Thursday, September 8, 2016

Monster Archaeology - Greater Undead

 If animated corpses, ghouls, wights and wraiths make up the common undead, D&D has always had room for more dangerous abdead foes, and unlike ghouls wights and wraiths, these more powerful undead are not simply increasingly dangerous versions of the same creature.  It's unclear exactly what purpose greater undead, as I've taken to calling spectres, mummies and vampires, serve in Monsters & Treasure, are they tougher versions of wraiths and wights to threaten higher level players, are they puzzle monsters designed to threaten mid level parties in small numbers or leaders of undead factions?   Whatever the intent powerful undead are an important part of the higher level random encounter tables and each represents a significant threat to characters.  Following the trend established with Lesser Undead, the danger from the more powerful creatures is largely the result of immunity to some attacks and the ability of their attacks to do permanent damage in the form of status effects.

Warhammer Fantasy has this wonderful way of breathing life into the cliche
MUMMIES: Mummies do not drain life energy as Wights and Wraiths do, but instead their touch causes a rotting disease which makes wounds take ten times the usual time for healing.  A Cleric can reduce this to only twice as long with a Cure Disease spell if administered within an hour.  Only magic weaponry will hit Mummies, and all hits and bonuses are at one-half value against them. Note, however, that Mummies are vulnerable to fire, including the ordinary kind of torch.

Mummies are strange creatures then, not much stronger then Wraiths, but more accurate and very slow (they have the same AC and 5+1 HD to a Wraith's 4), moving a a rate of '6', the same as zombies and skeletons.  They have a seemingly less terrible special attacks then wraiths and wights, causing a disease rather than draining life force but they are invulnerable to regular weapons, not just missiles.  It almost sounds like the Mummy is a stronger form of the animated corpse, the skeleton/zombie, rather then a quick, self-willed form of revenant like the ghoul, wight or wraith.

The most complex aspect of the mummy is it's special attack seems like a clumsy and confusing mechanic, especially in a system where a common convention is re-rolling HP at the start of each session.  My own take on "Mummy Rot" is that the disease prevents magical healing and reduces HP total to 1/2 the rolled amount at the start of each session. I'd also add a permanent -1 to HP even if the rot is cured by cure disease spell, plus the rot is disgusting and makes the character smell bad. Obviously there's a lot of room for a far more horrible disease, something with statistics loss and progressive HP damage culminating in death.  I'm not really sure if it's necessary as the consequences as written have a pretty nasty overall effect.  The only plus side of death by Mummy as opposed to death by Wraith is that the victim of a Mummy will not rise as a Mummy.

Monday, September 5, 2016

ASE CAMPIAGN - SESSION XII - The Irrefutable Offer

Looking through an old folder I found some notes on the last few seven session of the ASE campaign that started this blog back in 2012.  I've decided to maybe write a few up and see where it goes.  This is the first, starting directly after this Play Report.  I think this season was played late 2012 or something, before Huxley's player had a kid.

Huxley McTeeth - (m) Fighter (Lvl 2) - Short, strong, grizzled, armored, and wielding a magic white saber from the tomb of a Rocket Man.
Grimgrim "The Seared of Monstcrom"- (m) Cleric (Lvl 3) - Recently extra fervent. pig masked.
Druizzilnax (aka Drusilla) - (f) Elf (Lvl 1), physically frail, spear wielding, hideous armor wearing and from a society of militarized cannibals.
Nell Hassenphafler "The Topstown Gore Bird" - (f) Assassin (Lvl 3), Scarred face, sinewy physique, fancy purple metal dress and poison hatpins.
Lemon Jackson, Evoker - (m) Magic-User (Lvl 2) Gun totting, hell-bolt flinging and heavily tattooed.
Gurgur, Greymol - (m,m) Moktar, Moktar Holy Tom, (Lvl1,Lvl1) Moktar henchmen , serious catbrawn. 


Geof Darrow - A Denethix Street Scene?
Back in their dingy apartment, covered in the tiny scabs of grunkie inflicted wounds, Huxley, Nell, Lemon, Grimgrim and Drusilla wake to another day, stunned and sore and for the first time cannot begin an immediate debauch, the last bottle of hooch purloined from the depths of the Old Brewery having been spilled down Lemon's sweaty torso the night before. 

The booze brought back from their last adventure may be gone, but the desperation lingers. Nell's arm set in a crude cast, but clearly broken to the point where even Grimgrim's divinely aided ministrations won't quickly restore it to functionality.  The band needs a rest, a long rest, preferably somewhere peaceful, but it seems doubtful that their enemies will allow them one.  It's been a week since the raid on the Old Brewery's lower levels and each of the adventurers knows there will be a price to pay.  It's not clear who will come to collect, the Unyielding Fist, drug running gangsters, the death cult of Furter, or even Drusilla's anthropophagic relatives - but a debt has come due and payment is going to be rough.

Thursday, August 25, 2016

HMS APPOLYON PLAYERS GUIDE PART 1 - Combat and Exploration

It's perhaps long overdue, and really this document has been sitting about, mostly edited, mostly complete for some time now.  I've finally decided to release it and hopefully others will find it useful.  In addition to being the combat and exploration rules I've used extensively for my last campaign of HMS APPOLYON, it's a set of fairly well tested rules that I've used in modified form for other games.


From the Introduction to this ruleset:


Player Manual Part I

I never set out to write a retro-clone, only my own esoteric setting material, but HMS Apollyon has turned into a retro-clone of sorts – specifically a sort of homage to the earliest editions of Dungeons and Dragons.  I have a copy of the “Whitebox”, the later “collectors’ edition” that I bought long ago in my youth, but I never really read it with a critical eye until playing in Brendan S.’s Pahvelorn game on Google+.  Most of the basic rules and mechanics here are pulled or interpreted from the “Whitebox” and the “Little Brown Books” it contains, but they are more the product of other’s work and games – Nick W., Ramanan S. and most of all Brendan S., as well as the players who have stuck with the setting as it has contorted and evolved, especially Chris H. and Eric B.

I have tried to keep my rules concise, but rather than just offer another set of retro-clone rules I want to provide my reasoning for why I have adopted them.  You may notice small text boxes below some of the rules, and in these I have tried to justify why I am using a rule and what I hope to accomplish with it.  It’s my belief that while setting is largely formed by evocative description, NPC interaction and collaborative storytelling, that rules are still important as they can destroy or support a setting’s tone.  I shy away from too many player-facing mechanics and try to emphasize “player skill” over “character skill” but mechanics do help make a setting, especially combat mechanics which largely set the game pace, character turnover (lethality) and how important central is to the game.

The intent of the HMS Apollyon setting is to provide players an exploration game in a setting where life is cheap, the world cruel, and combat against the denizens of the haunted hull a desperate, not altogether wise gamble. These combat rules are written with this goal in mind.  The rules were slowly developed and modified through play and thus are esoteric as opposed to systematized.  While systematized rules have an intuitive appeal, I have found that the effort to fit everything into a structured rule set rather than a collection of smaller subsystems or individual rules tends to stifle the sort of “rulings not rules” mindset that early Dungeons and Dragons fosters as well as discouraging the individualized house rules that are necessary to fill gaps in any rule system in a comprehensible manner that doesn’t rely on metagaming or “build science” more appropriate to war games.

Friday, April 1, 2016

Funnel Equipment Lists for Fallen Empire's Desolation of Zubrab



The Fallen Empire is a place where the lives of the citizenry are constant hostage to contingency.  No day goes by without rapacious tax assessors turning a village into desolation ready for sale to outside interests, a sink beast surging up and invading a nearby croft, or that the simmering conflict between two ancient houses is finally settled in a bacchanal of slaughter.  The survivors of these tragedies, insignificant to the callous and exhausted powers of the world, find themselves without sustenance, support or succor in a time where the oppression of time and the past means that even compassion has guttered down to the barest coals.  Some die. Most suffer and then die.  A few survive, and the rarest prosper.

Those individuals that are able to withstand the buffets of ill fortune mostly become treasure hunters, grave robbers, and mercenary agents.  Guides, wildmen, spies, travelers, chroniclers, prophets and reavers - adventures, starting from nothing these men and women shift and bully the Empire’s somnolent powers, dusty mores and resigned masses, carving themselves places of note. 

Before riding a wave of blood, magic, fire and cunning to wealth and power all adventurers were something else – usually something contemptible and piteous.  To start an adventurer on their path to death or glory roll 3D6 once for each of the following stats: Strength, Intelligence, Wisdom, Dexterity, Constitution and Charisma.  If the score is 5 or under the adventurer has a -1 in that statistic, fifteen of over it’s a +1.  Strength grants a bonus or penalty to melee damage and to hit. Intelligence a +1 or -1 to initiative, Wisdom to Saving Throws, Dexterity to Armor Class, Constitution to Hit Points on a per die basis, and

Equipment in the PDF below  is defined by the region and past of the adventurer, with  several potential tables to determine starting equipment and past for adventurers in the regions around the Desolation of Zubrab – The Pyre Sea, The Pyre Coast, Provence Maritime, and Green Hive Canton.


Sunday, March 6, 2016

Fallen Empire - Rules of Setting Creation


Thinking about settings and the generic assumptions of fantasy games and where I want to place "Fallen Empire", my current online game, within those constraints made me realize I need more than just a vaguer sense, I need some ‘rules’ or ‘truths’ about how the setting works at a high or conceptual level. I visualize the setting as my version of 'vanilla' fantasy, a sprawling world of jumbled faux-medieval, classical and renaissance bits where dragons and unicorns exist (likely in a twisted form - but still there).  In order to make the setting consistent I want to create some core ideas, and I want them to be interesting, ideally running against some of my least favorite fantasy archetypes.

This is complicated by a couple of factors, first I abhor vanilla fantasy settings, and second classic settings are already ably represented by numerous products, many of them far, far slicker then anything I could ever deliver.  Consequently I want a setting that is high fantasy, but not derived from Tolkien, Greyhawk and The film Excalibur. Even dispensing with the obvious influences, high fantasy settings come with their own problems – principally really high fantasy is sprawling, better suited for heroic games of conflict between great forces with players acting to pursue world changing adventure.  The titanic conflict between forces of good and evil, order and chaos don't really work well with the rule sets I like, which are at their best providing when a game is about exploration and trickery and picaresque adventure for personal gain. An open world is therefore essential, with room for the players to scheme and explore but there is very little open world left in many high fantasy settings. High fantasy games of great empires, kingdoms and might wizards logically leave very little of the map to explore – there problems aren’t on a human scale, they are epic: ancient evil awakening, barbarian invasions from the realm of nightmare or conflicts between stately pantheons of deities.  OD&D doesn’t really support that sort of game, and while running a version of Journey to the West about reformed demons and pagan gods fighting back against the bureaucracy of heaven and sometimes on behalf of an upstart populist religion has an appeal – it’s not the game I want to run right now.

I find having high level setting truisms helpful keeping my setting and adventure design focused, for creating expectations and building a sense of how the game should works.  One traditional way of doing this is to focus on a monster manual for the setting - what are the common creatures encountered?  A world where goblins are on every random encounter table is radically different than one where dragons are.  An abundance of either implies something about both the world and the goblins or dragons involved.  I want to do this for fallen empire - define its singular monsters (I’ve been doing this in my Monster Archeology posts), but more I want to create a few other ‘truths’ that define the setting.  While it's likely these setting constraints will grow and change in play, it seems useful to set up specific guidelines for everything I produce for Fallen Empire so that it has a distinct look and feel.

While a good chunk of that look and feel is purloined art from Roger Dean and other 70’s/80’s progressive rock album cover artists, I want that to be a bit more than an aesthetic draped over a standard D&D game.

Rodney Matthews (Not Roger Dean) - so smooth

Sunday, February 21, 2016

I6 - RAVENLOFT - Review


I'm not sure if this is a review or a mediation on adventure design principles, but I've recently been thinking a bit about the horror genre and tabletop adventures - while running a location based wilderness point-crawl with a post-apocalyptic high fantasy setting.  My long running game set aboard the HMS Apollyon attempted to have horror elements, though perhaps failed in that regard, and with that in mind I find myself looking at the first really successful horror themed D&D module - I6 Ravenloft, -written in 1983 by Tracy and Laura Hickman, a few years after two other modules I've reviewed here (somewhat unfavorably): Rahasia (1979 republished/rewritten 1984) and Pharaoh (1980), but before the couple launched into Dragonlance.

To understand Ravenloft, and perhaps to give my critique of it a more appreciative cast I think it's first important to look at the Hickman's adventure design in general.  If Gygax's adventures can be identified by a certain actuarial abundance and callously fair mercilessness (The deadly but entirely rational traps of S1-Tomb of Horrors, or the highly detailed Keep in B2-Keep on the Borderlands), the Hickmans' adventures are about: storytelling and heroic narrative.  They may be the creators of this school of adventure design.  If one should thank Jennell Jaquays for interesting non-linear map design, the Hickmans stand tall in the annals of game design by offering an alternative to the location based adventure and approaching tabletop games with a novelistic eye rather then that of a wargammer.  That is to say that even Rahasia, written at the same time as Keep on the Borderlands, wants to tell a specific story where the player characters are heroes of an epic fantasy struggle and does so with set piece encounters that flow logically into one another.  Of course this "story path" style of play can lead to the sort of awful excesses that deny player choice and freedom to have a say in the story of their characters - the railroads, forced decisions, coercive encounters and  quantum ogres that mark 00's and 10's mainstream tabletop products. The Hickmans' own work isn't usually as bad as all this, it's not even as bad as a contemporary OSR influenced WOTC product like Lost Mines of Phandelver, and the saccharine vanilla fantasy flavor of most of the Hickmans' work is done earnestly, with a certain unique flair and in general far more forgivable in 1979 or 1983 than 2016. Ravenloft is likely the best of their adventure design work, and it contains a lot of interesting ideas that sometimes fall flat or are two big for the module they're in, but are generally not boring. It's a novel and useful effort at design - one that I personally wouldn't run expect under certain circumstances, but would be tempted to steal some ideas from.

Yup, That's Pretty Gonzo

Sunday, January 10, 2016

Monster Archaeology - Lesser Undead


I'm not sure if the animated skeleton is the most iconic Dungeons & Dragons monster, but it's certainly close.  Interestingly there are few undead in Tolkien (other then the Ring Wraiths who are a clear inspiration for the wraith in D&D), but plenty in the other Swords and Sorcery inspirations for Dungeons and Dragons. In the Monsters & Treasure undead are broken down by power level, but unlike humanoids each variety has some variation in abilities and a variety of statistical differences.

Interestingly, Skeletons and Zombies are grouped as a single class of enemy with only minor indications that they might be considered different sorts of monsters.  The taxonomic mania of AD&D is less fully evolved in the earliest editions of Dungeons & Dragons, with monsters having a variety of Hit Dice or types within a larger class and with almost none of the detail and ecology that defines later monster manuals.  While this doesn't go as far in building a default setting for the game, that is a blessing of sorts, encouraging GM creativity and interpretation of these monsters and by extension the fiction they inhabit.

The description for Skeletons and Zombies is long on behavioral description by Monsters and Treasure standards and provides some interesting ideas:

SKELETONS/ZOMBIES: Skeletons and Zombies act only under the instructions of their motivator, be it a Magic-User or Cleric (Chaos).  They are usually only found near graveyards, forsaken places, and dungeons; but there is a possibility of their being located elsewhere to guard some item (referee's option).  There is never any morale check for these monsters: they will always attack until totally wiped out.

The statline for Skeletons and Zombies (or animate bodies more generally) includes Hit Dice and Armor Class distinctions allowing for 1 Hit Dice or 1/2 a die and Armor Class of seven or eight.  Possibly, or even likely these distinction are meant to be the difference between Skeleton or Zombie as separate creatures, but such limited variety seems far less interesting then a mere random variation between creatures.  Other more bizarre or interesting reading are possible, even if utterly unsupported by the text.  One could reasonably use the higher stats for undead thralls that are undamaged, but the weaker set for ones that have been damaged (knocked to zero HP) after they get back up or reform.  Another option would be to use the higher Hit Dice and Armor Class for creatures directly under the control of their creator, rather then left as guards.  

Also interesting in the description of skeletons and zombies is that they are the same creature, animated dead bodies.  There's no reason to make a distinction between the amount of bone vs. flesh on the horrifying shambling corpses (and the do shamble with a move of 6 rather then the 9 for most humans).  For a GM this is a nice change, breaking free of the overly taxonomic approach to monsters that table top games seem to relish sometimes, and encouraging the GM free creative reign.  The real limitation here is that Skeletons/Zombies are mindless undead, raised and controlled by magic.  While Monsters and Treasure grudgingly acknowledges that they might be left as guards somewhere it almost demands that a wizard or evil priest is controlling the flock of stumbling corpses - this makes skeletons and zombies far more interesting, not because it effects them much, but because it implies that all undead encountered outside of the thrall of some sorcerer are something else - wights or mummies seem the logical candidate

The animated dead in Monsters & Treasure are also something designed for use as war game opponents - figures on the field rather then narrated enemies in a table top Role Playing Game. Skeletons and Zombies are the bodyguards or accompanying unit for evil priests and wizards rather then an enemy on finds while disturbing a tomb.  These creatures chance of being in a liar is listed with a 'Nil' (Nil being one of those D&D anachronisms that while originally a shorthand slang for not on list and the Latin for nothing, has returned thanks to Gygax's esoteric brand of pedantry and autodidact's vocabulary).  What this means it that Skeletons and Zombies are never in their own location, and never have treasure of their own - they are purely automatons, created and commanded by others.

Saturday, December 26, 2015

Monster Archaeology - Large Humanoids


I actually like the 5E Ogre Art
Under utilized in my own games, large humanoids have been a staple of Dungeons & Dragons from the beginning.  The three modules that later made up "Against the Giants" were first written and published in 1978, around the same time as my 6th edition of the "white box" and only shortly after the first edition of Basic D&D, but before the AD&D Player handbook.  The 'Giants Series', still represents one of the better examples of Gygax's incremental approach to monster design and open world world adventure design. It's unclear exactly what place large humanoids have in D&D though it seems that they fit well at the top of the 'humanoid ladder." G1 recommends a 9th level party (name level for a fighter), and is not an easy adventure, though 9th level seems high given that Hill Giants are 8HD creatures.  In Monsters and Treasure Ogres, Trolls and Giants range from 4-12 Hit Dice, making them in the top tier of monsters with 'Hydras', 'Dragons' and 'Purple Worms', though large humanoids are encountered in larger groups then these other top tier menaces.

It is also notable that ogres at least have always been a monster to throw at beginning parties - wandering ogres are a particularly tough and rare random encounter on the 1st dungeon level based on the tables in "The Underworld & Wilderness Adventures" in of the 'White Box', but trolls and giants however are reserved for the deeper levels.  The inclusion of a single ogre in "B2 - Keep on the Borderlands" as well as the idea that the chiefs and bodyguards of hobgoblins and gnolls fight as ogres and trolls also suggests that large humanoids aren't just a late game enemy.

Monsters & Treasure suggests little else about large humanoids.

OGRES: These large and fearsome monsters range from 7 to 10 feet in height, and due to their size will score 1 die +2 (3-8) points of damage when they hit.  When encountered outside their lair they will carry from 100 to 600 Gold Pieces each.

So we really get little description about ogres, and mostly focus on their ability to do greater than normal damage and the way they carry around wealth (relatively rare).  Ogres are dangerous melee combatants, and that seems to be the entirety of their existence. The statistic box for Ogres, and the mention of them elsewhere in the monster list provides a few more clues.

Yet, there's nothing that suggests the 5E ogre should be definitive
Ogres wander quite a bit, outside of their lairs 70% of the time and are always carrying at least 100 GP when they are.  Within their lair they have a guaranteed 1,000 GP and a good chance at additional treasure, making them acquisitive in an almost human manner.  Likewise Ogres can be found with other humanoids, working with Orcs some of the time, especially in Orc villages.  It's unclear if these "Orc Ogres" are huge Orcs, similar to the giant Hobgoblins (who fight as Ogres) that make up a Hobgoblin court, or are Ogres who work with Orcs for pay or because they have been compelled to somehow.  What's interesting about all this is that Ogres are obviously social, interested in money and willing to work with other monsters (or presumably humans) to benefit themselves.

Saturday, December 12, 2015

The Miserycrawl, Negadungeons and Killer GMing.


I've occasionally seen some table top gamers and bloggers denigrate "miserycrawls" as an OSR aesthetic, usually this is largely the typical litany of boring and traditional complaints and stereotypes about the OSR as a pack of neckbearded haters of innovation who relish in the unfair slaughter the player characters and the gruesome aesthetics of heavy metal album art.  As dull as this critque is, it did get me thinking about setting feel, adventure design and why I like both low fantasy settings and high lethality games.

I advocate for a low fantasy settings when using a Dungeons & Dragons based system, especially the early editions, where simple, quick combat that tends to leave even strong characters dead sometimes because these settings work with these mechanics.  When one is using the lethal saving throws, low hit point totals and the high probabilities to hit that one finds in white box style D&D (negative AC is an artifact of later editions and it can ruin mid-level play) letting players know that they are not invincible, or even the toughest people in the local area, tends to be important - hence the low fantasy, or grim fantasy setting.  The feedback between mechanics and setting are important for letting players understand how to 'play' in the world and help build player comprehension of both ruleset and setting expectation. Low fantasy settings (though whimsical 'gonzo' settings also work very well as failure becomes part of a narrative of slapstick black-comedy) become especially important now, as they reinforce the rules and set player expectations that character death is more likely then in more modern systems, or games with player facing narrative.

Retreat from Moscow - the Scenario (Painting by Adolphe Yvon - 1856)

Friday, December 11, 2015

Maps maps maps.

So I haven't stopped making stuff for Table top games, I'm working on a few projects these days, and thought I'd share some of the map art I've made for them, and for other purposes of late.

First, A map I drew of the local region the "Master's of Carcosa" game I play in occasionally takes place in.  Run by my friend over at Save Vs. Total Party Kill, it's a pretty fun game.  A very open sandbox, that is becoming the most pro-social and optimistic game I've seen in a while.  Despite, or perhaps because, the GM has given the players a great deal of leeway, and  the setting is so amoral - filled with casual genocide, violence, theft and cartoonish depravity, the characters (a troupe of actors/con artists) have a become heroic civilizing force for peace.  Currently we are operating out of Invak, a Boneman lizard herding village that grudgingly accepts non-Bonemen refugees.  Jahar to the South, a Brownman trading city is on the verge of making an alliance with Invak due to player actions.  Much of the Southern map remains to be explored.

The Second Map here is an unlabelled map of a Fallen Empire river town.  The town (Mire? Rivertown? Tradefork? - Fallen Empire names are descriptive, not fantastical) is built up on sunken Imperial barge hulls, and pilings.  It's all recent wooden construction, wealthy and well protected thanks to the swamp and the grounded hulk of an old monitor which still has some working arcane weapons aboard.  I think this place may be the "point of light" in an adventure I've had brewing in the back of my head for some time. 

A very detailed map - in need of some shading
Also sort of incomplete - needs shading and actual maps.

The last item here is a map illustration/elevation/isometric projection/blah blah/whatever for a location map.  The location being the 'ruins' of a late Imperial era hunting lodge deep within a corrupted wood.  The lodge should be 3-4 levels and present an interesting set of challenges. I still need to draw out the interior maps and key most locations, but the project is going fairly quickly, though I am unsure if I'll PDF it or maybe even publish it somewhere.