Saturday, October 30, 2010

Halloween Rituals

This has been a rather hellish week, and I don't mean in a way that is any way appropriate to the Halloween season. Work's been crazy and various other obligations have prevented me from properly getting into the Halloween spirit. That is, at least until tonight. After putting the kids to bed I once agin enacted my Halloween ritual of carving a pumpkin while watching Tim Burton's masterpiece, Sleepy Hollow. This is a movie that I can watch over and over again with no loss of enjoyment. I adore the colonial gothic sets and costumed and the wonderfully stylized performances. I fell in love with it for its Hammer Horror vibe even before I really knew what Hammer Horror was all about. It never fails to lift my spirits.

Halloween has been a favorite holiday of mine since I was a child. When I grew too old for trick-or-treating, I needed a tradition that would keep me connected to that halloween spirit. Carving pumpkins while watching spooky movies seemed to do the trick (especially when there was a lack of costume parties or when prancing through graveyards was impractical). Now that I have kids, I can once again enjoy the Halloween season directly through their trick-or-treating. But I still crave the pumpkin carving ritual like a Thanksgiving Turkey. I can't imagine the holiday without it.

Anyway, I wish all of you that celebrate the season an especially spooky and memorable Halloween. See you monday.

Friday, October 29, 2010

Geomorph #96

Thanks to a tip over at Land of Nod, I became aware of a collection of obscure fantasy art from the early days of the hobby. The work is called Down in the Dungeon, by Don Greer and Rob Stern. I'm not sure where I could find the original but Monster Brains has posted an assortment of images. It was suggested at Land of Nod that I make a few geomorphs based on these images. How could I not, with artwork like this?


What follows is the first of several such geomorphs. The above map is a little large to fit unaltered into a single tile, but I think I captured the gist of the maze-like section. I did had to add a couple eastern exits and close off what would seem to be an obvious exit in the north-central chamber. Looking at the caverns in the lower portion of the image, I might even do a second geomorph based on this piece.


Thursday, October 28, 2010

Forgotten Songs

Last December, I wrote:
Professor Pope's D&D3e Forgotten Songs campaign ranks among my top role-playing experiences as a player. 
I would go so far as to say that it was absolutely my best role-playing campaign that I experienced entirely as a player. Like previous games, I put a lot of thought into my character before we even started playing. Unlike other games, the good Professor Pope did a wonderful job of weaving my character's backstory and goals into the ongoing story. I created Katja expressly with the idea that she was a character in transition. Starting as an intentionally sup-optimal Ranger (I gave her an 8 strength even though we assigned our stats), I envisioned her as being called into the service of some as-yet-undefined chthonic deity. Playing through that transition was a powerful play experience that I wish I could relive again. When I discovered the Mythic Game Master Emulator, I leapt at the chance to continue her story. The result was The Moon Goddess Is A Harsh Mistress (which is also the reason I resumed my blog).

I recently discovered that I still have all of my session logs, written in the form of Katja's diary entries. Since other people read the Mood Goddess story and enjoyed it, I decided to begin posting this old logs to give a sense of the events that made Katja into the woman that she would become. I'll post these periodically whenever I don't have the time or energy for new content (and this would be one of those times).  

***


An excerpt from the diary of Anna-Katarina von Randstein (“Katja”)…


May 16th

[imagine an image here: sketch of the “Oghma-writing” inscription found in the White Grove]

Dear Diary,
So much has happened. Where do I begin? The last time I wrote, I had just arrived in Harcomb. I was excited at the prospect of beginning a new life, though I was nervous at not knowing anyone or even speaking the local language. The “swarthy half-elf” Morandil told me about, Sunny, was nowhere to be seen. However, the inn that I obtained lodging at, The Last Bastion, was very agreeable and I was thrilled to discover that access to its basement hot springs came with the 2 gold piece price of a single room. The food was wonderful and there was a charming bard named Bix who entertained the locals with bawdy poems and tales of adventure.

I can’t believe how far away that seems. That last entry, on the evening of my arrival in Harcomb, was dated May 11th. It is now the evening of May 16th and this Bix has become a friend of mine, as well as an adventuring companion of sorts. He introduced himself to me on the morning of the 14th. The weather had cleared and he observed me wandering about town, looking lost and enjoying the weather. I remember being thrilled at actually having a conversation with someone other than Morandil. Bix, or Ellios Bitsbury Theofile by his full name, seemed to live up to every expectation I ever had about bards… charismatic, sociable, and slightly full of himself. Not in a bad way… I found him to be most agreeable company… even if he did flirt incessantly. Or maybe that was why I found him to be such agreeable company? Gods know that Morandil never even acknowledged my existence as a member of the opposite sex. We talked about my situation in Harcomb and a little of how I came to be here. Of course, I was deliberately vague on why I left Hess. Herr Bix seems trustworthy, but it never hurts to be too careful about these sorts of things. I suppose it is unlikely that I could be found so far from home but there is always that possibility… and that possibility worries me.

I mentioned that I was looking for Deidre’s relatives and he said he was familiar them. Apparently, Herr O’Finn is a farmer and often frequents the Last Bastion’s tavern. He promised to introduce me that evening, though Herr O’Finn did not show on that night. We also discussed ways that I could keep myself in coin. Staying at the Last Bastion is expensive… or I should say expensive for my current state of poverty.

We discussed my situation in Harcomb. I didn’t exactly pack my valuables before I fled Schloss Randstein and I had to sell all my jewelry just to pay for expenses on the journey here. Herr Bix suggested that I seek employment with the local Lord & Lady as a governess or even riding instructor. I confess that the thought menial employment depresses me greatly. Morandil would chastise me for being a spoiled aristocrat… and he would be right. But though I will do what needs to be done, I still believe I’m destined for something more than minding someone else’s children.

I brought up the rumors I had heard about the ruined temple of Oghma and mused that we might explore it looking for treasure and lost knowledge. Ah, wouldn’t that be grand? To become a hero out of the old stories? To venture into dark places, avoid deadly pitfalls, slay legendary monsters, and return with fame and riches? And maybe I could finally learn about these dreams that I have been having. Old Seamus always said that Oghma was the god of secrets and lore. If anything could teach me about my dreams and the ancient ways, it would be the lost libraries of Oghma.

That night, I enlisted Bix’ aid in having a truly private bath in the hot springs. Apparently, some of the local teens had been sneaking peeks at me when I bathed the previous nights. I found that little bit of knowledge to be incredibly irritating. I used the springs when I did precisely because I thought I’d have some privacy. Anyway, Bix said he would keep the boys away while I enjoyed an after-hours soak. Bix promised he would stay respectfully out of sight on the stairwell, playing some of the new songs he was working on. He sang of an old druid’s shrine in the area, known as the White Grove. As he sang, I must of fallen asleep or slipped into some kind of trance. Because that is when I had the dream.

I’ve been writing of my dreams since I started having them in my childhood. I have all sorts of dreams, but the ones I truly remember are the “hunting dreams” and the “druid dreams”. I don’t know if the “druid dreams” are really dreams of being a druid, but they sure seem that way. Sometimes I am myself; sometimes I am someone else. In either case I am performing some ritual under the standing stones on the outer reaches of my family’s estate. I never remember the details of the rituals, but I remember flashes and images. I still remember that time I woke up from a “druid dream” to find myself lying on a stone slab at the actual stone circle. I must have slept-walked half the night.

The “hunting dreams” are more primal and intense. They are also the dreams that stick with me most after I wake. Sometimes I dream that I am a wolf hunting some prey. Sometimes I dream that I am myself, chasing down prey on my horse. Sometimes it is both. I told Morandil about these dreams and he related them to the totem spirits his people would commune with in their dreams. While that certainly sounds interesting, I don’t think it quite applies to me. In my dreams, I become a fierce hunter. In fact, on at least three separate occasions, I have awakened with the taste of blood in my mouth.

The dream that I had while lying on that shelf in the hot spring took my dreams to a whole new level. It began, as usual, with the hunt. I was chasing my prey through a dense wood. I felt the branches and brambles snag at me as I passed. I was terribly hungry… really hungry… really, really hungry. I had the sense that even if I caught what I was chasing, it wouldn’t even make a dent in my hunger. I became afraid of either something I am, or something I might become. I really cannot describe it. It was just this feeling.

Suddenly, I came out of the thick underbrush into a clear grove of white trees. Overhead, there was an enormous full moon. There was a small pool bubbling in the center of the grove, between two large oaks. My hunger subsided. My fear subsided. I felt a tremendous sense of peace.

Then I heard the voice, deep, masculine, ancient, and seemingly coming from the earth itself:

You have come far
But go further.

Come to this place and let it begin.
It shall go deeper.

A door to the past
A path to the future.

First, take the skin of what you are;
It will be given unto you with blood.

Then, know the words in the wood.
Find them all and keep them with you.

This is but the beginning
The beginning is also a door.

The voice faded and I remember the hairs of my neck standing on end. I became aware of something else. It had red eyes and was staring and growling at me from the edge of the clearing. I heard thunder and knew that a storm was approaching.

I woke with a start and most likely a scream. Bix came running down the stairs to see what was the matter. I quickly covered myself with my nightshirt and told him of my dream. I demanded that he take me to the White Grove tomorrow. He didn’t see the point at first, but I was very insistent. I had a sense that this White Grove is exactly the place of which I had dreamt.

The next day, we set out for the grove on horseback. I was in a strange mood, almost as if under a geas, and didn’t speak much. I just followed Bix as we journeyed the better part of the day. The sun was setting by the time we arrived and a large full moon was rising in the eastern sky. The wood was thick here, and ancient. We had to dismount and lead our horses on foot.

When we entered the grove it was just like in my dreams… except that this grove had not been maintained. The clearing was overgrown with underbrush and the pool was black and stagnant. Still, I walked about intently, trying to pick up some feeling for what I was supposed to do next. I had a vague sense of Bix telling me of a campfire some distance away but I wasn’t paying much attention. The wind was picking up and I knew a storm was coming. Something was going to happen, but I didn’t know what.

We discovered a small stone marker on the edge of the clearing that bore some kind of script [the sketch above]. We had to light a candle to see it in the darkening sky, as clouds were rapidly moving to obscure the moon.

Suddenly, I was mindful of our situation. A storm was coming and we were on a hilltop without shelter. There was a campfire nearby and we would do well to at least ascertain what kind of folk might be using it. I suppose they could have been bandits or other rogues, but I didn’t give it much thought. I was still not entirely myself.

Bix and I led our horses to the fire and found an elf with his bow drawn against us. Bix spoke to him in Cimbrian to try to assure him that we were not a threat. It must have worked, because the elf lowered his bow and called to his companion. But then is companion showed himself… He was a humanoid monster of some sort, possibly an orc! I was terrified. I had heard stories of the cruelty and ruthlessness of orcs when I was a child. But how an orc would be traveling with a handsome elf I could not guess. Perhaps all was not as it seemed.

We didn’t have much time to contemplate the situation as the wind had picked up yet again and we heard the sound of wolves in the distance. My heart went racing. I began to think of the dream and the sense of fear and excitement that I felt. My companions were looking about as if they heard something else. Then I heard it too. It was a monstrous, guttural voice speaking words that sounds like Cimbrian. I heard “Fire” and knew we were in trouble. I had heard stories of orcs and goblin training wolves to do their bidding. They were certainly going to attack our camp.

The others were readying their weapons. The elf and his orcish companion were going to be our allies in this fight. The elf beckoned towards our animals and I understood that he meant for us to herd them away from danger. We did so, and then I armed my crossbow and readied my spear. Then, suddenly, two more figures entered the clearing… but not to attack. The first figure was the largest “person” I had ever seen in my life, with features of both orc and human. He wielded a massive sword that I would have difficulty even lifting. The other figure was cloaked man or woman who looked small next to his or her towering companion.

There was no time for introductions. Wolves burst into the clearing and we were under attack! The enormous half-orc went into a rage and I staggered back in awe and fear. Realizing that I couldn’t get a shot with them in front of me, I leapt upon Drachen for a better vantage point. It was then, from the other direction, that I was beset by wolves! Drachen’s kick sent one flying but another soon attacked me. It leapt up and ripped into my lower leg. The pain was searing but it helped clear my head somewhat. I wheeled Drachen about and we trampled the vicious beast. After that, I became aware that the rest of the wolves had been chased off. The cloaked figure, now revealed to be a dark-skinned half-elf woman, was on the ground in worse shape than I. Before I could consider attending to her wounds, the full orc beat me to it and healed her with what looked like clerical magic. What was more interesting was that he invoked the name of Oghma.

But I didn’t have time to ponder that mystery. We still heard howls in the distance and I became aware of something else. In pain, I rode Drachen about the perimeter of the clearing and saw two glowing read eyes. I think it said something like how it would be back later or something to that effect. Whatever it was, I had the sense that it was the same creature that was in my dream.

With that, the encounter ended in a huge explosion as lightning struck one of the oaks in the White Grove. It seemed to be the last gasp of the storm, for the wind began to subside and rain lessoned to a drizzle. There was no more sound of wolves and the presence that I felt was gone. I rode to join the others as they made their way to White Grove to investigate the explosion. We discovered that one of the trees had been knocked over, revealing a hollow in the hill. We decided that with the weather letting up, it would make sense to camp here for the evening. The big half-orc got bit by some insect attempting to explore the hole, so though we found a bag of ancient coins, we decided it would better to investigate in the light of day.

That evening was a blur of images and has become harder remember who said what and when it was said. At some point during that rush of events, introductions were made.

I already mentioned Herr Bix, the only person I knew in the whole episode. He performed admirably in the fight, coming to my rescue just after I was bit. He surprised us all with a little magical trickery, levitating the half-orc’s dropped dagger from the bottom of the hole.

I shared the first watch with elf we first met in the clearing. He introduced himself as Orion, a wizard from Tempia. I seem to recall that he illuminated our battle with magical light, though the specifics evade me. I wonder if he is a member of that guild of mages who are employed upon Tempian trading ships. I also wonder why he was traveling with the orc, Boaz. We talked during our watch, but now that I think of it, I can’t really remember what we talked about. I must have been the adrenaline of the fight.

Boaz, as it turns out, is not a full orc. He has very human looking eyes. He is, in fact, a cleric of Oghma. He seemed to be put on the defensive when I took interest in this. I can’t imagine why. I think it’s terribly exciting and I can’t wait to talk to him more about his faith. Perhaps he knows about the ruins of the temple? Maybe Orion mentioned that was where they were headed?

The dark-skinned half-elf woman turned out to be none other than Sunny, my Upright Guide contact. We had brief snatches of conversation, but I think she was distracted by the seriousness of her injuries. From what little I could gather, she had performed the same service for the humongous half-orc that Morandil had performed for me. The idea of this graceful woman rescuing such an obviously powerful warrior is puzzling indeed. She must be truly formidable.

The giant half-orc’s name is Kreed. And unfortunately, I was not able to speak to him directly since we don’t share a common language. I’m going to have to work on that. I feel that my Cimbrian vocabulary is growing daily, but I’m still having trouble with conversation.

The next morning I woke up terribly sore. My leg had not recovered much from the previous’ night’s injuries. Boaz was kind enough to give me Oghma’s blessing and the wound stitched itself together before my very eyes. What a truly wondrous deity this Oghma must be to grant such powers to a half-orc.

As we had not anticipated staying the night, I had to use my spare rations to feed Bix and I. There would be no time to hunt, as we had to return the horse that Bix borrowed as soon as possible. And there was also the hole to explore.

We were all excited to see if it held more treasure like the 37 old Leinsterian gold crowns, 43 Leinsterian silver sovereigns, and the even older dwarven and elvish silver. Sunny led the way, followed closely by Kreed. Unfortunately, it was really cramped and we could barely move with all of us down there. After a brief attack by more insects, we determined that it was nothing more than a lair for a giant spider. There was no more treasure but we did find the body of a desiccated goblin.

What was the hollow doing here under the grove? What was the bag of coin doing there? More importantly, why were we attacked last night? Wolves don’t usually attack people unless they are rabid or trained to do so. It would appear that Sunny and Kreed were pursued by them. But why did the thing with eyes seem to be addressing me after the encounter?

With his Oghma knowledge, Boaz determined that the inscription upon the standing stone said “The beginning is also a door” in the Oghma script (also used by ancient druids). Yes, that is the last line of the poem that I heard in my dream. I decided to share this information with my new companions and I think it frightened them a little. It was obvious to me that we were destined to meet on this stormy hilltop, but to what purpose I could not tell. On a whim, I also skinned one of the wolves we killed because of the line from the poem, “First, take the skin of what you are; It will be given unto you with blood.” It worries me, though, that I would so quickly think of it as the skin of what I am.

I tried to persuade everyone to come back to Harcomb with Bix and I to have a warm meal and bed. Being unsure of their reception, Boaz, Kreed, and Sunny refused. Instead, it was agreed that Orion, Bix, and I would return to town, purchase supplies, and meet them at an abandoned farmhouse the next morning… tomorrow morning.

Right now, I’m going have another beer down in the tavern and maybe have a little dip in the hot spring. Hopefully, I can catch Bix or Orion. We have so much to talk about…

Tuesday, October 26, 2010

Desert Island Fantasy

No, not Lost. I mean my top ten works of fantasy literature that I would select if I were limited to only ten. Scott at HUGE RUINED PILE started the meme and I figured it would be a nice, easy post on an otherwise very busy day (8th wedding anniversary and all).

Scott limited his selection to one book for a given author and also excluded "true classics" of the Western cannon. He also excludes horror and science-fiction, which I'm not going to do for the purposes of this exercise. Anything with fantasy elements is fair game and the main criteria for selection is a work's appeal over multiple readings.

In no particular order and limited to one selection per author:
  • J.R.R. Tolkien: The Lord of the Rings (especially if it is my red leather collector's edition)
  • Fritz Leiber: The Swords of Lankhmar
  • Bram Stoker: Dracula
  • Douglas Adamas: The Ultimate Hitchhiker's Guide to the Galaxy (Deluxe Edition)
  • Susanna Clarke: Jonathan Strange and Mr. Norrell
  • Tim Powers: On Stranger Tides (tossup with Anubis Gates)
  • Philip Pullman: The Golden Compass
  • Robert Shea and Robert Anton Wilson: The Illuminatus Trilogy
  • Neil Gaiman: The Game of You (my favorite Sandman collection)
  • Alan Moore: The Absolute Promethea Book 1 (and I wish I could take the other volumes)

Monday, October 25, 2010

Ebon Knight #1 (p. 16)

It's been depressingly hard to find the time for my Mythic GME-Ebon Knight comic. But tonight I made the effort because I'm itching to drive this story to a conclusion.
Previous Scene: Page 15

PANEL 1
Illuminated by the glow of a Jacob's Ladder, a Mad Scientist is visible across a laboratory cluttered by sparking machinery and bubbling vats of noxious chemicals. A shirtless figure is strapped to a table, though his face is not visible.

MAD SCIENTIST: One last time, Carson! Where is that which you have stolen?

PANEL 2
Close-up of an "Wild Jack" Carson, a famous adventurer who's well past his prime. Beneath his salt-and-pepper hair, his face shows signs of physical trauma and he is missing a few teeth. Still their is a fierce determination in his eyes.

CARSON: And for the last time, I have no idea what you're talking about.

PANEL 3
View from accross Carson's body as the Mad Scientist turns to observe two figures moving into the room. Mugsy (from the first page) is carrying the case snatched from the warehouse, his face rosy from racing through the the snowy night on motorcycle.

The other figure is a well-dressed blond man in gangster attire. This is Mr. Ferrazzo, another notorious crime boss. He walks with purpose but is obviously wary of all the scientific paraphernalia.  

FERRAZZO: Well, we got it. Another trophy for your lab?

PANEL 4
Close-up of the Mad Scientist, his eyes wide with ghoulish anticipation.

MAD SCIENTIST: Oh, more than a trophy Mr. Ferrazzo. Much more than a trophy. Bring it here! Quickly!

PANEL 5
Mugsy cautiously carries the box forward while Ferrazzo hangs back. The Mad Scientist doesn't wait and begins to move to intercept him.

PANEL 6
The Mad Scienist pushes Mugsy aside, takes the box, and begins to open it. 

PANEL 7
The Mad Scientist's face is bathed in blue light, his eyes wide with desire.

PANEL 8
Close-up of "Wild Jack", his expression that of a man who's bad situation has just gone from bad to worse.

CARSON: This can't be good.

***

NOTES (Mythic conventions detailed here)

CHAOS FACTOR 8 (not counting last scene as combat)

CHARACTER LIST:
1. Thug 1
2. Mugsy
3. Sylvia Franco
4. Mr. Ferrazzo
5. Lead Thug from Flashback
6. Red-headed Thug from Flashback
7. Alien/mutant thug from flashback
8. The Frog Creature
9. Fat Tony
10. 2 Remaining Gangsters that raided the warehouse
11. Ursula Romanov
12. Father Sacratini

THREAD LIST: 
1. Discover what's in the box and properly dispose of it
2. Put a stop to Mr. Ferrazzo's criminal activities
3. Resolve the circumstances of the first scene (why Angus and Sylvia would end up fighting in the alley).
4. Meeting at Silver Moon Airships (Flashback)
5. Cleanse the Old Cellar Under the Warehouse (perhaps)
6. Resolve the fate of Ursula the vampire.

STATUS OF SYLVIA: Most likely healed when the worm-demon fused with her, then again I'm not 100% sure. She may have been injured yet again when it was ripped off her body (and again when the forklift crashed into the room). 

EXPECTED SCENE: Father Sacratini is going to test out the device on a captive Wild Jack Carson. [THIS IS SUGGESTED by the "Attach Benefits" Random Event at the end of the previous scene]

(Scene occurs as expected)

PANEL 1
Q: Is Wild Jack an Old Man (I'm guessing he's at anywhere from 55 to 75, though magic could retard his aging) [Likely]? Yes (I'll say 60).

Q: Is he strapped to some sort of weird-science table (I have Frankenstein on the brain) [50/50]? Yes.

Q: Sacratini is here, is he the one in the mad scientist lab coat [50/50]? Extreme yes. Not only is he a Mad Scientist, but he is a *potent* Mad Scientist who holds the upper hand in this scene, even though Mr. Ferrazzo is present.

Q: Is Mad Jack being tortured in attempt to interrogate him [50/50]? Yes.

Q: Does Sacratini anticipate the arrival of the Device [Likely]? Yes

CQ: What is Sacritini interrogating him for [Brewers]? Abandon fait larron (http://www.bartelby.com/81/16.html). Something stolen by Carson. I'll just call it "what you've stolen" for now. It was either stolen from Sacratini or Sacratini was trying to acquire it first.

PANEL 2
Close up of Carson defying Sacritini. 

Q: Does he mention what he has stolen [Unlikely]? Extreme no... he denies taking it!

PANEL 3
Mugsy and Mr. Ferrazzo enter to present the device. 

CQ: What is Mr. Ferrazzo like [wikipedia]? Melissa Wiik. Well, he's not a Norwegian female soccer player, but he can be a blond and athletic Italian gangster.

PANEL 4
Close-up on Sacratini.

PANEL 5
Mugsy brings it closer.

PANEL 6 & 7
Sacratini opens the chest.

Q: Is he bathed in light [50/50]? Yes.
CQ: Color [color wheel]? Blue

PANEL 8
Reaction from Carson.

EXPECTED NEXT SCENE: The device is put into use... I'm guessing to control Carson or force information out of him.

Sunday, October 24, 2010

Geomorph #95

Returning from a wedding, I have temples and cathedrals on the mind. So it is appropriate that today's geomorph is inspired by the Sumerian temple scene from Deities & Demigods.


There's only a few details to zero in on. We have a stair to a throne (I initially thought it was an altar). There might be statuary immediately behind it, though I suspect it is an extension of the throne itself. It could have been an alcove, though the shading allows for the possibility of dark room behind the throne. There are also at least two columns with attached curtains or drapery.


As you can see, I took some liberties. The resulting tile is a bit busy, but still useful or interesting (I hope). I used the curtains to screen off areas of the main temple area, including a small shrine in the northwest of the room. There is a row of confessional-like rooms (though they are likely big enough to be offices or even quarters for the acolytes). The only access from the south is through a secret door.

Perhaps I should explain the off room in the southeast. In the inspirational image, I noted a sacrifice being carried to the stair. I had a notion that the discarded remains of sacrifices could be thrown into some kind of pit, perhaps accessed through the darkened room behind the throne. I can totally imagine some nasty carrion crawlers or an otyugh making the most of the free food (or perhaps something supernatural that must be appeased).

Welcome Back Professor Pope

Professor Pope has resurrected his gaming blog with a string of posts speculating on a sword & sorcery setting inspired by real maps and pseudo-historical cultures (specifically Pirates and Vikings). I've known the good Professor for many years and it's good to see him jumping back into blogging community. In some ways, he's responsible for my own bloggery. It was his D&D 3e campaign that produced Katja von Randstein, the protagonist of my Moon Goddess Is a Harsh Mistress Mythic GME story.

Friday, October 22, 2010

Going Home

I'm back in Michigan for the weekend to attend the wedding of a highschool gaming buddy. The Risus Monkey will return on Sunday (probably feeling very nostalgic).

Wednesday, October 20, 2010

Geomorph #94

For today's geomorph, I'm drawing inspiration from a gonzo-creepy illustration that Erol Otus did for the Mythos section of the Deities & Demigods (a section that unfortunately never made it into the version that I own).


There is a lot going on in the scene. Since I can't hope to emulate Otus' Elder horror, I'll stick to the room details. The most interesting feature is a stair in the northwest leading both to an exit from the tile and another stair that rises slightly to another archway (I made it into a small room with an evil fountain). The rest of the cavern is full of exits, natural columns, and stalagmites (and countless stalactites which can be assumed but are not shown). Even without the oozing insanity-blasting abomination, this tile would be a great lair for a nasty creature.

Tuesday, October 19, 2010

Study in Scarlet

The Ruminator and snikle already scooped me on this, but I feel like I should single out Kaptain Kobolod's first Risus/Mythic GME adventure as well. As you could probably guess from my own Mythic play reports (here, here, here, and here), I'm a big advocate of using Risus for solo gaming. Kaptain Kobold's story is called "A Study In Scarlet" and it's posted over at the RPG.net forums - part I, part II, and part III. It makes me want to get back to my various Mythic adventures as soon as possible.

15 in 15

Following from Sickly Purple Death Ray and HUGE RUINED PILE, I give you my list of  the 15 games that mean the most to me.
1. Dungeon & Dragons (from B/X and AD&D onward)
2. Gurps (every edition)
3. Risus: The Anything RPG
4. Buffy the Vampire Slayer: RPG
5. Vampire: The Masquerade
6. MERP (and to a lesser degree, Rolemaster)
7. Warhammer Fantasy Roleplay (1e)
8. Castle Falkenstein
9. The Mythic Game Master Emulator
10. Traveller
11. Gamma World
12. FUDGE (and it's new-school cousin FATE)
13. Star Wars (WEG)
14. Myth: The Fallen Lords & Myth II: Soulblighter
15. Zork
Honorable mentions to a bunch of new games and retro clones that have inspired me as of late: Apocalypse World, Sword & Wizardry, Lamentations of the Flame Princess, Old School Hack, and PDQ.

Monday, October 18, 2010

Geomorph #93

I'm having a blast going though my old D&D books looking for illustrations that might inspire geomorphs. Today, I came across this one from the original Deities & Demigods.


A rather simple illustration, this one seemed to evoked images of a network of kobold caves with several hidden ambush points like the one pictured. Tricksy buggers, those kobolds! In my geomorph, I filled out the kobold warren a bit and even included a small pool. The unsuspecting adventurers march down straight north-south passage that doesn't connect with the warrens on this tile (other than through the concealed access points).

Sunday, October 17, 2010

Slipping Into Character

Saturday night's Slaying Solomon episode spurred a bit of post-game conversation. After the wonderful character driven role-playing, we all started to discuss how easy it was to play these characters. Playing this game since 2003 or so, we all can slip into character at the drop of a hat. And what really amazes me is the quality of banter that results. I don't normally consider myself especially witty. I remember being the kind of kid who always thought of the perfect comeback hours after the fact, if I thought of it at all. But playing Slaying Solomon, I sometimes feel like I have I have a team of script writers. 

I think there are a couple of things at work here. First and most obviously, our group has a comfortable sort of camaraderie that makes it easy for us to put it all out there. But there's more to it than that. Thanks to a miraculous alignment of stars, we all have characters with strong and interesting personalities and with equally interesting flaws and quirks. That doesn't always happen. In fact, it seems to be a bit rare. In Knights of the Astral Sea (my other campaign that I'm running right now), we don't seem to have that same character magic*, even though we've had some brilliant sessions. And looking back at games that I've played, I can count on one hand the number of times I've had a character who was as easy to play as Erik Sorensen (my Slaying Solomon character when I'm not directing). 

Another thing that fascinates me about these stand-out characters is the ease with which I can summon social skills or personality traits that are far removed from my usual self. I'm specifically thinking of one particular character who was more take-charge, take-no-prisoners, make-them-flee-in-terror thna I could have hope to be. That I'd ever want to be. Where does that come from?

And one more weird thing... these special characters that are so easy to role play are not limited to the ones I bring to the table for long-term play. I've had a few one-shot convention games where I achieved that degree of character immersion that is so often lacking in longer term games. Why is that? Is it because a particular social dynamic at work? Feeding off the energy of a great group of people that you don't normally play with? Or is it because one-shot characters are often caricatures with exaggerated personality traits?  Perhaps that is a useful lesson to remember the next time I create a character for a game. 

* Well, except for possibly Genevieve

Saturday, October 16, 2010

Terra Tori

I just got back from an absolutely amazing session of Slaying Solomon, our long-running Buffy the Vampire Slayer: RPG series. Special thanks to Tim Brannan of the Otherside Blog for planting the seeds of inspiration that grew into an intense, funny, and very character-driven episode.

Tim's idea was a creature called the Never Was, a doppelgänger of sorts who embodied the road not taken for a particular character. Given that the cast just returned from an alternate world where their lives did turn out differently, a monster that echoed that concept seemed a little much. Instead, I opted to have one of the alternate versions of the characters (who all briefly swapped places with the primary cast) remain behind when the rest returned to their native world. The result was much as Tim described for the Never Was monster, a character who (initially at least) seemed to embody everything that a certain player character idealized at the start of the series. Hi-jinx ensued.

I'll leave it to my players to write the detailed session summary, but I'll try to provide a quick overview.

Tori Clark used to be the spoiled cheerleader, the fashion snob, and the homecoming queen. If you've seen Buffy then you'd recognizing a lot of Cordelia Chase in Tori. Over the course of several seasons, however, Tori fell in with the nerds and outcasts who made up "Slayer Club" (the Slayer and her White Hat friends). Slowly and surely, the mean girl persona began to fall away. Then, rather abruptly, Tori made an enormous sacrifice and bonded with a world-shaking artifact to become the avatar of the god of War and Fire.

That was a several seasons ago.

Anyway, last session Tori and the gang visited a world where she remained the ambitious fashionista with a rich daddy who worked for an evil law firm (Wolfram and Hart). In that world, Tori was not the avatar of War. She was a successful fashion designer and celebutante. Tori felt the absence of her War powers acutely, but we didn't dwell too much on the life of the alternate Tori in that session.

We began this episode ("Terra Tori" - i.e. an alternate Earth Tori invading Tori's territory) with the cast returning to the place where they were summoned to the alternate universe. Almost immediately, they realized something was up. Tori's extra-dimensional demonic minions (a side-effect of being an avatar of a god) arrived, sensing unusual energies radiating from their deity. Unbeknownst to the party, these energies were coming from the alternate Tori who was host to the War energies while the real Tori was gone.

Having spent almost a full day in the other world, the cast was suffering from a form of extra-dimensional jet lag. Naturally, they wanted to get some rest. Rather than heading all the way to their college dorm, Tori opted to go to her mother's house, which was closer. I couldn't believe my luck as that provided me with a perfect way to close the teaser. Tori arrived at her mom's house to find her hair standing up in the presence of something supernatural and powerful, something that was talking to her mother. That powerful something turned out to be the alternate Tori, who was already bonding with Tori's mom.

For the remainder of the session, Tori Two was constantly muscling into our Tori's life. She convinced her mother to rehire a serving staff, she cozied up to Tori's old clique, and she even called her estranged father (who was quite close to Tori Two in her own world). Naturally, this drove the primary Tori crazy with jealousy. All the while, other characters began to notice side-effects. Conflicts were intensifying around the world and magical energies were transferring between the two extra-dimensional soul-sisters.

The final straw was calling Wolfram & Hart. They helped stoke Tori Two's natural ambition (unmoderated by real friends back in her own world). W&H saw an opportunity to seriously disrupt the activities of the Slayer by convincing Tori Two to remain in this world. Naturally, this led to a big throw-down in the end, when the raging emotion of war-god energies caused Tori Two to lash out with barely controlled power. The primary cast realized that as an avatar of the god of war, Tori had to forcefully take her power back from her soul-sister. Exerting all her will, she was able to do just that. And in the end, Tori Two was returned to her own world with a new found respect for the life choices of her soul sister.

Friday, October 15, 2010

Geomorph #92

I went to the first edition Dungeon Masters Guide for today's geomorph:


And to what part of the Dungeon Masters Guide am I referring? Why the following illustrations from the random dungeon generation section, of course (how appropriate!)




These two illustrations are not necessarily contiguous, but as they run across the bottom of two successive pages, I naturally thought of cramming them together. The first pic is represented by the northwest portion of the geomorph (the illustration vaguely hints at the chasm and the adjoining path). I added some caves for the kobolds or other denizens. 

The second drawing is represented by the southeast portion of the geomorph, with a squarish structure and a stair that leads up to a raised section of the cavern. The final element that connects to the troll house in the northeast comes from a third illustration in the Dungeon Masters Guide - a classic water trap (with sliding doors)!


Thursday, October 14, 2010

Countdown Clocks

One of the coolest ideas in the MC (referee) advice section of Apocalypse World  is the countdown clock. Essentially, a countdown clock is a handy way to represent dynamic threats in a campaign world. Modeled after the Doomsday Clock, it looks like this:

The idea is that you'd annotate the above diagram with things that happen at the various points of the clock as well as things that need to happen in order to advance the clock to the next period. In that way, countdown clocks are descriptive and prescriptive.

As a software engineer, I look a countdown clock (or a collection of countdown clocks) and see a simple kind of state machine ("if X happens then we've moved stage Y", "if we're in stage Y then Z happens").

You could also look at like a wound chart for a world's status quo.  The first three wound "boxes" represent relatively minor changes to the campaign setting that can be mitigated or even reversed fairly easily. At 9:00, however, a death spiritual is initiated and things are likely to accelerate to 12:00 and the ultimate manifestation of a given threat.

Countdown clocks are a great way to interject a form of plot into a sandbox setting. The wold is alive and NPCs and threats are always in motion. A handful of countdown clocks would be a great way to keep track of these threats even as the characters only tenuously interact with them.

I'm also enamored of the simple economy and limited scope of the clocks. Limiting things to six states seems like a great way to reduce complexity, limit over-planning, and keep focus on the events that matter.

Alas, I was unable to really make use of countdown clocks during my last session of Knights of the Astral Sea (my expected preparation time evaporated during a big crunch at work). I'm running Buffy: The Vampire Slayer this upcoming weekend (Slaying Solomon). While that game uses a narrative structure modeled after three-act television dramas, there does seem to be some potential applicability for the countdown clock technique. It would seem obvious to use a countdown clock to represent the transition between acts. But I don't think it's a perfect fit, mostly because hitting act transitions is a bit of an art and not one that is easily modeled by a simple diagram or state machine.

That being said, I think subplots are ripe for modeling using countdown clocks. While a single episode of Slaying Solomon typically has a plot that must conclude by the end of a session, subplots and seasonal arcs can meander a bit a from episode to episode (especially this early in a season).

Anyway, I have some countdown clocks in mind but I may hold off on posting them until after Saturday's session.

Wednesday, October 13, 2010

Tactical Risus

For all you fans of Risus: The Anything RPG that started following the blog when I was just getting (re)started, I apologize for the lack of Risus posts in the last few months. Truth is is, I haven't played Risus since July's awesome Moon Soldiers Must Die one-shot. My current face-to-face group has mixed feelings about the system (some like it, some don't) and I don't seem to have much time for play-by-chat right now. The Mythic GME would normally provide my daily dose of Risus, but even that has fallen off due to a busy schedule and an incomplete experiment with ICONS.

But I do feel like I owe something to the system that gave birth to this blog. And I have, in fact, been thinking about Risus lately. When EN World's Rel (a veteran of the only Risus game I ever ran at a convention) pointed me towards Old School Hack, I began to envision an alternate Risus combat system that involved maps, concrete tactical options, a reduced death spirial, and possibly even the inclusion of fiddly bits.

To counter the inevitable if exceptionally polite admonishments from Risus purists, mucking with the Risus combat system is not without precedent. The Risus Companion itself presents a new dicing mechanic (Deadly Combat) and a strange little mini-game called "Last Man Standing". If I did end up designing a new Risus combat system, I would avoid doing damage to anything that made me love Risus in the first place. To that end, I would follow the following objectives:
  1. Any and all existing Risus characters are valid. Risus wouldn't be Risus without oddball cliches and post-it note characters.
  2. The core Target Number mechanic remains unaffected.
  3. The holy trinity of "Target Number Roll - Simple Contest - Combat" remains in effect. Within any given game, "Combat" could mean using the standard rules or the new system depending on the situation and whims of the GM.
Most of my ideas are still half-formed notions at this point. I have no idea if a tactical combat system that achieves the above objectives would be any fun or even feasible (though others have tried). My gut says it might be and I'm going to spend some time noodling out the details.

For starters, I'm going to look at Old School Hack. The game has a wonderful and simple little combat system that looks like it would be fun to play and easy to shoe-horn into other systems. Heck, when I'm done cannibalizing it for Risus I might see how it could be used to spice up old school D&D combat (note that I'm not passing judgment of the spiciness of old timey D&D).

Specifically with regard to Old School Hack, I happen to like the Arena system. In many ways, it reminds me of zones in Fate games like Diaspora. I like how arenas can be created ad-hoc and how weapon choice interacts with the qualities of an arena. In my opinion, one of the marks of a good tactical game is how well interesting terrain can produce interesting choices. OSH seems like it does that. From play reports that I've read, it also looks like it plays fast and fun.

Anyway, I'm going to spend some time developing this thought some more. If it pans out then I'll post the results.

Disclaimer: I'm still a big fan of the standard Risus combat system (modified only slightly per my Silverlode and Dragonspire campaign websites). Pursuing a tactical combat system for Risus is an intellectual excercise with a possible side benefit of making the game palatable to players who previously had reservations about the combat system.

Tuesday, October 12, 2010

Geomorph #91

After a crazy week without access to my drawing tablet, I am finally resuming my geomorph series. Tiles based on old school artwork seem to be rather popular, so I'll continue with one based off a classic scene from White Plume Mountain.



I purposely limited myself to only the illustration of the scene (below), not the map itself (or the adventure text). As a result. I only only have seven wooden platforms swinging over the steaming waters (rather than the full nine). I added a narrow ledge that descends to the water edge from the southwest and then rises again to room that overlooks the scene. I also angled things to run more west-to-east than north-to-south to amplify the difference with previous tiles. 


I selected this particular illustration in honor of the cover for Fight On! #10 (which features a selection of geomorphs from this blog).

Monday, October 11, 2010

Knights of the Astral Sea: After Action Report

Last Saturday, we had our most recent session of Gurps Knights of the Astral Sea. The player who normally chronicles these sessions was absent, so I'm afraid I won't be posting another one of Genevieve's letters. I was able to try out some of the ideas that had been on my mind the previous week, particular those inspired by Apocalypse World. This post largely concerns my thoughts on how that affected the session.

Know Your Strengths as a GM
I suppose it was inevitable that there would be a few hitches as I attempted to change up my tried-and-true GM technique. I'd like to think that I'm a versatile GM but I am I'm definitely better at a certain style of play. That style typically involves moving between cinematic scenes at a ferocious pace. While not a precise script of the plot, these scenes (scene elements, really) are sketched out ahead of time to be available if circumstances in the game prove favorable (which is often the case). I'm not as good at running totally off the cuff, which is where the advice of Apocalypse World seemed to take me. I'm not faulting AW, especially since I didn't get around to making any countdown clocks (an awesome techniques that I hope to try later) or really develop my fronts in any detail. By I did try to operate off the AW playbook of MC/GM moves in lieu of planning.

There were two problems. The first and the most noticeable was that the pacing felt off. I am a big proponent of proper use of pace in play. I like to start things off with a bang and drive things forward with waves of high drama and over-the-top action. To really pull this off, however, I usually need to have ideas sketched out ahead of time. Pacing things without even an outline resulted in a session that started slow (I hate, hate sessions that start with planning) and only achieved a satisfactory pace at two moments during the game. I'm sure that it is possible to maintain an agreeable pace in a less structured or traditional-style game, I'm just not very good at it yet.

The other problem with the session was that I don't think I came up with very good threats to the player characters. Running off the cuff, I fell into one of my greatest weaknesses as a GM - I'm a bit of a pushover. Typically, I mitigate this weakness my defining my threats ahead of time. If I've written something down, I feel like I have a license to be a hard ass (in a good way). Planning off the cuff... well... not so much. Part of it is that (especially with Gurps) I can't always judge how hard things will actually be without giving it thought. Part of it is that I feel guilty about exploiting a situations that I wouldn't have known about if I planned in advance. I dunno, I'm having a hard time articulating it precisely. It could be that I have awesome players that are easily able to counter situations that I improvise. It could also be that one of the player characters is in need of a some serious nerfing, but that's a topic for another day.

What Worked
Well, some of things that I discussed in the previous week did have a positive affect on the game. I am mostly referring to an emphasis on sensory details but I am also talking about coming up with names for every NPC that the player characters interact with. It wasn't a huge improvement, but I did feel like I at least kept myself more immersed in the setting.

It wasn't a bad session, all in all, but it did feel like a bit of let down compared to previous one. That session put me on a high that lasted for days (perhaps because I had a firm outline and the players took things in completely unexpected directions). As I head into next Saturday's Slaying Solomon game, I'm going to try to zero in on what is is that I already do well.

Saturday, October 09, 2010

Fight On!

Issue #10 of Fight On! magazine is now available at Lulu (in print or PDF). I'm absolutely thrilled to have several of my geomorphs included this time around. It's the first time I've been published in any fashion. Needless to say, I'm in a very good mood right now.

Lord Kilgore has coupon code that gives 40% off, so you might want to stop by his blog before making your purchase.

In other news... sorry for a lack of new geomorphs this week. It's been hectic and I haven't had access to my regular desktop machine.

Friday, October 08, 2010

Essential Resource for Elizabethan Gaming

It's been a crazy week and I am more than a little behind on my preparation for tomorrow's Knights of the Astral Sea game. In the process of gathering my notes, I did stumble across an amazing resource - nay, essential resource - for games set the Elizabethan era. If you are at all interested in such things, make haste to Life in Elizabethan England!

I wish I had discovered this site several months ago, as I suspect that we'll only have a couple of additional sessions on the world of Tudor before the players characters decide to go elsewhere. But this is one find that I'm going to keep close at hand. It's also available as a single PDF here.