Monday, 16 September 2019

Yoon-Suin Hardback Version: Errata Help

I am thinking of putting out the much-requested hardback version of Yoon-Suin.
This will not be an all-singing, all-dancing fancy 2nd edition kickstarter, or anything like that, but just a hardback option available alongside the paperback version on Lulu for those who want it.
That said, while the substance of the text won't change, it will be an opportunity to tidy up the layout a bit and also fix ideally all the errata in the existing version. (I'll also update the PDF and paperback versions accordingly and, if I can think of any efficient and easy way to do it, offer a method for getting the updated PDF to existing purchasers for free.)
To that end, can you let me know what errors or inconsistencies you have found in the text of Yoon-Suin? Whether it's just one thing or a billion. Obviously I will be going through the text myself with a fine-toothed comb, but one pair of eyes is never enough for these things.
Either post here or contact me directly if you know how. Thanks!

Friday, 13 September 2019

Villainous Animals

Certain animal species are often encountered as the model for villains or evil races in D&D and in fantasy books in general. Off the top of my head, these species are wolves, snakes and spiders. I suppose if an alien from Mars or elsewhere in the universe was asked to pick the most likely three animal species to be selected by human beings as representing evil and/or danger, those would all be pretty high up the list - the alien would just have to ask himself which animals have been most likely to be dangerous to humans over the course of our evolutionary past (and recent history too, of course).

Some distance behind these - the best of the rest, just about picking up the last Champions' League spot - is the ape, specifically the chimpanzee. Chimpanzees make great villains not because they are our Species Enemies like the other three mentioned above, but because they are in a kind of uncanny valley. They look and act rather like us - or, I should say, rather like our children. But they do so in a way that disturbs us. When we see them flinging shit or publicly masturbating or eating people's noses and hands while they're still alive, they look too close to us for comfort. They appear to be telling us, even as they engage in these acts of degradation and savagery: "Look upon us, you who think you are so advanced, and see your TRUE NATURE REVEALED. Only a thin veneer of civilisation separates you from acts like this, and it can be torn asunder AT ANY MOMENT".

That's what the chimps at the zoo seem to be telling me whenever I see them, anyway. I have mentioned it to a succession of therapists. 

Other apes are less effective in this role than chimps. Where a gorilla appears as a villain it arouses our sympathy because of its inherent nobility; King Kong is of course the prime example of this. Gorillas are just far enough away from us to be outside of the uncanny valley and in the territory of awe and majesty. I was going to say that the same is probably true for orangutans, although of course King Louie and Dr Zaius both stand out as radical exceptions to this. 

Next are the kind of animals that monster-creators cast around for when wolves, bears, snakes, spiders and apes have become boring. These are the animals that would be dangerous to us if only they were really big. Lizards, crabs, eagles and most types of insect are the chief examples that spring to mind. Despite the fact that a giant eagle would in reality, I am sure, be terrifying, it is hard in the abstract to get excited by a giant eagle monster because eagles themselves are not dangerous to humans. The eagle simply doesn't strike a chord of danger on the strings of the human psyche. (Or something.) 

Behind these are animals that certainly are dangerous to humans, but which we probably didn't encounter very frequently, if at all, during the course of our evolution, and which have been done to death so frequently in cinema that they now seem like very, very old hat. Sharks and crocodiles comprise the bulk of this category. It also includes bears.  

And bringing up the rear is literally everything else. Seagulls. Porcupines. Mongooses. Camels. Giraffes. Bandicoots. 

It follows that if you want to make a really interesting animal-based monster or "bad guy" race, a seagull or porcupine is the way to go, because if you can pull it off and really make it scary you'll definitely have it made. 

Monday, 9 September 2019

The Strange Alchemy of D&D's Genre Emulation

In some ways, "old school D&D" has a laser-like focus on producing a certain type and mood of play. It doesn't feel like this when you read the rulebooks. But it does when you read its main literary inspiration at length. 

In the comments to my last post, Ivan provided a link to an essay Gary Gygax wrote about Jack Vance in the early 2000s. In it, Gary cites some of the ways in which Vance's writing directly influenced the content of D&D. Two of these examples are trite and obvious - the magic and the Thief class. The third is more telling:



Aside from ideas and specific things, the very manner in which Jack Vance portrays a fantasy environment, the interaction of characters with that environment, and with each other, is so captivating that wherever I could manage it, I attempted to include the “feel” he brings to his fantasy tales in the AD&D game. My feeble ability likely managed to convey but little of this, but in all I do believe that a not a little of what fans consider to be the “soul” of the game stems from that attempt.

Gary was "old school" in more ways than one, so he wasn't scared to talk about the "soul" of D&D rather than some bland technical term. I like that sort of language too. He was also obviously attempting to be humble here, so he didn't come out and say that, in play, his attempt to imbue the "soul" of his game with the "feel" of Vance's fiction is often highly successful. 


It is, though. I have recently finished reading The Dirdir, the third in Vance's "Planet of Adventure" series, and I was struck again and again by not only how obvious were the inspirations in it for the "feel" of D&D, but also how this manages to follow-through into what you might call the "lived experience" of D&D players. Not to put too fine a point on it, but basically every D&D campaign I have been involved in has felt like a Jack Vance story without any of us consciously attempting to make it that way. It's as if, by some strange alchemy, Gygax's intentions manage to find effect without ever being stated and without, in many cases, the players even knowing who Jack Vance was.


At times the inspirations are unbelievably direct. In the central portion of the book, the main characters basically act out a D&D campaign, exploring not a megadungeon but an area of wilderness, and searching for "sequins" in the form of "nodes" rather than gold, in a setup which provides the paradigm format for "OSR" games to this day. Here they are arriving in Maust, the settlement on the edge of the "dungeon", which attracts adventurers from all over the world of Tschai:



By noon Maust appeared in the distance: a jumble of tall narrow buildings with high gables and crooked roof-lines, built of dark timber and age-blackened tile...Running boys came out to meet the motor-wagon. They shouted slogans and held up signs and banners: "Sequin-takers attention! Kobo Hux will sell one of his excellent sequin-detectors." "Formulate your plans at the Inn of Purple Lights." "Weapons, puff-pads, maps, digging implements from Sag the Mercantilist are eminently useful." "Do not grope at random; the Seer Garzu divines the location of large purple nodes." "Flee the Dirdir with all possible agility; use supple boots provided by Awalko." "Your last thoughts will be pleasant if, before death, you first consume the euphoric tablets formulated by Laus the Thaumaturge." "Enjoy a jolly respite, before entering the Zone, at the Platform of Merriment."

After arrival, they stop at an inn and haggle with the innkeeper ("For three modest chambers you demand three hundred sequins? Have you no sense of proportion? The charges are outrageous!") and then go to a library to research "the Zone" which they will be exploring for gold:



The side wall displayed a great map of the Zone; shelves held pamphlets, portfolios, compilations. The consultant, a small sad-eyed man, sat to the side and responded to questions in a confidential whisper. The three passed the afternoon studying the physiography of the Zone, the tracks of successful and unsuccessful ventures, the statistical distribution of Dirdir kills. Of those who entered the Zone, something under two-thirds returned, with an average gain of sequins to the value of six-hundred. "The figures here are somewhat misleading," Anacho stated. "They include the fringe-runners who never venture more than half a mile into the Zone. The takers who work the hills and the far slopes account for most of the deaths and most of the wealth."

When the actual exploration gets underway, it even feels a bit like the combat in some D&D campaigns when the PCs have levelled up a bit and are starting to "grind":



There were four slaughters that day, four on the next, five on the third day, by which time the process had become an efficient routine. During mornings and evenings the bodies were buried, and the gear repaired. The business seemed as passionless as fishing...

Mostly the inspirations, though, are subtler and more in the way of mood (or "feel" as Gygax put it). Does this not sound like a prototype for every conversation that has ever taken place between D&D PCs and a prospective "business associate"?



Woudiver seemed in no hurry to have them go. He settled into a chair with an unctuous grunt. "Another dear friend deals in gems. He will efficiently convert your treasure into sequins, if the treasure is gems, as I presume? No? Rare metal, then? No? Aha! Precious essences? 
"It might be any or none," said Reith. "I think it best, at this stage, to remain indefinite." 
Woudiver twisted his face into a mask of whimsical vexation. "It is precisely this indefiniteness which gives me pause! If I knew better what I might expect - " 
"Whoever helps me," said Reith, "or whoever accompanies me, can expect wealth." 
Woudiver pursed his lips. "So now I must join this piratical expedition in order to share the booty?" 
"I'll pay a reasonable percentage before we leave. If you come with us - " Reith rolled his eyes toward the ceiling at the thought - "or when we return, you'll get more." 
"How much more, precisely?" 
"I don't like to say. You'd suspect me of irresponsibility. But you wouldn't be disappointed." 
From the corner Artilo gave a skeptical croak, which Woudiver ignored. He spoke in a voice of great dignity. "As a practical man I can't operate on speculation. I would require a retaining fee of ten thousand sequins."

Does this not sound like a description of every "city of thieves" in every D&D campaign in which one appears?



"A warning: the city seethes with intrigue. Folk come to Sivishe for a single purpose: to win advantage. The city is a turmoil of illicit activity, robbery, extortion, vice, gambling, gluttony, extravagant display, swindling. These are endemic, and the victim has small hope of recourse. The Dirdir are unconcerned; the antics and maneuvers of the sub-men are nothing to them. The Administrator is interested only in maintaining order. So: caution! Trust no-one, answer no questions! Identify yourselves as steppe-men seeking employment; profess stupidity. By such means we minimize risk."

And at times even the conversations between the main characters sound like the sarcastic bickerings of players sat round a table (if a little effusive in their vocabulary):



"He is a notable gourmand and voluptuary, with tastes at once so refined, so gross and so inordinate as to cost him vast sums. This information was given freely, in a tone of envious admiration. Woudiver's illicit capabilities were merely implied." 
"Woudiver would appear to be an unsavory colleague," said Reith. 
Anacho snorted in derision. "You demand that I find someone proficient at conniving, chicanery, theft; when I produce this man, you look down your nose at him!"

And this is even more true when they are squabbling about treasure, as here:

"Look there." [Anacho] pointed. Not twenty feet distant the ground had broken, revealing the wrinkled dome of a large mature node. "Scarlets at least. Maybe purples."

Reith made a gesture of sad resignation. "We can hardly carry the fortune we already have. It is sufficient."


"You underestimate the rapacity and greed of Savishe," grumbled Anacho. "To do what you propose will require two fortunes, or more." He dug up the node. "A purple. We can't leave it behind."


"Very well," said Reith. "I'll carry it."

Or here, where they even start fighting about encumbrance:
"One more kill," said Traz. "Here now comes a group, rich from their hunting." 
"But why? We have all the sequins we can carry!" 
"We can discard our sards and some emeralds, and carry only reds and purples."

But the Vancian "feel" also finds its way in to the structure of the game's ephemera. Nobody involved in writing Monster Manual entries has ever said anywhere (to my knowledge) that they were riffing on Vance. But take a look at this passage from The Dirdir and tell me it doesn't sound like it could have come from the pages of a bestiary, or Dragon magazine (were it not for the sprinkle of sardonic humour, of course, and the fact that D&D bestiary entries are never this imaginative):



"Remember," Anacho warned, "the Khors are a sensitive people. Do not speak to them; pay them no heed except from necessity, in which case you must use the fewest possible words. They consider garrulity a crime against nature. Do not stand upwind of a Khor, nor if possible downwind; such acts are symbolic of antagonism. Never acknowledge the presence of a woman; do not look toward their children - they will suspect you of laying a curse; and above all ignore their sacred grove. Their weapon is the iron dart which they throw with astonishing accuracy; they are a dangerous people." 
"I hope I remember everything," said Reith. 

Playing D&D, in other words, mirrors the experience of reading Vance's fiction very closely indeed, and it happens without this ever being the stated "point" of the designers or generally the intention of the players. It happens through "feel". That is Gary Gygax's possibly unique achievement. Lots of designers explicitly attempt to emulate a genre or piece of fiction through an RPG system and fail. Gygax did it implicitly and suceeded. Perhaps there is a lesson in that.

Thursday, 5 September 2019

Did any Appendix N authors know about D&D?

Many of the authors who wrote books listed in the famous 'Appendix N' were dead by the time D&D came out. But some weren't. Off the top of my head, Poul Anderson, Jack Vance, L. Sprague de Camp, Fritz Leiber, Michael Moorcock, and Roger Zelazny would have been alive, and I presume a systematic check would show lots of others. It is reasonable to assume some of them, maybe all of them, knew about D&D - that some indeed would have played it, even.

Did Jack Vance know that D&D magic was "Vancian"? Did Michael Moorcock know about the "multiverse" and the alignment system? Did Zelazny know that Shadowjack was an inspiration for the Thief class?

If so, we face the curious possibility that some of these writers may, later in their careers, have been writing in awareness of and even in some sense in response to their supposed influence on D&D. I'm curious to know if anybody has any thoughts about that or has read anything about it.

(I will return to "heavier" blogging tomorrow.)


Why Didn't You Tell Me?

There was apparently a recentish kickstarter for a licensed Planet of Adventure/Tschai RPG. Not a sourcebook like the old GURPS one, but a standalone game. It is "powered by the Apocalypse" and Dungeon World (sigh) and in French, but still, an English translation also appears to have been done or is in the process of being done.




Did anybody back it? Does anybody have it? Having just about finished off the last volume of the series, I can say Tschai one of the very, very few settings not made up by myself which I would actually consider running a game in,* and I'm very curious about what the results of this project are like. (This is not a hint at fishing for a copy - I will buy it myself if I can find out how to online, and if it's confirmed to be any good.)

(*The others would probably be Mythago Wood, the Viriconium of The Pastel City, and possibly Lyonesse.)

Wednesday, 4 September 2019

Childish Imaginings and the Tyranny of Art

I hadn't thought about this in years, but a comment on a recent post reminded me that when I first read The Lord of the Rings I imagined orcs as having crocodile heads. It is hard to believe there was a time when I had not seen a Warhammer, Fighting Fantasy, or D&D orc. But obviously there was, and in my childish imaginings that was what they looked like.

This would have been in around 1990, I think, when I was still in primary school - about 9 years old. I had read The Hobbit some years before that, and had heard of The Lord of the Rings but had a vague sense it might be "scary". But, while I am not sure I knew there was such a thing as a "fantasy genre", I knew that I was drawn to that kind of book and I suppose it was inevitable that sooner or later I'd move on to reading the Rings trilogy. I remember the immediate trigger vividly: a friend of mine had taken The Fellowship of the Ring out from the library and was showing it to me in school. I don't think either of us yet understood there was a concept of a trilogy, and we probably thought the Rings books were like the Narnia ones; there was notionally an order, but you could read them as stand-alone pieces. So that night I went and got out The Two Towers and started from there.

(Starting The Lord of the Rings half-way through is an interesting experience: beginning in media res, there's a lot to figure out, but the narrative isn't harmed at all, and to this day I still think of the main characters of the trilogy as really being Aragorn, Gimli, Legolas, Gandalf and Merry and Pippin. Frodo and Sam's journey still somehow feels like a sideshow, because I was already caught up in the other branch of the plot - Helm's Deep and all that - before I even knew who Frodo was.)

Illustrations and art can be wonderful things but they can also, perversely, be very restrictive of the imagination. When I read a book I tend, like most people I suppose, to built a picture of what is going on in my mind's eye, but it's very hard to do this when an artist's vision has been imposed on you. The crocodile-head orcs were vivid to me once, but now I've seen a thousand pictures of orcs or various kinds, it's hard for me to think of them that way. Not impossible, but it requires mental effort. This problem is made infinitely worse when you've seen a film or televised version of a book: who now can read The Fellowship of the Ring and not picture Gandalf as Ian McKellan, Aragorn as Viggo Mortensen, and Legolas as a petrified piece of cardboard masquerading as an actor? I must have had a picture in my mind of all of these characters as a child, when I hadn't seen an artistic representation of any of them, but they're largely lost to me now.

The tyranny of art is a benevolent and beautiful dictatorship, but it is a dictatorship all the same. The images it conjures in your mind are not your own - they are a piece of the artist's imagination, etched into your brain. Much is gained from this, but some things, like the crocodile-head orcs or the non-McKellan Gandalf, are lost. This is why, sometimes, I wonder whether when it comes to art in RPG books, less is really more.

Tuesday, 3 September 2019

Occidental Fantasy Gaming (OFG): The Case of the Early 90s SNES

From the period between, say, about 1992 and 1996, I played a lot of SNES games. I didn't actually have a SNES (my parents didn't allow me to have one; my misery-porn memoir about my childhood spent living in a basement subsisting on buckets of fish-heads will include a chapter on this), but it seemed like all my other close friends did, and our social lives tended to revolve around either that or Games Workshop games (or cricket and football for those of us not completely steeped in nerdiness). Most of the time it was Mariokart or Street Fighter II. But every so often it would be something else - something which I now realise was of a genre all of its own: Occidental Fantasy.

Occidental fantasy is a particular type of pastiche of Western medieval high fantasy tropes, made in (usually) Japan. Here, for instance is the bizarrely-titled Knights of the Round [sic], which features up to three players controlling King Arthur, Sir Lancelot and Sir Percival as they, well, basically fight their way through a particularly cheesy 1980s jidaigeki (complete with suspiciously Japanese-looking swordsmanship) with incongruously European furniture.


On a similar theme, but showing that occidental fantasy can be based on Tolkien-esque rather than folkoric tropes, there is King of Dragons, which is more or less exactly the same game as Knights of the Round, but with magic and goblins and the like:



But exhibit A in the OFG dossier is, without doubt, the Squaresoft oeuvre, and chief among these is the original Secret of Mana.


Words can't express quite how nostalgic it makes me feel to watch the first few minutes of that YouTube video, but setting that to one side, notice its key characteristics. The Japanese aesthetic touches (the birds which look like cranes; the fetishization of swords) layered on a pseudo-European foundation; the preternaturally lush green grass and bucolic charm of a British Isles rendered hyper-real by an Asian imagination; that peculiarly East Asian merging of the high- and low-tech; those Tuscany-via-the-Cotswolds cottages. This is the occidental fantasy palette at its most vivid and enticing.

The Final Fantasy series also fill a significant section in the OFG dossier. Feel free to offer your own suggestions; here I have barely even scratched the surface of the iceberg.

Friday, 30 August 2019

Anti-Cruel Discrimination and the Bestiary of Flukes

"Summon all our people to meet me here as speedily as they can. Call out the giants and the werewolves and the spirits of those trees who are on our side. Call the Ghouls, and the Boggles, the Ogres and the Minotaurs. Call the Cruels, the Hags, the Spectres, and the people of the Toadstools. We will fight..." 
-The White Witch, The Lion, The Witch and The Wardrobe (Chapter 13) 
Cruels and Hags and Incubuses, Wraiths, Horrors, Efreets, Sprites, Orknies, Wooses, and Ettins. In fact here were all those who were on the witch's side and whom the Wolf had summoned at her command... 
-The Lion, The Witch and The Wardrobe (Chapter 14)

If D&D had been less influenced by Tolkien and more by CS Lewis, its bestiary would have looked very different. No goblins or orcs, but plenty of boggles. Evil sprites. Incubuses, ettins, werewolves and efreets as major villains rather than rare encounters. Orknies (meaning nuckelavees?) and wooses (woses?). "Cruels" and "horrors" (whatever they are) running amok - not to mention the people of the Toadstools.

The familiar and iconic entries in the D&D bestiary - orcs, goblins, kobolds, bugbears, ogres and the rest - are really there by fluke. Yes, some were made up by D&D designers. Most weren't, though. They were simply pilfered from other sources. They could just as easily have been overlooked for others in that process. Gary Gygax might have decided not to have orcs, but redcaps, say, and our modern game would be something rather different as a result. (Can you get a half-redcap?)

Want a different tone to your campaign setting and you could do a lot worse than starting off with a copy of the Monstrous Manual and just crossing out and replacing all the iconic monsters and going from there. Redcaps instead of orcs, bogles instead of goblins and nockers instead of dwarves and suddenly it's a different game. Try it with the book or folkloric tradition of your choice and see what you get.

Thursday, 29 August 2019

Elves as Tourists



I have spent the last week on holiday in rural Britain. What this tends to mean these days, whichever county you are in (be it Devon, Dorset, Derbyshire or Dumfries) is a kind of bourgeois paradise of delightful rented cottages in picturesque chocolate-box villages full of antique shops, grand old country pubs (all of which seem to be called the White Horse, the White Hart, the Turk's Head or the Fox and Hounds), smart cafe-bars, boutiquey art galleries and impeccably preserved medieval churches and castles. I was going to say that the only difference you get between Scotland and England in this respect is that in the former there's also whisky distilleries - but you also get them in England now as well.

I love exploring my country, which manages to pack astonishing variety and regional flavour into a pretty tiny and absurdly densely-populated space. But I am always struck, when I do so, by the feeling that there is something deeply weird and possibly morally corrupting (in some sense I can't quite identify) about a billion posh people suddenly descending on picturesque pastoral locations every weekend and school holiday and transforming them into their own idealised versions of country living. And that's not to mention all those who choose to retire to such locations, or use them as second homes, or even live in them but spend all their time commuting to the nearest city. Bourgeois people running the show in urban Britain, you sort of expect, but there's something galling about them doing it in the countryside too.

Speaking to relatives (a branch of my family live in one of the most famously picturesque areas of the country), the thing that annoys them is not so much that all this enforced poshness pushes up the cost of living and particularly the cost of housing - though that does, of course, annoy them. It's that it makes them feel like outsiders in their own homeland - their own community activities and their own tastes being drowned in a sea of middle-class frivolity. Where once they had pride in their jobs, their social circles and their roots, they are now forced to dance attendance on the capricious tastes of their society's elites in order to scrape what living they can in the service industry. Nobody ever asked them if they wanted that. It just sort of happened.

Thinking about all this got me imagining a world in which elves visit human societies as tourists. Much as a modern wealthy person visits rural areas in his own country or goes on a grand tour of South East Asia or Latin America, elves - richer, more powerful, more educated - might also choose to savour the texture of life on a lower rung among the humans, so to speak. And if they did it often enough, entire human settlements - maybe entire human regions - would develop to cater to these visitors. Their economies would come to revolve around pleasing the whims of their eccentric and capricious overlords. Their local delicacies would be tweaked to suit the elven taste buds. Their young men and women would learn to exaggerate whatever characteristics the elves found attractive. They would begin producing pastiches of elven goods to make their visitors feel at home. They would all have to learn elven. They would even end up giving up their "charming and rustic" homes for periods of time so that elves could get to experience life at a different pace. They would become essentially parasitic and utterly reliant upon the elven tourist gold piece. Maybe, in time, they would lose any sense of connection with their own cultural practices, performing them rather as quanit, superficial museum pieces for the entertainment of their visitors.

The question then becomes: how does one make such a campaign setting dynamic? The possibility that first pops into my head is what happens when suddenly one day, the tourists stop coming? Now these people, who have spent generations catering only to the pleasures of the elves, find themselves horribly exposed to reality - and without anybody to protect them.

Saturday, 24 August 2019

1001 Dungeon Entrances

Look at an interesting or spooky entranceway and I start to imagine it as the entrance to a dungeon. This is a never-ending source of inspiration. Here are some examples:













Post some of your own, here or on your own blog if you have one. 

Friday, 23 August 2019

[Review] The Dragon Never Sleeps, Glenn Cook

I am going to experiment with putting some book reviews on the blog - SF and fantasy ones mostly, with some others I think may be of interest. (There will be some crossover with my hastily-jotted reviews on Goodreads for the tiny number of people who are connected to me there.)

First up is Glenn Cook's The Dragon Never Sleeps, which somebody commented here on the blog to recommend (though I forget on which post):

To enjoy this book (which, in the end, I definitely did), you have to enter a zen-like state of acceptance that you will not understand the absurdly convoluted plot, or even what the characters are talking about half the time. Instead, you just need to get a sense, a feeling, of what's going on: conspiracy after conspiracy, twist after twist, betrayal after betrayal, battle after battle. 

You have to do this for four reasons. First, Cook's sub-Hemingway/sub-Ellroy hardboiled prose is here so unrelenting, so monotonous, that it simply ends up beating you into submission. You can't stop to savour it. All you can do is read it, as fast as you can, and hope to get through each page so you can take a breath before the next one. The text just won't let you do anything else. When you're being hit in the face with a prose frying pan, you don't stop to examine it carefully.

Second, the characters, with a very few exceptions, are all so similar in the way they think, talk, and behave that they become almost interchangeable. With nothing to distinguish one character from another except for their names, keeping track of their machinations becomes a kind of Rubik's Cube puzzle in narrative form. You just have to keep spinning and fiddling with it and in the end take it on faith that there is actually a way to solve it. (Perhaps there's some kid in China somewhere who can read five copies of The Dragon Never Sleeps simultaneously in 13 seconds while juggling, or something).

Third, I'm not sure that it is actually possible to perform that leap of faith. By the end, in particular, it had become so hard to follow who is who and what all the different clones of the characters are doing that I did start to wonder if even Glen Cook knew quite what was going on as he was writing. Is he a plotter of impenetrable genius, or just a little old man behind a curtain with a microphone and smoke machine?

Fourth, the pace of the thing is so breakneck, its tour through its fictional universe so whistle-stop, that the reader never really gets a sense of the context in which the events which come at him pell-mell are taking place. There are fascinating hints of an interesting setting (vast depopulation which nobody is noticing; a constructed interstellar travel system which nobody understands; the capacity for spaceships to become sentient; potential immortality), but they really are only just hints - nobody likes an infodump, but here there really isn't enough of the background revealed to even properly picture things in your mind as you're reading. "Less is more" works with fine dining, fine spirits, and fine SF worldbuilding - but all of them only to a point.

Rumour has it that this book was supposed to be a much longer series, but a falling-out with the publishers led to Cook simply writing up all his notes for that series in novel form in breakneck speed. I can believe it, because that's exactly how the book reads: like somebody trying to provide a comprehensive account of everything that happens in a plot so complicated it makes A Song of Ice and Fire read like a Hardy Boys mystery, all compressed into 400 pages. (I kind of wish GRRM would take this approach in his remaining books...). For all that said, the fact that it remains a riveting read is quite some feat on Cook's part - there can't be many writers who could condense a trilogy into an extended synopsis with dialogue and have it be readable, let alone thrilling, but he manages that in spades.

3 1/2 becs des corbins.

Monday, 19 August 2019

Stone Balancing and the Upwards Dungeon



I confess that I do a little bit of rock balancing from time to time. Not for any particularly hippyish reason, other than that it's nice to be outside somewhere peaceful in the natural world; more because it's a fun challenge, not all that different conceptually from a sudoku puzzle or jigsaw - how do I get this rock to balance on top of this one?

(It's also a lot easier than it looks - you'd be surprised how much the friction of the surface of two rocks combined with gravity will allow freakishly unbalanced looking combinations to, well, balance.)

The other day I was stacking some stones at the beach and it occurred to me that it would be a fun idea for a dungeon: perhaps a wizard's tower; perhaps an ancient monument built by an extinct race of giants. Each stone a boulder of epic size, riddle with tunnels and caverns, and each of them having a distinct physical character (as well as a distinct variety of inhabitants: its own types of rock golem; its own types of pech; its own types of earth elemental; its own types of dwarf; its own types of gem dragon, and so on). And, possibly, able to fall over... or be dismantled.





I am a fan of the idea of upwards dungeons. (As is probably evidence by my many posts about the giant tree dungeon, not to mention the Mountain to the Moon.) The descent into hell is fine, but the attempt to climb to heaven seems more human somehow: obviously it has a figuratively optimistic appeal, but it also feels more real - you can see an upwards dungeon, and so George Mallory's reasoning for climbing Everest becomes the perfect justification: why did you want to climb the wizard's tower full of rock golems and gem dragons? Because it's there.

Thursday, 15 August 2019

For a "Western" Yoon-Suin

I am working on a project I think of as The Meeting of the Waters, which is a setting book taking the approach of Yoon-Suin but allowing the creation of a fantasy Northumberland (which can really be dropped into any Europeanish/Westernish/occidental sort of setting).

Here is something from it, an intro for one of the handful of fixed settlements (most of the rest being randomly generated):

Joyous Garde 

The town of Joyous Garde appears suddenly, nestled amidst pastures in a hidden fold of the landscape, like a secret the hills are keeping from the world outside. Around it loops a high wall which divides the town proper from those who dwell in huts clustered around it at its feet: what is inside the wall is known as Gatewithin, the abode of all that is right and proper; outside is Gatewithout, where dirt, disease and death stalk.

Twice a year, at the summer and winter solstices, the people living in Gatewithin and Gatewithout switch places for one night, the only rule on those nights being that they may take nothing in or out of Gatewithin for the duration, whether coming or going beyond the walls. For some this is an opportunity for reflection; for most it is the opportunity for debauchery or the settling of old scores within the heady air of a night free from the usual shackles of custom and status.

The Swapping Nights, as they are known, may be intended to reflect the role of Fate in human life - Fate being the personal, capricious force which the people of the town worship as a God. The most frequent guise in which Fate appears in their religion is as the personification of sudden reversals of fortune, in which he has the visage of a two-faced, prancing green man with the horns of a stag. Yet the religion itself is characterised by great disagreement about the inevitability or alterability of Fate, and about what precisely is Fated and how that is known, and dozens of churches can be found in the town, each with its own zealously-promoted variant of the truth.

Joyous Garde is under the de facto rule of its burghers, who elect a town council and make what decisions are necessary save one, which is always made for them by ancient law: to give the town’s de jure rulers whatever they demand in taxes each autumn. These de jure rulers are the Nineyear family, an extended clan of cloud giants who own Joyous Garde and all the land around it for miles in all directions. Their tax demands vary at their whim, for they have genuine need of nothing which the town can offer, and the Nineyear family delight in abusing their privileges in malign and unpredictable ways. One year they may demand a virgin girl to burn alive and devour; the next they might require the entire contents of the warehouses of all the members of the brewer’s guild; the one after that they could simply ask for a bonnet each of strawberries - so as to make the population of the town anxious to find out what the demand is to be the following year when “the other shoe falls”. This unpredictability may, indeed, by the source of the townsfolks’ obsession with the vagaries of Fate. For the rest of the year, however, the giants ignore the town entirely.

The ancestral home of the Nineyears is Stuck Gates, a great castle hidden at the foot of a hill a few miles from Joyous Garde. It is so named because its main gates are permanently locked, only to be opened when an Emperor once again rules at Dolorous Garde (see page [x]). Stuck Gates sits in a vast forested estate, mostly comprising the Nineyears’ hunting grounds, dotted with overgrown ruins and monuments from an era in which the family were evidently more prosperous than they are now. Much of the estate is rarely visited if ever - the haunt of outlaws and fugitive creatures released for sport but never subsequently killed.

Tuesday, 13 August 2019

Bog Standard Capitalism and the Price of the Hobby: What Would Jurgen Habermas Do?


My last post apparently attracted the attention of some people on a certain forum site you may be aware of (traffic source stats are a wonderful thing). The discussion is actually perfectly reasonable for the most part, but I was intrigued by the post I pasted in above.

"Bog standard capitalism" is here defined as "setting the retail price of your product at the upper end of what your customers would be willing to pay but not so high that they don't cough up". I would quibble that this is not exactly what I wrote in the post. And I would also quibble that this is an accurate definition of "bog standard capitalism" - it sounds more like a description of "bog standard pricing in circumstances of oligopolistic competition" to me. But then what do I know? Noisms' thoughts on the OSR publishing as oligopoly will have to wait for another day.

The reason why this post intrigued me is what it says about modern geekdom and its "intensely relaxed" attitude to what Habermas would probably call the colonisation of their lifeworld by market rationality.

Let me put it in less pretentious terms. A hobby is a deeply human experience of shared communal values and respect for craftsmanship and skill. It is the endeavour of amateurs who do what they do for the love of it and out of a desire to collaborate with peers who feel the same way. When it is subject to the forces of "bog standard capitalism" much is gained but much is also lost. Its hobbyish nature is denuded and is replaced by price-based considerations which distort existing relationships forever.

It is hypocritical of me to complain about this for many reasons. First, I am in the lucky position of having gainful employment which pays me comparatively well and gives me quite a bit of free time to write stuff about elf games. Second, I have released RPG materials for money. Third, I did that in such a way that, it seemed to me, reflected a fair approach to pricing - a luxury I would not necessarily have been able to afford if I was doing it professionally.

But be that as it may, none of us is without sin. My desire is only to point out that it's good that people can now make money and support themselves independently as professional producers of amazing stuff. Yet it has its downsides. Just look at what has happened to "the OSR" in the period 2008-2019 if you don't believe me.

Monday, 12 August 2019

A Lot of RPG Books Are Too Expensive

Not all are. But a lot of them. I won't name names; every reader will have their own ideas about which releases constitute good value for money and which do not. And it's not exactly a question of expensive=bad. Some expensive books are worth their price. But the number is fairly small.

How did the publishing model for RPG books, particularly OSR ones, become so skewed towards high-production values and hence high costs?

It seems to me that, probably entirely accidentally, the "indie"/OSR/kickstarter-publishing wing of the RPG world has moved towards a Games Workshop-based approach to pricing. This can be summarised as: make the costs so high that people will moan, gripe and complain, but not so high that they won't make the purchase.

I emphasise that this is probably entirely accidental. Nobody thinks that way by design. I think social pressure to make good-looking books may explain most of the development; modern geekdom is defined if nothing else than by acquisitiveness, and in particular acquisitiveness of items that are aesthetically pleasing in some sense. Pricey "event" books generate buzz and expenditure just like a Hollywood blockbuster does, and this creates a certain expectation, if not exactly demand, which publishers or creators feel obliged to meet in future.

I was until fairly recently ambivalent about this, leaning towards the positive, even. But as time goes on and I get older I increasingly feel as though all of this has negative effects: it prices kids out of the hobby unless they've got indulgent parents; it (relatedly) results in the hobby becoming more of an adult-oriented pursuit than it used to be; it produces an emphasis on style over substance; and it makes the hobby resemble less of a hobby and more of an industry or - perhaps a better metaphor - a system of devolved private patronage. I am particularly unsure whether this last development can be sustainable in the long term.

It is useless to complain about market preferences. All I can do to reverse them is to try to make products that are inexpensive and heavy on substance, and write blog posts like this. Consider half of that project completed.

Friday, 9 August 2019

Ways of Describing Combat

Tolkenian Heroic Expressionism
How many there were the Company could not count. The affray was sharp, but the orcs were dismayed by the fierceness of the defence. Legolas shot two through the throat. Gimli hewed the legs from another that had sprung up on Balin's tomb. Boromir and Aragorn slew many. When thirteen had fallen the rest fled shrieking...
-The Fellowship of the Ring 
A lot of the violence in Tolkien's work happens "off camera", so to speak, or is described in very broad brush strokes. Even when we get a "live" account, as in the scene above, it tends to be a sketch or a few edited highlights - the only blow-by-blow fight we really get in The Lord of the Rings, at least as far as I can recall off the top of my head, is the scene just after this one when Frodo gets stabbed by the orc captain's spear. (Possibly the fight between Eowyn and the Witch King of Angmar also counts.) The point is not to get into the nitty-gritty, but to express important plot points and depict the heroes as properly heroic.

Tolkien wasn't interested in the minutiae of combat, and certainly not in glorifying that aspect of war (perhaps for perfectly natural personal reasons). He was more interested in replicating the way in which combat is described in the medieval and dark-age literature which he enjoyed, which tends also to be a fairly terse or indirectly-reported affair. Fighting in those source texts serves the purpose of making it clear that the heroes are heroic - the idea that combat should in itself be realistically depicted or in itself entertaining is unheard of.

Replicating Tolkenian Heroic Expressionism in an RPG is hard if one is using a traditional combat system where the flow of combat is necessarily narrated round-by-round. ("You swing at the orc...you hit it...the orc misses you...") This, incidentally, is why the Rolemaster combat system was such a uniquely poor fit for actually replicating Tolkien's oeuvre, like so much else about MERP. Also incidentally, despite the hard-boiled nature of Zelazny's prose (so different to Tolkien's), he frequently adopts this kind of approach too.

Vancian Detached or "Bathetic" Realism
The assassin ignored Zarfo. To Reith he said, "Please do not make an undignified display. The process then becomes protracted and painful for us all. So then - "
Zarfo roared: "Stand away; have I not warned you?" He snatched up a chair and struck the assassin to the ground. Zarfo was not yet satisfied. He picked up the splint, jabbed it into the back of the man's thigh, through the rust-ochre corduroy of his trousers. "Halt!" wailed the assassin. "That is Inoculation Number One!"
Zafro seized a handful of splints from the splayed-open wallet. "And here," he roared, "are numbers Two to Twelve!" And with a foot on the man's neck he thrust the handful into the twitching buttocks. 
-Servants of the Wankh
As in every other aspect of his writing, Vance's accounts of combat are detached and somewhat arch, but it is also possible to detect in them a genuine understanding of how violence tends to unfold in the "real world" - in a messy and entirely unromantic way, and almost never on fair or equal terms. Nobody is really edified by it (except in the boxing ring).

Vancian Bathetic Realism is the way in which combat almost always unfolds in RPGs my experience, at least in your average non-crunchy system like Basic D&D which doesn't artificially "balance" encounters. It is an untidy affair, it very often explodes without warning, and it has nasty consequences. (Rolemaster combat is much more like this, too.)

Wolfeian Hyper-Realism
The slave with the scorpion advanced first, lashing the air to make a savage sound he must have hoped would frighten me. I stepped forward and slashed at the rawhide lashes. He jumped back and in doing so impaled himself on one of the javelins held by the man behind him.
The terrible thing was not that it killed him, but that it did not. With the head of the javelin in his back, he remained alive, bleeding and gasping like a fish on a gig as he dropped the scorpion and flailed about with his arms.
I caught it up - and as I did so, saw that Pasicrates was almost upon me. Its stock was of some heavy wood, and the leather-tipped lashes looked as though they might easily entangle a man; I threw it at his legs.
He was too quick for me. The stock rang against the bronze facing of his hoplon. I swung Falcata in the downward stroke that is most powerful of all. Again he was too quick, raising his hoplon to block her blade, but it bit the bronze like cheese, cut the hoplon to its centre, and leaped free as a lynx springs from a rock.
-Soldier of the Mist
In Wolfe's books we do often get blow-by-blow accounts of combat and they are exciting to read: there is a genuine thrill in his depictions and also frequently a certain poetry ("bleeding and gasping like a fish on a gig"). There is a bloody, often almost sadistic, realism to his fights, but it is not the genuine realism of Vance - it is, if you will, realism with knobs on: there is a cinematic quality to it that makes it, if not melodramatic, then at least deliberately entertaining. I would include George RR Martin's depictions of combat in this category also.

Wolfeian hyper-realism is what a lot of crunchier RPG combat system tend to aim for. These run the gamut from Warhammer Fantasy Role Play 2nd edition, to Cyberpunk 2020, to Shadowrun, to GURPS. In these systems, fighting is itself a kind of sub-game, and is designed to in itself be both fun and sufficiently detailed that it feels real and consequential.

Mievillian Comic-Book Cinematism 
But then, at that moment, as Bellis retreated from that hot carnage of pig- and sheep-blood and drained offal, the repulsive frenzy of the anophelii repast and then their bloated torpor, a mosquito-woman looked up from the sheep she had arrived at too late to drain, and saw their retreat. She hunched her shoulders and flew dangling towards them, her mouth agape and he proboscis dripping, her stomach only a little swelled by her sisters' leftovers, eager for fresh meat, angling past the cactacae and scabmettler guards and bearing down on the terrified humans, her wings awail, and Bellis felt herself jerked by fear back towards that confused trash of disjointed images, and she saw Uther Doul step forward calmly into the mosquito-woman's path, raise his hands (carrying two guns now) and wait until she was nearly upon him, till her mouthparts jutted at his face, and he fired. Heat and noise and black lead exploded from his weapons and burst the mosquito-woman's stomach and face.
-The Scar
'Nuff said. Combat here is stylised: for all its detail, it is not a realistic depiction of a fight, and nor is it meant to be - it is about enjoying the visceral, almost-visual thrill of violence for its own sake, more comic-book than film.

Mievillian Comic-Book Cinematism has its paradigm expression in D&D 4th edition, of course, though there are other systems which aim to produce something like it - Exalted, I suppose; Rifts; and GURPS in some of its guises.

Tuesday, 6 August 2019

The Sound of D&D

If you are asked for a musical genre to associate with the fantasy/SF genre, you'd probably choose metal, thinking of, for example:






Alternatively, you might choose the Gustav Holst-inspired film soundtrack classical end of the spectrum, also encompassing whatever type of music Enya is:





Neither of these has ever really sounded like the music that is going on inside my head when I read fantasy and SF fiction or play D&D, though. Fantasy/SF-inspired metal is generally too self-consciously doom-laden, and the classical-inspired stuff tends to be too faux-portentous or grandiose (much as I love me some Wrath of Khan OST).

These things are all a matter of taste, of course, but I more and more am coming around to 1970s jazz fusion as my personal backing music for D&D - specifically, the music generated by the weird conglomeration of virtuosos surrounding keyboard legend and crazed scientologist Chick Corea, particularly the outfit Return to Forever.  What is it about this music that screams JACK VANCE MOTHERFUCKER so loudly in my ear? Is it just that I can totally imagine a Dying-Earth spellcaster mixing potions in her laboratory to this soundtrack in some long-forgotten late-70s exploitation flick?:



Or this kind of sounds like the background music playing while somebody is travelling across the countryside in a never-made anime version of Lyonesse?




Or that this actually does sound like an alien chase in an Arabian desert (wait until the 2:25 mark)?



Or that it sort of feels like Cugel could be in the audience here, nodding his approval?



Monday, 5 August 2019

Matter is What I Am Not: On Thin and Thick Tertiary Realities

Patrick S asked me to write a blog post about the Holodeck. This spurred me to think about tertiary realities in general.

What I mean by a tertiary reality is a subreality within fiction. Star Trek characters visit the Holodeck. A character in a novel has a dream or hallucination. Somebody in a film tells a story. And so on. In other words, something which is fictional or illusory taking place in an already fictional narrative (the secondary reality).

Tertiary realities are useful for doing various things. They can give an insight into the psychology of the characters or foreshadow an important event (think of the dream sequences in American Beauty, or Luke's imaginary duel with Darth Vader in The Empire Strikes Back). They can provide a space in which characters can develop outside of the normal framework in which we're used to seeing them (lots of Star Trek Holodeck scenes are like this - the one which springs to mind right now is "The Emissary", in which a "calisthenics" program provides the opportunity for us to see, er, a progression in the relationship Worf and Kehleyr). Or they can just be a cheap but possibly effective trick in which the viewer thinks they're seeing something purportedly "real", but it turns out they're not (the aforementioned scene in The Empire Strikes Back is an example of this, obviously - I guess Dallas is the most famous extended one in history).

What they are not particularly good at is provoking a sense of threat. If the viewer knows something is just a dream, or just a story-within-a-story, or just a holographic projection, it's hard to get interested unless there is known to be some impact on the "real" world - that is, the secondary reality. This is why filmmakers try to keep the "it was all just a dream - or was it?" motif hidden until the end (a la Labyrinth, or indeed Dallas), or make it clear that what is happening in the tertiary reality will have serious effects in the secondary one - like all those Next Gen episodes in which Something On the Holodeck Becomes Sentient and Tries to Take Over the Enterprise (or whatever). There is also a very narrow middle ground in which it's possible to communicate to an audience or reader that what they are experiencing might be a dream and might not - a lot of David Lynch's films do this, for example, as I suppose does Inception at the end. But in the main a tertiary reality only generates emotional investment if there is something about it that means something in the "real world".

(Inception is an interesting case inasmuch as it proves the general point that if it's clear what's happening is in a tertiary reality, the audience doesn't really care. There's no sense of danger at all in the action sequences in Inception in which the characters are mucking around in interior dreamscapes and fighting off the weightless ciphers they encounter there. It's only when something else is at stake that it's really worth watching.)

A DM is venturing onto thin ice when getting his characters involved in dreams, drug-fuelled hallucinations, giant illusions and so on for these very reasons - it's easy to get the players to join in for the fun of it, but not very easy to get them to feel a sense of danger. That has to come about either because they're  going to get trapped in the tertiary reality or something that happens within it is going to harm - or kill - their PCs for real. He steps onto even thinner ice if he does the "it was all just a dream" bait-and-switch; I can't really imagine that ever ending well, because if there is one thing that really ought to bind a DM as a point of honour, it's that he shouldn't out-and-out deceive the players about the purpose or nature of the campaign itself.

Yet I also think that such episodes are, on balance, worth doing, for precisely the reasons identified earlier in this post: they give the players an opportunity to think about their PCs in new ways and in new and unfamiliar frameworks. Something as simple as asking the players "What did your PC dream about while sleeping in the wizard's tower?" (or whatever) can generate highly creative answers which get the player thinking about their character as though they are a real person. And that is often the key to a successful campaign.

Friday, 2 August 2019

A Day in the Life of a Monster: How to Make Better Bestiaries

From JA Baker's The Peregrine:

[A] peregrine's day usually begins with a slow, leisurely flight from the roosting place to the nearest suitable bathing stream. This may be as much as ten to fifteen miles away. After bathing, another hour or two is spent in drying the feathers, preening, and sleeping. The hawk rouses only gradually from his post-bathing lethargy. His first flights are short and unhurried. He moves from perch to perch, watching other birds and occasionally catching an insect or mouse on the ground. He reenacts the whole process of learning to kill that he went through when he first left the eerie: the first, short, tentative flights; the longer, more confident ones; the playful, mock attacks at inanimate objects, such as falling leaves or drifting feathers; the games with other birds, changing to a pretence or attack, and then to the first serious attempt to kill. True hunting may be a comparatively brief process at the end of this long re-enactment of the hawk's adolescence.  
Hunting is always preceded by some form of play. The hawk may feint at partridges, harass jackdaws or lapwings, skirmish with a crow. Sometimes, without warning, he will suddenly kill. Afterwards he seems baffled by what he has done, and he may leave the kill where it fell and return to it later when he is genuinely hunting. Even when he is hungry, and has killed in anger, he may sit beside his prey for ten to fifteen minutes before starting to feed. In these cases the dead bird is usually unmarked, and the hawk seems to be puzzled by it. He nudges it idly with his bill. When blood flows, he feeds at once.

Imagine if RPG bestiary entries were written like that.

Now, we can't all be JA Baker, widely thought of as one of the greatest nature writers to have ever lived, and I suppose at some point length becomes an issue. But what we can think about is how to actually describe monster behaviour which is relevant and interesting to the players - such as, what a monster generally does over the course of a day or night. That allows them to learn patterns of activity through observation and/or listening to experts, and to plan accordingly if they are clever enough. If you know that orcs usually nap mid-morning after their breakfast of elven infants' livers on toast, or whatever, you also know when to plan your attack on their village for best effect.

That may be too Gygaxian-naturalistic depending on the style of game you're going for, but the idea that a DM can predict what a monster is likely to be doing at a given time of day is also useful for interesting encounters on the cuff and adding depth to the randomness of the reaction dice: imagine if each monster had a different set of reaction dice values depending on the rough time of day - not all that hard to pull off, and not requiring two paragraphs of Barkerian purple prose either.

Thursday, 1 August 2019

Monsters and Manuals' 1500th Anniversary: Half Time After the Time?

I hadn't noticed until just now, but the previous entry was the 1500th published Monsters & Manuals post.

Crikey. Blimey. Shiver my timbers and knock me down with a feather. That's a lot of posts, isn't it? The work of a tragic case, a strange obsessive with too much time on his hands? A bloody-minded and obstinate eccentric intent on continually howling his half-formed thoughts into the void to no effect on anything "because fuck you, that's why"? Or a self-important know-it-all who can't bear the thought that his ill thought-out ideas and ignorant opinions should not be heard by anyone who will listen?

You decide.

The problem with having written 1500 posts is that there are so fucking many of them. Picking a top 10, or even just a general "best of", is not easy. I mean, this year there have already been 102, and it would take hours just to sift through those. I'd need to clear a week of my schedule if I wanted to whittle All My Posts Ever down to a top 50 - and that's not to claim that it's because there would be 50 brilliant ones; just that once it got to 50 or so I'd have no way to pick one set of 10 over another.

So what's a long-term blogger to do on an occasion such as this? I guess it's just to spend 30 minutes or so randomly clicking through his back catalogue ("Did I really write that?" "I'd totally forgotten that one" "What was I thinking there?") and picking out some forgotten gems - or, at least, some non-turds. I did that, and found the following ones I liked, five-ish by year:

2008
Chaos Patrons
Sumo Clerics
The Two Towers of Fantasy
Beware the Were Stuff
Govgim Dahl, the Reluctant Demigod

2009
We Do Not Know What Thing the Universe Is
Towards a Theory of Demihumans
Yiyik's Hookah
Warhammer and British and American Fantasy
Sorcery! Art

2010
Man on Wire and Never to be Played Games
Authentic Cave Scratchings
Panthro Says Silly Names Are Silly
Toying With Things That Should Be Avoided
The Magic Faraway Express Sailing to Utopia

2011
The Cannibal Elves of Byrkije
The Undead Pigs of Andong
Larry Elmore and Utter Ridiculosity: A Love Story
Faking It; Or, You'd Better be Al Pacino
I Blame the Children; Or, How I Learned to Stop Worrying And Love Declaring Actions Before Rolling Initiative

2012
Parachuting From a Plane While DJing
Being an Illustration of the Contents of 1-Mile Hexes Through Examination of Divers Locations in the British Isles
The Contents of Hexes
Samurai Sandbox and Noisms' Reactivity Spectrum
Noisms' Verfremdungseffekt

2013
Hexology I: Lindisfarne Case Study
Hexology II: Travel
The Tri-Dimensional Planebox Megacrawlathon Sandhexamagig
On Charm; Or, the Perfection of Imperfection
Abstracted Weapon BenefitsSwords and Arrows and Dragonslaying, and Player Creativity Within the d6 for Damage Framework

2014
Out With the Old
Spear of Eternity
Angus McBride Ate My Hamster
On Reaching Into the Subconscious Mind
Deliberate RPG Rulebook Sass
The Art of Describing a Monster

2015
Faerie Knights
In Defence of Violence
The Importance of Shadowrun
Watching Wesley Crusher DM a Game
Paradigmatic D&D: OR, a Verbeeg, Grell, Ankheg and Orog Walk Into a Bar...
The Death of HP Lovecraft

2016
Moons of Jupiter Ring Map and Random Moons of Jupiter
On the DM's Guild; Or, Let's Be Innovative with the Forgotten Realms
The Imagination is a Muscle
The Seaside Town That They Forgot to Bomb: On Psychic Distance and the Victims of the New
Random Encounters with RooksReaction Tables Which Create the World, and More Game World Building Reaction Tables
Grimdark Kitsch: Let's Talk About Shit

2017
We Were Never Being Boring, We Were Never Being Bored...
In Praise of Maximalism
Creating Things in Order to Be Free
Once You Pop You Can't Stop
Literary Dungeon Making for Fun and Profit
The Pacification of the Nerd
Where's Wally and the Shadow Fantasy Genre

2018
What Is the Blogosphere for Now?
Everybody Loves Our Game: The OSR Scene
The Homogenization of D&D
Harlan Ellison, Cognitive Dissonance, and Defaulting to Openness
Gygaxian Scientasy
The Modern D&D Venn Diagram

2019
British Regional Accents: A Guide for American DMs
Really Very Much Faster Than Light
My Recommendations
Here, Piggy Piggy Piggy
Rust Fantasy - With a Hey Nonny No!
Real Life Maps, Hexcrawling, and Rustic Fantasy Names

Monday, 29 July 2019

You Wankher! Or, Glimpsed-at Worldbuilding

Having read City of the Chasch a long time ago, I've recently moved on to the second volume in Jack Vance's "Planet of Adventure" series - Servants of the Wankh. (Apparently the title was changed in later editions to Servants of the Wannekh to avoid embarassment for readers in the Commonwealth. I have an old pulp paperback version from 1975, so mine has the original title; I have to try to keep it hidden when reading it on the train lest people think I'm reading some sort of xenophilic alien porn story. But I digress.)

Jack Vance had a tin ear for proper nouns in alien languages - his approach seems to have involved just putting jumbles of consonants and vowels together. Pnume, Phung, Dirdir, Coad, Az, Braz...they sound a bit like the kind of species and place names an 11-year old invents. But other than that, it's astonishing how much of an interesting vibe there is to his worldbuilding, for want of a better word. These books are each about 150 pages long and the action is typically Vance-paced and lickety-split. One doesn't get the impression he spent a long time plotting them, or thinking about the world of Tschai in a deep and meaningful way.

But nonetheless, it does manage to feel deep regardless. I think this is because of his expert use of what I'm going to christen Glimpsed-at Worldbuilding - a way of referring obliquely to places, races and things that will never come up again in the story but make the world seem very complicated, rich, and lived-in. Take this section, for instance:

Coad was a busy town. Along the crooked streets, in and out of the ale-coloured sunlight, moved men and women of many castes and colours: Yellow Islanders and Black Islanders, Horasin bark-merchants muffled in grey robes; Caucasoids such as Traz from the Aman Steppe; Dirdirmen and Dirdir-men hybrids; dwarfish Sieps from the eastern slopes of the Ojzanalai who played music in the streets; a few flat-faced white men from the far south of Kislovan. The natives, the Tans, were an affable fox-faced people, with wide polished cheek bones, pointed chins, russet or dark brown hair cut in a ledge across the ears and foreheads. Their usual garments were knee-length breeches, embroidered vest, a round black pie-plate hat. Palanquins were numerous, carried by short gnarled men with oddly long noses and stringy black hair: apparently a race to themselves; Reith saw them in no other occupation. Later he learned them to be natives of Grenie at the head of the Dwan Zher.... Once Traz grabbed his elbow and pointed to a pair of thin men in loose black trousers, black capes with tall collars all but enveloping their faces, soft cylindrical black hats with wide brims: caricatures of mystery and intrigue. "Pnumekin!" hissed Traz in something between shock and outrage. "Look at them! They walk among other men without a look aside, and their minds full of strange thinking!"

This is easily caricatured as akin to the Mos Eisley cantina, but the crucial difference between what Vance is doing here and what Lucas was doing in that scene in Star Wars is that here you get those little extra snippets of pseudo information - names, places - that give the reader a sense that there really is an authentic world out there rather than just a lot of extra puppets and costumes in the studio. These are like tiny little amuses-bouches for the imagination: what's a Siep? What are Yellow Islanders? What's the Dwan Zher and why are the natives of Grenie rushing around with palanquins? You hope you'll find out, but at the same time you're almost happier not to, so that you can imagine for yourself.

I also think it's pretty clear that Vance was making this stuff up as he went along - he probably didn't have the answers for any of those questions yet either, until and unless they became significant. As a way of worldbuilding I think that's surprisingly effective: it makes things seem somehow untidy and illogical, which is of course precisely how the real world (and presumably real "worlds" if they indeed exist).

Pulling this off as a DM is not easy, because it places a lot of strain on one's creativity, but also rewarding: eventually, the PCs might want to find out the answers to those questions, and you're going therefore to have to decide for yourself what a Siep is, where the Yellow Islands are, and all the rest of it. But that's going to be fun for you too - which, let's face it, is all that really matters.

Friday, 26 July 2019

"Well," she said, "How can you be killed?"

I have been reading The Mabinogion. Medieval Welsh shaggy dog stories with something bizarre and D&D-able on every page. Here are some ideas for your next game:

"'I will give you a cauldron,' [said Bendigeidfran], 'and the property of the cauldron is that if you throw into it one of your men who is killed today, then by tomorrow he will be as good as ever except that he will not be able to speak.'" (From "The Second Branch")

*

"After [the feast] Pwyll got up to take a walk, and he made for the top of a mound that was above the court, called Gorsedd Arberth. 'Lord,' said one of the court, 'the strange thing about the mound is that whatever nobleman sits on it will not leave there without one of two things happening: either he will be wounded or injured, or else he will see something wonderful.'" (From "The First Branch")

*

"Math son of Mathonwy was lord over Gwynedd...At that time, Math son of Mathonwy could not live unless his feet were in the lap of a virgin, except when the turmoil of war prevented him." (From "The Third Branch")

*

"'You know of Math son of Mathonwy's special attribute,' said Gilfaethway. 'Whatever whispering goes on between people - no matter how quiet - once the wind catches hold of it then Math will know about it.'" (From "The Third Branch")

*

"'It is not easy to kill me with a blow. You would have to spend a year making the spear that would strike me, working on it only when people were at Mass on Sunday.' 

'Are you sure of that? she said.

'Sure, God knows,' he said. 'I cannot be killed indoors,' he said, 'nor out of doors; I cannot be killed on horseback, nor on foot.'

'Well,' she said, 'how can you be killed?'" (From "The Fourth Branch" - I won't spoil the answer; suffice to say you will never think of it in a million years)

*

"'There is a mound called the Mound of Mourning, and in the mound there is a cairn, and in the cairn there is a serpent, and in the serpent's tail there is a stone. And these are the attributes of the stone: whoever holds it in one hand will have as much gold as he wishes in the other hand. And I lost my eye fighting that serpent.'" (From "Peredur, Son of Efrog")

*

"'Maiden,' said Peredur, 'where is the empress?'

'Between me and God, you will not see her again unless you kill an oppressor that is in the forest over there.'

'What sort of oppressor is it?'

'A stag, as swift as the swiftest bird, and there is one horn in his forehead, as long as a spear-shaft, and as sharp as the sharpest thing. And he eats the tops of the trees and what grass there is in the forest. And he kills every animal he finds in the forest, and those he does not kill die of starvation. And worse than that, he comes every day and drinks the fishpond dry, and leaves the fish exposed, and most of them die before it fills up again with water.'" (From "Peredur, Son of Efrog")

*

"The first [plague] was the arrival of a certain people called the Coraniaid. And so great was their knowledge that there was no conversation anywhere on the island that they did not know about, however softly it was spoken, provided the wind carried it. Because of that, no harm could be done to them." (From "Lludd and Llefelys")

*

"'God knows,' said the maiden, 'it's a great shame that you cannot be rescued; and it would only be right for a woman to help you. God knows I have never seen a better young man for a woman than you. If you had a woman friend, you would be the best friend a woman could have; if you had a mistress, you would be the best lover. And because of that,' she said, 'whatever I can do to rescue you, I will. Take this ring and place it on your finger, and put this stone in your hand, and close your fist around the stone, and as long you hide it, it will hide you too.'" (From "The Lady of the Well")

*

"Suddenly they heard a noise. They looked in the direction of the noise, and they could see a dwarf riding a big, sturdy horse, powerful, wide-nostrilled, ground-devouring, courageous, and in the dwarf's hand there was a whip. Near the dwarf they could see a woman on a horse, pale-white and handsome with pace smooth and stately, and she was dressed in a golden garment of brocaded silk. And close to her a knight on a great, muddy charger, with heavy shining armour on him and his horse. And they were sure that they had never seen a man and horse and armour whose size impressed them more, and all riding close together.

'Geraint,' said Gwenhwyfar, 'do you recognise the large knight over there?'

'No,' he replied, 'That massive, strange armour allows neither his face nor his features to be seen.'

'Go, maiden,' said Gwenhwyfar, 'and ask the dwarf who the knight is.'

The maiden went to meet the dwarf. The dwarf waited for the maiden when he saw her approaching him. She asked the dwarf, 'Who is the knight?' she said.

'I will not tell you that,' he replied.

'Why?' she said.

'Because your status is not that of a person for whom it is proper to speak with my lord.'

Then the maiden turned her horse's head toward the knight. With that the dwarf struck her with a whip that was in his hand, across her face and eyes, so that the blood flowed. Because of the pain from the blow the maiden returned to Gwenhwyfar, complaining of the pain.

'The dwarf behaved towards you in a very ugly way,' said Geraint. 'I shall go,' said Geraint, 'and find out who the knight is.'

'Go,' said Gwenhwyfar. 

Geraint came to the dwarf. He said, 'Who is the knight?'

'I will not tell you,' said the dwarf.

'I will ask it of the knight personally,' he replied.

'You will not, by my faith,' said the dwarf. 'Your status is not high enough to entitle you to speak with my lord.'

'I,' said Geraint, 'have spoken with a man who is as good as your lord,' and he turned his horse's head towards the knight. The dwarf overtook him and struck him where he had struck the maiden, until the blood stained the mantle that Geraint was wearing. Geraint placed his hand on the hilt of his sword and turned things over in his head, but decided that it was no revenge for him to kill the dwarf while the armed knight could take him cheaply and without armour. He returned to Gwenhwyfar." (From "Geraint, Son of Erbin")