
I love you guys.
What I think blogging has allowed me to do is, in essence, find my own version of The Inklings, JRR Tolkien and CS Lewis's group of friends who would meet twice a week at an Oxford pub (beer on Tuesday morning, conversation on Thursday evening) to talk about the things they were collectively interested in. Blogging is less fun in that it doesn't involve turning up to work half-cut every Tuesday - what could be more redolent of a long-lost era than a bunch of Oxford dons meeting up each Tuesday morning to go on the piss? - but there is something fundamentally similar about it, for me: an opportunity to share my ideas and creative impulses with my sympaticos, my tribe, my CS Lewises. (Not that I claim to be any sort of Tolkien.) And that should never be underestimated.
There's no substitute for real conversation and real, regular meetings with good friends. But at the same time, nor is there a substitute for being able to write blog posts about slug-men and have them find a worldwide audience. So, thanks, internet. You are a tool for evil and will bring about the ultimate decline and fall of Western civilization - of that I have no doubt. But you're not all bad.
Thursday, 17 August 2017
From a very recent biography of Tolkien by Raymond Edwards:
"In the late 1960s, the Beatles were keen to make a version of The Lord of the Rings, with the four of them playing Gollum, Frodo, Sam, and Gandalf. Tolkien, who detested the group as a whole, and the bumptious John Lennon in particular, was furiously opposed; they did not secure the rights."
I am guessing:
Gandalf - George
Frodo - Paul
Ringo - Sam
John - Gollum
Paul I am sure would have insisted on being Frodo, and really George has to be Gandalf. The other two are tough ones.
Yoko could have been Wormtongue.
Tuesday, 15 August 2017
Monday, 14 August 2017
How to think about practising and role playing?
Well, what does it mean to be good at an RPG? Basically, it means that, by your presence at the table, other people have a good time. As the DM you create a setup and run it so that the players have a good time. And as a player, by your actions, being proactive and thoughtful, you make it so that the DM and other players enjoy themselves.
Creating a detailed and intricate campaign setting means nothing if the players don't enjoy interacting with it. Getting your PC to level 20 doesn't matter if you're an arsehole and stop being invited to play.
So practice in the context of RPGs isn't really about getting good at the skills involved - doing voices, lateral thinking, puzzle solving, drawing maps, whatever - although those things all help. Instead, it's about being a better person. More engaged, more considerate, more amiable, more interesting and interested.
That's a good recommendation to take part in a hobby if ever there was one.
Friday, 11 August 2017
Put it this way - javelin throwers would have a really hard time hitting individual targets if they were using their skills in anger.
Compare this with a cricket fielder going for a run out. Usually he's moving at pace, has to reach to the ground and pick up the ball which is also moving at pace, and then take a shot at a few slivers of wood at an acute angle under severe time pressure. They don't always hit the target but they can be extremely accurate.
(Cue gratuitous 1990s cricket clips featuring Jonty Rhodes below.)
What I'm trying to get at is: accurate throwing is a matter of chucking small dense items at stationary targets. A cricketer has a reasonable chance of hitting the stumps because they're not moving.
Does it make sense to say that thrown objects in D&D only hit if the target is stationary, i.e. surprised? Perhaps not - we've all been in the situation as a kid where your friend is about to throw something at you from a few paces away and you know that you're likely to be hit however much you might duck and dive. But it might make sense to come up with a thrown object house rule:
Thrown Objects House Rule
Standard ranges for thrown objects/weapons only apply where the target is stationary. Otherwise, the effective range of all thrown objects is 5 yards.
Thursday, 10 August 2017
- Quit social media except for what's necessary for work or you have some special overriding good reason (I use G+ to keep up to date with the RPG world, for example), leave your phone in your pocket or bag unless it's ringing, and don't surf the internet unless you have a specific reason for it. I am not perfect at following this advice, but I am working on it and gradually improving; I haven't been on Facebook for six months and am close to deleting my account, and I deleted my Twitter account ages ago. I don't know anything about Instagram or Snapchat and I have no intention of ever doing so. I am also planning to switch to a dumb phone soon. Cutting down on internet use frees up huge wide vistas of time stretching out before you as far as the eye can see. You might think you miss it when it's gone. Trust me, you don't.
- By a similar token, control your email use. The best way to do this is not to check emails until noon. This gives you a productive distraction-free morning, but you can do something similar in the evening, giving yourself free time to do creative things when you get home from work.
- Get disciplined about leisure time. On your death bed you're not going to regret the fact you didn't watch enough TV. I don't live the lifestyle of a monk but I don't touch boxed sets with a barge pole. I watch a lot of sport but that's the kind of thing you can have on in the background while you do something else.
- Do a little bit of something every day. It doesn't matter what it is or even if it's just writing a sentence or two - force yourself. You can find time. If you take a break for a day or two you lose momentum surprisingly easily.
- Take time to think. This is related to the first bullet point, but freeing yourself from your phone is great for this. I spend quite a lot of time on the train while commuting, or sitting in a cafe, or waiting for my wife to do something or other, just sort of gazing about myself. I get lots of ideas for things that way.
- If you have a baby, you basically have to tough things out at times. If I'm at home I can work on something while my wife and the kid have a nap, for example. It means I don't get to take a nap myself but it's worth the sacrifice.
Tuesday, 8 August 2017
The Dissociated Phase. Here, my consciousness is more or less entirely abstract from what my PC is notionally 'doing', and I am hardly thinking about him at all - I am in the game, but just listening to what else is going on as an interested observer. It's as though my consciousness is standing outside the 'body' of the PC and is ready to re-inhabit it when required (it seems strange to speak in those terms, because of course the PC doesn't have a body at all, but that's the most intuitive way of describing it). Typically, this is the phase my consciousness is operating on when my PC isn't actually involved in doing anything and the spotlight is elsewhere. It's fairly uncommon, because even in those moments my consciousness is usually in the Mind's-Eye Phase (see below).
The Mind's-Eye Phase. Here, I am picturing what is going on, the scene that is being described, and my PC's place in it, in my mind's eye as though it is play or film taking place there and I am watching it as a third party. This can take place whether my PC is directly involved in what's happening or not. The association between my consciousness and the PC doesn't really have any emotional content except the kind of emotional content I get watching sport or TV. It is quite common - perhaps the most time is spent in this phase.
The Immersed Phase. Here, my consciousness is immersed in what is happening in the game. It would be wrong to suggest that this is like my consciousness merging with that of the PC, or changing in any way. It is still my consciousness and I am feeling what I probably would feel if I was in the position the PC is in. So, for example, the maybe the DM is describing the appearance of a beholder in a particularly evocative way and it is so immersive that I can actually feel a sense of impending doom. This usually happens at least once a session when something exciting is happening or during a heated in-character conversation or something like that.
The Identification Phase. This is the extremely rare occurrence that I actually feel as though my consciousness has - at least to a degree - merged with that of the PC and experiencing events not as myself but as the character and in way that is qualitatively different to how I would experience it myself. This phase is very rarely entered (much less than once per session).
The Mountain Dew Phase. Here, I am completely disengaged and fiddling with the dice, looking for something to eat, eyeing up the waitress, and not really paying attention to what is going on.
Monday, 7 August 2017
Thursday, 27 July 2017
The first two seasons are now available on Netflix and I recommend checking it out if you have never seen it. In the episode we watched last night, which is illustrative, the team had to evict a tenant who hadn't paid rent in 18 months and whose landlord was his own mother; evict illegal migrant tenants with a disabled son from a tiny one-room flat in a house in London because the landlord wanted to renovate it (quite heart-rending); remove a Spanish guy from an appallingly tiny room with no windows in a London tower block; and deal with an eviction of a tenant with clear psychotic issues whose pastor was trying to act as a go-between. Describing them in this way makes the series sound like gawking at human misery. I think it's the opposite: an objective but sympathetic depiction of an astonishingly difficult job carried out in trying circumstances, and a really rather shocking indictment of circumstances in Britain today.
You could make a great story game based on it. It is by nature episodic and has the same basic structure: High Court bailiffs arrive somewhere needing to solve a case (i.e., get money or carry out an eviction). They may face a web of lies which they have to untangle. They may face violence. They may face obfuscation. They may face pleas for compassion. There are also all sorts of complications which can arise: battles with local government; misunderstandings with the police; language problems; logistical difficulties (how do you value a light aircraft and remove it for auction to pay off a debt?). And there are different methods of achieving success: friendliness, tough love, physical coercion, mercy. Every subject of every writ is different - one day it might be a taxi company who owe money to a contractor; the next a tenant who hasn't paid rent in two years because he or she thinks the landlord is doing a lousy job; the next an eviction of a young family. Victory could be defined in terms of getting the job done, but equally could be defined as getting the best possible outcome for everyone.
Random tables of course: random writ (evict or recover a debt or both); random client; random subject; table of complications. You could do it in 12 pages. High Court Enforcement Agents in the Vineyard, you could call it.