Archive for the ‘fluff/inspiration’ Category

grading the planes: take your D&D players to Mars, Midway or Metamorphosis Alpha

Monday, February 27th, 2012
This entry is part 4 of 4 in the series planes

I don’t know if Gary Gygax’s players did a lot of planar adventures in the D&D Great Wheel (which I grade here), but I do know that they frequently traveled to other dimensions – in other words, alternate genres or game systems rather than parts of the Great Wheel cosmology – and some are mentioned in the OD&D and AD&D manuals and elsewhere.

Dave Arneson said, on a message board post, “Lost Worlds, parallel worlds, future worlds, mythical worlds, etc. All are a lot of fun. A good point made here is that the ‘new’ world must have many critters unique just to it. We had Ross Maker’s and Dave Wesely’s ‘Source Of The Nile World’ and MAR Barkers TEKUMEL world when we wanted to go there. It was a good change of pace and let me have someone else referee for a bit.”

How do these adventures in parallel dimensions stack up against the planes of the D&D cosmology?

BOOT HILL: Gary’s players sometimes jumped over to BOOT HILL, Gygax and Blume’s cowboy game, where they got to play with six-shooters. There’s lots of adventure tropes to be had in a western setting, so even though the idea of clerics at the OK Corral may not sound like D&D to you, it’s way more interesting than clerics at the Quasi-Elemental Plane of Mud.

The 1e DMG included rules for converting your characters over to the Boot Hill system. Gunfighters imported into AD&D only got 3d4 for Wisdom; a pistol does 1d8 damage. Grade: B

 

 

Metamorphosis Alpha: Gary and his players also journeyed to James M. Ward’s sci-fi game set on a space ship called the Starship Warden, which was apparently even more dangerous and chaotic than an old-school D&D dungeon. Check out the story here. Notice that the characters were teleported into the space ship, not to the uninhabited, hostile, and featureless void outside the space ship. That’s already better than half the Great Wheel planes.

If you want to try this yourself, James Ward is selling the first edition of Metamorphosis Alpha on lulu for 15 bucks. Grade: A

 

Mars: I love Edgar Rice Burroughs’ Mars books, and I’d love to play a D&D campaign there. The Mars books feature bizarre beasts, ruined cities, savage humanoid tribes, flying ships, and doomed points-of-light civilizations. Furthermore, the OD&D books already include wandering monster tables for the Martian people and monsters, so that’s, like, half the work done already. Grade: A+

 

World War II: In this Strategic Review article, Gary Gygax described this great war-game skirmish between D&D monsters and a German patrol. It looks like fun, in a war game way, especially for WWII buffs. B

Overall grade of the alternate dimensions: A

My conclusion: arguments about the Great Wheel cosmology vs. the 4e planes are irrelevant to me, because both are worse than a stable of well-realized and varied fantasy worlds. Even a world with a strong theme, like Hoth or Dark Sun, is more interesting than a universe constructed of a single element and populated by soulless elementals and angels. Next time I introduce planar travel into a game, the gates will more likely go to the Wild West, Mars, or Gamma World than Limbo or the Plane of Fire.

strange statues

Friday, February 17th, 2012


With Thaniel under one shoulder, he climbed the bloody steps of the massive central tower, remembering when he trod it last, in chains, on his way to fight in the arena, how the gilded balustrades and strange statues had glimmered in Skasloi witchlight. It had been beautiful and terrible.
-Greg Keyes: The Briar King

The phrase that caught me here was “strange statues”. What are some examples of strange statues?

  • a living statue, rooted in place, perhaps with a single purpose (to remind men of the evils of a long-ago emperor) or quirk (chews tobacco and spits).
  • a strange combination of person and animal (for instance, a half-man, half-horse: the left side’s the horse)
  • a combination of person and office furniture
  • a statue of a tall bird-headed man. Occasionally, if you’re alone in the room, it will whisper, “Pss! C’mere!” and when you go over to it, it will pretend not to notice you.
  • a row of 11 busts that each answer your questions. Each talks in a different musical tone, so, by asking them short questions in the proper order, you can play a tune.
  • a statue of the previous emperor: his eyes and mouth are cuckoo clocks.

    I can see how, in the Skasloi witchlight, these statues would be beautiful and terrible indeed!

  • playing D&D with mike mornard: player skill

    Wednesday, February 15th, 2012
    This entry is part 7 of 12 in the series D&D with Mike Mornard

    Running from goblins, we barricaded ourselves in a dead-end room. Tavis’s fighter spiked the door closed, and then prepared a surprise for the goblins: holding his torch ready, he poured a flask of oil in front of the door.

    Unfortunately for us, we had already played these tricks on this band of goblins, and they had learned. The next thing we heard was hammering around the perimeter of the door: the goblins were spiking US in. And then we saw more oil trickle into the room from under the doorframe.

    And that’s how we ended up locked and barricaded in a room that was on fire, huddled in the corner and dying of asphyxiation.

    Old-school players talk a lot about player skill. As a new-school player, I’ve never really grasped what they meant. It it tactical skill? A set of procedures for dealing with common dungeon hazards, like tapping floors with ten-foot poles? The ability to read the DM and tell when he was planning something devious? What does it mean to be good at D&D?

    As Mike Mornard DMed us through a brown-book OD&D dungeon crawl, he told us a little about player skill. Apparently, among the original Greyhawk players, Rob Kuntz was good at D&D. He was good enough to adventure solo, not even bringing henchmen, and survive threats that would threaten whole parties of less skilled players. Once Kuntz started going on solo dungeon delves, it became the thing to do, even among other players who didn’t have Kuntz’s player skill.

    Mike told us the story of one of Gary’s lesser players who decided to go adventuring alone. He encountered a room filled with gems. Apparently, he didn’t suspect that Gary was trying anything devious: he ran into the room and started reveling in his treasure. “It’s great!” said Gary (from behind his file cabinet, presumably). “You’re in gems up to your ankles!”

    The player showered himself with gems like Daffy Duck. “I’m independently wealthy!” (As a one-time recipient of a cache of random gems, I can relate to the player’s joy.) “It’s great!” said Gary. “You’re in gems up to your knees!” The player shoveled gems into his pack. “It’s great!” said Gary. “You’re in gems up to your waist!” I’m sure you can see where this story is going. When the player tried to leave, he found out that he was sinking in quicksand covered with three inches of gems.

    So what does a skilled player do when presented with an unfamiliar dungeon situation?

    Earlier in our adventure, before we were trapped in a burning room, we encountered a glowing dagger, floating in the air, blade pointed downwards. I’m new to OD&D. My instinct was that this was similar to all the “trips and tracks” listed in the first edition Dungeon Master’s Guide, like altars that might increase your Strength by 1d4 points or make you save vs. poison or die, with no way to determine between them. If it was either a treasure or a “gotcha” trap, I decided that I would take a risk and grab the dagger, fully aware that I might be arbitrarily zapped for my trouble.

    One of the players, wiser than I, probed around the floating dagger with a 10′ pole and met resistance. And then the dagger lurched forward and attacked. As you probably figured out, it was a gelatinous cube.

    We defeated the cube: I think the wizard delivered the killing blow, and we got a +1 dagger for our troubles. I realized that I had played the situation wrong. I know about gelatinous cubes, and I should have expected to find one in an old-school dungeon. The floating dagger was a mystery to which I held the clues, and I assumed that it was a logic-defying crapshoot.

    Lesson two was this: when Mike Mornard is DMing, assume that you’re speaking in character. We entered the dungeon with a lot of hirelings: we had hired a dozen bandits last session, and this session we hired half a dozen heavy footmen. At three people per rank, our expedition filled about twenty feet of 10-foot-wide corridor.

    Our party was so unwieldy that the wizard joked about letting the dangers of the dungeon doing our downsizing for us. The hirelings heard him, and they were not happy. A few bad reaction rolls later, and my bandit followers abandoned us in the dungeon.

    We should have foreseen this, because Mike’s NPCs tended to join into our out-of-character strategy conversations. When we lost a heavy footman, and we were discussing whether it was worth it to get him resurrected, the other heavy footmen weighed in strongly on the “pro” column.

    This isn’t the way I’m used to playing. Our 4e characters must have instantaneous telepathy, because we routinely spend minutes deliberating about each six-second combat round. And we often reach an out-of-character group consensus before we talk in-character to any NPCs.

    Lesson three: sometimes it’s better to be lucky than good. I mentioned that we ended up trapped in a burning room, a round or two away from asphyxiation. After we’d failed our attempts to bash through the door, the dwarf’s player decided to charge through the fire and attack the door with his axe. He rolled a critical hit, which, in Mike’s game, means you get to roll two damage dice. The dwarf rolled thirteen points of damage. He burst through the door and scattered the goblins, and soon we were chasing them.

    When the session ended, we put away the snacks and the players headed out towards the subway, discussing what we learned. Don’t taunt the hirelings. Don’t expect to get something for nothing. Keep the offensive: don’t spend a lot of time in deliberation, and don’t wait for the monsters to get organized.

    I’m still not sure what player skill is in OD&D, and I still think it has something to do with battle tactics, trapfinding procedures, and gaming the DM. But I’m also starting to think it has something to do with respecting the gameworld as a world. Monsters learn. Henchmen want riches and safety. PCs can’t communicate telepathically. And if you’re a dwarf fighter, sometimes your best course of action is to hit something with an axe.

    intelligent residuum

    Friday, February 10th, 2012

    The other planets under Sol’s domination had been visited, or at least probed, and to some extent were being colonized and exploited–but on the whole they had proved disappointing. No life to speak of. No intelligent residuum.
    -Emil Petaja: The Nets of Space (1969)

    To take this phrase out of context, here’s an idea for 4e: INTELLIGENT RESIDUUM. When you melt down an intelligent weapon, you get this stuff. If it’s used to make a new magic item, that item gets the former weapon’s personality.

    In powder form, the residuum still possesses intelligence. It can travel on its own, like a vampire in vapor form, and try to possess people for short periods (either to communicate telepathically or to dominate the possessed creature: it’s a Will attack to possess a creature, and a save ends the possession.) The vapor is immune to melee and ranged attacks, but bursts and blasts automatically kill it.

    The residuum can, over time, exert enough force to pop the cork on an ordinary residuum vial, but any stronger form of containment will trap it.

    What does intelligent residuum want? Well, it depends greatly on personality, but probably to be used in the creation of a powerful item.

    A canticle for leibowitz

    Friday, February 3rd, 2012


    And what makes you think the Memorabilia is completely free of pap? Even the gifted and Venerable Boedullus once remarked scornfully that about half of it should be called the Inscrutabilia. Treasured fragments of a dead civilization there were indeed-but how much of it has been reduced to gibberish, embellished with olive leaves and cherubims, by forty generations of us monastic ignoramuses, children of dark centuries, many, entrusted by adults with an incomprehensible message, to be memorized and delivered to other adults.

    The monks in the post-apocalyptic sci fi novel A Canticle for Leibowitz are in approximately the same position as scholars in most D&D worlds. They’re inheritors of a fallen civilization they don’t fully understand. Whether your fallen civilization is 20th century Earth or Bael Turath, books from the past age are precious – and, in another way, irrelevant. A single ancient book of pre-cataclysmic magic might do the PCs no good, just as a modern book on electronics wouldn’t do a medieval scholar any good: in this book, too much knowledge is taken for granted.

    A library, on the other hand, is a different thing. When I DM, I tend to put treasures in libraries, because that’s a natural place to find powers from past ages. I tend to be interested in mechanics for performing research, and in powerful wizard spells as treasure (as, indeed, they were in previous editions). I haven’t quite figured out the perfect mechanics yet, but I do want to find a way to make players greedy for ancient spells and secrets. For now, I plan to use my ideas for spells as treasure.

    Cool dungeons in books

    Friday, January 13th, 2012

    The Frost Dungeon

    They descended for a long while. The stair spiraled down with no terminus in sight. The light seemed to lead them. The walls grew damp, cold, colder, coming to be covered with a fine patina of frost figures.
    Roger Zelazny – Dilvish, the Damned

    I like the idea of sensory details, like temperature, informing a dungeon, and there are a lot of dungeon tricks that can be done with ice, especially if one of the PC is a fireball-toting wizard. Furthermore, if the PCs are defeated in an ice dungeon, they’re sure to wake up hanging upside down from the ceiling just as a Wampa beast shows up for dinner.

    The Star Labyrinth

    “As for myself, in my early years I beamed through the star-labyrinth many times. Why, once I accompanied Priestess Poogli all the way to–”
    Emil Petaja – The Nets of Space

    Just as the ocean is a dungeon, space can be a dungeon. Let’s say that each star leads only to 2-3 other stars (because of stargates, distance, spice, or some other such nonsense). The PC’s space ship, spelljammer, or astral kayak is essentially plying a space dungeon, with planetary systems as rooms and navigation routes as corridors.

    “The Star Labyrinth” is also a cool name. As cool as Princess Poogli? Hard to say.

    The Drowned City

    Riding along the fringes of this wild place, Orisian could see, faint in its misty heart, the ruined towers of old Kan Avor. The broken turrets and spires of the drowned city rose above the waters like a ghostly ship on the sea’s horizon.
    -Brian Ruckley – Godless World: Winterbirth

    A half-submerged city is not a completely unique adventure locale: many platformer video games have a water dungeon where you have to pull levers to change the water level. It’s still a cool spot, and if the PCs have to do some dangerous diving to get to the entrance of a half-submerged tower, you can give them some interesting challenges on the way up the tower: a time limit based on holding your breath, for instance. Another fun aspect of amphibious adventuring is that swimming PCs can easily escape water-only enemies, like sharks, and air-only enemies, like birds. You can use this to introduce some difficult puzzle enemies: if the fight is impossible, the PCs can easily submerge, or emerge, to safety.

    Melancholia

    Friday, December 30th, 2011

    My New Year’s resolution: Class up my D&D game! Instead of tankards of ale, my barbarians will swig tankards of the ’55 Chateau Margaux. And instead of drawing adventure inspiration from pulp fantasy novels, I will use art movies and articles published in the Journal of Literary Theory.

    First up: the Czech movie Melancholia, directed by Lars von Trier!

    The opening sequence of the movie is a series of extremely slow-motion shots of Kirsten Dunst in and around a golf course. In one shot, Kirsten is moving at a minute-hand crawl, while a cloud of insects seemed to be moving at full speed. I thought that, at the rate they were flying, they might not even be visible in Kirsten’s time frame.

    I’ve already run an adventure where the party bargained with friendly quicklings, which move so fast that humans cannot understand their speech. The quicklings overcame this obstacle by drawing pictures for the humans.

    On the other side of the time scale, what if PCs needed to communicate with creatures that moved incredibly slowly? The creatures might be sentient trees, like a decelerated version of Tolkien’s Ents, or they might be living statues in a palace: few even know that they are moving at all.

    Imagine a ritual that can cause you to slow down to their speed. As you cast it, the sun overhead would accelerate until it was flickering overhead. You’d hear a bass growl, which would raise in pitch until you recognized it as the speech of the trees, or statues.

    You’d want to conduct your interview quickly. The DM would track the number of sentences you exchanged with the statues (or trees): each one would cost a month of game time.

    (My review of the rest of Melancholia: Right before I went to see the movie, I read Nancy Balbirer quoting David Mamet: “In show business, women who are lucky enough to find employment are asked to do only two things in every role they ever play: take your shirt off and cry.” Melancholia did not disprove this postulate.)

    99 rites of fairy creatures

    Monday, December 12th, 2011

    All fey creatures have a secret weakness rite – roll d100 on this table – and a secret strength rite – roll d100 on this table. If you accidentally perform a fairy’s secret weakness rite, you gain power over it – it is “beholden to you”, as they say. If it tricks you into performing its secret strength rite, you are beholden to it. Any fey creature’s rites can be learned with very hard arcana checks.

    Fey creatures will expect one service or truth from creatures under their power. Fey in such a relationship will never attack each other.

    Mortal beings tend not to understand these relationships, and may not honor the rules of service. Even mortals, though, feel the power of fey rites. A mortal beholden to a fairy creature, or a fairy creature beholden to a mortal, has a -4 to all skill checks and attack rolls against the master.

    Even eladrin and elves have a weakness rite and strength rite, although most do not know it. Any mortal who drinks the emerald wine of the archfey gains a weakness and strength rite.

    99 RITES OF FAIRY CREATURES
    1 threaten to pick its one secret flower in all the world
    2 surround it with water
    3 weave a circle round it thrice
    4 taunt it until it swells up to three times its size
    5 carry it across a river in a bag over your shoulder
    6 catch it bathing
    7 wash its clothes in midnight’s blood
    8 jump over it on deerback
    9 act bored by everything exciting it says or does
    10 find a bribe for its beetle butler
    11 find its true feet
    12 open the smallest door in its house
    13 bring either a message or meal from its wife or husband
    14 strike it with mistletoe
    15 find the nest containing its babies
    16 prick it with a thorn
    17 make it taste honey
    18 give it a clump of earth
    19 draw its portrait
    20 catch its reflection in a mirror
    21 weave it a cloak
    22 drink its tears
    23 capture its mother
    24 catch it in a lie
    25 force it to admit it doesn’t know
    26 heal its injury
    27 boil it in a cauldron
    28 step on a clover
    29 listen to the birds’ advice about it
    30 start every sentence with last word it said
    31 call it by the wrong name
    32 find a bat with its name
    33 answer its riddle
    34 beat it in a wrestling match
    35 carry its heavy bundle of firewood
    36 plant a seed ahead of and behind it
    37 get its signature
    38 drink dew from its footprint
    39 sing a song it thinks no one can repeat
    40 say a sentence it cannot rhyme (not orange, the fey made up the word “forange” to foil that tactic)
    41 figure out its other form
    42 owe it a debt of silver
    43 pay its debt to someone else
    44 tell it three different accurate names for yourself
    45 control a fire it lit
    46 dance to its tune
    47 kiss it
    48 sleep with it
    49 walk behind it for a league of its choosing
    50 walk widdershins around it
    51 refuse a request thrice
    52 get it to refuse 3 small favors
    53 accept water from it
    54 eat food it offers
    55 steal its belt
    56 throw a daisy chain over it
    57 touch it with cold iron
    58 behead it, then let it behead you
    59 give it your hat
    60 give it a silver coin
    61 sip water from its cupped hands
    62 draw a drop of its blood
    63 pluck a rose from its house or hair
    64 kneel before it while it stands
    65 share an apple with it
    66 walk on 9 of its footsteps in a row
    67 dance with it in a circle
    68 meet its eyes in a reflection
    69 catch its breath in a box
    70 swim after it
    71 keep up in a race, neither winning nor losing
    72 fall asleep while it wakes
    73 wear a silver necklace
    74 stand as godfather to its children
    75 be blessed by a god
    76 follow it dawn to dusk
    77 repeat 3 phrases in a row
    78 follow it home
    79 find something it wants
    80 call it king/queen
    81 have it at weapon’s point
    82 find its missing button
    83 dance on its heart
    84 convince it that it is ugly
    85 give it a haircut
    86 show it another creature that looks like it
    87 sleep inside its mouth
    88 herd its sheep for a day
    89 name a real name it has never heard
    90 step on its hand or catch its foot
    91 let it dance around a hill under which is buried your name
    92 point to its location on a map
    93 lure it into your mouth with sugar cubes
    94 touch it with an eggshell
    95 ruin its hat
    96 wash it clean
    97 get it to believe you are a rooster
    98 carry its head in a cedar box
    99 beat it at a game 99 times in a row
    00 roll again

    the give and take of D&D and fiction

    Friday, November 25th, 2011

    Here’s an example of cross-pollination between D&D and pulp fantasy:

    Roger Zelazny began his series of “Dilvish the Damned” fantasy short stories in 1964. Zelazny was influential on D&D: Gygax says that Zelazny’s Shadow Jack inspired the thief class, and Dilvish’s Elf Boots inspired the Boots of Elvenkind.

    In Zelazny’s 1981 Dilvish the Damned story “Tower of Ice”, the influence seems to be going the other way:

    Black completed the spell. They remained motionless for a brief while after that. Then: “That’s it?” Dilvish asked.
    “It is. You are now protected through the second level.”
    “I don’t feel any different.”
    “That’s how you should feel.”
    “Is there anything special that I should do to invoke its defense, should the need arise?”
    “No, it is entirely automatic. But do not let that dissuade you from exercising normal caution about things magical. Any system has its weak points. But that was the best I could do in the time that we had.”

    Maybe Zelazny re-invented the concept of second-level spells, but there’s no reason to think he did. And there’s no reason to think he should. An environment where authors are free to borrow from each other is one where they can build on each others’ work. A lot of D&D-influenced fantasy and fantasy-influenced D&D from the 80’s is kind of like the Chthulu Mythos in this way: written by multiple authors, but sharing so many genre assumptions and pieces of lore that they’re practically set in the same universe.

    Now here’s something that Zelazny’s “Tower of Ice” can give back to D&D:

    He had escaped from Hell itself, after two centuries’ torment. Most of the humans he had known were long dead and the world somewhat changed. Yet the one who had banished him, damning him as he did, remained–the ancient sorcerer Jelerak. In the months since his return, he had sought that one, once the call of an ancient duty had been discharged before the walls of Portaroy. Now, he told himself, he lived but for vengeance. And this, this tower of ice, one of the seven strongholds of Jelerak, was the closest he had yet come to his enemy. From Hell he had brought a collection of Awful Sayings–spells of such deadly potency as to place the speaker in as great a jeopardy as the victim should their rendering be even slightly less than flawless. He had only used one since his return and had been successful in leveling an entire small city with it. His shudder was for the memory of that day on that hilltop, rather than for the icy blasts that now assailed him.

    Use Awful Sayings as a form of treasure for wizards. More powerful than spells, they can have campaign-level impications. Once memorized, an Awful Saying stays memorized until you use it – then it is gone forever.

    Casting an Awful Saying requires a saving throw. Failure results in some terrible, random, Deck of Many Things-style misfortune happening to the caster and his friends.

    Because these spells can only be used once, and they might backfire, they might provide a tantalizing form of temptation/resource management for the wizard.

    Example Awful Sayings:
    Raze City A city, or an area the size of a city, is completely blasted and destroyed.
    Damn A single being is killed and sent to be tortured at the bottom of the Abyss for all eternity.

    escape the city within an hour

    Friday, November 18th, 2011

    “You might call it a game,” said the youth. “When the bell completes its song, several strokes hence, the maze will be laid. You will then have an hour until it strikes again. If you have not found your way out of town and away from here by that time, you will be crushed by the buildings’ rearranging themselves once more.” “And why the game?” Dilvish asked, waiting out another tolling before he heard the reply. “That you will never know, Elfboot, whether you win or lose, for you are only an element of the game. I am also charged to warn you, however, that you may find yourself under attack at various points along whatever route you may choose.”
    –Dilvish the Damned, Roger Zelazny

    Wow, this sounds more like the setup of a D&D set-piece adventure than it does a piece of fiction! You don’t have to go very far to turn it into quite a usable episode.

    This would work quite well in older versions of D&D, with their emphases on mapping and time management, but this adventure would also be a good excuse to bring such elements into a 4e game, as a sort of minigame.

    The maze in the story features two guys who keep on popping up, and Dilvish isn’t sure which to trust. This is sort of a disguised liar-and-truthteller problem, with the addition of a time limit, which makes things less cut-and-dried.

    There are also fun events like this one:

    Immediately the flagstones about him were raised like trapdoors and figures rose up from out of the ground beneath them. There were perhaps two-score men there. Each bore a pikestaff.

    Nothing like bad guys popping simultaneously out of 40 trapdoors to tell the PCs “Don’t go this way”.