Friday, May 26, 2017

A Swords and Sorcery Setting - Part 1



 I haven't ever really bothered with applying about Swords & Sorcery elements as setting building blocks.  Here's an attempt.  At some point the This is the World PDF may be followed by This is You, These are Your People, and This is Your Fate.  Which will contain rules for character generation, a faction/town/quest system and very short combat rules based on my HMS Apollyon rules. Don't hold your breath though.

THIS IS THE WORLD

The Sky is red at midday; light has gone out of the world, long before your unprophetic birth. In the thin light the grain grows slow, a meager harvest before the ice storms come.  Sometimes the rain is a torrent of blood or a cascade of frogs - a boon to the village, but too much salt and iron is bad the soil.

Iron is rare; the earth mined clean of useful metals so your tools and weapons are carved of bone or red oak, chipped of obsidian and jade or hammered from old soft copper.  Iron is power and steel a myth that rust in the ruins of the ancients among those lesser imperishable metals of grey or green that only grow brittle or burst into flame in the smith’s fire.

Man is no longer the ruler of this world, or presumably those that rave, sometimes blossoming with green fire in in the night sky. You are made of dirt and to dirt you will return.  Man is only a thing, among other things, Beastkind, Ghostkind and the others that hunt and creep or stride proud to seek dominion atop the ruined root-choked world.

It has been a fat generation, and there are more of the polis then the herds and crop can support, or at least there might be if the grey shivers, the raiders, and the gods are kind and overlook your people for another generation.  Thus it is no longer a crime to take your fertile flesh beyond the village palisades.  Already a mother or father, you have given your people at least a life to replace your own squandered existence. To be an explorer is still uncouth, a whispering offense, unless you return with good grey iron, trade or artifacts.

Beyond the palisades, almost a mile of traps and sharpened logs, the world to the North is ice steppe, tall dense forest to the East and West, and deserts of glassy sand to the South.   Little else is known, but lies and half-truths filter back from outlanders, traders and explorers - something must be true even from the lips of the mad.

Linked is a PDF with a bit more to help randomly generate a Swords & Sorcery Setting.

Tuesday, May 23, 2017

The Oldest of Old School (part III) - G1 Steading of the Hill Giant Chief


GYGAX RISES AGAIN
G1 - Steading of the Hill Giant Chief
Original Cover Art

Recently I reviewed both Tomb of Horrors (Gary Gygax - 1975/1978) and Temple of the Frog (Dave Arneson - 1975) and found them both interesting from a historical perspective and as iconic representations of styles of location based adventure.  Steading of the Hill Giant Chief (G1) (1978) is another of the oldest adventure modules and unlike Tomb of Horrors (which had some contribution from Alan Lucien) appears to be purely the work of Gygax. Steading of the Hill Giant Chief is also a very different sort of adventure from Tomb of Horrors and doesn't appear to have been written solely with tournament play in mind, though it certainly has elements of Gygax's tournament style. Steading of the Hill Giant Chief is for ‘experienced characters’  - though it’s unclear if this is only raw levels of if Gygax (rightfully) suspects that the adventure might be tricky for players that are unfamiliar with some of the more sneaky options available to their characters in AD&D.

Steading of the Hill Giant Chief is short (13 pages or so) and densely written.  It’s much clearer then the writing in Temple of the Frog, but is similar in construction - with the now standard introduction, hooks, and note for the game master followed by keyed locations (52 on two levels) and a single page of pre-generated (tournament) characters.  The writing is Gygaxian, though far less descriptive than that and without the illustration booklet provided in Tomb of Horrors it still has some of his unique phrasing.  The adventure is a simpleattack on a hill giant stronghold, but set up specifically to build tension and encourage infiltration and character creativity due to the enormity of that task.  

A first level details the giant’s huge wooden hall and palisade, a sort of cliched barbarian/Viking/Celtic chief’s hall or even inbred backwoods family compound, built on a giant’s scale and filled with details that repeatedly hammer on the giants’ themes of squalor, debauchery and sloth.  While individually keyed most of the rooms on this upper level are empty, as the inhabitants feast endlessly in their great hall they do offer plenty of clues and interesting spaces to explore.  A secret stair leads down to a lower level much closer to a traditional ‘dungeon adventure’, though a rather tightly wound one, in the Giant’s cellar (slave cells, weapon manufacturing area and secret treasury, insane manticore garbage disposal), caverns with orcish rebels and several other factions, and a secret tentacle god temple.  The upper level is a tightly written adventure locale that inspires plans and schemes in the players while giving the GM the tools to make them fail or succeed interestingly, the lower level is a bit of a jumble.  Yes it has useful faction and a few neat set pieces, but it also very densely packed and small with a bit of the 'monster hotel' feeling, especially in the cave portion.

Wednesday, May 17, 2017

The Haunted West

You know you want this
in your Boot Hill Game...
A few days ago I got to play a game of Boot Hill using the 2nd, 1979, edition (which are very similar to the 1975 1st edition in its little brown book) of what can best be described as a percentile driven cowboy gunfight game.  Boot Hill's rules are simple and spare, solely designed for rolling percentile dice to mercilessly kill characters and NPCs alike.  There are very few rules about anything other then various forms of Western mayhem, and no implied setting beyond a list of statistics for famous Western gunfighters and a weapons list where the better items are listed as 'available after 1870'.

Yet I enjoyed Boot Hill, I've always liked the idea of the system, murderously fast gunfights in the collective American (or possibly Italian) cultural confusion of the Wild West. Playing with the players from Hill Cantons, with Chris K running things (he's clearly run Boot Hill before) makes for a fun game and plenty of jokes about the inherent idiocy of the Western genre. While the mechanics of Boot Hill are strangely sparse, creating only a 'white room' where gunfights between faceless cowboys endlessly repeat, Cantones County (Hill Canton's Western equivalent) has already been fleshed out to a fair degree.  Best, these character generating 'Fast Packs' build character backstory almost as quickly as the quirky modifier heavy rules of Boot Hill (Really it only has 3 meaningful statistics so it's not that bad) allow for character stat creation. 

When I rolled "calico dress" as a fashion statement, several guns and a "child named William" as my character's possessions, my own fast, frail, accurate and fairly inexperienced gunfighter quickly became "Sally Murder" the last survivor of some sort of old order religious wagon train, loaded down with the guns of her dead fellows and her nine-year old son (at least this is her story, she might just be a mad murderess). The other players were able to concoct equally amusing backstories with equal speed based on the possessions randomly generated by these tables.  While this is an important lesson (one I've long embraced) that equipment and a few random items can lay the basis for interesting characterization, the world that the strange gun thugs of Cantones County exist in still seems pretty bare. 

Boot Hill's rules cover combat, exclusively and without variation.  Almost a page on the effects of exploding dynamite, but nothing sneaking past sentries in the gloaming to take up a position on a rocky outcropping and snipe the local mine boss from cover on behalf of his perturbed workforce (this was the plot of the recent game).  While articles in ancient Dragon magazines have some strange errata, mostly stats for fictional TV cowboy gunfighters, even the adventures offered are tactical map based gun battles against outlaws (and a Tyrannosaurus Rex) - individual scenes that may be fun but don't offer much variety or campaign play and suggest no space for expanding ones campaign beyond gunfights.
A famous US President as Supernatural Monster Slayer - Jason Hauser
This doesn't really appeal to me, while I enjoy Western shootouts as much as anyone who watched a lot of UHF television as a child, Marty Robbin's "Big Iron" gets old fast. It gets old especially fast with the Boot Hill rules which use a static speed and percentile rolls to determine who gets shot in the groin. My own inclination for Western gaming is the Weird Western, where supernatural elements abound, but this of course is hard to mechanically model in a system as narrowly focused on cinematic gunfights.

Thursday, May 11, 2017

Monster Archaeology - Cockatrice, Basilisks, Medusae and Gorgons


THE STONE CREW

No 1 - Catoblepas? Gnu?
It's shocking how many monsters in the 1970’s editions of Dungeons and Dragons turn their foes to stone, but maybe it shouldn't be as there's an entire saving throw dedicated to petrification and then the spell stone to flesh.  It does seem odd though, of all the awful things mythical beasts might do to brave adventurers, Gygax and Arneson have fixated on the ability to petrify people as an iconic and very dangerous power.  The authors of the Little Brown Books found ‘stoning’ or petrification such an exciting power that they added it to many mythical creatures which legend ascribes different (though similar powers).  Perhaps this is an artifact of the ‘economy of monster strength’ found in Monsters & Treasure, in the same way that humanoids creep up in HD and danger so that a similar enemy can challenge higher level characters there are increasingly sturdy varieties of strange, mostly beastial enemies that turn their targets to stone.

Now there’s something really interesting about mechanics that directly attack Saving Throws, and while the penalty of instant death for a failed save (or petrification) might seem harsh in a less granular system, combat in early is already quite lethal, and Save or Die Saving Throw attacks while deadly in a special way don’t really make combat much more dangerous, and unlike Ogre or Giants with their ability to lay down incredible damage, petrifying monsters have weakness written into their extraordinary abilities.

As a practical matter while running a game it’s hard to view these creatures as anything other than either a trick of nuisance.  It’s always been a bit confusing to me if mirrors are supposed to be a hard counter against gaze attacks.

No 2 - Catoblepas? Gnu?
COCKATRICE: The Cockatrice is a less powerful but more mobile Basilisk.  It turns opponents to stone by touch. The Cockatrice is able to fly.  They are not intelligent.

That’s not much description for one of the weirder creatures found in medieval bestiaries.  From my memory a cocaktrice occurs when a rooster that new crowns at the sun lays a snake egg that’s possessed by a demon… Ok that was fairly close to folkloric description, though I guess a toad or snake incubates the egg and the thing is basically a two legged chicken headed dragon.  Another interesting aspect of the fables around the Cockatrice are that it may be a confused descriptions of the Nile Crocodile. Also it doesn’t turn people to stone it just kills people by looking at them, touching them or breathing on them.

What I find interesting about the historical Cocktrice is that it implies acopolypse - it’s a creature that causes instant death which appears birthed by strange portents and unnatural acts. This has gaming potential - a sickly green comet burns in the sky and cockatrices start hatching.  If the original implied setting of Dungeons & Dragons is post-apocalyptic (The cultural and religious strictures of the Medieval world are not to be found in any D&D rulebook) the Cockatrice is a monster that should appear often.

Mechanically a Cockatrice is far more dangerous than it perhaps warrants - a five HD monster that has a deadly touch and can fly.  With its hit dice the Cockatrice will hit often, even against well armored characters making it very dangerous. This might be somewhat limited by the Cockatrice’s animal intelligence, and I can see a fun game resulting from a 0-level funnel about a Cockatrice hatching in some poor farmer’s field.

Wednesday, May 3, 2017

In the City at Night - The Night Holds Terrors

The roads are pure and timeless, and around them the detritus of a civilization that has failed from efforts  tawdry efforts to emulate the roads' perfection. Bright avenues run to the horizons - imperishable blocks of bonewhite and alchemical stone set straight and true to the compass points, surrounded by gardens of tangled briar, monuments of crumbled ruin, industrial yards where a few lackadaisical workers loaf in the shadows of ancient machines, store front churches to venal gods and dusty monuments faceless with time.

1970's Sci-Fi art - artist David A. Hardy
While this expanse of baroque decay calls out for contemplation, there is no safety here. Whether native son or bold intruder from some savage remoteness, the streets are hungry for flesh and the stuff of mortal souls.  Fellow citizens are hardened and travelers predatory even in the bright noon light, but at night other things come creeping and hunting from the endless ruins, to waylay the unsuspecting.

Below is a table of 38 random encounters for the Imperial Capital.  I expect that with these encounters, the locations table and the treasure table I have previously posted under the title "In the City at Night" one would have sufficient material to run the location.  A 3D6 table of random new PC/NPC equipment and identity might also be helpful to flesh out the citizenry a bit.