Class Archetypes and the Sub-Games

Very quickly- I have mentioned last week that D&D is divided into a number of sub-games. And thinking further I would wager that the most famous and effective classes are those that dominate one of these sub-games.

Obviously the Fighting-ManPerson or some variation of it dominates the combat sub-game. Magic-User (or variation thereof dominates the Magic sub-game. The Thief and variations dominate the dungeon exploration sub-game. The ranger would be the logical next for the wilderness exploration sub-game with a possibility of the Druid.

Though there are sub-games for air or sea travel and combat these seem to be rare edge cases that would be filled by very specialized Ranger or Fighter offshoots that few would play unless the campaign centered on it. The Cleric is binary here- depending on edition and build the Cleric is a master or all or none with a default to magical healing. Which highlights the problems of the class in my opinion. But also stands him up as a counterpoint to the Magic-User and the Fighter.

It seems that this would lead t the idea that what classes you have in your game are dependent on if you want an adventuring archetype to dominate a particular sub-game, or do you want that shared? Classes that share archetypes would be interesting. Again a Ranger with a more limited combat ability compared to the Fighter seems like it would be the poster boy for this approach. Also there is the idea of building out the base archetypes to share in the sub-games the other classes dominate.

It seems the Thief was an interesting design accident that could be used as an example for the future game development. What seems to have happened in a subconscious collective sort of way was that players understood that there was a sub-game of dungeon exploration that The Cleric, Fighter, and Magic-User while dominating their own parts of the game were not masters of. Ergo the Thief develops. It seems it would come back to essential spotlight time. Is it shared or not?

The Ultimate Dread

Legendary. That's the word. Not only in the numerous gaming worlds it inhabits, but also in our own real world the Isle of Dread is a thing of legend. It sits beside the Caves of Chaos and The Tomb of Horrors in the shared experience of D&D players of every edition.

The island is a strange eclectic mix. Start with one part homage to King Kong and the lost world literature that inspired it. Add stories of magic, pirates, castaways, mysteries, dungeons and of course dragons. Sprinkle with a bit of Sword and Planet and you are all set. Going to "The Island" is supposed to be a game changer. Arrival is easier than departure, and survival is always in question. As a location based module the adventure contained within the pages is perennial not just as an adventure but also as part of the lost world genre.

In recent years "The Isle of Dread" has reentered the field of vision of players and publishers alike. with expansions, retcons, retoolings and such found in Dungeon to ideas in the OSR, I wanted to try to tie it all together in this post so as to create a resource for information and ideas about the "The Isle of Dread" and to further develop notions about what the island is and what it could be.

First off I think the mistake that many writers and Dungeon Masters make when they try to use the "The Isle of Dread" is that they don't see it or populate it as a campaign setting. This mistake is an easy one to make, especially if you are not aware of geographic scales.  When we look at the map we think we are looking at something along the lines of a smaller Hawaiian island - or some small island  in the Carribian. We think Treasure Island, Skull Island, Jamaica and Gilligan's Island. We just don't see it as the the size of Ireland.

Yes, Ireland.

When you look at the map and count out the length and width of the outlying islands and reefs surrounding the main island, you get an area pretty much on par with Ireland. The actual Isle is about the size of the Dominican Republic and Haiti, or twice the size of Vancouver Island (which is longer than the western coast of the state of washington by the way). In truth, to really use the Isle of Dread is a major commitment. It's a very specialised campaign setting so given its size it might be best to treat it like one.

When it was left on its own in 1983 the Isle of Dread was just an island in the known world. 21 years after we see an update in Dungeon #114 that brings the Isle to Greyhawk. This creates the first new notion about the island - it moves from plane to plane.

This propagates the idea that we actually don't have to use it as an insular setting (with all the puns intended). We can make it far more interesting as a plane hopping island that touches other worlds and the planes themselves. In essence you have an island that can be the best of pulp adventure in one place. If skull island from King Kong is the conceptual father of the Isle of Dread, a strong argument can be made that it is the grandson of Neverland- native tribes, pirates, skull shaped rocks, and everything else that comes with the island that can only be found if you go straight on till morning and follow the second star to the right. 

So the isle of dread is in essence an amalgamation of all the mysterious islands from pulp and lost world literature and fantasy. But I would wager that the ideas about this island have not stopped, but that it continues to develop.  For me the most recent inspiration for an addition to the Isle of Dread is the television series LOST. In LOST you have an island not unlike the isle of dread and its adventure fiction cousins. Mystery and magical realism abound. Most of the concepts in LOST we have seen before and can easily move to the Isle of Dread. But the one real innovation was an island that moves in time and space.

So I like to imagine the Isle of Dread as this plane walking, time and space traveling island. It manifests from prime material to outer plane and back again fluctuating through time and all existence, picking up horrors, and strange things. A sort of mobile Carcosa. When it manifests it is surrounded by storms that draw in ships that get too close, like a hurricane that forces everything it touches into its eye. It stays for a time, often long enough to get on the charts, then it disappears to a different time and world, taking the sea of dread with it.

Given what we have learned about the 6 mile hex and how big the Isle of Dread really is, it turns out that we can put A LOT more on the island. Thus it becomes tempting to add in WG6 The Isle of the Ape. Since the natives come from the isle of dread, and both are inspired on some level by Kong's Island, why not just make them the one and the same. Imagine Castle Greyhawk not leading to the Isle of the Ape as a part of its dungeons but in those places it connects to the Isle of Dread itself. Imagine that combined with the Isle of Dread as a demi-plane that wanders around and is connected to Castle Greyhawk and numerous other dungeons like the Cavens of Tharcia. If you think about it, there are some planer doors in Thracia- a couple are not functional.  Why not make one of the broken ones lead to the island?

Using the Isle of read this way, you have a dungeon nexus. A way to plane hop, a way to get your retro stupid on. Here are some resources to help you with makeing your "Ultimate Dread:"

Official Sources:
Isle of Dread 1981
Isle of Dread 1983
Dungeon #114 Torrents of Dread
Dungeon #142
Dungeon #143
Dungeon #144
Dungeon #145

Adjunct Sources and connections: (possibly take these and put them on the island. Really, why not?)
Isle of the Ape
Drums on Fire Mountain
Savage Coast(?)

Hidden Shrine of Tamoachan (Dungeon magazine played with this in the savage tide. They didn't put it on the island but it does bring up the question again - why not?)
Dwellers in the Forbidden City - could easily work as a location on the Island.

Caverns of Thracia (like I said before, one of the planar doors could connect well to the island)

Inspirational Viewing:

LOST - esp the first two seasons
King Kong 2005
King Kong 1935
Peter Pan original play

Inspirational Reading:
Journey to the Center of the Earth - Jules Verne
The Land that Time Forgot - Edgar Rice Burroughs
The Lost World - Arthur Conan Doyle
Peter Pan - J.M. Barrie
Treasure Island - Robert Louis Stevenson
Robinson Crusoe - William Defoe
Lord of the Flies - William Golding
The Mysterious Island - Jules Verne
The Island of Doctor Moreau - H.G. Wells

A Sudden and Unexpected Endgame

Recently I have been reading The Hobbit.  The situation of this reading is causing me to look at each sentence, and what is really said.  I am constantly amazed at how much I forget and how much I miss.  It is a dense book.

What occurred to me is how a large hoard like the one Smaug sits on is seriously a game changer.  Most referees would rule that even after you discover one; or kill or remove the guardian of a hoard you have to get it back to home base before you collect the experience.  Now, what happens if you turn the dungeon that you are in into home base? This is pretty much what happens with the lonely mountain.  Thorin and Company don't have to transport the treasure anywhere once the battle of the five armies is over, and given the description of Thorin and the other dwarves as they join that battle, it seems like they have leveled up a bit as their eyes are glowing red!  

The thought here is that it no matter what the circumstance, the endgame can show up quite suddenly as dice are involved and players are clever.  Wise use of a hoard might be what allows a party to truly convert a dungeon into a legitimate home base.  Interestingly a megadungeon that can never be settled helps to prevent this.  And while something is statistically unlikely, it does not mean that it can't happen ever, or that it can't happen many times in a row.  A party could get lucky for example and find a +3 Sword in their possession after a lucky lucky victory.  How you handle that may determine what kind of DM you are.

The Ultimate Tomb of Horrors

I like when stuff happens by accident. Over at Dragonsfoot there has been the discussion of false tombs of Acererak to go with the Tomb of Horrors. This has led Dragonsfoot to publish not one, but two false tombs in the last couple of months or so. They can be found here and here. But what is interesting is that as this happens, we also see Michael Curtis speculating about this. So there you go: Tomb of Horrors as a heist, but with two (or more) false tombs that you need to go through to find the real one... The idea of running as a whole campaign is pretty cool. And the false tombs make it even cooler. You don't do the heist once, you do it three times! Though the flaw in it all is that by the time you get to the real tomb, if you get there, you will be able to mop the floor with the demi-lich. Still it is one of the coolest accidental confluences of ideas I have ever seen.

Monkey Scribe

Monkey Scribe

Level: 1
Duration: Instant, until written work is completed
Range: Touch

It is known that monkey scribed scrolls are the most potent.* This spell allows a magic-user to use a monkey (specifically a non-human great ape) to scribe mundane and magical writings. For spell books, a monkey scribe will copy the spells from a spell book to another as if they were the magic-user themselves, freeing the magic user for other tasks. The monkey becomes capable of understanding and speaking to the caster (with the casters intelligence and 25% of the time the casters personality and memory) for the duration of the spell and will calmly and diligently pursue his duties until finished. For scribing scrolls the monkey counts as the caster by proxy. The caster must be able to make the scroll himself without the help of the monkey for the monkey to be able to scribe the scroll. Scribing the scroll in this way makes the scroll more powerful as they max out any variables and offer twice the volume, range, duration and area of the spell. A factor of the spell is not doubled if it is already maxed out (for example in the case of variable duration, the max duration is used, and is not doubled). Variant: A GM may decide that humans do count as great apes for this spell.

*This idea came from the comments over at this linked post over at Telecanter's Receding Rules.

As I submitted this to Raggi for his spell contest this sucker is OGL so feel free to read and distribute with credit due.

Yost the Boastmaster

Yost is the god of bravery, drinking, and boasting. Often refered to as the "Yost the Boastmaster" or simply "The Boastmaster", he typically appears as a human or very tall dwarf in a horned helmet with a very large scraggly beard. His principle weapon is a battle axe but he has been known to show up with a sword or hammer. He is revered by all Dwarves and most humans who live in the north, have beards, and prefer to travel by long ship.

He is fond of valor and bravery, and most fond of the "heroic stupid" variety. Yost has been known to give a blessing to those that survive in situations where their worst enemy is their own bad judgment, for he believes that only the strongest can really overcome such a handicap. He is fonder of such attempts if a boast is first made about how they will overcome such odds, and even fonder if it is made while drunk. However, Yost is a god of action. In fairness he only blesses after the deed is done, in a degree to which the boast and brave deed were completed. To maintain the blessing the reciever must regularly boast about the deed that gained him the blessing at least once a day while drinking something; this is generally done as a toast to ones self and need not be an alcoholic drink. In the same fairness, Yost only permits one blessing at a time. Yost has a hate for the undead and his interests revolve around the riddle of steel, drinking, boasting, the number 7, the number 13 and the letter T.

The Blessings of Yost (1d12)
Check for blessing: When foolhardy bravery appears in your game roll a 13 on a d20, then roll a 7 on a d12, then roll d12 on the chart below.

Small chance of survival: +1
Outnumbered by 7+: +1
Outnumbered by 13+: +2
Boast made as to means: +1
Boast made while drunk: +2
Deed done while drunk: +3

1. "I can't bless that crap you carry!" 100gp appear on the person as a free gift
2. "So little to work with! Behaps it'll save ya..." +1 to all saving throws
3. "Waerin armor like that who needs enemies?!" Primary armor is now +1 magical
4. "Perhaps you should stand back more?" Primary missile weapon becomes +1 to hit
5. "You looked a little winded back there!" +5 to max hit points as long as blessing maintained
6. "Bah! Good weapons could be better!" Primary weapon is now a magic weapon +1
7. "Only a bad carpenter blames his tools..." 200gp appear on the person as a free gift.
8. "Ya got the tiniest nimble fingers!" +1 to all ranged attacks, counts as a magic weapon, +1 to AC treat any armor worn as magical
9. "Heh! Maybe this will help ya try somthin bigger!" +10 to max hit points as long as blessing maintained.
10. "What is steel compared to the hand that wields it!" +1 to all attacks and damage, counts as magic weapon
11. "Not gods... not giants... just men!" Increase Constitution to next bonus tier
12+. "This you can trust!" Increase Strength to next bonus tier

Yost is known for two magic items that appear from time to time:

The Toast of Yost (Tankard of Bravery)
Once per day when filled with a liquid and drunk with a boast or a toast to bravery, this old dusty tankard bestows upon the drinker the blessing of Yost, the god of bravery, drinking and boasting. The entire tankard must be drained for the blessing to take effect. The blessing is variable depending on what is put in the tankard. Mixing liquids randomizes the effect. Liquids not listed below have no effect. The effects last for 5 minutes:

Mead: +10 hp
Cow's Blood(and roast drippings): +2 to hit and damage
Ale/Beer: +5 more hirelings can be hired for that day while in effect
Water: +2 to turning level and all turning rolls
Milk(of any kind): AC treated as better by one armor type, +2 to ranged attacks
Wine: Speak fluently one additional language, only this ability maintained by drunken state; All checks increase by 1 in 6 or 20%; Thief skills gain by 20%;

If one drink is shared between several drinkers (many can drink but a sip) over a turn (up to 13 persons) then the effect is +1 to attacks, damage and saves. It affects all those whom drank from the tankard with the effects lasting 5 minutes.

Weight 1lb

The Host of Yost (Bread of Bravery)
The host of Yost is a slice of aromatic bread toasted to a golden brown and wrapped in a white cloth. While in the cloth the bread continues to radiate heat no matter how old it is. When the slice of bread is unwrapped and eaten it grants the eater +2 to attacks and saves, immunity to fear effects, and 10 temporary hit points for 10 minutes. When 1 slice is shared the effect is the same as the Toast of Yost but for 10 minutes.

The Host of Yost is generally made by valkyries in their free time when they are on speaking terms with Yost and it is rarely made by mortals. On the rare occasions when this bread is found, it is found in very dangerous or very odd places. Should a mortal make the bread they must make an entire loaf of 13 slices, or rolls. Additionally the white linen wrappers must be washed in holy water or the magic in the bread will dissipate after 3 days.

The Hobbit 1937

Sometimes I think that if blogs in the OSR sphere were like rock bands GROGNARDIA would undoubtedly be the Led Zeppelin. It has staying power, and harkens back to older roots but presents them in a new way that is really approachable, and still rock and roll. If this is true then Jeff's Gameblog is the Jimi Hendrix of OSR blogs. This blog does things that other blogs would find difficult to pull off. Jeff plays with his tongue, pulls in weird riffs and techniques and influences no one thought of before, and then proceeds to light his gamebooks on fire. Other blogs take these ideas and run with them in a little tamer way, building out the lesser known band equivalents of blogdom. Perhaps I am the Whitesnake or Motorhead of OSR blogs, who knows.

Whats important is how I am ripping off Jeff today. Recently Jeff has been talking about the what if of Star Wars never having a sequel. What does the movie tell us about the star war world before it really got developed with contradictions and exposition in later movies. I want to ask a similar question of a just as influencial property: J.R.R. Tolkein's The Hobbit.

As an intellectual property goes Middle Earth has a lot of similarities with Star Wars. The initial product was ground breaking and really changed the game. Both have estates that are very defensive of their IP. And both have creators that retconed their work stating that it was all part of the original vision.

The Hobbit had a major revision that did not get published until 1951, almost fourteen years after it was originally published that changed the "Riddles in the Dark" chapter to better align the story with the oncomming Lord of the Rings. So... set the Wayback Machine for late 1937. The Hobbit or There and Back Again is the only Middle Earth story. That's our primary source for today's exercise. There arn't any secondary sources. Given this material, what do we know about Middle Earth back then that no longer holds true under present concepts of Middle Earth canon? What is as-yet (for '37) undefined? What can we extrapolate? Here are a few initial thoughts:

• Gandalf is just a wizard. Not an angel in disguise. Just a wizard. He has an enemy called the Necromancer who is also just a wizard. Anyone can be a wizard with enough practice. What about that Necromancer? He made the Greenwood into Mirkwood. That means that there is evil wizardry about.
• Gollum is an honorable creature, and not obsessed with loosing his ring in a game of riddles. He is not obsessed with a ring that can turn him invisible. Man, thats character. Guyges and I certainly don't have character like that.
• Elves are not always really nice. No Legolas means that the wood elves can be mean bastards. Elves make magic weapons.
  
• Orcs don't exist. Never heard of em. All we got here are goblins.

This awesome panorama comes from David T. Wenzel at http://www.davidwenzel.com/

Live After Death!

In my house rules for Labyrinth Lord I have created a new rule called "Live After Death." It was inspired by Heroes of Horror (and Iron Maiden, of course). Anyone looking at the previous post will see that I have finally found out where I saw the inspiration- in the sections called Balancing the Scales, Coming Back Wrong and the Resurrection Mishap table. I think the suggestions there are easily the best part of the book. I encourage people to track down a copy. The stipulations of extended time, the price of another life in exchange, special locations, provide great ideas for a campaign. But the one that has the best swords and sorcery feel is the idea that the magic is not perfect. The way I use it is that this can happen its a risk - always. So now when the spell is cast my players roll on the table below. I have not used the idea in balancing the scales yet, but the chance of coming back wrong just seemed, well... right. So here it is, a simple 2d6 chart that spices up those Labyrinth Lord Raise Dead spells (with a cool retro metal name to boot):

Live After Death
2 No, really, that’s not Bob: A demon possess the body- exorcism will return to dead state.
3 Better off Dead: Oops, such a fine line between raised and animated… character now undead of HD corresponding to current level.
4 Chains Attached: The character is back to achieve one thing as if under unbreakable quest or geas spell. When done the character dies, forever.
5 Alignment Change due to fear of death.
6 Normal
7 Normal
8 Normal
9 Alignment Change due to seeing and understanding the truth.
10 Strings Attached: As if under unbreakable geas/quest. Must complete.
11 Crossed Wires: DM switches 2 of INT CHA or WIS
12 Wait, that’s not Bob: wrong soul- re roll INT CHA and WIS

Scream for me Long Beach!

Need Help Finding an Alternate Raise Dead/Resurrection Table I lost track of

A while ago- It must have been in the days of WFRP2 and Heroes of Horror- I found a really cool resurrection/raise dead chart that allowed for weirdness around said spells. That is it made them way more interesting. The gist was these spells could go wrong. I thought that the chart was the resurrection mishap table in Heroes of Horror, but now that I have had a good look a it I realise I must have been reading something else! One distinct feature that I remember about the chart was that it for sure had the entry where a completely different soul is returned to the new body. Another was that the guy was back yes, but he did not get to stay. Sort of a "the crow"scenario- what he is working on is important enough to allow him more life but when its done so is he.

Anyone remeber this thing?

The Five Foundations of Flavor

Speculative adventure games (aka TTRPGs) are just that: games. When all of the world design, history writing, and character building is finished there are only really five different places where your players really feel and pay attention to the world you have created: the places they explore, the spells (cast on them and by them), the monsters and villians they fight, the kinds of treasure they find, and magic items they use. These are the places where a DM puts the description of the world because these are the places where the players pay attention and the rubber meets the road.

How the places they explore are presented and if they are memorable or not has a big effect on what your players will remember. The way the traps work, hazards, weirdnesses, and the general feel of the place all say something about the world you have created. How often do places like this show up? How deep do they go? How weird do they get? Who built it? Is there any indicator as to who lived and/or worked here? This is how you get the history and feel of your campaign setting in to the minds of the players.

The way magic works also says alot about the world. Do spells have the names of their creators attached to them? Are there unique spells or ways of casting spells that show something about the world? If it is rare to find magic and hard to cast spells, then it colors the world in a certain way. There may not be any good wizards in your world. How the magic works would be a great place to accentuate that. Changing how the system works just a little bit can say a lot about spells and the people who cast them.

China Mieville's Slake Moth really brings home the setting of Perdido Street Station. Your monsters and villians are the probably the most defining element of the flavor of your setting. Are monsters (and demi humans) rare? Perhaps the only real monsters in your world are men with the occasional tentacled horror, or giant snake. The presence, size, intelligence and behavior of dragons says a lot. What the characters encounter really impacts the flavor of the world probably more than anything else because these are the things they fight and most of the interaction of most games is the combat system. When you fight a monster in a location the chances are someone is going to cast a spell. You can begin to see how the colors start to come together.

Treasure. It all comes down to what a large haul is. Do you find that dragons hoarde thousands of coins or just hundreds? In some worlds 300 gold pieces is small reward. In worlds with a little different flavor 30 gold crowns sets you for life. How far does gold go? How much do you find? Is the treasure even stacks of gold or is it historical artifacts and information about the world? What you find burried may not just be wealth but flavor.

Frequency and function of magic items works hand in hand with the spells and treasure. These things are generally a way for characters to touch the history of the game world. How they work says somthing about magic and the metaphysics of the campaign. Do magic items only ever show up based on fire and ice? Is it really just misunderstood technology? What magic items you present and how many of them you present is one of the best ways of conveying the world to the players.

These are the things your players will really ever pay attention to. These are the sticky points. They will meet you at these places and these are the things that they will remember. So if you want them to remember all the work you put into writing out histories and whatnot, do it in these places. Designing spells, creating magic items, building castles that will someday make a new ruin to explore, learning secrets about monsters, and seeking wealth are the ways players connect with the world. Fostering this connection by alowing the player to get involved allows them to remember more of what you have made.

Chim-Noamski the Talking Monkey; God of the Many Bowls

Chim-Noamski is the talking monkey god of language and civilization. Often depicted as a monkey with a bowl; he is the ultimate arbiter of the rise, fall, and direction of a civilization. His temples are covered in decorative chimpanzees with live ones everywhere. The temples are filled with nick nacks, whatever the monkeys decide to bring in. Much of the priest's time is spent cleaning up the offal created by so many animals. When they are not cleaning they are usually debating the merits of the latest divination from Chim, or acting as arbitrators in assorted disputes. Evil priests of Chim have been known to operate investment schemes which are ussually based on a false prophecy of future wealth of the community. These are known as Kanzi Schemes.

In each temple there is a large jewel eyed (typically blue jewels of value based on wealth of the community) monkey statue with a bowl. When the monkeys put something in the bowl it is interpreted as (and at times actually may be) a divination about the community (roll on divination chart). Sometimes minor prophecies concerning individuals are uttered by a random chimp in a temple (1% chance for each individual on each visit).

The Avatar of Chim (when he appears) is a blue eyed talking chimpanzee who is carrying a bowl. His bowl always contains many items. The items found in the bowl correspond to the cards in a deck of many things but the effects apply to the whole settlement where the temple is located.

Should the avatar be treated well, then he may choose to give the blessing of Chim to the settlement. Chim's blessing allows everyone who enters the settlement to be understood no matter what language they are speaking. Should the avatar be treated poorly, he may choose to give the settlement the curse of Chim. Chim's curse makes it impossible for anyone in the settlement to understand spoken language, even their own.

Knocking or breaking the bowl off the idol will incite the rage of Chim and the murderous anger of 10d6 chimpanzees and 1d6 priests of Chim.

Random Divinations of Chim-Noamski:

The divinations must be interpreted based on what was in the bowl. Before rolling on this chart the DM should create a d12 chart of random objects that the chimpanzees have collected in their temple that could turn up in the bowl, leaving the 12 blank. When a twelve is rolled on this chart it is a legitimate prophecy. The DM then should roll again to determine the item in the bowl.

The DM should then roll twice on the following chart. The first is the real meaning of the prophecy, the second is the priest's interpretation of the prophecy.


1> There will be a plague of _________ in the settlement.
2> The settlement will be destroyed by _________ in ____ days.
3> An enemy will come to destroy the settlement unless __________ is done.
4> There will be a lack of _________ in the settlement.
5> The settlement is out of the favor of Chim and must atone by ___________
6> The settlement is cursed to slowly die off and be forgotten forever.
7> The settlement is blessed and will rise to be center of an empire.
8> The settlement is in the favor of Chim and must move forward with all plans involving ________ .
9> There will be plenty of _________ in the settlement.
10> The settlement must attack all enemy settlements that have ________ and spare no one.
11> The settlement is protected from _______ for another d100 years.
12> Health and long life will come to the settlement in the form of _________.

This is an Awesome Post

No not this post. THIS POST, by the great Sham, is awesome. First it shows somthing he is doing. Second it illustrates a principle of game design. Third you get a great how to that you can easily replicate yourself and last it calls attention to awesomeness that is not his own. I am posting about it here because it needs more links to it so more people can go and relish in its awesomeness. And if you want even more awesome awesomeness read his thoughts on OD&D books I-III (too many to link to). You will never look at the monsters, treasures, heros (and antiheros) the same way again.

1d20 Dreams for the Dying and Unconscious

This table has taken a while to write. I have been coming up with the ideas sort of piecemeal on my lunch breaks over the past couple of months. The idea is that in a fight, when death is near and a character goes unconscious they might have a weird dream before they die or are revived. These are written in such a way that the DM can run with the idea and use it to describe to the player the character's movement towards or away from death rather than giving him a number.

Say if the player rolls a 1, and dreams of chains, the DM can describe the chains doing things that reflect the status of the character's current condition. It could be that they are the chains holding the soul to the body, or that they are a measure of how dead you are. Either way the DM can describe what is happening to the chains as the character improves or declines.

1) chains
2) dark forms
3) whispers
4) crawler in a pit
5) dancing cows
6) giant whirlpool
7) falling
8) drowning
9) fat man eating
10) spider web
11) giant black dog
12) tentacles
13) wings
14) maddening gibberish
15) body on fire
16) talking monkeys/apes
17) body freezing
18) thin man walking
19) fog
20) belching frog

Currently Dreaming the Dream of the Black Lotus

I have not posted for a while as I am away with other things. I still have a slew of ideas to share and as my black lotus dream continues I gain more. But I have been working a bit here and there on Codex which has a new name, and hashing out some fiction that as life would have it right now may never see the light of day.

Since I have entered my dream state, many things have passed in this world. Many of them political. Since such petty politics are below those of us who plumb the dreamlands for deeper mysteries in our lotus inspired sleep you will not see my opinion on this blog nor in your comments with a name that links to this blog. Though I may clearly agree or greatly disagree my opinion (on many things) is my own and I will not share. Also, in the end, politics is bad for business.

Nor will you hear about my personal life. Again me complaining about how my life sucked today or yesterday or how I think something is neat is not good for business. You will only get madness and dreams particular to fiction and gaming.

Till I post again with further madness...

ENWorld Flashback!: Ecologies of The Beholder

(This entry was originally a post that I made to ENWorld. There were several that I was kind of proud of and so when I get the chance, I will post them here so they don't get lost as ENWorld evolves under the ENWorld Flashback! moniker. Obviously I will polish them a little more.)

Some speculations to the question of the diet of a beholder:

Beholders could be bags of devouring that have matured. They exist to devour and the bags are their larva. However this does not explain the eyes too well. Perhaps the bag of devouring as a larval form should be reserved for another monster...

There is the old standby that they feed off of fear and negative emotions. The mouth is just there to invoke fear and thus a snack. But this does not work too well either, as the creature has some very instantly destructive abilities. These don't generate fear, so while the form might fit that of a fear feeder, the abilities do not.

Here is the best I can come up with:

What if a beholder was not necessarily a devouring glutton or a fear eater but somthing more complex? A good way to go about demonstrating a good beholder diet is to say that they live off of seeing beauty. When they see beauty they are nourished by it. They grow stronger and live longer just by gazing on somthing regarded by others and itself as beautiful.

But because they are not beautiful themselves, beholders need a ton of it. And they are gluttons for "flavors" and thus seek out variety. This causes them to try to reach out in the world and gather as many beautiful things as they can. These things (and somtimes people) are stored in their lairs, and gazed upon by the beholder until they loose their luster or age too far. From maidens, to art, to poetry, to scenic views (astronomy included), they do things to gather beauty unto themselves, and when they see it (or less commonly hear it, as beholders are visual creatures) they grow in power and strength. They study the beauty and live under the illusion that because they have so much beauty they themselves must be beautiful.

When somthing is broken, injured, aged, or the beauty leaves it for some other reason, the beholder destroys it. If it finds even the smallest flaw in somthing the beholder will eventually destroy it after contemplating the beauty of the flaw if such is to be found. This is the number of days equal to the intellegence of the beholder. Basicly they are the worst of art critics and beauty pagent judges. Some are artists with tempers too. When a beholder views a living creature that it deem beautiful it will eventually petrify the creature so as to preserve the beauty should that beauty be only visual. In essense beholders are to beauty what dragons are to wealth.

This love of art and beauty makes them the natural kingpins for thieving organizations and the patrons of burglers, pirates, slave traders, etc. They cast far flung networks designed to gather beauty to themselves. However they are in some ways aware of their hideousness and this causes them to hide away, eschewing easily accessible places for places largely unseen by many. Some use economics and bargaining to gether their art collections, others are bullies. The means ussually match the individual beholder and each one is unique in appearance and disposition. Beholders are adept at fashioning great and powerful scrying devices to help watch over their networks and also take in the beauty of the outside world, and wage war against it should it become blemished.

Raziel of the Sack

Raziel of the Sack (not to be confused with Bakshi of the Bag) is the patron god of Looters, Tomb Robbers, Burglers, Highwaymen, Pirates and senseless risk takers. Raziel appears as many different types of humanoid throughout the world. His symbol is a sack. Regardless of race he is traditionally depicted carrying a one-handed axe and a sack over his shoulder. Raziel is fickle. His avatars have been known to bless adventurers with the contents of his sack or curse them by adding an item of their to the sack.

Raziel always appears as a normal male of a humanoid race with a sack and axe. He typically wears armor and a helm or hood. While he may give or take from a person, he is not above bargaining. Though his price is high and he typically asks for women (esp a bargainers full grown daughter), wine, feasts, song, and other desires reflective of his worshipers of high and luxurious value.

Interactions are always random and are a 50/50 blessing/curse. Items from the sack are randomly determined and have twice the chance of being cursed.

If using an older game use the rules for a Storm Giant's bag.

In a newer game roll randomly.

The old school applicaitons of Raziel are obvious as are his 3e/4e magic item economy applications.

(Thanks to Jeff Reints for the ispiring image)

Sufficiently Advanced...

Arthur C. Clarke penned what are called the three laws of prediction. While they are not somthing that is stated over and over in stories but rather over and over in conference rooms at science fiction/fantasy conventions you had to expect him to get his own three laws after Azimov came up with the three laws of robotics. While Azimov assured the fame of all three of his laws by making the second two dependant on the first Clarke's third law of prediction is a lot more famous than than the first or second:

Any sufficiently advanced technology is indistinguishable from magic.

This phrase has been a keystone in one of the major arches of the architechture of speculative fiction. In a way it is what anchors the science fiction to the fantasy. (Secret: Its all fantasy. Even Tom Clancy and Robert Ludlum just make stuff up.) I have said that Swords and Sorcery is not a genre. In my mind its more of a color. I think saying you like Swords and Sorcery is a lot like saying you like red cars. Its just the color of the car and each car is vastly different than the next. But Clarke's quote has inspired things like Dying Earth literature, aspects of Sword and Planet, He-Man and lots of other fantasy paint jobs.

But I got to thinking about this statement. The first thing that occurs to me is that it is only really true in effect, not origin. That is to say a wizard with a lightening bolt spell and a guy with a lightening bolt gun have the same effect, but one guy is pointing and mumbling while the other is pointing and grunting. But even beyond that, we see that Clarke, for all his insight has not really looked at magic. Magic ignores rational cause and effect. Science, when you understand the natural principles it is based on does not. Anyone taking a look at the works of H.P. Lovecraft runs up against this whole debate. Is the spell that opens a gate to for the extradimensional horror just really alien technology or magic? Both?

Technology that appears to be magic is still just technology. Take for instance the D&D spell timestop. How are scientists spending billions of dollars to create a device to hold time static in a field indistinguishable from the witch doctor that waves a stick says some weird words and gets the same result for much cheeper?

Larry Nivin (and Mecedes Lacky) have tried to be cool and have come back with "Any sufficiently advanced magic is indistinguishable from technology." But that is just it, big magic does not necessarily require big work and power, whereas big technology does require a bigness that magic just does not require.

Lets take the atom bomb as an example. Numerous scientists and millions of dollars of research went into developing the ability to blow up an entire city in one shot. Even now the bombs are expensive and labor intensive to produce and (hope not) deliver with accuracy. Yet they still require a team of people. Whereas with magic Waldorf can take out entire planets and campaign settings with a ceremony. What separates them is cause and effect. Technology has logical cause and effect based on the natural principles of the universe it occupies. Magic ignores this. Magic in its purest form is super-natural.

Clarke's law holds so long as your story is based on two things: The first is that there is no such thing as the supernatural. All the mumbo jumbo and abracadabra is simply the ability to tap into somthing that science does not understand yet. The second is that those who experience the effect interpret the event based on their experience and knowledge. The second is immutable. It is how humans operate. But the first is an assumption. What if magic operated outside of the physical world in all aspects- what if waving a rubber ball and a feather in the air while speaking latin backwards really did summon a Ferrari? There is no physical reason a Ferrari should appear. Its not even a quirk of the universe, it is beyond what is supposed to happen.

Also, the drawbacks to magic are ussually very personal. Rangeing from colds, to being swollowed by extradimensional horrors, technology is far more expensive, but much much safer. Technology allows you to settle vasts swaths of untamed land. When magic is really magic of the supernatural kind it is too fickle. Fickle magic can't hold back the monsters enough. I think this concept can be used to explain the whole points of light campaign setting. No magic is different from technology even if it is similar somtimes in effect.

Additional: The Great Hong Ooi has a great (probably more correct) corolary:

Any sufficiently widespread magic is indistinguishable from technology

Dirk's Background

So game night is next weekend, and I needed to come up with a background for my character in a setting that is the pacific northwest but the "european" peoples have just discovered the west coast. From my DMs description, I envisioned somthing like Vikings and Conquistadors showing up in the Pacific Northwest to discover a place where the "Aztecs" had once made it all the way up past Vancouver, but then their civ fell back for some reason. In any case I have added the Mad Overlord and The Norskans. I hope he rolls with it.


If Dirk had gone to high school he would have been voted most likely to run into a burning building on the off chance that he could help someone, get rich, or get a woman.

And so we begin:

Throughout his life he has been a risk taker and thrill seeker so long as there was a chance for gain. That’s why travel to the new world never really appealed to him much, at first. The journey was too much risk for too little reward. The Norskans (Viking types from the lands north of Empire of the Mad Overlord) had been in and out of that land for centuries. It never seemed to come to any good. He heard about expeditions, but all the reports said one of three things: They never came back, only a few made it back, and everyone came back. While mad, the Overlord hedged his bets, and like Dirk wasn’t going to touch that place with a ten foot pole.

Then one day, Dirk heard about Ulric’s expedition. The Norskan had cut a deal. He called to Odin asking why their efforts in the new land had been for naught. The rune-casters of Odin read that the continent had been given to the Raven King Hugin and that all access to the continent was under his rule. Ulric then sought out Munin, the Raven Queen the consort of Hugin. He appealed to her with a great sacrifice. Then he set out to strike a deal with “The People Between the Forest and the Sea.” Traders and merchants were able to settle on what had once been called “The Bleak Shore.”


Dirk still thought that the risk was too high, besides, he had a good gig working in the Overlord’s ranks. But one day, he encountered a traveler, who showed him a coin from further south on the far continent.

“Gold,” said the traveler, “Cities of it, if you have the guts.” But that wasn’t all. There were other rumors. Magic. The likes of which rivaled even the greatest works of the Mad Overlord’s lands. “Magic and gold you say?” “More than you can dream! Seems the lands of the Raven King, and the People in between Forest and Sea have a lot to offer.”

This set dirk thinking. The risk barely even scratched the surface of the reward now. And Ulric’s expedition had been what 10 years ago? He began to make plans without even realizing it. After a winter, Dirk decided that it was too good. But where there was magic and gold there was sure to be death, and where there’s death there’s the thrill of adventure. This meant he needed some magic of his own. That’s when they brought in the girl. Seems she was a gypsy kid that had taken out an inquisitor that had killed her mother for unauthorized consort with a devil. The circumstances were strange said the reports. Had she not killed the inquisitor she would have been sent to “the school” to hone her talents. Getting the drop on an imperial inquisitor was no small feat.

The very night they brought her in Dirk sprung her from her cell and before the alarm was raised, they were on a ship headed out of the harbor. They would probably need some more backup. It seemed that having a god on your side was a requirement for survival in a place like the new world. Dirk started to look for an opportunity...

The Lost Genre Part I: Never Was

Swords and Sorcery. There has been some speculation as of late as to why this genre has almost disappeared from the fantasy landscape. Erik Mona editor of Paizo's fine Planet Stories line, Howard Andrew Jones, one of the editors of Black Gate and the folks over at The Cimmerian are all wondering why this has not been a viable genre. Among the speculation is what killed it, how things changed, etc. etc.

I propose this: There never was a Swords and Sorcery genre. Swords and Sorcery is a commercial phrase. It is made up to help us find stuff in the store and keep us buying more of what we like. If anything the quesiton we should be asking is "What happened to the Sub-Genre?"

We think of the golden age of the pulps as the 30's and 40's when that really was the beginning of the end of their time. Its like someone calling the days of Rome under Constantine a golden age and ignoring the days under Agustus. Pulp went back to the 1830's with the Penny Dreadfuls. Thats a whole 80 years before Howard wore the jeweled crown of Aquilonia on his troubled brow.

And looking at those stories we see that they were filled with swords and sorcerers just as much as any Howard or Leiber tale. Robin Hood as we know him largely came out of the same publishing tradition as Conan. And while Sherlock Holmes did have respectable dig on Baker Street and in a major publication, he was still serialised, a distant relative to Hood and the Cimmerian.

The genre I believe is not Swords and Sorcery, but the long tradition of Adventure Fiction of which Swords and Sorcery was a part of. And here were enter the debate of where genre starts and ends. Largely genre is driven by marketing. We see this with music all the time. Is it Techno, Trance, Ambient, Techstep, Hardcore, Jungle, Tribal, Breaks or whatever? Sword and Planet, Sword and Sorcery, Lost World, Weird Fiction, and a lot of Detective Stories all fall into this heading simply because if you change the tropes you don't really change the story.

I think that we would see more success in Swords and Sorcery if we focused not on Swords and Sorcery as a genre but as part of the larger and ailing Adventure Tales genre.

Whats with this retro gaming thing anyways?

Retro gaming... it happens. One of the things that is an inspiriton to anyone who wants to play an older game or create a game based on older elements, or create a game that is pretty much like an older game except you use positive AC, or you use modern elements with a classic facade, or you use... well you get the idea, is the retro video game movement.

Using text characters as your graphics was cutting edge in 1980. But with today's rendering capabilies and GPUs and bazzillions of colors who would go back to games like Rogue?

Well plenty of people apparently. Check out ADOM. Its a "Roguelike" still being made (started in 1992) and has quite a following.

As computers go, you don't get more retro than this. And if text adventures like Zork are the OD&D/Holmes or Cook/Moldvay, the Roguelikes would definately be the 1e AD&D/BECMI of computer gaming. Ultima 4-5 are the 2e, but in a good way, with Ultima 6 and 7 definately come in as 3.0 and 3.5 respectively and respecfully: even black Isle picked up their form factor. But Ultima 4 and 5 are video games that just say "RETRO" to me. And even now we are starting to see the Ultima-likes in things like the Nazghul toolset and the game Haxima.

So it is in the spirit of these games that I am creating Codex. Codex is shaping up to tip its hat to the roguelikes and ultimalikes as well as Judges Guild, OD&D, Holmes, C/M, BECMI (without the CMI) and even certain mechanical aspects of 1-4e. Think of Codex as a modern game created with retro sensibilities and front end, kind of like using tools that were designed for an Apple2 on a modern high end gaming PC that is equivalent to about 1000 Apple2s.

By the way- has anyone seen any Wizardrylikes?