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Luceat Lux Vestra - Making Light Management More Interesting in Old School Games.

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LIGHT IN THE DARKNESS
In the dark gulfs beneath the earth, the ancient places where thick darkness wells up a hungry oil of ebon malice the greatest weapon of the brave explorer is not sword or axe, but light.  Each guttering torch and cheap tin lantern is a tiny fragment from the world above, a piece of the sun. Without light the soft creatures of the overworld have no hope; the sharpest blade cannot cut the horror it doesn't see, and the stealthiest pilferer cannot find the bright gold and jewels concealed in the gloom without a telltale glimmer.

THE OLD SCHOOL BASIS
Looking through the old 1974-79 edition of Dungeons and Dragons (Original D&D or The Little Brown Books) one finds an interesting passage about dungeon exploration on Underworld Adventures, page 9 about lighting and surprise. A pair of short paragraphs are the only mention of how light works as a rules mechanic in the Little Brown Books, though torches, lanterns and oil flasks are mentioned as items for purchase (though without a given encumbrance weight).

"In the underworld some light source or infravision spell must be used. Torches, lanterns and magic swords will illuminate the way, but they also allow monsters to "see" the users so that monsters will never be surprised unless coming through a door. Also, torches can be blown out by a strong gust of wind. Monsters are assumed to have permanent infravision as long as they are not serving some character."Underworld Adventures, Page 9, Gygax & Arneson (1979).

William Blake, 1794 - A standby for creepy game imagery
A second short paragraph reiterates the surprise rules a bit down the page.  These rules are interesting in that they assert a necessity of light sources for dungeon exploration, assume infravision is a spell (and so a limited resource) and radically change the way encounters run in the underworld, because the party cannot surprise its enemies unless they are opening a door, and monsters still have the 1/3 chance of surprising the party.  When getting the drop on explorers monsters will almost always attack under these rules so light sources balance out the relatively generous reaction roll table.

Yet these rules don't discuss visibility range, light source exhaustion or anything else beyond how light effects the denizens of the depths. However the rules in Underworld Adventures do remind the reader that light works as a two way interaction, the underworld can see well illuminated players long before the players can see the creatures of the depths.

NEWER INFLUENCE
I am not really that beholden to old school D&D, and there's plenty of good ideas about how to run tabletop games that have come along in the past forty years and expand on the sparse and clumsy beginnings.  One game that I don't especially love (though I've only played it once) was Torchbearer, my complaints were with the implicitly vanilla fantasy world that seemed baked into some of the rules, and the Storygame tendency to reduce player creativity and problem solving to simplistic min-maxing mechanics through a bonus stacking system.  Yet, Torchbearer has some neat rules about supply and resource exhaustion, with abstract turns that rapidly eat up light resources and clear status effects as a result of being lost in the darkness. 

Building off these ideas, some members of the online old school game community (principally Brendan over at Necropraxis) have come up with an expanded Random Encounter die that I like to call an Exploration Die, and that includes not only the chance to encounter wandering monsters or environmental hazards, but acts as a random check for resource exhaustion (light, hunger and long-term spell effects).  This has the advantage of removing time tracking as a burden on the GM, and I find it both useful and fun in a less heroic fantasy setting.
A strict encumbrance system based of significant items slots (number of items carried is equal to character strength) helps make the choice of what equipment to big into the dungeon meaningful, as taking one item usually requires leaving another behind.  This means that the decision to bring enough torches or lanterns is a meaningful one, and that there is a possibility of exhausting a party's light supply even in a short session.  Additionally, equipment will need to be abandoned to make room for treasures. These rules also have the advantage of being harder to misuse then a weight based system, and are much much simpler to track.



PURPOSE OF LIGHT RULES
One of the strong design elements of old school tabletop games is a paucity of rules, allowing player and game master creativity to flourish and rulings on an ad hoc basis.  This is sometimes presented as a negative in that it allows poor social dynamics at the game table to ruin the game (an adversarial GM or a GM who isn't willing to make harsh calls coupled with an overly demanding and pushy player for example), but simplification and ad hoc rulings also prevent a dependence on rulebook minutia/trivia/loopholes and fewer rules allow for a simpler game.  With the design goal of maintaining simple flexible rules and faster play, tinkering and house ruling is always a risk - adding complexity should serve a purpose.

Here the game I want to play is one of resource exhaustion and player decision making about not only the optimal way to solve problems, but what resources to bring to bear on a specific problem and a sense of never having quite enough equipment to always do things the easiest way.  Strict encumbrance rules are needed for these light rules to be more then a mild annoyance, but assuming one wants to run a resource exhaustion/management game (really the basis for an exploration rather then combat or storytelling game) encumbrance will already be an important element of the game.

The light rules should then encourage player choice and create a risk and reward set up if they're going to improve one's game, and that's the primary goal here, something that doesn't add much complexity, makes a bit of intuitive sense, minimally effects established game mechanics and increase meaningful player decisions.

LIGHT STATUS
Darkness: In the underworld the darkness strangle even hope.  Without light sources overworlders, no matter how skilled or resilient are utterly lost, and were explorers not enured to the terrors of the black depths they would likely go mad after a short time in the absolute darkness of the underworld.  The darkness found beneath the earth is not like normal darkness, it is a nightmarish almost sentient presence that clings and tugs before closing in completely.
 
The majority of the underworld is dark, from block built stone tombs to vast underground caverns.  Unless otherwise noted dungeon areas should be considered to be shrouded in darkness.

Dim: Even the tiniest amounts of light provide a profound change from the total gloom of the underworld. Dim light is discouraging and not optimal for most surface dwellers, but it does not create the complete physical helplessness and rarely induces the total mental breakdown that true darkness inflicts.  Some sorts of explorers are at home in dim light, have practiced and honed their skills skulking in the deep shadowed forest, slinking along darkened streets or scavenging and spying along the night shrouded no man's land between armies. Dim light is provided when there are too few light sources for the number of explorers and by certain smaller light sources (such as candles).

Ambient light sources do exist in the depths, most commonly bioluminescent lichens, fungi and creatures, but also the radiations of certain magically charged ores and minerals. Creatures of the darkness that use fire for heat and cooking (usually by burning bones soaked in fat, volatile rock milk or coal), will often have lairs filled with dim light and some (such as the degenerate human strain of troglodyte commonly called "hole people") even find it comforting. 

Illuminated: Explorers of the underworld, unlike most over ground dwellers, are comfortable enough in the flickering lights of torch or lantern to function normally, however full illumination in the deeps is not without drawbacks, as light is alien to the underworld, and its residents are adept at spotting bright light from a good distance away.

Very few parts of the underworld are brightly lit, active volcanic areas and a few grandiose projects of underworld despots who use the hated mysterious light to show their glory and power. 

LIGHT  STATUS EFFECTS DURING EXPLORATION
Darkness:  In the darkness even the most skilled above ground explorer is at a grave disadvantage, capable of moving only by touch.  Total darkness prevents the use of all skills (such as searching or disarming traps).  Only the skills listen and stealth function in the darkness, and indeed is a character has been in total darkness for two turns previously the other senses try to take over for the eyes, providing a +1 (using an X in 6 skill system) to their listening skill.

Worse then the inability to use exploration skills, being lost in the darkness is both psychically and physically taxing and the inability to notice traps or obstacles until upon them provides a -4 to all saving throws or statistic based hazard checks.

Lastly the loss of light seems like a good time for a GM who has been drawing maps on a whiteboard or revealing a map with some sort of fog of war tool to stop, or even remove the prior map from player hands until they again find light. 

Another difficulty with darkness is that every turn it persists henchman must make a loyalty check to avoid wandering off, collapsing into a useless pile of anxiety or becoming lost (unless the party has intentionally doused their lights and is remaining in one location.

Darkness does allow explorers to surprise underdwellers (underdwellers can still surprise explorers as well) with a 2 in 6 chance.

Dim: Most from the surface suffer debilitating effects from functioning in dim conditions.  Without sufficient light is is still possible to perform complex tasks, but it becomes far more difficult.  All skill rolls are at -2 and are all saves or statistic checks. Thieves and rangers (or similar classes depending on setting) are skilled in dim conditions, having trained to stalk the shadowy forests, skulked among the gloomy streets or stolen into enemy camps across the no-man's land of a midnight battlefield.  These classes suffer no penalties in dim conditions, and gain some benefits if they are able to function without any bright nearby light sources.

Henchman are rarely as brave as true explorers and suffer from a -2 to all loyalty or morale checks if in dim light (unless they are thieves or rangers used to operating in such conditions). 

Dim light is sufficiently common in the depths, and sufficiently poor to allow explorers to surprise underdwellers if all members of the party are in dim light on a 1-2 (underdwellers may also surprise explorers). A thief or ranger working alone (or with other infiltration specialists) and operating in dim light gains a +1/+20% to their stealth skill, but only if they are at least 20' beyond the light radius of any companions who are illuminated.

Illuminated: While this light provided by flickering torches or oil lamps is not great, delvers into the eldritch gulfs beneath the earth are brave and skilled at functioning in these conditions.  There are no penalties associated with acting while illuminated, though groups with large numbers of blazing lights tend to stand out in the darkness. 

While Illuminated (or in a group that is at least partially illuminated) explorers cannot surprise enemies, unless they are opening a door and entering a room with enemies inside - or enemies are entering a room that contains the adventurers through a closed door. 

LIGHT STATUS EFFECTS IN COMBAT
Darkness: Darkness has an equally negative impact on the combat abilities of above worlders as it does on the ability to move and explore.  Combat rolls and abilities receive a 4 point penalty in the dark, including a penalty to armor class.  Only damage and grappling tests remain unaffected 
Targets in darkness (and beyond as light source - such as the 40' radius of a lantern) are impossible to aim missle attacks at.  Even underdwellers cannot target explorers in the dark, except from close range, and explorers cannot use missile weapons in the dark beyond reaction/reach or melee range (if the weapon can be used in melee).

Dim: It is difficult for most surface dwellers to fight properly in minimal light, attack go array finding an allies side and it's hard to see the enemy sneaking around the flank.  All combat rolls except damage and grappling tests are at a two point penalty, including armor class. Thieves and rangers who are skilled at functioning in dim light do not suffer these penalties (making them rather effective at killing other surface dwellers above ground).

Dim light also provides sufficient concealment to hide those in it from missile attacks beyond close range (from either surface explorers or underdwellers).

Illumination: No modifiers to explorer's combat abilities, and while some monsters may dislike or avoid full sunlight, the light of torch and lantern is not enough to penalize them.

Characters or underdwellers who are illuminated can be hit by missile weapons at any range that their light is visible (generally twice the light radius it provides).

LIGHT SOURCES
Various types of light are used by surface peoples to fend of the dark, from crude oily dried fish fitted with wicks to chemic arc lamps. For mechanical purposes these light sources can be roughly classified by the number of delvers they will keep in full illumination, and the radius of the light they shed, revealing underworld features and foes.

Torch– The bright light of an open torch flame illuminates up to three characters and provides dim lighting for up to three more.  While bright, the flicker firelight is random and distracting, obscuring as much as it conceals beyond 30’.  

Torches may be used to set fires, or light oil bombs.  In combat they are an improvised weapon doing 1D6/3 fire damage and if wielded in the off-hand their awkward nature means they provide no additional bonus for dual wielding. 

Lantern– Lanterns come in a wide variety of stules, but all use a reservoir of flammable liquid to create a steady and widely spread light, but are not as bright as torches.  Two explorers can be illuminated per lantern, and two more provided with dim light.  The lantern spreads light out in a soft pool 40’ in every direction, though many lamps are made with shutters to quickly dose them, filters or screens to dim them or a directional lens to focus them in one direction (a bulls-eye lantern).  For purposes of dungeon lighting all lanterns are deemed the same however.  Lanterns are generally contained and so cannot be used to start fires (unless thrown), they do have the advantage that they can be attached to belts, backpacks, helmet or other locations leaving the hands free for climbing (though this is not advised in combat as any strike rolling a 15 or above [even if it misses] will shatter the lantern dousing it’s carrier with flaming oil) unlike torches.  Lanterns may also be set down before combat and will continue to provide light (assume your players do this, characters are professional tomb robbing monster slayers after all).

Explorers often fill their lanterns with the same volatile oil that is used for military purposes and a lantern makes a decent ad hoc fire bomb when throw.  Lanterns will do 1D6/2 damage for the first round and the normal 1D6 the second, though unlike oil flasks they can only be targeted at a single enemy (burst value 1).
A lantern takes up one encumbrance slot, as does each refill/firebomb. They are longer burning then torches however and each flask of oil will burn for two light exhaustion pips on the exploration die.
Candle: Candles are any small, easily concealed light better suited to finding ones way to the privy without disturbing fellow sleepers rather than lighting a room.  Candles provide dim light for a single explorer and may be tucked in a hat brim, set in a miner’s helmet or wedged into the top of a backpack.  They are primarily used by thieves to scout while remaining inconspicuous.

Candles can light oil bombs and start fires.  Candles may be carried five to an encumbrance slot.

Fire Bomb: hurling firebombs is a time tested tactic in the confines of the underworld – fire and light are both terrifying and dangerous, and both explorers and intelligent underdwellers are often equipped with a variety of firebombs form crude Molotov cocktails to sophisticated binary rock milk and phostogene bombs or white phosphorous projectors. These weapons all produce a blast of light when they strike (even on a miss) providing illumination for all within 40’ for two rounds before guttering out.

‘Firebombs do 1D6 damage the first round and 1D6 damage the second, they can effect up to three targets each (burst value three), with each target saving vs. wands to end the attack (i.e. if the first target saves the bomb misses).

 Magic: Magical light comes in two basic varieties and numerous flavors from floating flames to rays of divine grace that can penetrate deep into the underworld.  Light spells (and other temporary magical light) are slightly more effective than a lantern, ranging 50’ in diameter and providing illumination for up to 4 explorers (and dim lighting for up to 4 more).  

Permanent magic light (or continual light) must be tied to a location, and no spell can be memorized over it until it has been extinguished.  This continual, immobile light is very strong however and will fill a chamber (or a 100’diameter circle – whichever is smaller) providing full illumination for all within its radius.
Generally magical light will not start fires.

UNDERWORLD DWELLERS
The denizens of the underworld can see just fine in darkness, dim light or illumination (though it feels a bit uncomfortable for most).  They are inhabitants of the pit and have been used to darkness from birth.  To underdwellers light is the intruder and strange inversion of all that is good and normal.  The distaste of light (though they will use fire for cooking and light for decoration) is what separates true underworld creatures from those who merely inhabit surface caves or old ruins.  The races of the deep are almost as afraid of the terrestrial surface, it’s bright sky and blazing eye-like orb as most surface dweller are afraid of the deep chthonic darkness of the underworld, and only the bravest underworld heroes will venture into daylight to seek the mysteries of the overworld.  Indeed, underworld dwellers suffer a -2 to all rolls and AC in full sunlight (except those who are wearing dark glasses, veils or large shade creating hats).  

Worse though for the underworld horror stranded on the surface, the underworld nations find missile weapons of limited utility, and rarely use them beyond thrown weapons or the odd flat trajectory bone and sinew bow. The armies of the surface and their long range siege engines, arcing high angle longbow archery and cavalry maneuver are almost unknown in the underworld (just as military tactics of the deeps are a mystery to surface powers). This is what keeps the membrane between surface and deeps so strong,  the powers of the dark cannot properly invade the powers of the light, nor can the surface march upon the polities of the deep.  

SPECIAL VISION
It's traditional in some versions of tabletop fantasy games for demi-humans (Dwarves, Elves and Halflings/Hobbits) to have 'infravision' or 'darkvision' and thus the ability to peer long distances into the underworld without the use of light.  I don't find these rules helpful at all, it's another powerful ability for demi-humans, that makes little sense within the construct of the 'mythic underworld'.  Certainly a creature of field and meadow like a traditional vanilla fantasy halfling, loving it's warm comforts and cellars full of cheeses doesn't sound like the sort of creature that should be able to move in the deep places of the earth with the speed, stealth and aclarity of an eldritch horror born of the black depths - but with night vision at twice the range of a torch the humble halfling is an incredibly dangerous underworld denizen.  Likewise the elf, though perhaps something about staying up late in in the dark forests to sing endless sad epics could account for the ability to see in the dark.  Dwarves, with their stone halls and mining make the best case for moving easily and efficiently in the underworld, but again I want to draw that sharp distinction between the terrestrial over-world and an underworld of strange and reaching gloom.

Regardless of what demi-human races are setting appropriate, darkvision will provide some amazing benefits that allow it's owners to instantly become the best scouts in a party, detect enemies form long distances and give them additional encumbrance slots.  As such I would either limit darkvision to something akin to a thief's ability to function normally in 'dim' conditions or place penalties of creatures with darkvision who seek to act while illuminated.  For example, if one were to replace halflings with goblin player characters (a popular setting decision in some circles) and wanted to give them dark-vision, making goblins act and fight at a -2 in conditions of daylight or full illumination seems appropriate.  That might give the party a great stealthy character underground but it will be one that needs to wear a very broad brimmed hat outdoors and bumps into trees every now and then. My own impulse is only use player races (unless one provides a considerable offsetting penalty to the class) that lack dark vision, and limit the number of magical items granting enhanced vision very carefully, because otherwise one might as well going back to ignoring light sources as a resource management concern.

Strange Stars

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Strange Stars
Trey of Sorcerer's Skull has put out another book, though not the long awaited follow-up to his pulp/fantasy 1920's Americana setting book Weird Adventures.  While Trey's most recent book is system agnostic, even more so than Weird Adventures, it is a sci-fi setting book, much larger in scope then Weird Adventures that offers a combination of pulp Buck Roger's style Space Opera and more contemporary post human sci-fi - something a bit like Glenn Cook's "Dragon Never Sleeps" or the Culture novels of Iain M. Banks. There appear to be plans to release some likely free rules for Strange Stars using both FATE (written by John Till of FateSf) and Stars Without Numbers, which is my personal favorite OSR sci-fi ruleset (it's a B/X mod, and very excellent).

Alternate, unused Strange Stars covers
As a product Strange Stars maintains a very high quality, with a great deal of excellent art (so much that it sometimes overwhelms the writing), good design and a very polished appearance uncommon in small press or solo publications. The content within provides a sweeping view of a game universe that is a standard enough science fiction setting, with some interesting tweaks and changes.  Nothing as bold as Weird Adventures, but then the fictional ground of galaxy sprawling space opera is a lot more well-trodden then that of 20's fantasy pulp (which I think is limited to the Silver John stories by Wade-Wellman).  With this Constraint does a good job and is a fun read, though I wish it was a little less overarching and a little more narrowly focused on adventuring within the Strange Stars.  At the heart Strange Stars is a gazetteer, though not in a detail oriented manner that lists trade goods and populations.  The book lays out outlines for cultures scattered about in a mostly post-human space, provides a sense of history where the possibilities for adventure includes both ancient wreck hunting and space mafia schemes. 


Now I am not the target audience for Strange Stars, as I don't have a great desire to run sci-fi tabletop games (and if I did it would be some sort of totalitarian neo-Soviet human empire, with a good dash of the game Paranoia added), and I have a strong predilection for grim settings with a lot of black humor.  Strange Stars is a pulp setting, bent by a well honed sense of contemporary sci-fi, and as such it's fairly aspirational and hopeful.  This is a bit strange to say, because the scope of the Strange Stars universe is grand (far grander than Star Frontiers which Strange Stars at times consciously emulates in style - look at the cover) potentially on a scale equal to that of Warhammer 40K and makes references to all the horrors of Science Fiction - from militaristic alien slave empires, to brutal cybernetic pirate fleets and a spreading plague of intelligent machines.

While it may sound like I'm saying Strange Stars is 'light' or lacks depth, like Weird Adventures, there's a great many ideas behind it.  Each of the numerous planets, species (or human subspecies) within may only get a paragraph or two of treatment and a drawing, but there are plenty of great setting ideas concealed within - planets of ancient giant warring automatons, the gamblers that bet on them and the scavenger gangs that loot the fallen for alien technology as they reassemble is a personal favorite as are the assault troops of the alien slave empire, who are pure strain humans each linked symbiotically to a colony of hyper intelligent deep sea mollusks that forms space armor.  This one is just a lovely combination of Starship Troopers and Lovecraft's Deep Ones.

The last example above is also a good reference for Strange Stars tone.  It wears its influence proudly, offers up many potential scenarios with a horrific bent, yet somehow manages, with the injection of the pulp sci-fi ethos and 70’s futurist feel to present awful things in a playful light.   


How to Use Strange Stars
Strange Stars is a setting books, and doesn't aspire to be anything more (a game system, a collection of modules, a play aid).  While this might be frustrating to some readers the book sets out to do what it wants, and does it with style and good form.  Were one running a science fiction game Strange Stars could provide useful information, either as a full setting, or more likely as a source of some interesting adventure hooks and locations. While there is a cohesive whole to Strange Stars, and several galaxy wide plots (certainly each of the major polities has it's goals and plans) are hinted at, the setting is somewhat fragmentary, something that makes the book useful in home brewed settings, or other product based settings, especially given the episodic nature of science fiction games (party often moves from locale to locale or planet to planet where each locale is almost a different genre - as in Star Trek) to pluck locations, alien races and hooks from.

Example of Strange Star's design and interior art.
Otherwise, Strange Stars is just a pleasant read, and provides a nice guidepost for the level of quality that homemade game products can aspire to.  If one hobbyist (and the artists he brought on) can produce a product of this quality, there is no reason that the Small Press section of RPGNow should be clogged with terribly formatted retreads of classic module ideas and other amateurish attempts.

In all, while I am left somewhat at a loss for what to say about Strange Stars, it is a high quality product that could provide a good amount of inspiration and setting content for any Sci-Fi game.There is something breezy about it though, the art is so fecund, while the ideas are presented in a light way and this meant that it took me a couple of reads to really understand the amount of content within Strange Stars and the ways that it is both new and a very strong pastiche or homage to a variety of new and old science fiction works.

2015 One page Dungeon

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The Walking Mountain
The One Page Dungeon Contest is upon us all again, and I've been thinking of some possibilities.  Below are the five ideas I've been toying with.  So far I'm leaning towards No. 1, but it might be far too big a concept for a single page...

1. The Crawling Mountain - A doom of cities out of strange Vheissu comes.  Encrusted with the Dolmen and temples of dead cities it the thunderous cracking and crash of it's coming drives civilization before it.  Can it be stopped? Can it be turned from it's path of destruction? Can the riches and secrets of the cities and towns it has crushed, scattered across the Mountain's snowy flanks be plundered?

2. The Fallen Throne - One of the celestial thrones has fallen, and lays cracked and tumbled in the meadow lands.  The edifice is cracked but sound and the celestials within a hive of furious wrath.  Winged babies and alabaster hounds roam the countryside defacing or stealing anything beautiful they discover, for the Angelic Thrones are jealous and declare that all grace, and all refinement are theirs alone.  Singers are made voiceless, the winsome faceless and the graceful lumpen. The Throne must crumble and the host within be banished or destroyed.

3. Collector of Ships - The Azure Ladon has always been a threat to shipping, but recently the petulant sea serpent has committed the most notorious outrage by crushing the funeral barge of the Basileus within his spined blue coils and dragging the dead ruler's body and treasures back to his floating palace of broken and lost ships. 

4. Down and Out in the Capitol - Within the Favelas of the lower city there are all manner of desperate goings on, depraved violence and nefarious ignominies for the proper people to ignore.  It's not you job to ignore them though, it's your job to go into the infamous maze of Panhass Alley and take part in the dirty deeds there.  Powerful forces are willing to pay for theft, rescue, assassination, arson within the crumbled tenements that cover the alley, but the local Vigilant Ant Set criminal organization is numerous, territorial and fond of brutal violence 

5.You get the Shaft - Crime you didn't commit? Crime you did commit?  It doesn't matter, the public loves to see strangers forced into "The Shaft" and hear their cries as they beg for forgiveness and succor. Stripped naked and loaded into the buckets of the ancient works, each turn of the capstan drops the condemned lower and lower, while the villagers above get drunker and drunker in the spring sunshine. While it's law that those who go down the shaft do so with nothing, tradition holds that there's nothing wrong with tossing useful items in after convicts who debase themselves for the crowd in amusing ways.  Can you survive the Shaft, find the tools you'll need in the darkness and foul miasmas and make your way back to the surface?    

The Fantasy Starting Village - Player Generated Campaign Setting

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LAZY SETTING GENERATION

"The town of Gongberg is nestled amongst muddy green fields of rye and barley.  The seasons have been wet and the grain rust thick of late, and as always the waking dreams of ruin and fire haunt all those who depend on the tainted grain.  A lull in the interminable wars of the border lairds have filled the countryside with grim mercenaries, brigands and well armed madmen."

The 'fantasy starting village' is a cliched element of tabletop games, computer games and even fantasy fiction - some sort of homey place that defines the stepping off point for protagonists into the world of adventure.  While in video games and novels the fantasy village is a wretched and boring convention, it does offer a real advantage in tabletop games, where, unlike video games and novels, the world building must be a collaborative process as the players can both change things through their in game actions, the GM can leverage player creativity to make the world more interesting and an openness to player generated content can promote player buy in.  The Fantasy Starter Village is a great way to set the stage for this, and makes the GMs job easier.

Dragonfly Township will undoubtedly lead to Vanilla fantasy or perhaps something a bit more anime.
The Fantasy Starting Village is a great alternative to building out a setting, and while crafting elaborate setting material and background is a joy for many GMs it has certain disadvantages as it eats up time and encourages railroading (even good GMs want to show off the content they've created).  Worse there's nothing more disappointing then designing the basics of a full campaign setting and having players who only want to play a session or two before moving on.  For me the three sentences above about Gongberg would be almost sufficient to start a campaign. The party can find themselves in this starting village, collect a few rumors about what's going on in the countryside and go from there. 

I wouldn't want to start with less information though, unless I were to start with the other classic "You wake up naked in a cell" campaign starting point.  There are more flavorful variations on this hook as well - slave caravans heading to the temple of sacrifice, characters pulled from the freezing ocean onto a haunted miles long ship, shipwrecked on the shore of some foreign land, but all of these hooks take an extra step to both make the characters completely blank slates and explain why they have in in game world knowledge.  The Fantasy Starting Village  however provides a few clues, and better encourages the players to believe that characters have knowledge of the world around them.  A few evocative clues in the description are almost all one needs to help the players build a world and to constrain player world-building to a degree as well. Using the example of Gongberg above, one can extrapolate a few setting details, but they are hopefully vague enough to allow the players to take the information in a variety of directions.
NAME:  A town name tells a lot about a setting - "Gongberg" for example implies both a vaguely Western European, likely English sort of place, and gong being an esoteric world for dung also implies that the village is not an especially nice place. Changing the name could change the whole campaign setting - call it "Cun-Fen" (google translate for pigeon Mandarin) and suddenly the game world is Asian.  "Kreckdorf" would make the village more German.  Doing this and players are likely to name their PCs appropriately - the citizens of Kreckdorf are going to be named "Karl" and "Helga", while Gongberg likely has a lot of Johns and Dougals.

DESCRIPTION: Description continues to provide clues, but also hooks and quandries.  Here we have rye and barley crops infected with something like ergot.  This suggests (though players aren't likely to know this) European peasant crops of the pre-19th century (change it to potatoes if you want a 19th century game) - meaning that Gongberg might be anywhere from the dark-ages, or Renaissance. The inclusion of the 'grain rust' presents a mystery - if the players express interest it might be some kind of magical curse or color out of space type infestation, if not it's an excuse for the GM to fill Gongberg with howling madmen and prophetic lunatics.  The same with the inclusion of "Border Lairds" who provide a potential for a nearby area for travel/campaign expansion, add a sort of Scottish Border theme to Gongberg (call them Hill Hetmen and suddenly one is in fantasy Byzantium or Russia), offers both a character origin story as out of work mercenaries from the border and sets berserkers and bandits as a likely encounter.

Mepos - It seems likely that there will be minotaurs and a lot of small boats in this campaign
So from a three sentence description we have hooks and a vague sense of setting - a dreary muddy place somewhere in a fictional pre-modern/early modern England or Scotland.  This could be perfect for an LOTFP style game or a classic dark-ages fantasy game, but it also departs enough from vanilla fantasy to encourage players to change their characters to fit the implied setting and depart from standard D&D archetypes. Dwarves can become fey-folk, underdwellers or 'svartálfar' and elves become changelings left in human cribs by the Seelie under the mounds (or foreigners - likely the French?).

Once the basics of the village have been determined, all that's necessary are a few adventure hooks - for Gongberg, perhaps an old barrow in a bog, a rumored unseelie mound out on the moor, and a crumbled tower allegedly used as a bandit outpost.  From here the players will build the setting with their interests and in game decisions, but they will do so within a few constraints and while the setting might evolve into either a grimdark "A Field in England" sort of place or some kind of green and pleasant land where the intrigues of the fey provide the campaign drama, these choices will come up organically - from player interpretation and creation as hinted at through GM created content.

Differentiating Weapons in Flat Damage Systems

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FLAT WEAPON DAMAGE AND WEAPON CATEGORIES
One of the interesting things about the Little Brown Books of 1970's D&D is how weapon damage and Hit Dice were modeled with flat D6 damage.  The difference between weapons was non-existent until the game embraced it's "alternate combat rules" and added varied damage and varied hit bonuses against certain types of armor, corresponding directly to certain Armor Classes in 1975's Greyhawk - booklet number 4.  The now standard variable damage and Hit Dice a rather large change that has been adopted wholeheartedly by the game, while the more complex weapon vs. armor rules are largely abandoned.  

I enjoy the simplicity and low HP totals that D6 hit dice and weapon damage provide, as the low values make combat more risky for players and far quicker.  The system seems to hold together better into the mid-level game as well with flatter damage and lower HP, as any attack has a good chance of removing a full Hit Dice from a creature or character.  With variable HD and damage low-level characters are more fragile (many monster and fighter attacks do D8 damage vs. lower Hit Dice totals) while higher level creatures are far stronger with their larger hit-dice.  Additionally I have a suspicion that injury from dungeon perils was never adjusted to be in line with the variable damage and HD system, and that D&D has carried the ad hoc nature of this change ever since.  My only real evidence for this is the way falling damage remained set at a D6 per ten feet up to the game's second edition.  Whatever the game balance advantages (real or imagined) of flat D6 Damage and Hit Dice  the simplicity of it and the way it flattens power levels of both monsters and characters is very appealing.  

I want to make player weapon choice matter however, without the fiddly weapons v. armor table or the implied vanilla fantasy setting it creates with its armor types.  It's been popular in the OSR/DIY/old-school D&D blogging community to discuss how to do this, to maintain the spirit of the Greyhawk weapon v. armor table, while using more interesting and simpler rules for some time.  I endorse this idea, and have tried to work varied additional effects into play during my games with the goal of providing combat options and spaces for some tactical decision making in purely narrative (that is without game boards/combat maps or tokens) combat. 

Having played in my OD&D based version of HMS APOLLYON for some time now I have discovered that the weapon effects are often ignored by players (and the GM) in the excitement of the combat turn, and that certain rules are less convenient/intuative to use. I have made some changes to the weapon effects/classes (originally pulled from several sources and authors) below, and I intend to use these categories for monster attacks as well, so the pincers of a Crayhound (horrible 1/2 lobster 1/2 dog beasts) will be crushing while the tentacles of a Roper are certainly and entangling attack.  

WEAPONS AND THE APOLLYON
All attacks aboard the Apollyon, like all Hit Die, are D6 based.  A dagger in the hands of a skilled user is just as deadly as an axe and both do exactly the same damage. Only two handed/heavy weapons do more damage, inflicting 2xD6 pick the highest (what some call the advantage mechanic).  However, to make weapon choice interesting I have created the following categories of weapon which each have a different combat effect.

Common Weapons Aboard the HMS Apollyon
Heavy
 Heavy weapons suffer a one point initiative penalty and require two hands or monstrous strength to use. These weapons inflict 2xD6 take the highest damage due to their size and power.  This category includes two-handed weapons, pole weapons and rifles.

Light
Light weapons are generally less injurious than normal weapons doing D6/2 damage.  This includes improvised weapons such as clubs, furniture and torches, but also includes most throwing weapons like javelins, throwing knives and tomahawks when used in melee.  

Reach
Reach weapons can be used from the second rank of combat and may be 'set' to receive a charge, giving up an attack but allowing a reactive attack that does 2x Damage to the first charging attacker to enter the weapon's range (i.e. the attack need to be directed at the character with the reach weapon). Pole weapons and spears are reach weapons.

Close
Close weapons may seem weak at first but when in the hands of a certain style of fighter they are exceptionally dangerous.  Close weapons allow the wielder to automatically hit each round while grappling.  The winner of the contested STR check that makes up a round of grappling may elect to break the grapple preventing close weapon damage that round, but if both combatants are armed with close weapons and the winner of the grapple chooses to remain in locked in the grapple both participants will take automatic weapon damage.  This category includes daggers, claw weapons like bagh naka, and the natural weapons of some non-human species and most monsters.

Reactive
Weapons that can be used to interrupt an attack.  When attacked while wielding a reactive weapon the defender will receive an automatic attack before the attacker can complete their own.  If a defender is capable of multiple reactive attacks (with a pistol or if they are carrying thrown weapons in both hands for example) each attack after the first is at a cumulative -1.  Reactive weapons are often held in the off hand and include throwing knives, tomahawks and pistols.  Indeed, a reactive attack is the only way a pistol can be used in melee combat, though the ability of a multiple shot pistol to engage multiple attackers makes them very dangerous.

Finesse
 Finesse weapons are handier and well suited to attack and defense.  These weapons allow the near effortless switch between styles of combat and allow a point for point trade of attack bonus and AC - making a offensive combat a +2 to hit/-2 AC and Defensive combat a +2 AC/-2 Hit rather then the normal +2 hit/-4 AC or +2 AC/-4 to hit. The ability to adjust these attack and defense values by greater amounts is increased by the "Duelist" sub-class available to fighters and Specialists. Stabbing and other light or medium swords, such as arming swords and sabers, are the most common finesse weapon (cleaver like weapons are generally "Overpowering" weapons).

Overpowering
 Heavy cleaving and cutting weapons allow a flurry of dangerous blows that will carry from one opponent to the next.  When a combatant lands a killing blow with an overpowering weapon they can immediately make an additional attack against a nearby opponent.  Boarding axes, cutlasses and falchions are the most common weapons in this class aboard the Apollyon. 

Crushing
Crushing and penetrating weapons can mitigate the protection provided by heavy armor.  When attacking an armored foe these weapons reduce the enemy to a maximum AC of 16.  The effect of a crushing weapon will only work on opponents that depend on armor or armor like protection (shells, plating or chitin) for defense, and will have no effect on many otherworldly opponents such as devils and demons despite their lower armor class.  Maces and the ubiquitous 'war-crow' of the Scavenger's Union (a cross between a crowbar and a military pick) are both crushing weapons.

Entangling
Entangling weapons are unpredictable and difficult to make attacks against as they slide around parries and allow unpredictable angles of attack.  Entangling weapons grant the wielder a +1 bonus to initiative to model their range and the difficulty of attacking an opponent armed with one.  Flails, chain whips and barbed nets are common entangling weapons - though monsters attacking with tentacles may also have this advantage. 

The Livid Fens - Black & White Map

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Anomalous Subsurface Environment is still a setting I think about and that I hope to run again some day.  In the last ASE campaign I ran the party ended up getting tired of Morlocks that screamed "Mheeeet!" at them constantly and had started setting traps and left behind the megadungeon in favor of the bruise colored marshes to the South - The Livid Fens.  This is an area directly South of Denethix that is mentioned in ASE 1 and included on the largest regional map within.  I've written a couple of small ASE adventures for the Livid Fens (Red Demon and Wreck of the Anubis) but until now haven't drawn a full map of the place in the style of the map I did for the area around Denethix and containing Mt. Rendon (home of the ASE itself).

The map here is a black and white version, hopefully in the next couple of days I will get it together to ad some contrast and even an acid orange version in the style of the 1st map.

The Livid Fens - Color Maps

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THE LIVID FENS
The Livid Fens, a land of trackless swamp, shifting channels and rotten mangroves filled with uncanny reddish and purple growth. The lands are firmly in the clutching hands of the Fen Witch and her coven of lesser witches who allow neither rival Wizards or worship of the orbital religion within her swamp domain.  The people of the fens are a tribal lot, generally peaceable, living in small villages, and paying a yearly tax of corpses to their necromancer god-queen.

Despite harsh conditions, wretched heat and the unnatural fecundity of the bruise hued alien flora, treasure seekers are drawn to the fens rich stores of unique furs, hides, drugs, spices and gems.  In addition to these prosaic sources of wealth the fens are dotted with ruins: fallen plantations, crumbled towers, shattered temples and strange underground fortifications from an ancient war.  In addition to these ruins, countless wrecks sink slowly into the pools and bogs of the fens – wrecked trade ships, side wheeled steamers and ancient warmachines of rust red and glassy black offer lost cargos and magical artifacts.

The Fens in Hideous Color

KEY LOCATIONS  
The Lichthrone– A twisted tower, also called the Tower of Flints, marks the gateway to the Livid Fens.  A few hours from the water, the tower was once the lair of a decadent wizard who tried to stand aloof from the Fen Witch.  Rivermen claim that his tortured screams can still be heard from atop the tower.

Rendermarche– A city of spice traders, froghemoth hunters, and the factory workers that convert the catch into oil, bone, meat and hide.  A detachment of the Unyielding Fist from Denethix and a larger force of elite tribal warriors loyal to the Witch Queen hold Rendermarche as a joint outpost of Denethix and the Queen.  The city is also protected by a small squadron of river leviathans (crude steam powered skiffs armored in riveted steel plate and armed with cannon or heavy machine guns).  Rendermarche serves as a base of operation for Northern Traders and is the first major port on the trade route between Denethix and Druid Hill deep in the Emerald Jungles further South.

Bone– The capitol of the Witch Queen, set amongst poppy fields and rice paddies in the most solid area of the fens.  Bone is a strange place, the huge corpse drums, each stretched with the skin of a hundred wizards boom out from atop the Queen’s great palace tower to give vigor to the myriad of undead who work the surrounding fields and man the walls. Marble temples to the Fen Witch cluster around her palace, and the rest of the city is only sparsely inhabited, with many of its grand old mansions falling into ruin and home to undead scavengers.

Grave Ancien– A deep crater around a bore that descends into the earth, surrounded by the melted and warped ruins of the Fall.  The bore itself seems to breath a miasma that reeks of death.  Even the warriors Fen Witch, used to the creatures of undeath and disease fear to enter the grave.

Wight Bog– The Wight Bog is an expanse of mudflats around a pair of odd stone spires.  The bog itself is a deep mire teaming with the restless dead below its surface.  While the Fen Witch’s servants can easily control these feral wights, and the locals travel on giant transparent shelled crustaceans whose long spindly legs fail to stir up the dead.  To facilitate travel the locals have also created paths of white tree trunks, sunk into the mud, but to discourage trespassers these routes are often trapped to drop into the mud, or lead into dead ends. Protected by the bog itself the sleepy blue and white town of Teacup winds up the side of one of the stone spires and is home to a community of skilled potters.  


The Fens Brown and Grey

One Page Dungeon

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Angels are utterly Terrifying to me, which may be a sign that one shouldn't read Rilke while on Mushrooms and at a tender age.  The line from Duino Elegy No. 2 "Every Angel is terror. And yet,
ah, knowing you, I invoke you, almost deadly birds of the soul ... Let the Archangel now, the dangerous one, from behind the stars, take a single step down and toward us: our own heart, beating on high would beat us down. What are you? Early successes, Creation’s favorite ones, mountain-chains, ridges reddened by dawns of all origin – pollen of flowering godhead, junctions of light, corridors, stairs, thrones, spaces of being, shields of bliss, tempests of storm filled, delighted feeling and, suddenly, solitary mirrors: gathering their own out-streamed beauty back into their faces again. For we, when we feel, evaporate: oh, we breathe ourselves out and away: from ember to ember, yielding us fainter fragrance." is terrifying and really angels aren't much better in the bible.

Of course in tabletop game term this offers another weird and terrible set of antagonists - let's cheapen human experience of the sublime! So here's a one-page about a Throne of Heaven crashed into earth and none too pleased about it. Note that all the angels/celestials described within are from Christian (as opposed to Zoroastrian - which has its own angelic hierarchies) myth - including the freaky "wheels within wheels" - the Ophanim.  I think these make damn good monsters, at least as good as devils, and really rather similar, except ready to do some smiting without the talk.

Here's a PDF of the damn thing - THE FALLEN THRONE

Review - Bloodsoaked Boudoir of Velkis the Vile

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Why am I reviewing this tiny module, lacking in slick art and a name brand pedigree? 

I am reviewing it for a couple of reasons, the first is that I know and like the author, but more importantly, The Bloodsoaked Boudoir of Velkis the Vile is the sort of hobby product that I have come to appreciate the most about DIY tabletop - it's produced out of a joy in playing tabletop games and with creativity and an esoteric view of the game rather then as part of a product line for sale and consumption.  Even the DIY products I like are often fairly expensive today, and I see egos growing behind the success of these more ambitious products, a success that seems to fuel greed and cattiness among other would be creators. RPGnow is filled with short, derivative and generally awful vanilla fantasy  blather that has the audacity to ask for money.  One of the key joys of tabletop has always been that it asks the consumer to create - from the empty 1/2 of B4 Lost City on the best tabletop RPG products have encouraged GMs and players to build their own fantasy worlds.  As such any published product will always be ancillary, and when a creator asks consumers to use their setting materials and modules they are asking them to do more then hand over a few dollars, they are asking to hand over a chunk of their creativity and imagination as well, which is not something one should do with arrogance.  Bloodsoaked Boudoir is not an arrogant product, it's small and can fit into another game with some ease, while still being interesting enough to give an evocative sense of it's authors sort of game and game world that is different enough from the standard 'orcs in a hole' fantasy adventure to provide interesting ideas, and leave a reader with the sense that maybe they wouldn't have thought of it themselves. With all these advantages the author is happy enough to simply publish his work as a pay what you want PDF, rather then promote it and clamber for your cash.


Manifesto done, on to the review.  I've played with Nick Whelan a bunch of times, and rather enjoyed his Dungeon Moon setting of which the Boudoir of Velkis was a part - Velkis was one of the two sub-deities that the Dungeon Moon party managed to eliminate during a year or so of games.  I will say it was a fun game when run by Nick, and would likely be a fun setting run by anyone. The party encountered Velkis (the titular villain) numerous times, and thought of him as an annoying random encounter that was far less dangerous than most. Only the warnings of a friendly kobald tribe revealed the true danger of Velkis and the adventurers decided to assassinate him - leading to one of the more psychedelic sessions of D&D that I have played.

The Bloodsoaked Boudoir of Velkis the Vile is a ten page PDF using Lamentations of the Flame Princess stat lines (essentially any OSR/retro-clone system should work) published as a pay what you want adventure on RPGnow.  It's a small five area dungeon with a few functional pieces of art that fits well on a more gonzo random encounter table - drop in Velkis and place his extra-dimensional grave/lair somewhere nearby, and you've laid a potential one session adventure that's pretty good and plenty bizarre. 

Velkis is described as Cato the Elder ...
THE ADVENTURE
A short romp through a pocket dimension inhabited by a rather benign seeming lich/wizard named
Velkis.  Velkis is rather insane and utterly lacking in the skeletal majesty of most liches, passing himself as a doddering grandfatherly figure rather then a puissant undead immortal.  Yet, Velkis is dangerous and perverse despite his appearance - perverse in the manner of an 70's shlock horror movie, and this is what makes him fun. The module bills itself as "horror-comedy" and that's how I'd run it.

Velkis is a creep who lurks at the bottom of the random encounter table and has the power of persuasion.  He's a good villain because it's unlikely that he can kill or injure party members on the first encounter, he really seems pretty harmless - but he's effectively immortal and he's damn inconvenient.  He's also terrifying, effectively designed with powers that could be very, very dangerous but which are badly used. Velkis can steal away and murder a party member or two and if he's ignored and laughed at (exactly what he wants I think) he may become a real nemesis for the party.


Discovering Velkis's lair is when things get strange, as befits a quasi-immortal, lunatic warlock.  There's a gravity trap, strange statues, an evil tree and Velkis' rejuvenating bath of blood.  Each of this locations is a trick location, meaning that despite being only five rooms there's plenty of content within the Boudoir for a couple hours of interesting play.

This (Vincent Price in 1956's House of Wax) is also Velkis
THE GOOD
The Bloodsoaker Boudoir is tightly designed and written - it is not part of a classic, resource depletion dungeon crawl but an effectively written lair that emphasizes it's inhabitant's odd nature and brand of villainy.  Each of the five rooms represents a trap and provided in a well written style.  I am especially impressed by the way the gravity trap in the first room is described, gravity traps are always hard to visualize and the description here helps a lot.

Velkis himself is also a well designed villain, a bit goofy, but comprehensibly so in any gonzo or high magic setting - a mad wizard who has found a way toward immortality other than lichdom, but has become a slave of his own mechanism to immortality. Velkis seems like a lot of fun to run, and he manages to seem comical until the moment his unnatural vitality becomes rather scary.  The module gives a bunch of advice on running Velkis, which is a good bonus, acknowledging the potentially instant TPK nature of his powers, but explaining how to use the villain's lunatic nature to soften it.   Providing tactics and motivations for monsters is always good practice, and here it really pays off, as Velkis is such a strange antagonist.

Another element that makes Velkis a good villain is that he is fairly level agnositic, a 1st level gang of dungeon trash can overcome him, yet he might be able to challenge even a party of heroes.  This is good as Velkis can set a theme and reappear as an enigma until destroyed (and he's hard to destroy) if the GM likes running him.

In general the descriptions of rooms and treasure are fairly good, without being too densely written - jeweled daggers are in the shape of birds, and 100 GP rubies faceted like droplets.  Velkis also has a tattered books of mad ramblings including at least one spell.  The rooms themselves all contain objects or strange occurrences that demand interaction by the players, which is necessary in such a small dungeon (well a sub-level).

THE BAD
It's short, terribly so, and there's so random elements that don't really add that much. 

This is effectively a two room lair with a few other spaces attached that provide somewhat unrelated puzzles or encounters.  Mostly though there's a couple of very strange, very good ideas about what happens when wizards go mad and then some filler.  It's good filler, and works well with the rest of the adventure, but it slides away from the central theme of immortality through blood sacrifice in an adventure that is so small that maintaining a needle point focus on a few plot elements would help to reinforce theme.  For example - Velkis (presumably before he went completely insane) had a cloak of gaseous form (well something much like it) that the players can discover, yet it's just a red velvet cloak that has ghostly powers unrelated to Velkis's blood magic in any way.  I would much rather see a magic item that only an immortal blood wizard could make - even if it had the same powers, having the item and unused portions of the dungeons themed to relate to Velkis's ultimate fate would be a good way to provide clues and link the disparate rooms of the dungeon together.  The underused/abandoned areas could provide a clue to destroying Velkis (hard as he will constantly wake up in his pool of blood when killed) or elaborating on his nature and descent into madness rather than simply a couple more strange areas to explore.

A few more rooms would also be a nice addition, and while I can respect the five-room lair, Velkis is a good enough villain that he could have a larger space, and given that he enslaves those he encounters more space in the lair could easily be filled with these thralls.

FINAL THOUGHTSI rather enjoy this module/lair/adventure locale because of its central theme, strong NPC characterization and general odd feeling of Swords and Sorcery.  It is firmly in the horror comedy vein that it claims to be and written in an engaging manner that makes it fairly easy to use at the table.  There's nothing special about the presentation, but it's functional and doesn't get in the way of the interesting adventure within.  I would have no compunction about dropping Velkis the Vile into ASE - indeed he feels right at home in the Land of 1,000 Towers, but I could use him in almost any setting depending on which elements of his character I emphasized while running the adventure. 

Comes the Mountain - Adventure Locale PDF

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Below is a short (4 Page) PDF of an idea that didn't quite fit as a one page dungeon.  It's likely better than the one page dungeon I did submit this year, but I just couldn't cram it down in size enough to work.


I'm not fully happy with the adventure, which is obviously some high level fare given that the enemies include a chamber of 35 specters.  However, I think a good 3rd or 4th level party might be able to survive the Mountain, as it's secrets don't require encountering any of the really dangerous creatures, and running the adventure as a stealth mission might be more fun then as a regular exploration type adventure.Though the stealth mission would likely be "Drop the kidnapped baby Prince/Princess into the volcano" so not really a feel-good romp.

The whole thing becomes fairly straight forward if the party has ways of becoming immune to fire, which I am unhappy with, but then it's not may favorite adventure, and a walking mountain as engine of destruction really deserves a larger dungeon.

Here's the PDF

Dungeon Viddles - HMS Apollyon Player's Guide

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Rations have been on the equipment list for D&D since it’s earliest incarnations In the first game I played (Keep of the Borderlands of Course) the GM insisted that each PC buy one Iron Ration (A term perhaps originating with the 1907 – 1922 US military individual ration, and including parched wheat and beef bullion cakes) but it was never heard from again.  Now rations have uses – specifically to throw to animal intelligence monsters to distract them, and theoretically the party eats them at some point, but they are largely not mechanically significant.  They should be in an exploration game however and below are my house rules for HMS APPOLYON regarding food and exhaustion.

Giuseppe Recco - Still Life 17th century
EXHAUSTION AND FOOD
The Dungeon is a strange place, filled with the physical challenges of climbing, fighting and forcing doors as well as the stress of intruding into a terrible, magically charged nightmare.  A lot of people deal with stress and strain by eating, and there is nothing like a quick bite to restore a person physically and mentally.
Exhaustion is modeled as a random effect on the “Exploration Die”, rolled every turn. When a ‘6’ results the party takes an exhaustion pip, and when three pips accrue the characters have become exhausted.  Exhaustion is a state of being overwhelmed physically and mentally by the rigors and horrors of the Apollyon, the stink of old death and rotten metal, the creaking of the tired hull and hissing whispers of the damned all take their toll, just as much as climbing slime encrusted chains or swinging a crowbar into the skull of another zombie.  When exhausted characters receive a -4 to all rolls, cumulative to any other negative effects for darkness, injury or encumbrance. 


Food and Exhaustion
The Gm should clearly describe each exhaustion pip, as there is nothing hidden about the characters growing tired and frightened, but after the third is rolled the negative effects of exhaustion – a culmination of hunger, thirst, paranoia, minor injury and overwork – are dully evident and penalties apply. Exhaustion can be  overcome with rest and food.  The comforting feeling of a full stomach is the only way to mitigate the penalty of exhaustion, either fending it off through the occasional snack or with a full meal and a longer rest.
Each exhaustion pip can be removed by sharing a single ration of food amongst the party, allowing them to catch their breath and wolf down some seaweed crackers, a handful of dried shrimp or a few strips of dog jerky.  This act of generosity and camaraderie takes  an exploration turn (and results in a die roll).

When complete exhaustion has set in (after three pips accumulate) the party is completely spent and penalties immediately accrue.  Each party member must eat an entire ration and rest for a full turn or continue to suffer -4 to all rolls. If a random encounter is indicated during this rest period the party will have not completed their rest and must engage the encounter while suffering the Exhaustion penalty.

Rations Aboard the Apollyon
There is no distinction between preserved and regular rations on the Apollyon, it is largely unnecessary as most expeditions into the hull are of a fairly short duration.  Food may be had for 10GP a ration, or 15GP for an all meat ration (popular amongst Merrowmen and better for distracting carnivores) or 100GP for a luxurious ration.  Most rations consist of dried or tinned fish, including shellfish or squid and several flat dried leathery mushroom caps or similar chunks of ‘bread’ made from starchy seaweed.  Luxury rations include dainties imported from the hells or crafted aboard form Uptown’s minimal stocks – fresh fruits, candies, delicate cuts of spiced meat and  goat cheese are common in these rations which provide excellent eating and make excellent trade goods, but are only available to characters who can trade outside the Rustgates.

I like the way this rule works as it allows frequent rests with a lower individual risk or one longer risk with a nasty consequence and higher use of resources.  The ‘exhaustion’ effect also provides an additional condition for traps, spells and monster attacks to create.  (e.g. Ray of enfeeblement now produces  1+1/2 caster level exhaustion pips or 2 if cast at 3rd level when it first becomes available – which I figure will enfeeble most enemies who are undoubtedly a bit tired, but not all).

REVIEW - Bonespur Glacier and Tomb of Bashyr

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Looks Pretty Slick for a Charity Product
Erik Jensen is one of the first GM’s who I played with online and I have always enjoyed his games, set in Wampus Country, a tall tale version of the frontier, but only vaguely American.  He’s a great GM, who runs a very free form game, short on maps or metrics but long on NPCs and unique situations.  I don’t know Jason Paul McCartan except as a G+ poster and the author of the OSR today blog - a well designed blog aggregator and curation site.  Still, I was excited to see that the pair of them had produced a “double feature” set of adventure locals and were offering them as pay what you want on RPGnow with the proceeds going to charity (St. Jude Children’s Research Hospital).

Bonespur Glacier & The Tomb of Bashyr

The product is a 23 page PDF but at least 5 or six pages are filled with art, content pages, an ad for a talented mapper and the OGL.  Nothing wrong here – the product is a fine example of independent game publishing and the art and layout is very professional and decently done, if often in the somewhat forgettable way of post 2000 WOTC product. The two maps are also rather exceptional, being the work of Monkeyblood Design (Glynn Seal) who is one of my favorite mappers working today.


FIRST ADVENTURE – BONESPUR GLACIER – ERIK JENSEN

A site based adventure built around a glacial upthrust that resembles a bloody chunk of bone.  A small town of neutral polar bear men live in its shadow, ready to be a sort of anthropomorphic bearbarian rest stop, and within the glacier there are perils. Some of these perils are typical of tundra and glacier adventures – snow worms, crystal oozes, and a talkative crystal dragon.  Others are not, such as a band of bandits/cultists led by a fairy-tale style ‘fox-woman’ and a sad ghostly princess.  The adventure seems to be written for a low level party, but provides a good variety of challenge, including some very dangerous foes that are clearly not meant to be survived if fought at 1stlevel(like the Crystal Dragon).

Bonespure Glacier was clearly written with Wampus County in mind, firearms are eluded to for example, but with a light touch that allows the adventure to be run in a less early 19th century way and more as traditional high fantasy.

The adventure consists of several cave entrances and areas.  A couple of mostly empty caves used by the Polarbear men for ritual, with attached to a maze of caves that is home to the bandit cult, a pair of caves high on the glacier leading to a dragon lair and a small set of hidden caves that hold the a vengeful ghost of an exiled princess and her wight bodyguards.  This last set of encounters provides the most dangerous clear foes for the party, a group of wights and a 10HD ghost, but it is written as more of a set of traps and puzzles (the ghost is mischievous and will torment before unleashing its full powers, and it cannot leave the room).
THE GOOD

A nice random encounter table with very short descriptions that include a variety of monsters (varied in strength and outlook) as well as a few specimens of peaceful local wildlife opens the adventure.  It’s good to see this sort of random encounter table, and the inclusion of a harmless snow-shoe hare adds far more than one would think.  Colorful, but harmless encounters are a great way to add life and variety to a game.

The treatment of humanoids (the polar bear men, the brigands) and their dwarven ice pirate enemies (who are only hinted at here) as NPCs rather than simply factions of monsters, they have some minimal personality and goals follows from the same spirit as the random encounter table.  It’s simple notes like the ways (tale-telling, lynx hunting and wrestling) that the bear men will allow the party to become friendly with their tribe that provide sufficient, but not excessive detail and make the encounters more interesting by offering many potential solutions or interactions.

Though small, the map of Bonespur Glacier is good, with four distinct areas and several entrances whioch provides some looping and doesn’t feel linear or forced.  Within the glacier the descriptions are good and detailed enough without being overlong.  The encounters seem reasonable – though the ghost area is a bit of a deathtrap, and make sense in the context of the location. That they are of varied danger and strength is a positive, as the party should flee from some (the ghost), negotiate with others (the dragon) and fight or negotiate with others (the bandits). Treasure, though not entirely without hoards of coins, is also well described and sensibly placed – however the value of a few potential treasure items (the fine rug that forms the cover of a pit trap in the ghost’s chambers for example) is omitted, but that’s easy to remedy.
THE BAD
There’s a sort of lack of cohesion in Bonespur Glacier, and it feels like a sort of grab bag of icy tundra tropes at times.  I could do without the dragon for example, but this is a fairly minor complaint, born more out of my own game playing prejudices rather than an actual failing - I wish Erik had given the Glacier more of a Wampus County feel instead of an easily removed gloss that reveals standard D&D high fantasy.  The site may be too small for the number of small adventures presented as well, adding to this feeling, but I see that more as an artifact of being excellent for online play (online game sessions tend to be shorter and more episodic than in person play) and the glacier could provide for 3-4 sessions (6-12 hours) of play fairly easily, and ultimately it gives other intriguing hints about the icy wastes around it (those dwarven ice pirates on their skate ships principally). 

The lack of random encounter tables within the glacier (though the areas are small and distinct so this may not be much of a problem), as well as a lack of rumor tables are also a failed opportunity, especially the second.  Why befriend the bear village if they can’t provide any scouting information about the adventure site they live in the shadow of and worship within.  Rumor tables also provide a nice opportunity to flesh out villages and their cultures.  The bears have an excellent, organic feeling and interesting culture (a pastiche of various Neolithic tribal practices – but nicely strung together) and some more of it could come out with a good rumor table. 
Some of the encounters and factions feel rushed, the bandits mostly lack any personality, and a couple of more lieutenants (or at least some evocative names) would easily remedy this.  Likewise the dragon has a rather pitiful treasure hoard, though what it contains is somewhat interesting (only clear gems please!) and I personally love in depth dragon hoards. 
OVERALL

I enjoyed reading Bonespur Glacier, it has a great deal of character packed into it and provides the unfortunately novel experience of aiming for a kind of light hearted play without the trappings of brutality, gruesomeness and grim cruelty that are common in a lot of OSR products (I am somewhat guilty of this at times).  There aren’t any really evil evils in Bonespur Glacier, baddies and beasts, but no one that the party will feel they must eliminate (even the ghost), which could lead to a more exploration, roleplaying and caper style of game.  A fun read and worth introducing as a love level adventuring hub for a vanilla fantasy game set somewhere icy.

SECOND ADVENTURE – TOMB OF BASHYR– JASON PAUL McCARTAN

A tomb romp, another tomb filled with puzzling traps designed to murder the invader.  It’s not really a tomb though, but some sort of testing ground that leads to a deeper level of an unknown dungeon, without any indication of why someone would go through such an effort.  This whole adventure is solidly a homage or remake to TSR era ‘known world’ funhouse dungeon design and I found myself having to fight against my prejudices against this sort of thing in order to treat it fairly. I don’t know if I succeeded.
THE GOOD
Though it contains utterly forgettable or ‘classic’ monsters, they are well described in simple but effective ways – for example the patterns on the giant centipede shells, or the goblin’s collection of bone weapons. Likewise the room descriptions contain nice touches such as the single mouse cleaning its fur in the second room, and this sort of evocative detail provides empty spaces a bit more life, pulling players into visualizing the space rather than simply seeing it as a square on a map.
There are nice puzzles in Tomb of Bashyr, riddles, illusory walls, statue traps and poison traps.  All of these feel like puzzles to work out, and that’s a fine thing.  The puzzles may be scattered without any sense in an artificial dungeon, but they are fun and sometimes novel.  I do worry that some of the puzzles are overly complex, and fairly reliant on clues that could easily be missed.  In my own GMing experience complex traps with convoluted puzzle solutions rarely work for long, and without serious incentive to overcome them players will often give up and wander off to another location.

THE BAD
The first thing I noticed about this adventure is that the map is linear, a nearly straight path from the entrance to the burial chamber with only a few tiny offshoots.  This is hard a danger in tomb adventures as they lead themselves to this sort of architecture, but when designing any dungeon system it’s worth thinking about map flow, and I don’t see that in the Tomb of Bashyr, though there has been an attempt to create a loop, and really given the map size this may be unfair.  The map itself is very pretty though.

This sense of standard map design is exacerbated but an utterly standard adventure, and worse one that doesn’t feel like it has any place or meaning within any game world.  Perhaps there’s a timidity to blame, an unwillingness to move from the standard D&D setting material, because I don’t think it’s the author’s lack of imagination or visual sense (there’s some nice descriptive flourishes and the traps are good), it is a problem though.  Why is there a storage room full of crates in a tomb for example?  Why do some areas contain dwarven inscriptions?  Where is the treasure in this dungeon?  Yes the few pieces of loot described are decent enough (if standard coinage and adventuring gear), but there is nothing to encourage a party to continue investigating this trapped dungeon, not even promises of great wealth at the end.

Why is it always goblins?  Really I mean it. TSR products from the 80’s used humanoids a lot as stand-ins for evil men as it made killing the nuisance monsters a conflict between good and evil rather than murder (even justified murder) and helped protect against allegations that D&D was a terrible bad way to have fun.  Authors of 3rd party, small press adventures don’t need to follow this artifact of the Satanic Panic and really the excess of disposable humanoids has become an irksome cliché.  Put some NPCs in places where one might place orcs and goblins – army deserters, tribal hunters, or outcast lepers, because it makes players think about who they should fight, when they should talk and what kind of people their characters are. 

OVERALL
The “tomb” is a series of traps, and thus suitable for any low level party (once they have decent spells, it becomes trivial), and while there’s little sense of why or what the tomb is baked into it, I am the first to praise a good trap or puzzle as one of the most eminently useful elements of other’s dungeon design.  Tomb of Bashyr, despite being largely forgettable and unconvincing as a either unique or evocative space has some good traps in it, and is worth a perusal for this alone.  I will never run this adventure, it’s both too skeletal (not a pun) and too thoughtlessly standard high fantasy for my taste, but I will steal at least one of these traps in the next month or so, which makes it better than a lot of adventure locales.
In Conclusion
This is the sort of product that I’d like to see more of.  As I mentioned in the last review I posted, independently produced, free or pay what you want RPG products are to me the heart of the hobby, it’s feeling of community, mutual support and openness.  While I may be critical of some such products, even Tomb of Bashyr above (or more specifically a far worse product like my own free dungeon locales) is laudable because it is the work of a hobbyist expressing their enjoyment at playing the game and sharing their ideas and imagination with the community at large without asking for anything back except maybe a high five and that others return the favor and share their creations.  The criticism I offer above is meant in the spirit of helping writers and dungeon designers improve their work, and I really hope that this kind of critique doesn’t come off as shallow or mean – it’s not meant to.  The hobby needs precisely more products like Bonespur Glacier and Tomb of Bashyr, both because of the high quality of the production (equal to many ‘publishers’) and because they are the earnest goodwill expressions of creativity offered up to the public out of a sense of creativity and an enjoyment of a tiny hobby.  Each expresses a certain style of play, and having more options to pick and chose from helps everyone who is player a tabletop game decide what style of play they want, what unique aspects they can to add and what has been done before.

Fallen Empire - The Imperial Cult, New Class and Spell lists

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PRIEST/PRIESTESS OF THE IMPERIAL CULT 

Below is a new sub-class of Cleric I have been preparing for my Fallen Empire setting, it's an evolution (perhaps the final one) of the 'casting die' based spell mechanics that started with animal shaman in the Pahvelorn campaign and which I currently use for some clerics in HMS Apollyon. I generally like this system for divine magic as it makes it unpredictible and strange without adding too many new rules.  It also allows player imagination to expand the spell list by inventing new patrons, which makes it potentially very fun for players who enjoy world building and setting immersion. A PDF of the class can be found HERE.


Within the Successor Empire there is only one religion of power, the Imperial cult stands alone and falsely claims a spiritual unification.  The Cult’s claim is disingenuous as it has birthed a thousand little schisms, divergent traditions, and is big or vacuous enough to contain almost any beliefs.  The Cult worships the Emperor, and while the qualities of the imbecilic Zeno the 14th, current and 754th Emperor (210th of the Successor dynasty), do not lend themselves to worship even his devotees receive mystical power from their belief.  There are hundreds of other Imperial Emperor Saints that also grant power, and many of them conceal the syncretic adaptations of other conquered religions, often worshiped under multiple names.

The spirits of individual emperors offer their devotees unique powers based on a special religious portfolio, and while most priests limit themselves to one or two preferred saints, a few of the most powerful, half saint themselves, can channel many different divine spirits.  However, even these greatest of holy men and women can only call upon one power at a time and must wear the correct panoply to do so.



Class Limitations
Imperial Clerics are often well trained in arms, and have no melee weapon restrictions; they are even sometimes trained in shield and heavy armor use.  However a priest is first a scholar or devotee of their cult, rather than a soldier and will never develop the complete comfort in heavy armor of a trained warrior and always suffer a -1 to initiative while wearing heavy armor (or a -2 to hit perhaps in a system with group initiative).  Likewise, while priests are trained in the fighting arts, it is not the focus of their life, and they only gain 1 point of attack bonus at 1st level and an additional point at 3rd, 6th, 9th and 10thlevel (Assuming a maximum character level of 10th).  Imperial Priests generally do not focus on the use missile weapons, and as an element of doctrine and training missile weapons are deemed inappropriate for properly chastising the unbeliever.  Priests never gain an attack bonus to missile weapon use, always acting with the +0 of an untrained individual.

Turning
Imperial Priests can shun and drive off a variety of creatures and enemies, from undead and demons to animals depending on the nature of the Imperial Saint they are channeling. Turning is based on the level of the priest and Hit Dice of the creature driven off.  To shun or turn an enemy the priest must chant the appropriate prayers to the Saint invoked and boldly display their mask.  While turning the priest cannot take aggressive action or cast spells, but as long as the prayers continue a successful turning will drive off the targets and prevent them from coming within 100 feet of the Priest.  Turning is accomplished with the standard 2D6 roll, on a T result the creature is automatically driven off while on a D roll undead or otherworldly creatures are banished, but terrestrial enemies are only driven away with a permanent fear of the priest..

To Turn
1 Hd
2 Hd
3 Hd
4 Hd
5 Hd
6 Hd
7 Hd
8 Hd
9 Hd
10 Hd
Cl Lvl 1
6
8
10
12
-
-
-
-
-
-
Cl Lvl 2
6
6
8
10
12
-
-
-
-
-
Cl Lvl 3
4
6
6
8
10
12
-
-
-
-
Cl Lvl 4
T
4
6
6
8
10
12
-
-
-
Cl Lvl 5
T
T
4
6
6
8
10
12
-
-
Cl Lvl 6
D
T
T
4
6
6
8
10
12
-
Cl Lvl 7
D
D
T
T
4
6
6
8
10
12
Cl Lvl 8
D
D
D
T
T
4
6
6
8
10
Cl Lvl 9
D
D
D
D
T
T
4
6
6
8
Cl Lvl 10
D
D
D
D
D
T
T
4
6
6

Spell Casting and Saintly Possession

In order to cast spells an Imperial priest or priestess must commune with one of the spirits of the emperors (or other power masquerading as one) conducting a ritual that takes several hours and donning the proper mask (some of which can be very expensive) and robes. Mechanically an Imperial Priest selects a power to commune with and channel prior to each session and cannot change the power or linked selection of spells until the next session or perhaps a return to civilization/camp.

When casting spells, an Imperial priest or priestess is invoking the power of their divine patron and channeling its power into the terrestrial universe.  This process depends both on the caster’s belief and the willingness of the divine patron to act.  It is quite possible for overly ambitious priests to annoy their patron, or lack sufficient personal belief and so suffer negative consequences.  In order to determine if a Priest casts a specific spell the Priest must make a D20 roll (like an attack roll) adding their level and up to one point of any Wisdom or Charisma bonus while subtracting one point for each time the spell has been cast or attempted immediately prior (in the same combat or previous turn) to the current casting.   If this adjusted number is higher than the target number listed with the spell the spell is cast successfully, if it is lower than the ‘failure’ number a magical catastrophe occurs (this failure number is usually 5 pips less than the success number).  If the spell casting roll is between the success and failure numbers the spell is not cast, but the Priest suffers no ill effects.

Priest spells are broken into four categories, miracles, boons, rituals and sendings.  Miracles may be cast in lieu of a combat action (taking one round) and take effect immediately.  Boons require an exploration turn to cast and remain active for some time afterward while Rituals not only require a turn to cast, but also require space, ritual objects (usually chalk or something else to mark out prayers and signs) and effort to prepare.  A Sending is a special ritual that summons a spirit, creature or otherworldy force. Rituals and Sendings also take a turn to cast, but usually have an immediate and instant effect. 

Multiple Divine Patrons

Imperial Priests will begin with the regalia and favor of one divine patron, but as they grow in power they may gain more.  The process requires both reserves of fervor (Class Levels) and the sanction of the Imperial Cult’s leaders or the Imperial Saints themselves.  Additionally a priest seeking to channel additional powers will need to purchase and prepare appropriate vestments.  While the most important of these is the mask, but robes, talismans and other garments are also required.  These items are costly, and due to the jealous nature of divine or outsider entities like the Imperial Saints they also become more costly and ornate with each power added to the priest’s repertoire.  While the first power a priest communes with may only require garments worth a couple hundred gold later powers will demand vestments of higher quality: 1,000 GP, 10,000 GP and even 100,000 GP for powers after the third.

The jealousy of the Eternal Emperors is not limited to manifesting only for a devotee in the proper vestments, but powers after the first will also place strictures on the behavior of priests that wish to call on them.  Limitations on action or speech and even compulsions to act.  Examples include: forbidding the use of blunt or edged weapons, forbidding the use of armor, requiring a tithe of treasure, slaying certain beasts or sects  wherever they are found, remaining silent except for spell casting, always obeying Imperial authorities or drinking only wine.  These strictures must be observed at all times or the power will leave the Priest and refuse to return. 

THREE DIVINES

The three Imperial Saints listed below are exemplars of the sorts of powers that the Imperial Cult worships and can employ, they are also three of the most popular of the Eternal Emperors and their sects are the most widely spread.

THE FIRST EMPEROR
Regarded as the greatest of Imperial divines, shrines to the First Emperor are everywhere in the Successor Empire, and his priests and priestess common in their high collared white robes and plain porcelain masks. Depictions of the saint himself (or herself as sometimes alleged by the more schismatic of the 1stEmperor’s priesthood) show only a carved figure of bone, white clay or bonewhite, lacking in detail or distinguishing marks.  Some of the oldest of his shrines depict the first Emperor with childlike proportions, but this may simply be a product of ancient aesthetic conventions.

The Priests and Priestesses of the First Emperor concern themselves with life and growth, as a mark of their order they wear white clothing and plain, nearly featureless white masks with small mouth and eye holes surrounding the vaguest suggestion of a nose. The mask must be worn while channeling the powers of their divine spirit.  Strictures of the First Emperor revolve around sparing lives, helping the injured and never shedding blood as he is one of the least warlike of the Imperial divines.

Turning: The First Emperor abhors ablife and his/her priests can dive away or destroy the undead.

RITUALS, BOONS, SENDINGS AND MIRACLES
NAME
CASTING TARGET
FAILURE
Divine Light – Miracle
10
4
DESCRIPTION
By means of this boon the priest is able to create shimmering white light, either a ray that can blind one target (on a failed save the target will be blinded for 1 turn per level of the priest) or a glowing orb that floats above the priest’s head and acts as a light source (50’ radius) that is exhausted after a single ‘spell exhaustion result on the exploration/random encounter die.

Failure will likely result in: extinguishing all nearby lights, an area of magical darkness or temporary blindness (1 turn per level) of the caster.

NAME
CASTING TARGET
FAILURE
Divine Grace – Boon
13
7
DESCRIPTION
By means of this boon (1 turn to cast) the priest may bless up to their Level in human or humanoid targets, including himself.  Under the influence of this spell these individuals will sparkle softly with white motes of light and radiate a small amount of divine energy that provides protection against supernatural creatures and anomalies caused by spoiled magic.  Creatures such as shadow sendings, demons and magical sports (like owlbears) will be unable to attack these individuals in melee combat, unless attacked first.  Relatively unintelligent creatures are likely to flee, while intelligent otherworldly foes such as demons will look upon the blessed with even greater loathing and search out cunning ways to harm them from a distance (such as throwing boulders).  This boon also provides a +2 to all saves vs. magic (except celestial magic, including the spells of Imperial Clerics).  The boon will last for two spell exhaustion pips on the exploration/random encounter die.   

Failure will likely result in a temporary curse of -1 to all actions, or a sense of hopelessness and in some cases, extreme fear (as the spell).  These curses are likely to affect all targeted by the spell as well as the caster (though the spell cannot be made to intentionally fail), and will last for the same duration as a successful casting.

NAME
CASTING TARGET
FAILURE
Renewal – Ritual
14
8
DESCRIPTION
A short ritual invocation, involving clean white bandages sprinkled with holy oil/water (1/4 of a vial at least) and taking an exploration turn allows the Priestess of the First Emperor to channel power into a wound, dulling pain and melding together torn flesh.  If successful the ritual will heal 1D6+Preistess Level in HP.  The ritual may be performed multiple times to fully heal injuries, but each application of divine power to an injured patient after the first will drain life (1HP) from the caster and take an additional turn.

Failure will likely result in: healing 1D6/2 damage, by directly draining the life force of the caster causing injury equal to the damage healed.  These failures will also prevent the use of the spell for the remainder of the session.

NAME
CASTING TARGET
FAILURE
Sanctuary – Ritual
14
9
DESCRIPTION
By drawing the names and marks associated with the first emperor in a circle the priest may create a zone of placidity, within this circle (10’ in diameter per turn spent in inscribing it) violence is impossible, and peace reigns.  Missile attacks and spells directed from the outside are at a -8 to hit or +8 to save against and the attacker must save vs. spells or suffer paralyzing shame for 1D6 turns. 

The spell will last as long as the priest continues to intone prayers to the first emperor from within the circle (for every turn after the 3rdthe priest must make a CON check to avoid stopping from exhaustion).

Failure will likely result in: a wave of violence and ferocity that sweeps out from the caster making him and all within 20’ bloodthirsty and aggressive (+1 to damage and hit and a four point penalty to AC) for 1D6 turns.

NAME
CASTING TARGET
FAILURE
Mark of Life – Ritual
20
15
DESCRIPTION

The first Emperor creates and preserves above all else, and with the saint’s direct intervention can restore life to the recently dead.  By means of this miracle a priest of the 1stEmperor can return a human (but not a demi-human) from death if the target has been dead less than 24 hours.  The ritual itself requires 8 hours (48 turns) to complete and requires 500 GP in powdered ivory, clean white cloth and pearl dust, which can be difficult to find outside of larger Imperial settlements. 

By taking a small part of his own life force and offering it to the Imperial Spirit the Spirit will sometimes restore life to the fallen.  Regardless of the spells success the priest will take 1D6 HP of damage from the attempt.  If the miracle is successful the target will rise at one HP at the end of the ritual having suffered a permanent loss of 1 point of (D4) 1- CON, 2- STR, 3-DEX, 4-CHR from scarring and the stiff white nacre that has filled in their mortal wounds or replaced their mangled organs.  The GM may elect to add more serious penalties for characters raised after especially horrible injury.  The priest conducting a successful Mark of Life Ritual will permanently lose 1 HP but is entitled to add a single silver disc to their regalia as a mark of their holiness.

On an unsuccessful casting the dead will remain unaffected, and the priest will fully regain the hit points lost to casting at the normal rate.

Failure has two negative effects, as some sort of intervening spirit, demon or entity has corrupted the spell.  The priest will suffer the same permanent 1 HP loss as with a success, but the recipient of the spell will be  raised as a corporeal undead similar to a wight, but more or less powerful depending on the level of the caster and recipient.  This abomination will seek to escape and lair up in some hidden place to hunt the living, especially the priest that created it.

THE GOLDEN EMPEROR
Another godling concerned with growth, the reign of the Golden Emperor was one of abundance and decadent excess, and his portfolio relates to commerce, luck, travel and wealth.  The Golden One is a popular divine; his priesthood remains wealthy and is one of the few organizations within the Empire that could still be described as actively commercial, with its bejeweled fingers in almost every aspect of internal and external trade.  Gold masked actuarial priests, in their conservative suits of black wool are common in both the shrine/lending houses of the Golden Emperor’s cult and travelling amongst Imperial merchants to profit the cult and observe and enforce fair-dealing and a lack of fraud.  The Golden Emperor’s cult also employs priests militant, lean and deadly adversaries (wearing intentionally tarnished gold masks) who commit targeted assassinations and acts of economic sabotage against the cult’s enemies and those who attempt to undercut Imperial merchants.

The Golden Emperor is fond of excess and fair dealing, and his more devoted priests make a point of always enforcing Imperial tax laws (an onerous tithe on their personal wealth), preventing lies and falsehood and only eating or drinking the finest foods and liquors.

Turning: The Golden Emperor knows the hearts of men and his followers can drive off (but not destroy or kill) humans (or near humans) or their creations (automatons).


RITUALS, BOONS, SENDINGS AND MIRACLES

NAME
CASTING TARGET
FAILURE
Luck – Boon
11
5
DESCRIPTION
If this boon is granted a single target will be filled with the Golden Emperor’s favor and in addition to eyes that leak golden light like thick syrup will have extraordinary luck in the next few efforts they undertake.  The target will gain six bonus pips to add (or subtract) to any roll they make during the remainder of the session.  These bonuses can be used one time per successful spell casting, but can be spread amongst multiple rolls until exhausted.   This spell is tiring however and the caster will suffer a -1 D6/2 HP per casting beyond their current level per session in non-lethal exhaustion damage (falling into a multiday magical slumber upon reaching zero HP). 

Failure will cause bad battle luck, with the next blow aimed at the caster striking automatically, or the next injury to the caster inflicting critical damage. Self-inflicted damage to avoid this curse will have no effect.

NAME
CASTING TARGET
FAILURE
Dross – Ritual
11
6
DESCRIPTION
The priest lays out a circle of coins (at least 10 GP worth), each marked with the head of a different ruler (they may be foreign coins, but must have a representative image on them) and begins a low chant.  A single object is placed in the center of the circle will gain the appearance of being much more valuable for four ‘spell exhaustion’ rolls of the encounter die.  Objects so enchanted will transform into something similar to their original form, but far more costly – a lump of rock becomes a diamond, a handful of copper coins become platinum or a scrap of paper a lost painting by an ancient master.  Such objects will appear to have a value of 1D6x200 GP per caster level and unless examined magically or by a true master appraiser (Acumen tests are at -4) .   After the spell wears off in four “spell exhaustion” pips (or about a day) the object will return to its original, likely worthless, appearance.

The spell may also be used to alter the appearance of the caster, making the priest appear as someone else and effectively creating a disguise that requires a -3 legerdemain check to unravel.  The caster cannot alter their appearance to that of a specific person, only a general category of person [e.g. palace guard].  Of course this spell will not disguise or change the caster’s equipment in any functional way, though a suit of regular armor could be transformed to give it the appearance of another suit of the same class (light, medium or heavy).  Such changed appearance endures for two “spell exhaustion” results on the encounter die.

Failure of the Dross spell will create an aura of bad feeling around the caster, effectively reducing their CHR to 3 (with corresponding reaction penalties). This effect will last for the remainder of the session.  Continued failures may result in permanent CHR loss.

NAME
CASTING TARGET
FAILURE
Awe – Miracle
14
9
DESCRIPTION
The majesty of empire, the refined pomp, sybaritic opulence and unimaginable finery of lost ages distilled into a single burst of awesome glory that spills forth from the mask of the Golden Emperor.  The priestess can direct this flood of awe inspiring visions at several targets (1 + [caster level/2]) who must save vs. spells or remain stunned, lost in a reverie of wealth and the glories of the Empire at its golden peak. The stunned state persists until injury or for on “spell exhaustion” result on the exploration die.   If allowed to expire naturally victims of this spell will have no memory of the priest or being under the spell’s influence, and often ascribe their visions to divine inspiration (though not necessarily to the Golden Emperor).

Awe may also be used to impress allies, filling them with visions of unity and the ancient power that is the font of the Imperial cult.  Mercenaries will know that their contracts are to be honored with bonuses, fanatics will see their visions of paradise clear and true, and treasure seekers fight harder in the certainty that the next haul of loot will be the ‘one’.   The priest must chant while using Awe in this way, directing and tailoring the spell’s visions to the beneficiaries of its divine inspiration.  Chanting prevents the priest from talking other actions during the effect of the spell, but allies targeted by the spell gain an additional attack per round.

When the Awe spell fails the visions it produces are hollow and infuriating, causing rage or despair granting enemies an additional attack each round or allies a -5 to initiative.  Repeated or gross failures of the spell will also often reduce the priest to a state of nervous exhaustion (stunned for one “spell exhaustion” result while weeping inconsolably) or age the priest several years.
 
NAME
CASTING TARGET
FAILURE
Golden Key – Ritual
16
10
“Wealth will open all ways” is a maxim of the Golden Emperor, and with this boon the Emperor makes it a truism for his priests.  This boon may be used to open any lock, mundane or even magical (if ensorcelled by a caster of lower or equal level to the priest).  It may also magically seal portals and doors making them immune to force or cunning (but susceptible to magic) if 100 GP worth of valuable metals are offered to the Emperor as a sacrifice.  For greater sacrifices the god will open more complex ways.  With a 1,000 GP sacrifice a passage will form in any magically unwarded wall up to 10’ thick and remains for 1 turn per level of the priest.  If 2,500 GP are sacrificed the priest can teleport himself, his personal effects and anything living within 5’ of him up to 1,000 miles to a destination he has seen previously or that contains a shrine of the Golden Emperor.

The Emperor is greedy, and upon a spell failure he will certainly take any funds offered as well as some other portion of money from the priest, his allies and even businesses he owns.  Usually the Emperor will limit himself to valuables on the priest’s person or in his vicinity.  If the Golden Emperor is annoyed or displeased he will take special items or even memories (XP), traits (Statistics) or body parts as well as valuables.

NAME
CASTING TARGET
FAILURE
Divine Insight – Ritual
18
13
DESCRIPTION
The Golden Emperor is magnanimous and knows many things: the past and future of every coin, what each person desires, the key to every vault, and the location of every hidden treasure.  If properly plied with honeyed words and promises of devotion the Emperor will share some of these things with his most favored Priestesses.  Performing this ritual requires an offering of the priestess’s own blood (1D6 HP worth) mixed with wine and drunk from a golden goblet of at least 500 GP value (the goblet is not sacrificed). If the ritual succeeds the Priestess will be offered a chance to ask her deity one question, which the Golden Emperor will answer to the best of his ability.

A failure of this spell indicates that the Golden Emperor is offended, a dangerous situation resulting in permanent, often disfiguring consequences such as blindness (the eyes transformed into golden orbs), a hideous, crippling pox or gout (-1D6 to CHR and/or DEX) or other affliction.

THE QUIET EMPRESS
The founder of the Successor Dynasty, the 545th Emperor began as a provincial cousin of the main Imperial line, living in a Western capital as the young wife of its ruling sorcerer prince. Yet during the century leading to the succession, the main line of Imperial family had become increasingly beholden to powerful demonic allies, and the 544th Emperor fell entirely under their sway, abandoning the traditional outsider allies of the Empire, “The Celestial Thrones”.  Driven by demonic power and ambition, the 544th Emperor’s reign turned to chaos and slaughter and soon the Imperial Family was little more than a pack of blood gorged hosts for numerous demons.  All except for the Quiet Empress and other distant relative.  The Empress, who, divorcing her provincial husband to assure the rural nopbilty of the Empire that she would not favor a particular house, assumed the title of 545th Emperor and rallied provinces against the center.  In exchange for renewed allegiance of the Celestial Thrones the Empress sacrificed her voice and later married one of the divine Yazata, forever linking the Successor Empire to the Celestial Thrones (and perhaps guaranteeing the unnatural deformity and insanity of the line).  In the long, cataclysmic war that followed, the 545th Empress’s forces were triumphant and terrible, wrecking destruction that still scars the face of the world, forever corrupted the Southern and Eastern portions of the Empire, caused millions of deaths and set back Imperial arcanism and technology by thousands of years.  Yet the Empire endured, smaller, weaker and uglier perhaps, but still as something other than a huge farm for mortal souls and blood to sate the ravening appetites of demons.

The followers of the Quiet Empress wear masks of silver, and robes of red, with the hems and cuffs dipped in sanctified blood (or striped with brown cloth in more civilized shrines).  The Empress’ devotees are warrior priests, and the Empress’ powers are those of destruction, vengeance and uncompromising war.  The Empress demands action and blood from her followers, and many of her greatest holy warriors are silent except for a certain eloquence of slaughter.

Turning: The Quiet Empress was always an enemy to demon kind and her priestess can shun and banish demons, devils and all other outsiders except celestial thrones.

RITUALS, BOONS, SENDINGS AND MIRACLES
NAME
CASTING TARGET
FAILURE
Holy Wrath – Boon
11
6
DESCRIPTION
The rage of the bloody handed Empress is terrible and her followers can channel it to provide themselves with supernatural reserves of vigor.  The violence of this boon will be evident on its recipient (either the priest or a willing recipient) in their wild eyes, bulging veins and howling madness.  While under the effect of the Wrath person gains +2 to damage and a -2 per die to damage received, however; when filled with wrath combatants are less likely to protect themselves, suffering a two point Armor Class penalty and are too filled with bloodlust to engage in missile combat or retreat from battle. The spell lasts for one combat and afterward the recipient must rest for 1 turn, and eat a ration of food to regain their strength as if exhausted.

The Empress’ wrath is freely given and failure of the spell will result in excessive magical rage, turning the recipient of the boon into a ravening berserk for one turn.  Under the influence of unbridled wrath a combatant will attack anything nearby, starting with the nearest target (usually an ally) and gaining +4 to damage -2 per die to damage received and a 6 point armor class penalty.

NAME
CASTING TARGET
FAILURE
Destruction’s Embrace – Miracle
13
8
DESCRIPTION
Most on the battlefield wish not to be there, they think of home, peace, family and times of joy or plenty.  To the Quiet Empress and her followers these weak souls are grain for the scythe of her implacable will.  The Quiet Empress never shirked from battle, never turned aside the blade when it was above an enemy’s neck and it is an abomination unto her to do otherwise.  With this miracle a priestess of the Quiet Empress writes one of the secret symbols of war in her own blood across her silver mask and it burns in the hearts of whomever she chooses to fix her gaze upon reminding the victim of war’s immutable nature.  A successful invocation of this spell will cause any one foe to fear battle.  Those enemies with HD equal or less than the priestess flee automatically, while creatures with HD greater than the priestess may save vs. spells to stand firm.   If the priestess’s magical gaze is fixed upon an ally the target will be emboldened, rallying if fleeing and gain immunity to negative morale effects and fear for the rest of the combat.

When this spell fails it reminds enemies of their own power to reave and take life, granting them a +2 to hit and damage for the rest of the battle.  Allies targeted when this spell fails collapse (if they fail a save vs. spells) overcome by exhaustion and terror.  They will recover in in 1D6/2 turns.

NAME
CASTING TARGET
FAILURE
Spectral Legionary – Sending
15
10
DESCRIPTION
The greatest glory is to die in the battle, serving the Imperial will.  Those who fall are never truly lost. With this sending ritual, requiring the skull of an imperial soldier (or anyone who has sworn loyalty to the Empire – including most current imperial subjects over twelve) and four bent or broken weapons, the Quiet Empress’s chosen vessels can summon a Spectral Legionary to fight for her cause.  The Spectral Legionary will persist for three “spell exhaustion” results or until destroyed, and will attack any target it is directed at except for imperial soldiery.  Legionaries may also perform simple tasks and respond to commands up to three words long. 

Spectral Legionaries are the ectoplasmic forms of ancient soldiers, their vague features and equipment reflecting several thousand years of imperial military style and technology.  The skull used in the ritual will lodge in the head of the spectral soldier, and the ghostly body will wield its decayed weapons with supernatural fury. Spectral Legionaries have fighter Hit Dice equal to the priest summoning them,  fight as fighters of the summoning priest’s level, with an AC of 15/[5] and inflict 1D8 damage per attack.  The attacks of a Sepctral Legionary can strike creatures immune to normal weapons and they take only ½ damage from normal weapons themselves.  Otherwise Spectral Legionaries move and fight as normal human soldiers, but never make morale checks and cannot be affected by mind effecting spells (their controller can however).  Spectral Legionaries may be turned or controlled as undead.

Failure to properly invoke this ritual will generally result in the Quiet Empress gathering up a nearby soul, usually of a subject who has felt or expressed disloyalty to the Empire (everyone at some time or another) and adding it to her ghostly army.  This may be the Priest, but is more likely an ally or companion and is never an enemy.  The victim of the saint’s death spell suffers 1D6 x casting priest level damage, but may save vs. spells to take only a single point per priest level.

A side effect of this spell’s grim components is that most priests and priestesses of the Quiet Empress are festooned with garlands of skulls and carry bundles of rusted, broken and decayed weapons, only enhancing their reputations as death obsessed lunatics.

NAME
CASTING TARGET
FAILURE
Exorcism-Miracle
16
11
DESCRIPTION
The Quiet Empress hates the foul stink of magical corruption and with a successful invocation of this miracle her priest can destroy or block arcane magic and banish outsider creatures in a flash of red light.

Magical wards and spell effects are sundered and disenchanted with this miracle.  Wards or permanent effects originally cast by practitioner of higher than or equal level to the priest conducting the exorcism Save vs. Spells, and on a successful save will be immune to future exorcism attempts for a year and a day. Supernatural, otherworldly creatures (except celestial thrones) exorcised with this spell are banished to their home plane if they have fewer Hit Dice than the invoking priest.  Creatures with Hit Dice greater or equal to the exorcist suffer 1D6 x exorcist level damage from the spell. 

The final use of this miracle is to create a protective bubble 10’ in diameter around the priest’s current location.  This shield of shimmering reddish haze will deflect up to 2 x the exorcist’s current Hit Points in Magical Damage and give a bonus of 2x the exorcist’s level to any Saves vs. magical effects made by those within the stationary shield.  

Failure of this spell severs the priest’s connection to the divine for three magic exhaustion results on the exploration die and may require further atonement in the form of sacrifice and meditation if the Quiet Empress is displeased.

NAME
CASTING TARGET
FAILURE
Storm of Steel – Miracle
19
14
DESCRIPTION
The storm of steel is the most terrifying manifestation of the Quiet Empress.  This miracle produces a scything circle of screaming blades in a 10’ diameter circle around the priest.  Anything in the circle that is not immune to normal weapon damage will be diced to ribbons almost instantly by this fierce manifestation of the war goddesses’ might.  Creatures of ½ or less the HD of the priest will be slain instantly without recourse to a save (including all creatures of below 1HD).   Creatures that aren’t slain instantly, with HD up to the casters must Save vs. Breath or die, slashed into giblets.  Even those creatures that make this save or are above the caster’s HD will take 1D6 points of damage for each level of the caster as they are thrown clear of the maelstrom of blades.  Only a small space at the center of the steel storm, big enough for the priest to stand or sit is free of the baleful swarming blades.  The spell will last for 1 turn and may not be crossed during this time without suffering its effects.  Even the casting priest is trapped for the spell’s duration, their movement constrained and unable to cast spells over the howling clash of the surrounding weapons. When the spell is complete the magically manifested weapons will clatter to the ground, revealed to be 2D10 swords, axes and daggers of various ancient makes and utterly mundane quality.

Failure to invoke this spell properly has dread consequences as the Quiet Empress does not release the blades pledged to her with ease.  The priests own weapons will vanish (undoubtedly to appear in a storm of steel in some future century), and the caster (or an ally) will become a magnet for attacks, suffering automatic injury from any bladed weapons swung at them for at least a turn.  Worse results are in store for priests who fail to cast this spell repeatedly or who do so without a weapon on hand to offer the Empress, including instant death as hundreds of sharp blades burst from their bodies or petrification as a statue of rusting steel.

What do you want to see on Dungeon of Signs?

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This blog has been about for a while now and I'm curious about my reading public so there's a poll upon the side of the Dungeon of Signs main page about what sort of thing you enjoy reading.  I'm not saying it'll effect my writing, but I guess any response from readers is encouragement.

If you want something that isn't on the list let me know in the comments below.

Also above is a drawing of an Owlbear for the Fallen Empire adventure I am (very slowly) plugging away at.

An Archeology of D&D Bandits

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MONSTERS & TREASURE
BEASTIARY AS SETTING “MEN”

There’s a tabletop RPG maxim that monsters determine setting, and while it can be taken too far there’s definitely a bit of truth to it.  The antagonists faced by players and their characters, especially in an emergent game (by which I mean one with a sandbox or where the player’s decisions and interests otherwise largely set the tone and nature of the game’s locales, enemies and intrigues) the players opinions and goals are likely to be at least partially formed by how they feel towards certain early encounters.  The death of a character in the first game to goblins can make the player angry enough to devote several sessions to being goblin eradicators for example.  In a game where the goblins are replaced with bandits, draconians or halflings there will be a very different tone to these subsequent adventures.

Of the original D&D booklets - tiny ugly things published in the mid 70's - the second is titled "Monsters & Treasure" and contains Dungeons & Dragons ur bestiary, with 68 or so monsters (or classes of monster, it's not always clear).  Reading through these I can't help but wonder what kind of implied setting this set of adversaries make for.  The monsters are not ordered in any real way in Monsters & Treasure, though the idea that they are listed from most common to rarest is a bit appealing, secondly the descriptions of these Monsters are heavy on practical details, such as the weapons mixes of human and humanoid enemies, but sparse on ecology, description or other evocative detail.  It seems interesting to me to take a look at a few of the monsters and to think about how to use, describe and elaborate on the various Monsters & Treasures enemies.  For this I have decided to tie my reskins (minimal I hope) to my Fallen Empire setting (the place where I play around with vanilla tabletop fantasy concepts).  I won’t be commenting on the statistics of these monsters except generally, because OD&D statistics are quite simple and really rather easy to imagine on the fly.


MEN (BANDITS, BERSERKERS AND BRIGANDS)

The first entry in Monsters & Treasure is either incredibly monstrous or terribly mundane – Men.  It is also the longest entry and comprises at least seven subcategories (for my purposes Cavemen and Mermen will be separate monsters, but they likely shouldn’t be).  The category of Men includes various dangerous types inclined towards robbery and violence: Bandits, Berserkers, Brigands, Dervishes, Nomads, Buccaneers & Pirates.

This is what Monsters & Treasure has to say about Bandits (I’ve removed excessive mechanical detail):
BANDITS: Although Bandits are normal men, they will have leaders who are supernormal fighters, magical types or clerical types. For every 30 bandits there will be one 4th level Fighting-Man; for every 50 bandits there will be in addition one 5thor 6th level fighter; for every 100 bandits there will be in addition one 8th or 9th level fighter.  If there are over 200 bandits there will be a 50% for a Magic-User [of 10th to 11th level!] and a 25% chance for a Cleric of the 8th level…

[Bandit leaders have a small chance of having magical equipment]

Composition of Force: Light Foot (Leather Armor & Shield) = 40%; Short Bow (Leather Armor) or Light Crossbow (same) = 25%; Light Horse  (Leather Armor & Shield) = 25%; Medium Horse (Chain & Shield, no horse barding) = 20%.  All super-normal individuals with the force will be riding Heavy, barded horses.
Alignment: Neutrality”

Not These Guys - from Dark Souls
Bandits then aren’t scruffy types one encounters here and there a handful at a time, they are legions of warriors, encountered in groups of 3D100 and led by powerful and special NPCs.  Bandits seem to have a degree of military organization and certainly military equipment, albeit not the best, and they aren’t necessarily evil.  My own mechanical inclination is to make the encounter number (for everything in Monsters & Treasure) the number of the monster type residing in a hex rather than a single encounter.  A bandit band of 200 presumably has infrastructure to guard (A camp at least) and not all of its force will be set in ambush (without good reason).  Instead smaller groups of bandits will watch the road, patrol their perimeter and generally act as random encounters, and will warn the camp/fort if they encounter anything dangerous.

What the numbers, organization and powerful leaders of bandits seem to imply is that they aren’t just robbers, highwaymen or thieves, but entire armies of misrule.  That they can roam the countryside (along with their less pleasant offshoots) without interference implies a lack of social order.  In Monsters & Treasure “Bandits” imply two possible things about the setting.  First that there is some sort of rather nasty and titanic war occurring (or perhaps just ended) in the game-world, leaving large bands, full military units up to size of a small battalion roaming the countryside and preying on travelers.  The Second, and perhaps less apocalyptic world building implication from the bandit entry is that the bandits aren’t really ‘bandits’ in the classic sense of highwaymen, but rather the local forces of order outside any sort of legal structure or control.  The local lords, barons, mayor, cult leaders and other leader types have large armed bands of militia or retainers and they tax whatever comes through their domains heavily.
 After Bandits, Monster & Treasure gives us the cryptic “Berserkers” we don’t know much about them, and they are mechanically similar to bandits:


BERSERKERS: Berserkers are simply men mad with battle-lust.  They will have only Fighting-Men with them as explained in the paragraphs above regarding Bandits. They never check morale.  When fighting normal men they ad +2 to their dice score when rolling due to their ferocity.”  

Berserkers then are some real nasty fellows, though neutral, they also fairly similar to “Brigands” which follow them in the monster descriptions:

BRIGANDS: Same as Bandits except +1 morale and Chaos alignment.

The distinction for me then between Bandits, Bersekers and Brigands is one of intent.  Bandits are robbers and broken men trying to survive in a world gone mad.  They aren’t really interested in murder, even if they are casual about it.  Berserkers are perhaps a bit worse, roving, “mad with battle-lust” and not really caring who they fight.  Brigands though are the worst, these are you “The Hills have Eyes” sorts of communities: backward, cruel, and violent – likely cannibals or worshippers of bloody proscribed cults. The Sawney Bean clan or the Thugee Cult would be Brigands, while Phoolon Devi and her band would be bandits. 

Berserkers then are harder to explain.  Why does the setting have large bands of dangerous soldiers (that +2 is presumably a notation from the chainmail system meaning that each berserk fights with a 1 die +2 bonus, compared to a first level fighter’s 1+1 but only has the normal 1 hit die).  I’d translate Berserker ferocity by having Berserkers fight as 3HD creatures, making them rather dangerous in combat.  Berserkers are obviously still soldiers, not the rough militia of banditry.  They are badly equipped, with no missile weapons and only leather armor.  Combined with their stated madness, I think it’s clear that bersekers are military units gone rogue.  They wander the land like locusts, held together only by a common bond of battle forged trust and see the rest of the world as enemies or prey.  There armor and equipment has become a battered parody of what it once was, useless except to them.  Wild eyed scarecrows, far from supply or rest, Berserkers have a ferocity and madness that feels unholy or supernatural and they no longer make any distinction between sides of whatever conflict they were originally involved in.  Berserkers descend on towns, travelers and military units, looting and massacring as it is the only thing they know.  There’s plenty of historical antecedents for this sort of thing, Napoleon’s army in the retreat from Moscow comes to mind as do some of the Japanese atrocities (survival cannibalism especially) of WWII.
BANDITS, BRIGANDS AND BERESERKERS OF THE FALLEN EMPIRE

This guy - 16th Century Swiss Mercenary
The decline of an orderly, juridical society is worse than barbarism in its pure form.  The populace still remembers and covets the comforts and stability it has lost, and while some localities are able to hang onto the pretense of civilization and civilized ways, these ways get twisted and reinterpreted by necessity, want and isolation. Without central order, regular trade, or safe travel in the Imperial provinces (even the central demesne a few miles outside the Capital) order has devolved to local authorities, and most are venal and grasping.  Sure the bandit band that waylays the party will be mostly made up of lightly armed peasant levies, but its leaders will be whatever is left of the Imperial leadership in the area.  The aldermen, the town vigils, the local march lords, the priests and acolytes of a monastery or shrine and they will force taxation or fines upon travelers that they think they can take in a fight. This means that most bandits are operating under color of law, and given the overly complex nature of Imperial code, they are likely acting within the law and exercising proper authority. Other bandits might just lure travelers into town and murder them for their wealth, depending on just how insular they locals are, and what the dice say, but I think that the general reaction of rural Imperials is not one of violence, but one of threat and legalistic robbery.

This does a couple of things for both the setting and the bandits:  1) It suggests the importance of good language skills.  The ability to speak either Field Sign (thelanguage of the Imperial countryman) or Imperial Law will likely allow the party a good chance of talking themselves out of either being fleeced, murdered, or committing a massacre.  2) Bandits aren’t really just faceless hordes to slaughter, assuming the players have any care about the setting, killing off bandit gangs actually increases the instability of the setting.  Every local Reeve slain in the act of robbery and every thorpe of greedy bumpkins put to the torch, is another town that will soon be overrun with snuffling owlbears, infested by hive ghouls or reduced to a haunted ruin.  Bandit towns might not be friendly, but they provide supplies and relative safety from the other dangers of the road. 

Brigands though, Brigands are especially bad, representing groups that haven’t adapted well to the decline and have lost all veneer of civility. Encountered in the same numbers as bandits, and as well organized, led and equipped, Brigands represent towns that have gone over completely to aggressive, bloodthirsty self-sufficiency.  Brigands will actively hunt travelers in their region, likely to ad to their larder or use in strange rituals.  The best of them might just be slavers, taking captives and savagely abusing them to work the Brigands fields until they die of mistreatment or exhaustion.

Berserkers come in two varieties, both dangerous.  The most common are roving bands of would be conquerors from the Resurgent Kingdoms.  Hellsman Jarls, Western Cataphracts, or even Vheissuian Fire Soldiers originally marching into the Imperial provinces intent on plunder or conquest the land has worked against them.  Perhaps shattered from a single encounter with some kind of intact and well equipped Imperial force (there are few remaining, but a properly equipped squadron of Imperial cavalry on sky blooded chargers and backed by a couple of walking falconets or stone lungers can tear apart fifty times their own number in conventionally armed forces) or slowly ground down by the endless conflict with feral creatures, ineffective militia and corrupting fouled magical waste these bands have become more bestial and predatory then they ever intended.

Second and less common are bands of Imperial soldiers lost in reveries of survival or triumph, pushed into violent insanity by either the horrors of arcanized warfare or the hostile environment of the Imperial hinterlands, these men are little more than battle hungry beasts.  Some of these ‘lost legions’ hold true to long forgotten orders and have persisted for several generations as the magical compulsions implanted in reluctant soldiers are passed to their children.  Other bands are recent, formed from the scrapping of Imperial jails by ambitious prefects, designed to march once through the avenues of the city to assure its citizens of military protection and then chased into the wilderness wearing cardboard and gilt armor with their brains churning and damaged from botched magical phobias of cities and towns.

REVIEW - DCC 67 - Sailors of the Starless Sea

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CONFLICTED ABOUT ZIGGURATS

DCC has pretty sweet cover art.
I have a conflicted relationship with Dungeon Crawl Classics (DCC) ... I've never really played it, except for a couple funnel games that felt like B/X D&D, and trying to deal with its absurd magic system in a couple of Google+ games.  While DCC seems like a darling of the OSR community for good reasons, I did not have a pleasant experience with my exposure to it, at best it felt like a decent retro-clone that Morgan Ironwolf would be at home in, but at worst it seemed like it had too many finicky and overly complex magic rules and relied on some of my least favorite skill mechanics borrowed from 3e.  Now as regular readers of this blog know I myself am a purveyor of overly complex house rules, and perhaps because of that truism about always hating the things that remind one of one's worst self, I have stayed clear of DCC.  Yet I just keep hearing such good things about it, and really the art, the ideas and the feel of the products seems like it would fit with my personal ethos about table top game play.

In the likely case that I am wrong about being DCC shy I've decided to pick up one of the DCC adventures and read it.  Sailors of the Sunless Sea comes highly recommended, lets see if it makes me as cranky as taking fifteen minutes to figure out how some PC's magic missile works while they hold up the rest of the players flipping through some kind of tome of magic tables. I should mention that I've also played in a couple of games of Perils of the Purple Planet which seems fairly a straightforward Sword and Planet style romp tinged with Carcosa.  I've enjoyed these games, but they have so far been funnel games with little of DCC's complexity involved.

The adventure I purchased is a twenty page PDF that promises "100% good, solid dungeon crawl, with the monsters you know, the traps you remember, and the secret doors you know are there somewhere."  Now I both like and hate this sentiment - a lack of long winded speeches and NPCs that aren't some kind of indestructible Dragonlance Mary-Sue GM pawn sound good, but "no weird settings ... with monsters you know, traps you remember" sounds a bit pedestrian.  The question then becomes, what part of this opening rhetoric is overblown if any?  Will this be an "Orcs in a Hole" pastiche of early D&D adventures for the sack of nostalgia?  Thankfully the answer to that question is no - despite feeling like an old school style dungeon crawl (Really it's short and linear) from ruined keep to underground temple (a small one) Sailors on the Starless Sea does take some effort to distinguish itself by having unique monsters and interesting content.

THE ADVENTURE
The local village has been losing citizens to nighttime abductions and correctly blames these tragedies on a nearby ancient and abandoned keep.  The keep is home to a cult of chaos aligned beastmen and vegetable zombie horrors.  Worse, beneath the keep is an underground lake with temple of chaos at the center, where the beast cult is reviving their ancient patron.

The keep itself is only  a few areas, most of which contain a deadly puzzle.  The design here is clearly in the vein of "the only way to win is not to play" as there are no rewards for negotiating the chaos sinkhole or messing with the chaos well.  The three entrance aspect of the ruined keep is an excellent effort to provide variety and enable player agency, though given the size of the keep these entrances represent about half the content.  The major enemy within the keep are beastmen - yes these are orcs, but they are well done and a table provides a great deal of varied disturbing appearances for the small number of beastmen within the ruined keep.

After rescuing some captives and recovering a small bit of treasure the adventurers - likely fewer and wiser. Can descend into the depths of the keep and quickly find themselves on the shores of a huge underground lake.  A boat floats offshore to cross, but the lake is haunted by some kind of terrible chaos squid with lovely evocative texture.  There are several ways to get to the boat, suborn the chaos leviathan or otherwise interact with the lake, but the adventure still only goes one way - across the lake, up a beast-man invested ziggurat and to a lava pit to fight a reborn chaos champion. The fight over the party gets some chaos armor and flees the collapsing cavern.


THE GOOD

There is plenty to like in Sailors of the Starless Sea.  It's written in an amusing, but evocative style, and while the adventure is a collection of Swords and Sorcery tropes with a Warhammer Fantasy gloss, this isn't a bad thing.  The art within the module keeps within the theme and is quite nice.  I especially like the maps which have some great scenic map fill, and manage to cram an extra elevation map into a standard map page.  They are well drawn, even if the dungeon is simple.

These clue filled player handouts of mosaics are a really neat touch
The monsters are also well done, there aren't many, but for a classically plotted adventure of bearding unsophisticated bestial humanoids in a ruined fort/cave/hole the monsters themselves are well done.  While the vine zombies make little sense in context (There's nothing horticultural about the chaos god involved, and these vines sound like a naturally occurring menace) they are cool monsters, and they lead to the beastmen, who as the main foe in Sailors are also very well done.
Creating multiple skins for the same sort (mechanically) of monster is a great trick, especially for humanoids.  It allows more descriptive play (Do you go after the guy with the snake head or the one leaking pus from twelve extra mouths?) and it makes a mundane (orcs really) monster more compelling.  The chaos Leviathan is a nice monster as well, and the idea that its victims become faces pressing against the beasts elastic skin from within is (though not uncommon) a lovely visual touch. Personally I wouldn't stat the Leviathan up as something with an actual HP (and not really that many when surrounded by ten or twelve characters and peppered with arrows) total that can be driven off, rather a puzzle to be solved.

A final aspect of Sailors of the Sunless Sea that appeals to me, and one that is a sort of hallmark of its funnel adventures, is the scope: the mob of zero level wainwrights, fortunetellers, rent boys, goat herders and farmers that ventures to the Sunless Sea will be grappling with cosmic forces, overcoming a larva god of ruin and battling scabrous hordes of man-beasts.  It's pretty heroic stuff, and the way the adventure looks stuff that is likely to leave few survivors, who will have earned their first level.  Sunless Sea’s scope is a nice reminder that just because the party is low level, it doesn't mean they should fight giant rats (and really a giant rat sounds like a very scary thing if you visualize it).

THE BAD

While the scope of Sailors of the Sunless Sea is nicely grand, the size of the actual adventure is not, and unfortunately it doesn't even seem big enough to contain the ideas within.  There are sixish areas above ground, and four below.  That's it - ten locations.  Now these locations have some meat to them individually, and the three entrances of the keep are all lethal in ways that should help set a no fooling around tone and clear out the unwary from a funnel group, but really the entire adventure is very small.

Besides being small Sailors of the Sunless Sea is a linear path, very linear once the party actually enters the keep.  There's a few cool optional areas in the keep itself, but they are both well hidden and unnecessary to the adventure (not that they should be necessary, but I think the party will miss both the hidden tomb and destroyed chapel).  Also unnecessary are the read aloud box text atop many of the keyed areas.  The text is fine, occasionally evocative and doesn't do a bad job of describing the complex areas in the adventure, but it also obscures some details at a quick read, and the text below doesn't really help.  I much prefer a one sentence summary or 'stat-box' atop my room descriptions with organized sections below.

More than these stylistic gripes though, the aspect that kept me from embracing the 'awesome' of Sailor's of the Sunless Sea (and clearly it aims for a sort of cranking up Thin Lizzy's Emerald while driving an electric blue Corvette kind of Awesome) was an overall unfocused feeling.  It's as if the adventure couldn't decide if it wanted to be a heavy metal album cover sort of thing, battling the sinister goat priest atop his twisted ziggurat in the mists of a heroic age or stock fantasy Northern European medievalism. The jarring transition from the stones of ruined Blarney Castle to a magical viking ship and the cover of Powerslave is exaggerated by the short length and railroad nature of the adventure and risks pushing Sailors of the Sunless Sea into 'funhouse dungeon' territory.  I increasingly think that tone and consistency are important in adventure design, especially for designers departing from the dull standards of typical fantasy.  The less the game-world relies on received tropes and stock imagery, the more it needs to have internal coherence to give the players reference points.

HOW TO IMPROVE

If I was running Sailors of the Starless Sea I would first reskin the outdoor areas.  As of now they are sort of a generic euro-fantasy castle with a few weird fantasy by way of Warhammer Fantasy touches.  These touches are the best part, but for me the module needs to fully embrace it's pulpy potential.  Reskin the keep (really it's too small even to be a keep), as some sort of ziggurat/temple/tower. Throw out the entire European gloss and replace it with some kind of Epic of Gilgamesh feeling.  The players are villagers in a mud-brick town, there's a haunted oasis with an ancient ruined holy site to the 'old gods'.   The water is bad, no one goes there.  Perhaps this is orientalist fantasy and exotification - but heck, it feels less derivative.  The beastmen still work as aspects of these ancient beast headed old gods or simply something awful that lurks in the poisoned oasis.

The outer area can remain, turning the vine zombies into battered guardian statues of some kind of awful armored demon (looking the same and marked with signs of the larva god below).  The history of the place can be shown this way, rather than narrated earlier or lost to all but the GM.

This reskin doesn't solve the real problems however - the problems that Sailors is a linear march from a three entrance keep to a straight puzzle and combat path culminating in a decisive battle below.  Below ground I would add areas - obvious, but optional areas.  A warren to serve as home for the beastmen, likely near the 'beach'. Most of the beastmen would be at the temple, leaving only a few cripples to cower in their shacks along with whatever horrors they keep as pets (giant rats, or table generated giant rat stated things).  I would also expand the temple areas to make for an empty, though possibly trapped, sort of antechamber for the Starless Sea, it's vastness visible, illuminated by the glowing underground life within, through windows cut to look out from the cliff side halls that formerly housed chaos acolytes.

CONCLUSION

Just as DCC seems to be a system with a quirky old-school aesthetic and evocative craftsmanship that is encumbered and lessened by various later edition rules (All those perception checks...) and somewhat vainglorious idiosyncrasies (funny dice, excessive magic system) Sailors of the Sunless Sea is a likable starting adventure that asks players to start their adventuring careers in a big dramatic way with some really solid ideas and imagery, but is hampered and held back by problems I associate with later edition (or late TSR) adventure design - fun-house excess, linear design and adventures focused on creating a narrative flow towards a climactic battle. Yet, the core of the adventure is almost big and expansive enough for me to forgive these problems and recommend it less guardedly - almost.

I haven't given up on DCC or embraced it yet, I'm exactly where I started before reading Sailors of the Sunless Sea - wanting to like DCC and it's aesthetic but confused and a bit wary of its mechanics and structure.  There’s also a good possibility that Sailor’s of the Sunless Sea is a DCC module written before the setting really found it’s style and flair – it clearly takes steps in the right direction, just without the confidence needed to make them look good.

Thoughts on Fantasy Africa

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SOUL & SORCERY - CHARLES R. SAUNDERS "IMARO"

A Current Cover of Saunders' Imaro - Pretty Swords & Sorcery
I recently had a chance to discuss 'bad fantasy novels' with a friend and he mentioned that he was interested in the Soul & Sorcery genre of fantasy, something I had no idea even existed.  Soul & Sorcery is a genre of Sword & Sorcery pulp fiction written by black authors starting in the late 1970's as an alternative to "Western" Fantasy with it's use of Celtic, Norse and Authurian mythology as world-building tools, and also as a way to counter some of the retrograde racial attitudes and depictions found in Sword's & Sorcery - like those in Conan (which was written mostly in the eugenics obsessed 1930's).  Soul & Sorcery, or at least the Imaro stories I read, doesn't really feel, or perhaps it shouldn't really feel like a genre of it's own, it's simply Sword & Sorcery tales set in a mythical Africa, rather then a mythical Europe. 

Soul & Sorcery is an interesting sub-genre of fantasy in that it is both very different from standard Sword & Sorcery and very much the same.  I picked up "Imaro" by Charles R. Saunders a collection of the first Imaro stories is available for kindle and fairly cheap, which seems to have been the birth of the genre, with the first Imaro story published in 1975.  Imaro the character and the stories involving him are very much a homage, reworking or retelling of Conan stories.  The title hero, Imaro, is in the Conan mold - "massively thewed" and a dangerous fighter with a somewhat gloomy outlook and tendency towards anger. Imaro battles sorcerers, their necromantic creations and dangerous animals, but the savannahs and jungles he wanders are very different then Conan's forests and icy plains.  Saunders has taken effort to make Imaro's world distinctly African, and this provides the interest in what would otherwise be fairly formulaic (though quite readable) Swords & Sorcery stories.  Imaro represents a "reskinning" (perhaps that's not the best term here) of Howard and his imitators that is pretty charming because it is different.  I also suspect Imaro is as light on historical/mythological fidelity to it's East African source material is as Conan is to it's Northern European, but that's likely for the best given that Imaro is a straightforward set of stories about triumphing over evil wizards.

Imaro is set entirely in a fictitious fantasy Africa, about as closely linked to the real world as Howard's fictionalized Fantasy Europe/Hyboria where the hero begins in a fictional Southern or Eastern African (seemingly a fictionalized fantasy Masai/Bantu/Zulu) and moves Northward though various African biomes and broadly sketched fantasy version of historical African cultures.  It is interesting to compare Saunders fantasy Africa to Burrough's fantasy Africa, and note how much more alive Saunders' feels.  Burroughs' Africa is a set-piece jungle and occasional set-piece savannah inhabited by cookie cutter 'savages' of the noble and good or cannibal and evil variety.  Ignoring how these stereotypical depictions are a mark of the era of Burroughs writing and how this aspect of the Tarzan stories might be off-putting to modern readers I think there's a useful lesson about world building here.  Saunders clearly had more knowledge about Africa the place, and historical African peoples then Burroughs did, and it shows to his advantage in depicting a fantastic version of the place (or part of it - part of Burroughs problem is imagining an 'Africa' that is a single jungle filled expanse rather then a huge continent).  Now I'm not suggesting that Imaro can be looked at for any historical facts, any more then Conan will tell you about the Celts, but having taken the time to look at the technology and culture of the ancient peoples he is modelling his fantasy on, Saunders can add context and details that makes sense - the savannah folks are nomadic hunters and herders who live in easy to transport hide domes and value cattle greatly while the jungle people live mostly by fishing and gardening along the riverbanks while residing in conical houses of clay and thatch.  These details, seemingly pulled from historical sources, make sense and so can be readily understood without having to remember a great deal of fantastic vocabulary or world specific oddness. They are also details, and so give the reader a better understanding of Saunders' world building then Burroughs endless villages of huts built around a giant cooking pot.

IMARO AND ESCAPING FROM VANILLA FANTASY IN TABLETOP GAMES

An Older DAW edition of Imaro - Still Swords & Sorcery
What's interesting to me is that Imaro manages to tell the story of a mighty outcast warrior traveling from adventure to adventure, without becoming too trite. Imaro is a light African veneer over a very Hyboria fantasy world, but because it has different, readily comprehensible details it's very readable and feels fresh despite the cliched story.  A fantasy game can do this as well, and I think avoid being 'cultural appropriation' or at least avoid 'bad cultural appropriation' if it takes some other ques from Saunders.  This isn't a huge concern of mine, but I think there is some and it's worthwhile.

The Africa of Imaro is simply it's character's world, and while it contains many elements pulled from historical sources these don't ever create the impression that Imaro is trying to make a historical comment or explain anything about Africans or Africa's past. That is to say that the historical elements in Imaro (what few there are) aren't presented as something strange and exotic for the reader and main character to see as a stand in for strange or alien and unfathomable when compared to the reader and viewpoint character's basically modern worldview and values.  The quasi-historical elements in Imaru (and in a good reskinning I think) are used to explain the fantasy cultures that have them and build up a comprehensible and consistent fantasy world rather then as a shorthand for some quality of strangeness or stereotypical values that the author is too lazy to explain.  Unlike Dragonlance's blonde pseudo-Sioux Que Shu, Imaro's pseudo-Africans don't simply have the outward appearance of a real culture as a stand in for "barbarian", which is the real issue about cultural appropriation and setting design. I say real issue not out a strong political stance (though that as well) for non-racist game settings (really why bring the ugly of the real world into a space where you can have the ugly of invading demon armies?) but because it's lazy.  Even if a creator happens to have different politics then mine (and there are plenty who do) using the outward trappings of real world cultures as a stand in for 'strangeness','barbarism' or somesuch in one's game is lazy and will result in a more boring game world then actually looking at the historical culture one is modelling one's fantasy people after. 

The point I want to make here is that the world of Imaro works and feels different from standard fantasy because it starts at a different source, even if the story the book tells is completely standard. Saunders seems to have realized that by using Africa as a basis for his work he had a great deal of little touched potential fantasy material - a wondrous geography, an ecosystem of animals that are practically already fantasy monsters and a wealth of history, folklore, myth and culture to plunder for interesting stories, situations and fantasy elements.  I think this can be easily done for a tabletop game as well, and reading Imaro made me resolve  to grab a copy of Spears of the Dawn which seems to follow the lead of Imaro and other Soul & Sorcery stories in its world-building.
through mythic landscapes and overcoming strange men, beasts and sorcery that is the basis of the Conan stories and of most Swords & Sorcery.  The hyper competent man alone against a strange world is a great storyline, but it's also become pretty cliched, especially in the fantasy context.  What keeps Imaro interesting is the different gloss on the fantasy world.  It's still as approachable as Tolkien or Howard's fantasy world, but the differences are in the tone and adjectives.  I think there is a lesson in Imaro on how a tabletop creator can avoid simple retread of D&D Fantasy, itself an attempt to rationalize the worlds of Tolkien, Howard, Vance and Burroughs, by simply looking into historical sources that aren't the sources of standard European fantasy stories and finding inspiration.

Making a Beast - Making Large Monsters More Effective

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MAKING A BEAST
One of the things I’ve noticed in running and playing classic tabletop games for some time is how ineffective large dangerous ‘monsters’ are.  Fantastical beasts such as Owlbears and even Dragons are often less dangerous to adventurers under the older dungeons and Dragons rules then a pack of humanoids or bandits. 

HMS Apollyon Diabolic Abomination - A "Starfish" - Beast Candidate
I remember worrying one time about a ‘brown bear’ encounter being the first encounter by a new party in ASE.  There were four adventurers against a bear with 4 HD or so and a couple of dangerous attacks.  I figured it’d be a fairly tough fight.  It took two rounds before 20 odd HP of bear was being skinned and the choice cuts buried to take back to town. The party was smart, they peppered the innocent beast with arrows and bolts while it was standing near its lair and growling – displaying deadly claws (just as the ‘mildly hostile’ roll on the reaction die suggested it might), and then the adventurers charged in to surround the poor injured thing and cut it down before it could attack.  This sort of tactics and results might make sense for big mundane animals like a bear, it’s pretty much how are ancestors hunted the things after all (also with dogs, but that’s a murder hobo staple as well), but it seems awfully anti-climactic for mythical beasts of legend to go down in a couple of rounds, mobbed under by a pack of bec de corbin wielding hoodlums.

HOW SHOULD FIGHTING A BEAST FEEL?
The ravening power of an enraged mythological beast should be a near unstoppable torrent of violence and ferocity, and even with group tactics the creature should be dangerous, faster, stronger and more tenacious then any normal creature and especially the sentients that have invaded its territory.  It don’t want the giant dangerous creatures my players face to feel like stacks of HP to be whittled down, I want them to be frightening and worthy of respect, requiring cunning to overcome commensurate with the wealth in magical hides, teeth bones and meat that they provide.

Since a beast is something that is not especially intelligent, I would like to make out thinking these monsters the real trick.  Luring them into enclosed spaces and traps for example rather than simply slugging it out with them.  Slugging it out should be very dangerous.

PROBLEMS
Solitary mythical beasts don’t feel especially dangerous, at best they represent a danger to one or two characters, but even then they aren’t likely to last more than a couple of rounds. I believe the following factors are the major reasons for this weakness.

      1) Monsters that are a single large target can be easily surrounded and hacked to pieces in melee.  With a shield and plate armored front line of fighters in direct melee and several other characters with spears or polearms behind it rarely takes long to bring down even dangerous lone monsters.

2) Beast type monsters generally have no way of defending themselves at range. This means that a party of 4-10 members will likely get at least one round of missile attacks, and likely remove a fair chunk of the creature’s HP before it can even attack.  This doesn’t even account for spells – though since spell resources are limited I am less concerned if the party wants to burn their scrolls and memorize attack spells when faced with such a creature.

3) Large Monsters frequently lack a significant number of attacks, and while there attacks are more likely to hit, even a creature like the B/X Saber Toothed Tiger, which has a decent chance of killing a white dragon in combat, has only three attacks per round and only one attack that is significantly damaging for an eight hit dice monster (1-8/1-8/2-16).

4) Beast type monsters (bears, big cats, giant animals and the beloved owlbear) are rarely heavily armored.  In a game where a well-equipped first level fighter has an Armor class as low/high as 2/18 the mighty owlbear has armor equivalent to chain mail (AC 5/15).  Only giant lizards (lets admit these are basically smaller dinosaurs) have Armor only a little better, except for the chameleon.  Clearly bestial monsters are meant to soak up injury rather than avoid it.

All this leads to scenarios like the one above where a lone monster can be surrounded and dispatched by cautious or well-equipped adventurers with relative ease, and again I think this is a bit of a shame. I is perhaps sensible for mundane creatures (which people have hunted forever), but for mythical and magical beasts, several hunters with spears and crossbows just shouldn’t have an easy time.

SOLUTIONS
One common solution to this feeling, and one that is neither novel nor interesting, is to add increased HP or special abilities to monsters.  Generally in early D&D special abilities were almost synonymous with special attacks, though some creatures like the displacer beast had primarily defensive abilities.   Offensive abilities don’t help much when the creature will be dead in one or two rounds, and while defensive abilities may prolong the creature’s survival or eliminate a particular tactic, the existing ones I can find aren’t especially good at doing much more than prolonging the combat.

The other classic solution is to simply increase the number of creatures encountered, but this feels somewhat lame, I want there to be huge hulking monsters in my game that individually provide a serious threat to the party, not because they might use one devastating attack, but because they are hard to kill, persistent and when engaged in melee can more than hold their own.

SIMPLE SPECIAL ABILITES
1) Damage Reduction– It’s not possible to kill several tons of magically enhanced muscle, feather, fur and teeth with dagger cuts and the odd arrow.  A giant beast should not only have a fair number of HP (Though with damage reduction fewer are needed), but also the ability to shrug off minor would in the form of a flat reduction to damage it receives.  In an OD&D game with flat 1D6 damage this is an incredibly powerful ability, and three points of damage reduction will render the majority of attacks harmless.  In B/X or other systems (as with everything related to damage) it becomes harder to determine what damage reduction is reasonable – but most earlier iterations of the game use a D8 as a HD, making damage both higher and ‘swingier’.  For B/X I would give the same creature with its -3 a -5 damage reduction.

Rule Purpose: The purpose of this damage reduction is to make using standard attacks against the creature, especially missile attacks (and on some creatures perhaps simple missile immunity or missile only damage reduction might be more appropriate), less effective.  While this is somewhat akin to increasing a creature’s hit point totals it has the slight advantage of making ‘bigger’ attacks more effective.  In a variable damage system where there are plenty of damage bonuses and such it is really a way of degrading the effectiveness of ‘non-heroic’ attacks – that is henchmen without damage bonuses and missile weapons.  Spells, two-handed weapons, and attacks by those with damage bonuses will do more damage to the creature while it shrugs off the poking spears of a hundred churls.  In flatter damage systems, like the modified OD&D I prefer flat damage reduction is very powerful as few attacks do more than 1D6 damage.  In this case I would be more likely to use the Staged Damage Reduction described below.

2) Flurry Attacks – Rather than a specific number of attacks allow the creature an attack at each enemy that comes into melee with it, the terrifying ferocity of the beast making it capable at lashing out at anyone nearby.  This can work in two ways, first simply give the creature an attack for each attacker it faces in melee.  This is simple but might get in the way of special attacks such as the Owlbear’s deadly hug, but this isn’t so much of an issue, in that we simply give the owl bear a base of claw/claw/bite with the hug attack remaining.  Any additional attackers beyond a certain number – let’s say two for the owlbear receive flurry attacks – that is the owlbear gets to make an additional attack against them representing it’s sweeping claw slashes and dangerous shifting of muscled bulk.

The damage for a flurry attack need not be as dangerous as the creatures main attacks, they exist to make it less safe for low HP characters and henchmen to surround and prick the creature to death.  I think for the Owlbear in B/X we would note Flurry as follows:

Attacks: 3+Flurry(2) Claw*/Claw*/Bite + Flurry(2) Damage: 1D8/1D8/1D8 Flurry 1D6
*If both claw attacks hit the same human-sized target in one round the owlbear will hug for and additional 2D4 damage that round.  Flurry cannot be used on the same round as a successful hug attack.

Here we’ve made tactics of surrounding an owlbear and attacking from multiple angles far more dangerous without removing the iconic attacks of the creature.  Another way of dealing with flurry attacks would be to make them less damaging, but include other effects, most typically this would be a “buffet” attack that causes low damage (say 1D6/3 in ODD&D and 1D4 in B/X), but requires a Save vs. Paralysis or Dex check to avoid being knocked down and unable to attack the next round. This sort of attack mimics the ability of huge creatures to overbear and knock about smaller foes.
Rule Purpose: This rule is designed to emphasize the danger of melee combat with a giant beast, and to do so in a way that makes swarm tactics less effective. 

COMPLEX SOLUTIONS
1) Staged Damage Reduction– Rather than a simple damage reduction against every attack which generally discourages combat with normal attacks that don’t have additional damage components, staging damage reduction based on the number of attackers encourages a different set of tactics. The idea is that the beast can shrug off one or two attacks per round far easier than a whole bunch, and for each attacker distracting it other attackers will be able to hit the beast somewhere vital. 
Like standard damage reduction pooled damage reduction is a means of encouraging certain tactics and discouraging others, Staged damage reduction encourages multiple melee attackers, and allows damage in flat damage systems. It would be my preferred way of dealing with beast in an OD&D system, but it also would work well in a game (like AD&D) where fighters rapidly develop near impossible to hit armor classes, and limits these type from “tanking” monsters while the rest of the party attacks from afar. 

2) Damage Pool– Similar to damage reduction, perhaps a slightly simpler mechanic then staged damage reduction with a similar intent.  Each round an amount of damage (10 HP perhaps) is simply absorbed without effect on the creature.  This mechanic protects the creature from some damage, but in general doesn’t have a great mechanical effect, and doesn’t discourage mob tactics or solve any of the problems that face individual monstrous opponents.

3) Damage Cap– A mechanic with the opposite intent of damage reduction, the idea is to limit the damage taken by the creature from each attack to some number (10 HP for example) that prevents large attacks from killing the creature quickly meaning that it must be whittled down by numerous injuries as opposed to catastrophic damage.  This mechanic doesn’t seem like it would be appropriate for many creatures, perhaps only the truly enormous or some kind of swarm like entity like a rat king made of endless swarming vermin.

4) Damage Threshold – Much like a damage pool, and a common mechanic in games with multiple combat scales, such as ones involving giant robots.  The idea is that damage is granular and comes in two or more scales.  Any attack doing less than ten points of damage is harmless to creatures that operate on the larger scale, and whose attacks are generally in this same greater scale (called ‘mega damage’ or ‘structural damage’ games like Palladium’s RIFTS or the anime robot brawler Mekton).  The problem with this system for beasts is that it mechanically complex, and tends to be somewhat silly unless regular attacks only rarely reach the damage threshold (for example in B/X an 18 STR fighter with a two-handed sword can easily do over ten points of damage, especially with a magic weapon, making a 10 point threshold somewhat ridiculous).   Mechanically the damage threshold system is complex, and seems excessive (as well as somewhat unsuited) for mere monstrous creatures.  

5) Attack Pool– instead of simply giving a creature more attacks the more enemies it faces one could model a truly devastating monster by giving it an attack pool.  That is the mighty kraken would attack with 12D6 per round.  This could be concentrated into a single attack against one foe or split as the GM sees fit amongst multiple attacks.  Likely the Kraken, being a dumb beast, would divide its attacks equally among enemies in range until it was making up to 12 1D6 attacks.  This has a couple advantages over simply giving the Kraken twelve attacks, but is similar.  It certainly can save time though, and it provides a greater risk and reward for a heroic individual engaging the Kraken alone – in that if the monster misses it completely fails to harm the hero and if it hits the damage is catastrophic.

6) Berserking– Creatures that simply refuse to die.  Also a good aspect of any berserker subclass or NPC, something that allows several rounds of action after the creature reaches zero HP (likely 1D6 rounds) where additional damage does nothing to stop the bloody ravening and technically dead creature from continuing to attack.  This is more of a standard trick monster ability and not something that should be limited to large “beasts”.  The dangerous nature of this ability (especially on a large creature with multiple high damage attacks) is lessened by the fact that it’s a clear intuitive mechanic and easy to counter simply by running away until the creature finally collapses.

Monster Archaeology II - Nomads, Pirates, Cavemen & Mermen

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MONSTERS & TREASURE
BEASTIARY AS SETTING “MEN” PArt II


In an earlier post I considered some the first half of the 1st and longest entry in the 1970’s Whitebox edition of Dungeons & Dragons from the perspective of bestiary as implied setting and with an emphasis on how I would model these foes in my own Fallen Empire setting.  Monsters & Treasure contains several other types of “Men” as adversaries, all in large numbers and all more or less fitting into two mechanical categories the “Bandit” model for an average combatant and the “Berserker” category for exceptionally dangerous types.  It’s noteworthy that the real deadliness of these “Berserkers” is far greater under the original Chainmail rules in that they receive a huge bonus (or extra dice – it’s unclear to me) when fighting normal soldiers.  A band of berserkers can tear through a normal Chainmail unit. This ability is less when facing adventurers, but the danger of a +2 bonus in Original Dungeons and Dragons is not to be underestimated.  There are also cavemen, but cavemen are strange, something distinctly outside the rest of the "men" entries.  Reading this list of human foes I also suspect that the miniatures available to Gygax were a major influence.


MEN (DERVISHES, NOMADS and the Rest)
Maybe this guy can lead those nomad raiders?

Nomads are an uninteresting addition to the list of monsters in Monsters & Treasure, and like Buccaneers and Pirates seem to be a way of placing bandits on different terrain encounter tables.  Nomads of course are horse focused bandits riding out of the desert or plains. Nothing especially interesting, just another element of Gygax’s “Celestial Emporium of Benevolent Knowledge” (look it up) approach to monster taxonomy that focus on the weapon mixes of identical enemy units with a wargammer’s specificity. 

Though when thinking about the earliest editions of Dungeons and Dragons and their monster lists it’s worthwhile to remember that the game was envisioned as a variety of fantastical miniature battle and at the time of the White Box fantasy miniatures were hard to come by. Miniatures for Arabian riders, Mongols and bandit types were likely far easier to find, or already at hand.  This lack of fantasy miniatures is taken to its amusing peak in the December 1975 Strategic Review (issue 5) article “Sturmgeschutz and Sorcery” where Gygax provides a plan report and conversion rules for a game involving a WWII German patrol encountering the monstrous retinue of an evil wizard.  Nomads and the general focus on ‘men’ and humanoid monsters as enemies in the White Box are likely the result of this lack of monster models.


However, this isn’t to say that humans shouldn’t be a common enemy in contemporary games.  Most fantasy table top game settings present humanity as very common in the game world, with cities, empires and villages, while monsters skulk in ruins or crouch in the hinterlands.  With the number of humans in game worlds, and their evident power to keep their lands mostly free of monsters it makes sense that a large number of encounters in the wilderness will be with bands of armed men. I personally don’t find that making these encounters fit with stereotyped historical models is especially useful.  Just as not every mob of Berserkers needs to be Norse raider rip offs, not every Nomad has to mesh with Arab or Turkic/Mongol models.

NOMADS: These raiders of the deserts or steppes are similar to Bandits as far as super-normal types and most other characteristics go:

Composition of Forces:
Nomads of the Desert*                     Nomads of the Steppes
Light Horse Lancers           50%  Light Horse Lancers           20%
Light Horse Bowmen          20%  Light Horse Bowmen          50%

Medium Horse Lancers      30%  Medium Horse Lancers      10%

                                                     Medium Horse Bowmen     20%

* Encampments will be guarded by an additional20-40 medium foot with composite bows

Clearly Nomads are better equipped than bandits, with horses if nothing else, and both their name and order of battle suggests that they are far more mobile as well.  Nomads then don’t really need to stand in for a particular culture or historical model, but rather they can represent any mobile, mounted force: the scouting wing of an army, merchants and guards, pilgrims (though this is perhaps more appropriate for Dervishes), well-equipped refugees, or even nomadic tribal peoples. 

The Nomad entry has an element of historical determinism or even racialism (not racism here, not exactly, but definitely the categorization of humanity into ‘types’) that one finds in early Dungeons & Dragons.  I don’t know if it’s a product of the Wargamming mind, always breaking historical conflicts into troop types, and rarely thinking about the historical context - running WWII conflicts where perfectly affable folks have SS officer avatars (which is fine, I enjoyed Panzer General II in the 90’s without ever feeling sympathy for the depravity of National Socialism, but perhaps there is something “unhemlich” about it) or where the battle of Rorke’s Drift is simply an interesting conflict (really one could replace the Impi with a Roman Legion I think) without the baggage of colonialism.  That is to say there’s an element of using historical peoples without context or consideration and this is why one’s fantasy campaign is stocked with 1960’s central casting sheikhs and Bedouins.  It is something I find irksome.

It’s not irksome because of race, or at least not irksome solely because of the considerations around race, it’s irksome because it’s lazy.  Sticking stereotypical Mongols into one’s campaign – the old (but not entirely incorrect) bloodthirsty scourge of god, steppe raider types, is lazy and boring.  Using Norse berserks in furs that plunder the coasts of your fantasy England (unless it’s perhaps actually a fantasy England) intent on dying in battle to enter Valhalla, when they aren’t carrying off gold altar sets and  winsome nuns,  is lazy and boring.  It is lazy and boring because with about ten minutes of research on Viking or Mongol history and culture on the internet one could find out way to make these clichés far more fascinating and multi-dimensional. Entirely absent from any consideration of why it’s not cool or mentally healthy (for the person doing it I mean) to casually steep themselves in 19th and early 20th century stereotypes while living in a 21st century world, your game will be better if you consider the cultural underpinnings of your subarctic sea-raiders and their goals. It’s even better if you start mixing and matching historical factors…

What if your Berserkers are both a bit Norse and a bit like the Minoan Sea-People that went after Egypt in Biblical times.  They are there because of a volcanic disaster that they ascribe to the wrath of a sea-god whose bovine son they imprisoned in a giant crumbled palace.  They have bronze and use galleys (with mystical beast head prows perhaps). These Berserkers then are channeling the sea-god’s wrath, and use a bull theme.  Heck a few are were-bulls. 

Likewise, what happens when you add a Wild West gloss to one’s nomads - no not the Plain’s Tribes - they become settlers in wagon trains from a distant land, rapacious, but with some new crops and earnest in their desire to peacefully settle and thrive.  They set up towns, but their own arcane laws are badly enforced and they don’t respect the local customs, god or laws.  They have some kind of religious mission to create a string of strange towers or something (let’s not say iron towers or make it a clear railroad reference). If the party or local powers wipes them out or destroys the towers then magically forces of advanced blue turbaned nomad raiders appear intent on waging merciless genocidal war against the locals.  We needn’t make this a heavy handed Cowboys and Indians style thing though, that’s just one idea, but I think the central idea is clear – by stepping past the Nomad or Berserker stereotype one can get back to remembering that one is creating a fantasy world.  By mixing up one’s historical references and combining multiple ones together to create fantastic peoples one can get unique or at least not entirely clichéd ideas.  By actually looking into the real peoples who one is borrowing historical customs and ideas from one can add depth and often unexpected elements that are both strange and fascinating.  Likewise when the GM isn’t thinking of fantasy peoples as stand in for historical ones it tends to allow the fantastic to creep in a bit more and these efforts also seem less likely to leave a bad feeling of stereotyping or  “cultural appropriation”. 

Back to ‘Monsters and Treasure’, where the lack of detail implies that the reader needs to define its monsters appearances, goals and place in the game world. Dervishes are more interesting than Nomads, being both lawful and religious fanatics.  Presumably these guys are somehow a pastiche of cheesy Islamic stereotypes from Lawrence of Arabia.  They don’t need to be! Perhaps they’re the blue clad (the lower halves of their faces dyed by the indigo dye of their turbans - assuming they wear turbans?) killers that come when one disrupts the nomad settler trains or teleportation towers?

DERVISHES: Dervishes are fanatically religious nomads who fight as Berserkers, never checking morale, with +1 on hit dice, and otherwise as Nomads, except they will always be led by an 8th– 10thlevel Cleric and are Lawful in alignment.

Skeletal Africa Corps?
Really there is little constraint on what exactly your Dervishes are
That’s it, nothing about white burnouses, wild eyed stallions and ivory handled scimitars – just very strong religious types, led by a powerful cleric.  To me they sound less like a group of nomadic fanatics and more like am armed monastic order.

As a random encounter, Nomads are pretty much like bandits, except wandering and not explicitly devoted to robbery, Dervishes are scary.  Sure they’re lawful, but fanatically so, making them a danger to most adventuring parties and their poor moral compass.  What’s interesting about Dervishes as well is that they (with Treants, Golden Dragons, Werebears and possibly griffons and rocs) are the only lawful monsters in “Monsters & Treasure”. This is a great place to ask yourself what ‘Lawful’ means in one’s campaign.
PIRATES AND BUCCANEERS

Pirates are inexplicably popular, and this is true in Monsters & Treasure as well. Buccaneers and Pirates are both listed, but they aren’t very interesting.  They are bandits of the seas, and in “Underworld & Wilderness Adventures (Booklet Volume 3) the only ‘Men’ one can encounter on rivers or presumably at sea.   Otherwise Buccaneers and Pirates are bandits, and should have the same sort of leaders.

BUCCANEERS: Buccaneers are water-going Banditsin all respects except composition of their force.
Composition of Force: Light Foot = 60%; Light Crossbow = 30%, and Heavy Crossbow (Chain Mail) 10%, crossbows are heavy.”

PIRATES: Pirates are the same as Buccaneers except they are aligned with Chaos.”

It appears that these two groups are separately listed from Bandits only to describe their equipment, which makes some sense, (they have only a 20% chance of drowning in leather armor) but is really intuitive, and unnecessary. 

Now ships aren’t mentioned for Buccaneers or Pirates, but in Volume 3 of the box set, “The Underground & Wilderness Adventures” there’s some indication of how big a crew various types of ship have in D&D.  The smallest sailed ship has 20, and military style ships 75 (for a longship) to 170 (for a large galley.  Obviously Pirates and Buccaneers can easily have a fleet of several ships, but in all likelihood they will be on a single galley or sailed warship.  Again there’s the distinction between ‘normal’ men (Buccaneers) and men devoted to chaos (Pirates).  The term Buccaneer is used here perhaps because the historical Buccaneers were less sea-borne robbers and more Anti-Spanish auxiliaries operating under dubious letters of marque from England or France in the early-modern Americas.  Now this distinction is mostly pointless, except that the Buccaneers have often been made out to be heroic sorts, rather than evil and bloodthirsty types.

I don’t object to using sea-raiders, but I’m not sure that they are really anything other than bandits.

THE WEIRD ONES …

After the shipless seaborne bandits things get weirder in the list of Men.  Cavemen and Mermen are both listed as types of men , and thus provide the first fantastical monsters in ‘Monsters and Treasure’.

CAVEMEN:Cavemen fight as 2nd level Fighting-Men, armed with weapons equal to Morning Stars. They have no armor but get 2 Hit Dice.  They have-1 morale. Alignment is always Neutrality.

Cavemen are much tougher and stronger than normal men, though they lack class leveled leadership and decent equipment and have a tendency to run away if things get tough.  These cavemen fit the classic stereotype of brutes in spotted hides armed with tree branch clubs, and that’s fine, but they’re so far from the human enemy baseline that they resemble humanoid monsters rather than bandits or other human foes.  Their neutrality is also an interesting inclusion, and many modules have used Cavemen (TSR changed their alignment to Lawful at some point) as potential allies or captives to rescue.  I don’t know that this new stat-line is especially useful for modeling primitive humans, or even Neanderthals as it’s so far removed from normal.  My own inclinations would be to treat bands of Neolithic hunter gatherers as normal humans with a few leveled hunters, leaders and shaman and very poor equipment.  There are reasons that less technologically advanced peoples have been conquered or annihilated by those with better technology (principally numbers), and the Cavemen don’t really make sense in this context.  These creatures are something not entirely human.

MERMEN:Mermen are similar to Berserkers in most respects, but they fight at -1 on land.  They are armed with tridents and darts (50/50).  Armor class is equal to leather armor.

What’s Interesting to me about the Mermen entry is that it suggests that they are both the more dangerous type of ‘Men’ encountered, the ‘Berserker’ who gets some hefty bonuses, and that they are only mildly discomforted by fighting on land.  Clearly these ‘Mermen’ aren’t fish tailed sorts in the service of Neptune.  


Both Cavemen and Mermen present slightly different interesting clues about the White Box implied world.  First the seas are swarming with pirates, entire nations adrift at sea, but below there are Mermen who occasionally stride to the surface for their own unfathomable purposes.  Second there are Cave Men, primate bestial humans in the wilds - stronger, tougher and yet simpler and more easily frightened by adversity.  When combined with the number of dinosaurs that show up in early Dungeons & Dragons there’s also a sort of Burroughs’ Lost World feel.  The world of the White Box has dinosaurs and they are common in swamps, while cavemen appear only rarely in mountains (along with some prehistoric giant mammals.  This brings to mind Howard’s Conan stories where a dinosaur takes the place of a dragon at least once (Red Nails) and which are set “between the years when the oceans drank Atlantis and the gleaming cities, and the years of the rise of the Sons of Aryas, there was an Age undreamed of, when shining kingdoms lay spread across the world like blue mantles beneath the stars”.

PIRATES, BUCCANERS AND MERMEN In FALLEN EMPIRE


Fan art by Nick Kole for China Mieville's Bas-Lag
'The Scar' is basically the source of this section.
The Ancient Empire had navies as well as its legions - flotillas of stone ships, raised by magic and armed with the flame casters and lightning eruptors as well as the now nearly mythical sakers and falconets.  While the Successor Empire preserved as much of Imperial Navy as it could “the Great White Fleet” was seized and ultimately scuttled at Green Flow Morass off the Eastern coast of the continent among pestilent mangroves claimed by the Resurgent Kingdoms.  The Successor Empire has not been a true naval power since the destruction of their inherited fleet, but this is not simply a result of the loss of naval dominance and the Empire’s profound myopia - the seas are a place of chaos and horror.  Magical sinks of incredible size remain where the sea and island battles that characterized the last stages of the Sundering War were fought.  Maelstroms and whirlpools persist where flocks of Demons and squadrons of Seraphim struggled and died, their arcane infused corpses crashing incorruptible into the waves to sink and forever leach sorcerous radiations.  Worse is the constant run off from the blasted lands, estuaries and currents running dolm, ulfire and necromantic purple with sour sorcery as they twine in the ocean seas.  The taint may be lessening in the molten cities and fecund sorcerous overgrowths that spread across the Old Empire’s heartland, but that is only because every stream eventually runs to the sea, carrying with it the uncanny, malignant pollution of rotten magic on world destroying scale. The sea is now laid bare, open territory for the Resurgent Kingdoms merchant navies of privateers, cunning Imperial merchant captains and even the few ancient warship still afloat and in the Imperial Service or as independent powers.  Sea stories and sorrowful shanties hint at greater forces on the open ocean, refugee flotillas of ancient, slat and kelp encrusted Imperial ships, lost or deserted in the Sundering War, fled from the Empire’s dying cities and laying derelict far South and West of the Successor Empire - brooding, nations afloat, beyond the horizon.  

Of the men found on the seas of the Fallen Empire, a traveler’s best hope is to encounter a naval patrol or a merchant vessel.  The only true naval ships are the few coastal monitors still in service of the Empire and those ships, both the ancient stone ancient and modern wooden hulled imitations of the Maritime Province, a Resurgent despotism founded by the Eastern Squadron of the Imperial Navy and the local reaver princes who suborned them to their causes.  The Maritimes of course claim to be the true Empire and operate a larger navy of ancient stone ships than any other nation in the world from their island kingdom; though the Successor Empire still claims its navy larger, counting in its line of battle those vessels that lie rotten and half sunk in ordinary at its harbors and abandoned bases. The Maritime function on something akin to ancient Imperial naval discipline, and will not kill those these encounter, only ransom them and their vessels under the ready falsehood of tariff.

The distinction between privateers and merchants in the Resurgent Kingdoms is non-existent and while privateers are unlikely to sink those they encounter outright, they are fond of seizing any vessel that they can take by force or threat.  The cargo will be plundered, the ship impressed into the merchant fleet of whatever kingdom or concern captured it and the crew impressed, enslaved or ransomed.  Entire wars, with hundreds of ships on a side have been fought by these privateer flotillas, mostly over the trade rights to the few Imperial ports remaining.

Legends of ghost fleets beyond the horizon are not entirely myths, as in the heart of the corrupted seas dwell nations of fishers and pirates in ships of whale bone, driftwood and magic.  Their capitals are the weed decked halls of ancient stone dreadnaughts, monumental flotsam adrift at the center of Sargasso islands. These pirates are increasingly common and have proven almost universally to be savage half-mad cannibals, still loyal to the Demon Emperors of the fall.    

Worse still then the pirates and detritus of the Sundering War that hunt above the waves, are the remnants below.  Both sides of the war modified men or created man-like things to fight underwater, twisting them with magic: using crude mass vivamancy to add sponge and coral in place of organs, or alchemy to change and transform vat grown thralls into submarine soldiers for the island to island conflict that the war became in its final years.  When the war ended, or at least trailed off into a conflict between the exhausted Successor Empire, the feuding demonic warlords that remained after old Emperor’s death, and Resurgent scavengers come to pick the Empire’s bones, these undersea fighters remained.  Adapted to life in the depths, they simply wandered away from their units, or deserted in mass, finding a paradise only they could inhabit among the reed beds and coral mazes of the blue atoll waters they once fought for, and knowing that their commanders or masters could never really follow them.

Few of these “Mermen” bred true, but some did, forming tribes and villages in concealed inlets of coral islands where the warm shallow waters and plentiful fish provide them a life of ease.  These undersea peoples are of varied form, from crayfish bodied centaurs to men encrusted with poison dart firing corals, but none are truly sea creatures, all have the bodies of men, modified but still fundamentally unsuited to aquatic living.  Mermen often raid and occasionally trade with surface dwellers, offering pearls, coral and relics form shipwrecks in exchange for bronze ingots and ceramics.    



NOMADS & DERVISHES In FALLEN EMPIRE


Like Bandits, Nomads and Dervishes in Fallen Empire are simply somewhat mercenary forces of order.  Unlike Bandits, these mobile groups are not usually dependent on a town or localized in any way, the least dangerous represent merchant caravans or pilgrims while the more dangerous are the private squadrons of Imperial or Resurgent nobles.  Most of these groups are likely to be in conflict with local authorities (See the earlier discussion of Bandits in Fallen Empire) and it is very common for especially greedy localities to push a trade caravan too far resulting in small short wars which can include up to several hundred soldiers.  As a precaution to prevent local taxation, levy or toll claims from escalating into open battle, most merchant caravans and many noble’s retinues bring with them at least one scholar of Imperial Law or someone who claims to have broader Imperial Authority.

The place of Dervishes in Fallen Empire is far more warlike then the merchant or even noble bands that ride the Central Provinces.  Recently large groups of well armored religious crusaders in the service of one or more of the pagan religions of the Resurgent Kingdoms have poured into the Successor Empire.  These bands are often terribly destructive, burning out villages and farms and often enslaving those they convert by the sword.  It can take several months or years before a Crusader band runs into an Imperial force (usually a combination of militias and the household forces of several nobles) that is capable of destroying them, as the fanatics will often fight to the last man and almost never follow the languid “rules” of Imperial war.  While feuds are worked out and forces raised to stop such crusader incursions fortune hunters or other mercenaries will frequently be hired to track and harass the crusaders, though this is often of only limited benefit.    


Cavemen In FALLEN EMPIRE

One of the key elements of Fallen Empire is the existence of thaumaturgic factors or factories.  Hive like structures of stone or spun metal that the sorcerer oligarchs of the Empire once operated to produce goods and luxuries far beyond the abilities of contemporary craft or magic.  These factors were inhabited by magically created and altered races of men, though the Empire never recognized them as such.  With most of the sorcerers, their apprentices and bloodlines gone or fallen into decay many of these thrall species, magically changed and twisted, have gone feral.  Many bands of feral thralls or drones still inhabit the crumbling factors, some even continue to produce products that the canny and fearless can trade for, but most have descended into a strange world of ritual and violence.  In most cases the magical infrastructure that created and cared for the factory thralls has fallen with their masters, and without means of substance or direction provided by their creator many have turned monstrous, cannibal or uncontrollably violent.

Some of the less degenerate drone colonies have managed to make their way in the larger society of the Fallen Empire, selling their resilience and strength and intuitive abilities to use ancient machines, others remain in the wilderness, skulking about the ruins of their factors and eking out a primitive existence. Feral thralls of this sort are perhaps recreating a human society and have reached the hunter gatherer level, impressive, considering that they started with only the drives and prohibitions magically implanted as instinct, and intended to make them placid tireless workers. These feral drones tend to be large, strong and very dangerous, but retain some of their inbred docility and will only rarely attack travelers.   

Fever Dreaming Marlinko - A Review

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The good art starts on the cover

Vornhiem is almost universally acknowledged as a great city supplement, and it is, but the new city supplement from Hydra Press, Fever Dreaming Marilinko, set in Chris Kutalik’s Hill Cantons (what the Grand Duchy of Karameikos should have been) is an entirely different kind of great city supplement.  Where Vornheim, and the old Judge’s Guild city supplements, aspire to offer means of creating ‘a’ fantasy city, Marlinko seeks only to create ‘the’ city of Marlinko, and does so in the form of a set of adventures, personalities and factional rivalries that create a city ready for conflict and picaresque shenanigans.

In some superficial way Fever Dreaming Marlinko resembles the classic B-Series Module “The Veiled Society”, in that it presents a series of small urban adventures focused around the factions within an urban environment.  Marlinko is far better than Veiled Society in that it is not overly proud of its cleverness (nor does it’s cleverness consist of gimmicky cut-out buildings), and it takes the time to make a city that isn’t simply a dull pastiche of fantasy cities.  Marlinko does follow Veiled Society’s lead in making the city a place for adventure far more than it is place for resupply, investment or carousing between adventures, focused on faction conflict that offers opportunity and danger,  but it does so without the B-series stalwart’s dependence on a railroad, or mechanics that force certain outcomes.  

Mr. Kutalik is a good Game Master (I speak from one experience playing in Marlinko with a one handed elderly thief who really didn’t appreciate the murder-hobo nature of the standard adventure, but his written material is uniformly excellent) of the “OSR” or perhaps “open-world” variety: focused on player driven narrative, emergent world-building, random setting enhancing events and the creation of a game world that offers a wealth of potential adventures without any pre-judgment of character and player ability, goals or morality.  Fever Dreaming Marlinko is a worthy product of this mindset, and written with this style of play in mind - there are no overarching plots, but rather plots aplenty, fomented by a variety of factions and ripe for player character participation, and best none are pressing.  This lack of a pressing timeline and the abundance of other potential adventure hooks are what separate Marlinko from a city themed adventure and allow it to be a city supplement, in that these hooks, complications, NPCs and small adventures await multiple visits and returns by the players.  

BACKSTORY AND CITY ADVENTURE
Memorable NPC Art
Fever Dreaming Marlinko is a setting book in many ways, it lays out the city of Marlinko, a small walled city that acts as a cantonal capital for one of the Hill Cantons and is relatively near to the Ursine Dunes (of Hydra Collective’s recent project).  There is little historical detail in the product, and none of the sort of history and setting backstory that one finds in many older gazetteer style game books.  This isn’t to say that Marlinko  lacks backstory, only that it’s lightly sketched in the basic setting material and only really comes out through random encounters rumors and detail.

  Each of the quarters takes its general feel and purpose from its god: a wealthy enclave (where the characters can frequent bathhouses or engage in tiger wrestling matches), a business district, an industrial slum and the residential district.  Each district has its own important NPCs (usually faction leaders), random encounters and carousing table.  These features, which link well together with rumors, chance meetings and carousing events naturally leading to encounters with, grudges against and commissions from the city’s various important NPCs and ultimately into one of the two smaller adventure locales in Marlinko or out into one of the Hill Canton’s other published (or soon to be published adventures).  All of this detail is very flavorful, eclectically so in the charming, off-kilter quasi Slavic weird-fantasy way that seems the mark of Hill Cantons products. Wizards all have a bit of the insane and preposterous rather than a grave bathos about them, and the random encounters tend to be less dangerous and more charmingly absurd (pedants potentially about theology arguing with an escaped, drugged tiger) but with potential cascades of consequences (killing the sleepy tiger will lead to making an enemy of its owner who runs a tiger wrestling dome).

These interconnected subsystems for city adventure: random encounters, faction/NPC lists and carousing tables provide more details then most setting supplements while omitting the wealth of useless mundane details that one finds in the worst sort.  This mechanism of introducing evocative details seems designed for use at the table and minimum GM prep time, given that everything evolves fairly naturalistically from the brief descriptions of the tables.  Knowing the basic factions of Marlinko and reviewing the potential dungeon adventures within (see below) is helpful, but the city should be able to spiral off its own adventures based on player whim - want to hire henchmen, but tend to murder them?  You will end up facing a picket line of off-duty linkboys and eventually perhaps even the dangerous Wobbly-Giant.  This sort of complication and consequence system should make engaging in even mundane adventure outfitting activity in Marlinko amusingly treacherous, while creating an abundance hooks and rumors, but it’s not to say that the supplement isn’t without some of the traditional city supplement essentials: equipment & services lists, locations of note and random building lists. However these offerings tend to be sparse, even skeletal, as the city book assumes that the GM will have a firm grip on these sorts of basic play techniques. For example, the Marlinko equipment list focuses on the city’s more unique offerings in clothing and omits all the unnecessary equipment costs for things like rope.  There are plenty of other useful additions in Marlinko: a corrupt justice system and rules for tiger wrestling being my favorites.
The basic pretense of Marlinko is that the four contradas (quarters) is dedicated to one of the strange demigods that are said to dwell in the black cubic temple at the center of town and the contradas of the city express their worship largely through a rivalry centered around an annual race with convict jockeys.

SUB-ADVENTURES
There are two sub-adventures in Marlinko, both written with explorations, raids or escapes in mind and both represent the lairs of the city’s more dubious factions.  The first is the townhouse and small dungeon of a sinister vampire socialite, who in both murderous and in league with the sinister Eld (Hill Canton’s ubiquitous space elven villains).  The second the exploration of the very strange and messy catacombs of “The Church of the Blood Jesus”.  

Really Nice Map
As adventures go the first is better than the second, for a very particular reason that I find sometimes glares a bit in Hill Canton products.  The Hill Cantons is a long running campaign, still actively played, and its players and their characters have marked the world rather greatly.  The Hill Canton products use these changes  and the past adventures to create setting detail and often this is interesting enough, but sometimes it feels somewhat off.  The Church of the Blood Jesus was the product of several gaming sessions where on character was a drunken time and space lost 19th century Irish Priest with a poor grasp of doctrine.  The character left behind a henchman convert and in the ongoing game this henchman founded a church that persists with all the silliness that the original player brought to his characterization.

Hence Marlinko has the very gonzo, and very unslavic “Church of the Blood-Jesus” as an adventure locale.  The catacombs themselves are interesting, as are the church doctrine and it’s cannibal nun-meneads but the who thing doesn’t really fit and the catacombs are somewhat off in tone and content from the rest of Fever Dreaming Marilinko – less psychedelic Eastern Europe and more vaguely churlish religious joke.

The manse of Lady Sazra the vampire is really an excellent site adventure – it feels a bit like a horror movie and Sazra herself is quite dangerous, as is the Eld envoy who may lurk here if the town chaos level (An ingenious Hill Canton’s subsystem that makes player actions and inaction slowly effect the stability of the game-world) but the dungeon and townhouse  don’t seem especially dangerous for the 2ndto 4th level characters that Marlinko claims to be designed for.  For example, ghouls, zombies and wights in small numbers are relatively harmless to any party with a 3rd Cleric (or  a lucky 2nd level one) and I can’t see a single 2 attack guard dog with AC 4 and 30HP surviving more than a round against a party of 2nd and 3rd level adventurers.  Sazra isn’t even a real 8HD weapon immune vampire, but rather a 9HD “strigoi” that can cast a couple of spells (including sleep, but not web) and is hard to kill permanently, but easy enough to hack down in a round or two if the party exhausts spells and gets the drop on her.

This is hardly a serious quip, and the feel and level of naturalism in these adventuring locales is excellent.  The monsters are characterful, the traps make sense both in mechanism and placement and description generally pretty strong.  Treasure is the only weak point, being too reliant on coinage, but even here some effort is made to describe the various coin hoards, and there are other treasures about – though Lady Sazra’s mansion in particular seems like a wasted opportunity for more incidental treasure in the form of furnishings and art objects.  The maps are also fantastically good, drawn in a colored isometric style that captures a fair bit of room description as well as being very fun to look at. 

Marlinko’s art is also of very high quality, both slightly cartoonish drawings of NPCS that are characterful and amusing and the more artistic ink and scratchboard pieces that illustrate the adventure locales in small numbers should be useful in play as visual aides (especially the NPC sketches), as well as being very evocative of the setting. 

GONZO OR NOT?
The descriptions I have given and the humor of Marlinko, something also found in Slumbering Ursine Dunes (Hydra Collective’s flagship, Kickstarted project that encouraged Marlinko’s publication) are a bit flippant and irreverent when compared to the standard tone of gravitas that many fantasy adventures take.  There are plenty of jokes in the text, as well as Gygaxian esoteric phrases, and while I find these jokes funny, some less well-humored reading might become annoyed by them.  Likewise there’s an element that could be considered ‘gonzo’ in all of Hill Canton’s setting, and this persists in Marlinko, but the fundamental cohesion of the setting keeps this from being absurd.  Marlinko and Hill Cantons more generally have weird, non-classically fantasy elements that are presented in a lighthearted manner.  As with all good versions of such setting elements Marlinko presents the bizarre with absolute seriousness for the characters.  I wouldn’t really call Hill-Cantons and Marlinko “gonzo”, there’s some level of tongue in cheek absurdity missing, but I would certainly say that it is a setting with strongly psychedelic  feel that promotes picaresque play.

CHANGES?
Fever Dreaming Marlinko is really an excellent supplement, it doesn’t need changes really, unless one were to use it in a non-Hill Canton’s setting, and then it would have to be changed a fair bit. I would turn Blood Jesus into something that was less of a past campaign in-joke, and perhaps beef up some of the encounters.  Other than that this is really a model of what a good urban supplement should look like, and many of the tricks it uses to create evocative and interactive setting are worthy of emulation in any campaign.
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