Researching Cthulhu - Part 2: Books

For my next research topic it's time to delve into the deep and research the many tentacled Mythos of Cthulhu: ancient tomes of magic and dark deeds. Lovecraft's writing make reference to several books that have become staples of the genre. I'd like to use this element to add some flavor to Icosa.

As a departure from the typical 'spellbook' and to help add to the chaotic nature of spellcasting, magic-user spells will only be found scattered about in various texts rather than collected in a wizard's spellbook. Each player could have their own traveling spellbook from which to memorize, but I see these as notes and shorthand, it would not be sufficient for a magic-user to learn the spell from one of these traveling tomes. This would be the equivalent to the researchers notebook. I'm feel that this, along with few starting spells, will give the magic-users reason to delving into dungeons dark and dangerous. It also gives them a reason to have a home base where they can store their library.

These books can take many forms. They can be studies on a partiular subject, writings of many authors, perhaps an enclave or coven. They could be the mad ramblings of a magic-user whose mind has been lost or warped by the chaos he casts. So in addition to spells, the book should impart some knowledge. This knowledge is a way of slowly unraveling the mystery that is the history of Icosa. Spells in these books would be limited to one or two which are related to the nature of the work.

These tomes also help build the feel of an ancient lost world, one where magic was perhaps more prevalent than today in Icosa. This will help me introduce figures of note from history. Most notably I'd like to introduce famous magic-users through their works, ala Melf and Mordenkainen.

I believe the text of spells would be in an ancient tongue; except for possibly one ancient magic-using race, the language would be considered dead. This language is passed down from master to apprentice and would be considered secret. Magic-users could identify one another through the use of key words and phrases.

This approach will allow me to do away with Read Magic. Blasphemy you say? Isn't it required for reading magic scrolls? Well, no, because I'm not going to have magic scrolls, at least, not the one-shot magic spell variety. The reason for this is that I don't see a basis for this in any of the text I'm using as source material; magic scrolls feels more like a game element than a literary one. Magic is a language, you have to know the language to learn and cast the spells, so every magic-user will start out knowing this language.

What about clerics? Good question. My approach is that clerical spells (or prayers) would be written in a language specific to alignment. I envision Lawful clerical writing to be in something similar to Latin and Chaotic writing to be in an offshoot or distant dialect of the text used by magic-users. While magic-users could recognize the writing as coming from the same source as their spell-casting language, they could not read it and vice versa.

As mentioned above, these works would contain knowledge on various topics. This dovetails nicely with the various 'magical' tomes that increase statistics like Intelligence or Widsom (remember, in Swords & Wizardry, higher stats means faster advancement). These books could be written in other ancient languages that need to be researched and deciphered while the spell portions are written in the language related to the type of spells. this makes Read Languages a useful first level spell.

But I'm not sold on keeping Read Languages either. Without it characters will need to do research and that may lead to more explorations and lead to more adventures or be on the lookout to hire a knowledgeable sage. In an effort to keep the characters hungry and motivated to keep exploring, this idea is appealing to me.

Now this doesn't rule out a spell that would specifically encrypt text to be undecipherable. This could be used for special messages, secret tomes and such. Taken a step further, what if each version of the spell have a specific counter version in order to decipher it? This could lead to interesting adventure.

Or, instead of a counter-spell, what if it had a trigger word to display the text normally. I like this idea better because it gives players a reason not to kill everyone the come into contact with so that they can discover word they need to read the text. But, then again, if they do slay someone, that might be a good reason to locate someone who can speak with the dead.

Obviously clerics and magic-users would want to learn more languages. To keep it simple, they could learn an additional language for every point of Intelligence over 10. They could start with a default set and add others as they find the need. I see these two classes being the only ones assumed to be literate. Fighters would be assumed illiterate unless their background deems otherwise, such as a noble.

Well my sanity is holding out so far, let's see where this research takes me next. Perhaps to the land of Dreams?

Follow Your Bliss,
JJ

Researching Cthulhu - Part 1: Horror

Picking up where I left off in my formula for Icosa (Elric + Cthulhu) it's time to visit the realm of horror that is the Cthulhu Mythos. I don't know why, but I'm really attracted to the idea of marrying fantasy with horror. Maybe it makes the heroes more heroic: standing up to the terrors that leave others running home and crying for mommy.

I think the seed of this idea was first planted after reading through Monte Cook's d20 Call of Cthulhu. The last section of the book was deticated to incorporating these horrors into an existing D&D campaign. It painted a facinating image of dark Druids and evil Clerics devoted to these mad gods of cosmic Chaos. I was hooked.

Coupling Cthulhu with Elric seemed natural after reading Moorcock's eerie description of Arioch, Duke of Hell in his natural form: a roiling mass of pure Chaos that would do Shub-Niggurath proud. Perhaps Elric's Chaos Lords were simply the Mythos in another guise.

My limited experience playing Call of Cthulhu has endeared me to the Sanity mechanic used in that game. I think it does an excellent job of instilling in the player the horror that comes from knowing dark secrets that should best be left alone. This seems to be a nice counterpoint the nigh-immortal and fearless heroes of modern fantasy. It makes those that survive to tell the tale more special when compared to other adventurers.

Swords & Wizardry has no built-in mechanic to handle Sanity, but it should be easy enough to reverse engineer. S&W already has the single Saving Throw which simplifies matters: a failed save indicates Sanity loss. Sanity itself can be a composite stat made up of (Intelligence x 2) + (Wisdom x 2) + Charisma. Failure means roll as many d6's as the horror rates on a scale of 1 to 6 and subtract those points from Sanity; i.e., horror rated 3 would cause a player failing a save to roll 3d6 and subtract the total of the dice from the PC's Sanity. Successful save could still cost Sanity points on some sliding scale. The scale here will depend on how frequent these horrors will be used. Too steep and I can guarantee a high rate of madness.

The frequency of these horrors is something that I'll have to play with. I expect to run into some as the players go delving into deep dungeons; the deeper they go, the worse it gets. I will really have to see how my players dig this. I have to remind myself from time to time that the low end range age of my players is 8 to 13. I'm not out for giving them nightmares, but they claim to enjoy books like Goosebumps and American Chillers. I hope to find a happy medium.

That being said, I do like heroic adventure. Unlike Lovecraft's bleak tales of helplessness in the face of cosmic horror, I want the PCs to be the only thing that is standing between Chaos and humanity (elfity? humanoidanity?); I want them to have a chance. Where Lovecraft's protagonists were leafs before the storm, I want the PCs to be mighty oaks. With deep roots (levels) they may be able to weather the coming hurricane and act as a protective bulwark for those seeking safety behind them.

More and more this campaign seems to be about the battle between Law and Chaos and surviving said battle. Perhaps the PCs can plot their own course through these stormy, tentacle-infested waters. How will they choose sides and what impact will that have?

Here's an interesting side note on Alignment as it relates to this campaign. Since OD&D was about Law, Neutrality and Chaos, I found this great (and strangely appropriate) post thanks to Grognardia on how to run OD&D Alignment from Jeff Rients.

Thats enough Chaos for now. Time to turn in before I fail a Sanity check. Next time around I'll be looking at a staple in Lovecraftian horror: ancient books of evil.

Follow Your Bliss,
JJ


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Copy Cat

Some say there are no original ideas under the sun. Maybe it is true or maybe truly original ideas are very hard to come by. So it was no surprise to me as I was reading through James Maliszewski's blog, Grognardia, that I started to see some similarities between his Dwimmermount and my Icosa.

I stumbled on James' blog early on in my search for my RPG roots. He is well known and respected for his work. His blog was initially a reaction to the release of D&D 4th Ed. He, like me, went back to his roots of gaming to the first game he played, a much early edition of D&D. Plumbing those depths he created Dwimmermount. He was even so kind as to list his influences in designing that setting as a response to a post by James Raggi.

I've started from the premise that by picking specific influences I would create a unique and unusual setting. It seems that from the same starting point similar settings will develop. Now I know that not every influence of Dwimmermount will affect my progress with Icosa, but I do enjoy seeing how he progressed and using it as a benchmark for my progress.

I especially curious to see if I come to some of the same choices that he did. James started with Swords & Wizardry (Core Rules rather than White Box) just as I did. He has ultimately made the move to Labyrinth Lord with some additional material to supplement what he needs. As I've stated before, I'd rather start with a bare minimum of rules and add to it as campaign play dictates.

So for now, I'll keep going with my influences and see where that leads me. From time to time I will post ways in which Dwimmermount development seems to be mirrored in Icosa as well as seeing where we diverge.

Follow Your Bliss,
JJ

Cutting Edge Weaponry

A while ago my youngest son had asked me why it was that clerics were not allowed to use swords and bows. I explained, from rote memory, that this was part of game balance as well as trying to emulate a particular archetype. He cocked his head at me which usually means he's not buying it.

Frankly, I don't like my answer either. I was spoon fed this explanation after years of playing and haven't really questioned it for a long time. I decided to take a long look at it since I've been formulating my plans for Icosa. I'm taking the 'question everything' approach.

Obviously the original three classes in OD&D (fighting-man, magic-user and cleric) were meant to bring to life a particular type of character from swords & sorcery literature and/or medieval history. The fact that magic-users (wizards) were limited to so few weapons and so narrow an archetype has rankled players for decades. Clerics too seem to be too narrowly focused.

My original thought was to free up at least the choice of weapons. S&W White Box gives 1d6 as the range of damage for all weapons (+1 for large weapons and -1 for small weapons). With every weapon essentially having the same mechanical effect, why not abolish weapon restrictions?

This line of thinking stems from the belief that amount of weapon damage is tied to the various classes - high damage weapons to fighters, average damage weapons to clerics and low damage to magic-users. This doesn't hold much water before some of the revisions in AD&D. Still, the White Box rules, based on OD&D, seems to level the playing field, so why the restrictions?

I stumbled on the answer as I was looking for aspects of D&D that would support elements of the Cthulhu Mythos. I was flipping through the listings of magic items searching for magical tomes when it hit me - magical weapons. The magical weapons, as well as other items, were clearly aligned with specific classes. Fighters get the widest selection of magical weapons, but they are the sole users of magic swords, the most common item in fantasy literature. This is why clerics can't use edged weapons - niche protection. So if I want to open up weapon choices in classes, how do I remedy this without seriously unbalancing the game and keeping the fighter's niche intact?

The solution seems pretty simple. Weapons of a magical sort could be used by any class just like normal weapons - a +1 sword works equally as well in hands of any of the classes. However, a sword +1, +3 vs. Dragons will only grant the additional bonus (special ability vs. Dragons) when wielded by fighters. A +1 blunt weapon that destroys undead will only act as a +1 weapon in anyone's hands except for clerics who can call upon the special ability. This opens up a world of variety now. The possibilites are endless for magical weapons (or armor) that only grant special abilities when wielded by a specific class or race.

Now this is not really a new thing. The venerable Holy Avenger has special properties that could be tapped by Paladins in AD&D and there have been many, many items before and after it that have done the same thing. For me this realization is the completing of a circuit in my brain that will let me do what I wanted to do with S&W for Icosa and not break the game. Now my son can have a sword-wielding, arrow-slinging cleric and not steal the fighter's thunder. Personally I'm looking forward some sword- or axe-wielding magic-users slinging spells into the fray. Maybe next I'll look at letting the magic-users wear armor (sacrilege!).

Follow Your Bliss,
JJ

The a-ha moment

This past Monday my youngest son told me that the Back to D&D Basics campaign session from the previous night was his favorite to date. When asked why he responded that he had an a-ha and suddenly knew how to play his cleric.

Up to now, my 11 year-old has preferred fighter types when he played D&D he would charge into battle and hack and slash through the enemies. His favorite character to date is his Warforged fighter from my oldest son's Eberron campaign. But when we rolled up characters for Back to D&D Basics his stats seemed to lean toward being a cleric. So that's what he became.

During his rise through the first 4 levels he was lamenting various aspects of his character: no spells at first level, only healing and protective type spells, and (the most troublesome) no edged weapons. He frequently tried to push his way to the front of the battle, but was often relegated to the back because the dwarf and elf had the first rank covered. His sling stone attacked missed more often than it hit.

He had great difficulty in seeing what he was bringing to the party. He didn't see how his curative spells let the party adventure longer. He had picked up a magic mace from a Chaotic cleric that drained levels. I informed him that use of that ability would cause him to move away from Neutrality and toward the alignment of Chaotic. This frustrated him so much that last session I offered to let him roll up a fighter to swap out for the cleric.

But then they had an encounter with a captured hobgoblin. His cleric was the only one who spoke that language, but my son did not feel confident that he would ask the right questions, so the player of the dwarf offered to ask the questions to have my son's cleric repeat it in hobgoblin.

This could have been hand-waved and let the dwarf's player ask the hobgoblin (me) the questions and my son would not have had to do anything, but instead I said this (or something to this effect):

If you repeat the question exactly as the dwarf said then just nod your head, but if you want to ask anything different then ask your question. Once the hobgoblin answers, if you repeat it exactly as he says just nod your head, but if you want to say something different say what your character says.

The group suggested passing notes, but I didn't want to slow things down. I reminded the players to not let their knowledge of what was transpiring affect anything their characters did. So off we went.

The dwarf said:

If you answer our questions honestly we'll free you as long as you promise to never return here. If not, we will slay you as we did your chieftain.

The cleric said:

If you answer our questions honestly we'll free you as long as you promise to never return here. If not, we will slay you as we did your chieftain which will make my god cry.

Wow. I didn't want to disrupt the flow of play, but internally I was taken aback by his modification. Questioning continued and the cleric took charge of the hobgoblin prisoner. As the hobgoblin started leading the party through their cave complex they encountered more hobgoblin guards.

The cleric stepped up with his prisoner and told them that their chieftain was dead and the party was willing to let them leave peacefully if they promised never to return. I decided to let the hobgoblins' reaction be decided by a roll. The first roll indicated that the would not attack but that they would growl and wait one round to hear what the cleric had to say. Also the next reaction roll would be at -4.

The cleric spoke to try to discourage the hobgoblins from attacking. I changed the modifier to -2 to show that his talk had some effect and then I rolled the dice. With the modifier the result was a 2 which indicated the hobgoblins attack.The hobgoblins won initiative and opened fire on the party with crossbows. Two bolts found their home in the captured hobgoblin's chest. He fell dead to the floor and the cleric was crest fallen as the fighters of the group rushed past him.

This was his a-ha moment. He knew how to play his cleric now. I don't think we'll need to roll up a new character for him and I can't wait to see what he does next time we play. I'm so pleased I got to see this moment first-hand.

Follow Your Bliss,
JJ

International Traditional Gaming Week

Well I'm almost too late for this event, but I'm getting it in under the wire. This week is International Traditional Gaming Week or ITGW. The idea is to get 'butts in seats' to play traditional or old school rpgs. This doesn't have to be D&D, but could be any of the retro clones or anything from the early days of gaming.

This week I ran my Back to D&D Basics campaign for my party and they are slowly making their way through the Keep on the Borderlands. So far they've run into kobolds, goblins and now are looking for hobgoblins. It's been a lot of fun and even my die-hard 3.5 players are really enjoying themselves.

So check with your Friendly Local Gaming Store and see if they're running and ITGW events. If not, maybe you can offer to run one. Download your favorite retro-clone and go to town. If anyone has any stories to share about their ITGW event, please post it into the comments of this post.

Follow Your Bliss,
JJ

Elric Explored - Part 5: Magic

I think this will be the last in my series before tackling the other side of the formula for my Icosa setting: Cthulhu. Magic in the Elric saga touches back on many of the previous parts of this exploration, but I wanted to give it it's own space to work through some ideas.

I've already spoken of the types of magic that result from summoning of elementals and other entities. This could be seen as channeling energy from other planes. In the Elric saga this is an exhausting task. The albino is not the only one who must rest after casting difficult spells. I'm not proposing any new systems here, I think the limit on spell casting is enough of a mechanic.

I still want to have 'regular' spell casting. The idea of learning ancient magic from dusty tomes fits right in. So I turned my attention to what is magic in general. Channeled energy is one form (which could work for clerical spells as well), but I want magic to be a force unto itself. I think magic will be Chaotic energy. Each spell is a formula master for directing Chaotic energy to perform a specific function. This seems to work well with the Vancian magic system of old school fantasy. Spells are limited by level because you can only hold so many in your mind at a time. As you progress in experience (levels) you are able to contain more spells including ones of a more powerful sort.

Spring-boarding off this idea I look back at my ancient civilizations and forward to Cthulhu. There will exist magic that is unlike anything currently in practice. These ancient spells could pose great danger to the caster (attribute/hit point loss) not to mention those around him - these spell are 'more' chaotic, if I can use that term. Gaining these spells will be the stuff of adventures. I think there will be spells of all levels that fall into this category, but more as you raise up in levels as well. This will require some research and play. I'm fortunate that S&W starts with a small list of spells, that it is easier to add on, rather than have to whittle away or reorganize a large list.

Another area that falls under the subject of magic are items of a magical nature. There are very few items in Elric that can be viewed from the traditional RPG sense as 'magic items'. Of course there is Elric's demon sword, Stormbringer as well as his Ring of Kings. But not much else. There was one mention of a suit of armor that was enspelled. This could have been a magical effect, like Mage Armor; I'm willing to go with that.

However, there were mention of items with a long history. For example, Elric starts out with the sword of Earl Aubec. We get a treat in the stories to go back in time to see Aubec use his sword. So what I'm proposing, is that most items of a magical nature are in fact items wielded by great historic icons. By being used in this way and passed down, they take on a magical quality over long periods of time. Most items in S&W are only +1 and that seems to fit. This also means that these 'named' items will have a history to them. adding to the depth of the world and setting. More work for me, but it's a lot of fun.

So this will bring the exploration of Elric to a close, even though I haven't finished the series as yet. I'll be turning my attention to the Cthulhu mythos soon.

Follow Your Bliss,
JJ

Elric Explored - Part 4: Twilight Civilizations

An interesting aspect of the Elric saga is that it takes place late in the history of that Earth. Elric's line has ruled for 10,000 years. The story often speaks of those that came before - the Doomed Folk. The Doomed Folk had an advanced civilization that rivaled anything that came after it - it may even have rivaled the gods. Magic, technology, nothing could compare to those halceon days millenia ago.

This is a theme that is found in much of the literature that inspired D&D. One only has to look to Jack Vance's Dying Earth novels (from which D&D gets its distictive style of spell casting) to see Earth in its last days as the sun slowly burns itself out.

The world of the advevturer is then ripe for exploring. There is now reason for there to be ruins; reason for delving deep in the earth for treasures long thought lost. This twilight world presents a mystery that cries out to be discovered.

Now, I have no desire (let alone the time) to catalogue thousands of years of history and geneologies like the good Professor Tolkien. I'm more then content to sketch out a few key events and leave the rest a mystery even to me.

Leaving big blank holes gives me room to add details as play progresses. I can take cues from the players and provide detail as needed. What is important here is having a solid framework to build on.

The framework is made up of those key events in the past. These events are designed to spark ideas rather than dictate history. They're jumping off points. It is also important to keep it loose because I do intend for there to be ways to travel to other times. If I paint in too much detail I may paint myself into a corner and not have any room for the players to explore and interact with the setting.

Another reason for leaving blank spots is that it requires less of the players to get up and running. The last thing I want is to have required reading before players can get going. Players need enough details so that they can make intelligent choices during character creation and the rest they learn as they go. Again, the setting info should act as inspiration not dictation.

Elements that will definitely be included are: a lost and sunken birthplace of civilation, powerful magic and technology of the ancients, forgotten civilizations still thriving in hidden realms, buried cities of wonder, and layer upon layer of history. The acumulated history that is somewhat acurate only goes back a few hundred years. Beyond that it's legends and rumors. And legend and rumors are meat and drink of hearty adventurers.

Next time on Exploring Elric: Magic!

Follow Your Bliss,
JJ

Elric Explored - Part 3: Law vs Chaos

One of the central themes of the Elric saga is the constant battle between Law and Chaos. These two forces are personified by various Lords of godly power.Their push and pull causes the friction which turns the wheels of the worlds and keeps things in motion. In re-reading these stories I find I like this as a backdrop.

Michael Moorcock credits Poul Anderson's The Broken Sword and Three Hearts, The Lions as the inspiration for the forces of the Higher Worlds that inhabit the Eternal Champion's multiverse. In these stories Chaos is more than just evil and Law is more than just the good guys. These are primal forces at work.

It helps that Swords & Wizardry uses Law and Chaos as the default alignments. Advanced Dungeons & Dragons with its nine different alignments seems to be too much over thinking. There is a beauty to the simplicity of the Law vs. Chaos dichotomy. And yet, it's not just a morality play. By taking the ideas of Good and Evil out of the equation, Law and Chaos achieve and almost elemental aspect.

And while they battle it out, it is not anything that one side should ever win. If either side wins it could be the end of everything, as put so well but Orunlu the Keeper, minion of Chaos, in The Weird of the White Wolf:

"We exist only to fight - not to win, but to preserve the eternal struggle."

Orunlu may actually be more astute than the higher Lords of Chaos which seem determined that this is a war to be won. Which just goes to show that even gods look at things through a lens colored by their (warped) perception.

Which brings us to the concept of the Cosmic Balance. Some would argue this is simply the Neutral alignment, but I don't think so. Neutral is just coasting along, neither caring nor worrying about the struggle. Being committed to Balance takes work. Sadly, Balance doesn't get a lot of screen (page) time in the Elric stories, but that's ok, because the real action is between the two big guns.

Finally there is the question of freewill. Elric feels that he doesn't have such a thing. He labors under a destiny placed on him by his patron deity in addition to his mantle as the Eternal Champion. If he had his druthers, he would be back in the palace with Cymoril leading a 'normal' existence as king of his people. That doesn't make for good fiction, so I'm glad things turned out the way they did, because I really enjoy the stories as written.

So what does this mean for Icosa? Well, since this is an Old School Sandbox setting, it is important for the PCs to feel free to go wherever they wish and follow what ever path they desire. This doesn't sync well with the notion put forth in the books about a hero's destiny. Heck, we don't even know if the PCs will be heroes. So how to reconcile the two concepts?

In Icosa, all PCs will start 1st level as Neutral, or to put in it in 4E terms, Unaligned. A PC may choose to align with Law or Chaos at any point after completing first level. This works on a couple of levels. First Clerics (not sure what form they'll take in Icosa, but for now we'll assume that it is as written in SnW) do not get any spells at 1st level. They must prove themselves to their deity to gain the spells and thereby lock in their alignment. If they do not act in accordance with their intended alignment, they may stay Neutral and progress in hit points and such, but not gain spells until they are able to show their commitment.

Second, there is no pressure to play a certain way. The players make decisions for the characters and these decisions will slowly accumulate over time to reveal a tendency toward one or the other alignment. Also, this process will lead to consequences based on their choices. A player may not believe that his character is Chaotic, but he may sit up and take notice when he is visited by a demon to be recruited into the ranks of Chaos.

This is all still very sketchy. I'm toying with the idea that characters that summon demons must be Chaotic, but that is still a little ways away. Ultimately I want the process of Alignment to be organic not something that gets locked in and seen as a limit on play. For those that think this approach ignores 'plot' in Old School settings I think that James Maliszewski of Grognardia fame says it best here.

Another thing that this struggle implies is that the Lords of Law and Chaos are involved in the affairs of men. At the very least they will be providing spells to their Clerics and dreams and portent to their followers. If the PCs play their cards right the Lords may even put in an appearance. That's something worth looking forward to.

Follow Your Bliss,
JJ

Elric Explored - Part 2: Planes

Another staple of the Elric stories that I'm particularly fond of is the concept of many and varied planes of existence. This concept goes to the heart of the Eternal Champion stories. The planes take many shapes and forms. These were no doubt the inspiration of the inner and outer planes of ADnD.

First there are the elemental planes, inhabited by the four classical types of elements: earth, wind, fire and water. Elric visits these on occasion and summons elemental minions to do his bidding from these planes throughout the saga. The elemental planes are 'close' to some planes and 'further' from others. There appears to be no set hierarchy as to the organization and location of these elemental planes. Passage to and from these elemental planes happens most frequently through the corresponding Earthly element (travel through the sea to get to the plane of water, etc.).

The next most common type of plane is that of alternate timelines. The Eternal Champion exists in all the various versions of Earth; each one of these versions is a distinct plane that can be traveled to. Sister to this type of plane is the concept of time as a plane. This provides the possibility of travelling to the past or the future not only within one's own plane but other planes as well.

Then there are all the various realms of Limbo and discarded dimensions inhabited by all manner of men, beasts and demons. The possibilities seem limited only by the writer's imagination. Again, no order or pattern can be discerned. The relationship between each plane is unique as are the properties covering the physical and magical laws of a plane.

There is one last type of plane in these stories, the eternal city of Tanelorn. This city exists in all planes throughout time. It is the final quest of many heroes seeking rest from their adventures. This could be viewed as a mobile plane of sorts, it's location within a given plane may be static (beyond the Weeping Wastes), but it may not always be accessible. From within the city it may appear that inhabitants can exit the city to visit a variety of planes depending on where they happen to be 'anchored' at the moment. This last one is a favorite of mine because it matches thematically with one of my favorite comic book settings: K'un L'un, the birth place of Iron Fist.

Looking at SnW White Box I see that there is no spell for travelling between planes; this is as it should be. SnW has its feet firmly planted in the Old School Renaissance which holds that the adventurers should be heroic, but not superheroic. Heroes who can plane-hop at will is the stuff of comic books. Adventurers of the OSR do travel to other planes, but I see these trips are accidental or arranged by some powerful entity; they are not the stuff of everyday fare.

So this begs the question of how the PCs will be able to access these planes. First there needs to be natural conduits to various planes closely associated to the prime plane of the PCs. This could be a deep sea tunnel that leads to the elemental plane of water, a dark dungeon cavern leading to the elemental plane of earth, and so forth. Also natural conduits should exist to different times and alternate worlds. The most common means of this in the Elric stories is becoming lost at sea; the Seas of Fate bridge worlds and times.

Another means of access would be through powerful entities or agencies. Demons, elementals and beast lords may be able to provide access to various planes. Agents of a particular power may have a magical device that allows passage through the planes - again, the black ship that sails the Seas of Fate is a good example of this variety.

Spells that access various planes are not out of the question, but I would like to limit this as much as possible. Certain planes may be more accessible through spells than others, or may only be accessible at certain times or only through great sacrifice. This will remain to be seen as development progresses.

Finally the eternal city brings an interesting possibility to the mix. Since this city can theoretically be any 'where' and any 'when' it provides the possibility of players creating any imaginable character as well as a way of accessing many planes. There was a time that this would have really bugged me when preparing a campaign. The concept is too big for most games, I didn't want to have Jedi running around in my quasi-medieval world. But now, with a few more years under my belt, I'm not so sure that it bugs me. One final benefit of the eternal city, it provides me with a way of explaining why there would be a monk in a quasi-medieval setting.

Adventurers-from-other-worlds has a solid foundation in fantasy literature: the D&D players in Quag Keep, Holger Carlsen in Three Hears, Three Lions, John Carter Warlord of Mars. Murlynd, one of the hero-gods of Greyhawk is clearly from Earth's wild west. So I'm in good company here.

The Deities & Demigods books of ADnD was the first to put a basic form and order to the inner and outer planes. These concepts were later formalized in the Manual of the Planes. Both of these are fine works, but I feel they are too rigid for Icosa. I may be borrowing some concepts - elemental, etheral and astral planes - but I think I'll keep things loose and flexible. This will let me handle things on a case by case basis. This may need more firming up when giving more depth to the Contact Other Plane spell.

Next time around I'll be looking at the battle between Law and Chaos.

Follow Your Bliss,
JJ

Elric Explored - Part 1: Elementals

A few days ago I posted about my desire to create an original sandbox setting (codename Icosa) to explore with my players. I posted this simple formula: campaign = Elric + Cthulhu + OD&D. Well not it's time to start taking this apart and seeing what makes this formula tick in my mind starting with the first variable for inspiration: Elric.

I'm re-reading the series of books about the albino Eternal Champion by Michael Moorcock to get reaquainted with the setting. I read it long ago and found many things I liked about it. Back then I had approached the series as a result of the appendix in the DMG. Now I'm going through the stories again with more of an eye toward what elements (no pun intended) I like most and would like to use in Icosa. I feel this is an important first step to help me focus the tone of the setting. I can also then compare the elements I want to the game system to see what is supported and what needs further fleshing out.

Let me make it clear to start off with that I am NOT trying to recreate the Elric saga in my sandbox. That's already been done quite well and I have no illusions to outstrip that excellent game. I only want to borrow those bits and pieces that I (and hopefully my players) find cool.

Another reason I want to start this way is I like to design top-down. This may seem counter intuitive given the exploratory nature of sandbox play, but I need that top-down framework to provide the structure to work within. It establishes boundaries and gives me something to build upon. Hopefully that keeps things from feeling too random. I do plan to leave plenty of places to explore and discover as a result of play. To begin with, some areas of the world will only have a sentence or two at most to give it flavor without dictating reams of history. If you catch me creating long (ala Tolkien appendices) genealogies or histories feel free to call me on that. So let's get started...

The world Elric inhabits has a close relationship with elementals. By elementals I mean not only the four classics (earth, wind, fire and water) but also the animal elementals, those primal beings that are the epitome of their type. These beings are powerful entities that are called upon to do various things for those summoning them. Included under this heading are the demons that are summoned as well. These otherworldly elementals are fearsome and a powerful tool of any sorcerer.

Elric interacts not only with the more basic types of elementals, but with their kings as well. This presents a hierarchy of power that could prove interesting to tap into. PCs could make bargains at lower levels with some of the more pedestrian of the elementals and work their way up the chain as they gain power and experience.

Swords & Wizardry (SnW) has Conjure Elemental as a 5th level magic-user spell, something only a potent magic-user of high level can cast. This fits in for the most powerful of their type, but I posit a more diverse strata of beings, something that magic-users at various levels can tap into (role-playing possibilities galore) as they gain levels. This points to a possible variant of the magic-user that deals specifically with these other worlders (perhaps with charisma as prime requisite) or perhaps a customization of spell lists.

Elementals could also be a possible source of magic (a more thorough exploration of magic is required another time): Levitate is performed by calling on air elementals and Wall of Fire by calling on their fiery cousins. Also there is the obvious need for stating the various elementals that the PCs can interact with. SnW has the basics but a little more variety can go a long way to spicing up play and exploration. In all cases (spells/class/monster) SnW provides an open framework for developing these ideas.

I hope the inclusion and use of these elementals will help bring a facet of the fantastic to this setting: both dangerous and exotic like the fey of old. I want players to look forward to and, at the same time, fear interactions with the Elementals of Icosa.

As a final note, I'm looking for a name for this campaign. I want it to be something 'pulpy' for lack of a better term. I'm not too worried about it at this point. I'm sure something will spring to mind as I continue to explore the setting.

Back to the beginning...again

In my New Year's Resolutions I talked about creating a new Old School campaign. Now I already run the Back 2 Basics campaign for my sons and our friends. This is using the D&D Rules Cyclopedia which is a wonderful system and I really have no complaints. I am using the out-of-print Karameikos setting so that I can run some classic modules (like B2 Keep on the Borderlands, X1 Isle of Dread and the Dave Arneson's DA1-3 Adventures in Blackmoor). This should keep us going for a while. Any play in my new setting will be outside this regular play.

Having these ready to run modules had been great because I can focus on play at the table with minimal prep work. However, it lacks a little bit of luster to me as a DM. I like to feel I'm creating something besides the play at the table. So I want to create my own setting.

As a result of this look back into my roots of gaming I've fallen in love with the Old School Renaissance. This has lead me to looking hard at all the retro-clones out there to pick from. It's wonderful that all are available for free download in a digital version, because now I can (legally) make copies for my players. The way we play now is all using the same book.

The version I am settling on is Swords & Wizardry White Box. I love how wide open it feels. I've also been doing a LOT of reading of Old School blogs and found many different ways to adapt the game to my needs. I think my goal will be to start with the White Box and add any information freely found on the web and then add original material as needed.

To me it is important to pick the system first because I feel the system flavors the setting. Since I've been reading so much of the inspirational material for D&D (books listed in the appendix of the DMG) it seems to make sense to go back to the beginning: OD&D. White Box is a good fit and feels the most right for what I want to do.

I think I'll be using Obsidian Portal again to keep track of the campaign world as it is built. I like its tools and I feel it provides an easy way to access the information. Once play begins I will be posting play reports in the Adventure Logs. I'll also be linking to any inspirational materials as is appropriate. For now the formula for the campaign = Elric + Cthulhu + OD&D.

Follow Your Bliss,
JJ

Quoteable Gygax

The following is from p. 25 of B2 Keep on the Borderlands by Gary Gygax (emphasis mine) in a section entitled Tips to Players:

Arguing among players will cause delays, attract monsters, and often result in the deaths of some or all of the members.

Wow, talk about a tough campaign! I mean, Gary brought monsters in to get rid of his most argumentative players! Reminds me of that scene from The Gamers movie that took TPK to a new level.

All kidding aside, this is more to illustrate the point of how little difference was made in early publications between the players and the characters in the game. I see this as another point in the argument that Old School games were meant to challenge the players and not their characters. Hence no lengthy tables of skills and feats.

Stories and Games

I got a nice compliment last night by a friend in our Back 2 Basics campaign. I had asked him to follow up with his son about what the son found interesting and fun in our sessions. His son, age 8ish, is being introduced to RPGs through this campaign and I was looking for some feedback. Anyway, the compliment was that the son liked the stories I told when we played.

I said thank you for the compliment, but have been chewing on it all morning. I'm glad that he's having fun, but he's not getting the buy-in. He's creating the story as well. This is his story. Maybe this is a concept that is too big to tackle at that age or maybe I just need to be more straight forward and say that "Hey guys, this is your story!" I'll let you know how it goes.

Follow Your Bliss,
JJ

The world is not a 1st level dungeon

If you had asked me a year ago if I was an 'old-school' gamer I would have answered yes, primarily based on when I started gaming. But since I've started my Back to Basics campaign I've been doing a little reading and realized that when I started didn't matter as much as how I played. Based on what I've read (Grognardia, Retro Roleplaying, and the Quick Primer for Old School Gaming) I feel that I can now say with certainty that I was an RPG Grognard.

One example of this is the concept of a sandbox in old school RPGs. A sandbox represents an area in the game world where the players may freely interact with the environment. The GM creates a locale with many areas keyed for possible encounters. This is less story-focused than most games today. Players would wander about and trigger an encounter if they went to the right place.

In this approach, there is nothing that requires the GM to only put 1st level encounters surrounding the starting point for the campaign. Now some new players (especially if they have any experience with MMORPGs) may be asking why would you do that? Why put a potentially Total-Party-Killing encounter right outside the characters' front door? I used to wonder that too, until I got schooled by a true Grognard.

I had the privilege of playing in Hank's campaign during my last two years in college. Hank lived on my floor in the dorm and I quickly learned that he and others on the floor played AD&D, so we started a group. Hank was a frustrating player because he had an idedic memory and could quote from Players Handbook, Dungeon Masters' Guide and all Monster Manuals. I had to resort to creating a lot of new material to keep him guessing, but that is a story for another time.

Hank invite me and a few of the players from our group to play in his original fantasy world. We were nomads who were trying to escape the desert. Every year the nomads send a small party of adventurers beyond the mountains surrounding the desert to find a way to open the portal blocking the only overland passage in or out of the dessert.

His world was not a 1st level world; he even warned us of that. Before we were 5th level (the highest level we ever reached before dying in the Battle of the Gate) we were negotiating with shadow demons, devils, high level magic-users and all manner of potentially party-killing encounters. But we survived (for the most part). We learned to play by our wits. We negotiated, bargained and worked out all manner of deals to prepare for the battle at the gate. We planned and prepared spells and tactics. We made alliances and hunted for magic items to use in the upcoming battle. And though we failed to achieve our ultimate goal, we created a great story in the process.

Yes, story. All that wandering around, encountering, dealing and adventuring became our story. While we set out and interacted with encounters on the map we were able to create a really cool story in the process. James over at Grognardia says it better than I can so check out his post to see what I'm talking about.

Finally I'd like to thank Hank for running some of the best adventures I had the pleasure of playing in. Hats off to a true Grognard.

Follow Your Bliss,

JJ

Narration Rights

A recent blog post from Troy Costisick has me thinking about narration rights in games. A while back I talked about including an Inspectres-style narration approach in my Back to Basics game. This went over wonderfully. It was embraced so well, in fact, that my sons have started doing it in our 3.5 edition of Eberron. All in all, this is great, but when we had an encounter in our most recent B2B session, I'm rethinking the whole thing.

Here's a little background. I'm running B2 Keep on the Borderlands, a Gygax classic. Since it came in my Basic boxed set of D&D I felt the need to run it. I never really understood D&D well enough back in the day to do it justice. I wanted to run it even more now as a way of sharing a bit 'history' with my boys (like explaining LPs and introducing them to Canadian rock legends Rush, much to my wife's chagrin).

I'm playing it as part of the B1-9 In Search of Adventure mega module. This adventure is just one stop along the way, but one I thought worth spending time on. It is very different from most of the other adventures in B1-9. Being released in the early years of D&D it lacked any 'boxed text' descriptions (more on this in another post). Its style is also more 'sandbox' oriented than story driven (again, more on this too in another post). Suffice it to say that B2 is more setting based rather than encounter or event based.

The event that triggered all this rethinking stems from the first set of caves they've been exploring - the kobold's lair. Specifically, when the hoards of little, scaly, dog-faced creatures started swarming the party the players wanted to describe their successful attacks. This had the effect of really slowing the game down. I felt the urge to keep the action moving and was chafing at their descriptions. I had thought that they could only describe their finishing moves when dispatching a kobold, but since almost every one of the little buggers dropped from one hit this didn't help to speed things along.

Let me state for the record that if our B2B group gets to play a total of three hours in one session that is rare. With the younger players, life and work schedules, we generally only get about two solid hours of play in any given week; it will take a total of three play sessions just to get through the kobold's lair. You can imagine how slow progression is in this situation.

At its roots, the issue is a battle between my gamist - tactical combat, problem-solving, room clearing, treasure grabbing - and narrativist - why are the characters doing what their doing, story telling - sides of me.

After reading Troy's post I see that the problem lies in trying to add narrative control to a task resolution system rather than a conflict based resolution. To highlight the difference: conflict based - characters wish to defeat or drive back the kobolds attacking them; task based - character swings his sword at the kobold in front of him. Since D&D deals with every swing and strike, it is inherently task based. Adding elaborate description to each swing adds a lay of detail that may smother play.

For now, to keep things moving, I'm planning on limiting the successful descriptions to make key encounters more special. This may tip my hand at 'boss level' encounters, but that is something I'll worry about after I've tried it out for a while.

Follow Your Bliss,

JJ

NPC scripted scene

In my last post I talked about doing an NPC scripted scene in an upcoming adventure. Well, last night I ran that scene. I'd been waiting until the party had finished their current adventure. The scene was meant to act as an interlude between the last adventure and the next. Up until this point the Patriarch of the church would call the PCs into a meeting and offer them a new chance to adventure. This time was a little different. I have used Google Docs to create the document and have shared it here: http://docs.google.com/View?id=dgsd7pz_50d25n37gm

To give you a little background, the characters have just completed a successful mission to capture the chaotic cleric Elwyn who had made off with a holy artifact. The cleric and artifact were returned to threashold and the custody of the Baron Sherlane Halaran, who is also the Patriarch for the Church of Karameikos.

Normally the players would not find out what happens to Elwyn after they turn her over to the Baron nor would they see what leads up to the Baron calling on the PCs for assistance. This little scene does that and more.

In addition to the backdrop each of the characters in the scene with Elwyn have a tie to one of the characters. The Patriarch and Aleena are both members of the Church to which one character belongs. Lady Halia is mentor to the magic user in the party. Porthios is mentor to an elf in the party and Lady Halia's husband can act as a mentor to any fighters in the group.

With these mentors more formally introduced I inserted a role-play scene in which the PCs had an opportunity to interact with their mentors prior to meeting with the Baron. This was a fun scene with no real goal other than to give the players a chance to expand upon their characters. It also pointed out that the thief in the party had no such mentor; something that will be addressed in upcoming play.

The scripted interlude also allowed me to introduce an important NPC for the upcoming adventure: Commander Castellan. This helped to prepare the PCs with the eventual meeting with the commander.

All in all, the scripted scene was well received and I was very pleased with the results. The scene when a long way to making the PCs adventures set more firmly into a world deep and rich in detail. The scene went a long way to help ground the actions of the PCs into a larger framework, will still keeping the focus on them.

I highly recommend using this simple tool for adding more depth to your role-playing experience. I wish I had more time to devote to the scripting (I posted it with all the typos still in it), but I don't want to take too much away from the spontaneity of the game. Scripted scenes are great for fleshing out the story, foreshadowing and epilogue. I want to thank Rich and Ryan for talking about in an episode of the Canon Puncture podcast. I've mentioned this and other podcasts I listen to in a previous post. Ryan's excellent Master Plan podcast on game design can be found at masterplanpodcast.net.

I'll have more updates soon. Until then, follow your bliss.

JJ

Hey, you got your story in my game!

I have been inspired by a recent Canon Puncture podcast (recent being a relative term, since I just plowed through over a year's worth of shows in several weeks' time) talking about items to loot from independent RPGs to bring into traditional RPGs. The particular loot I decided to work with was player narration of successes, borrowed from InSpectres. With the players' approval we added this concept to our last gaming session using Basic D&D.

Here is how it worked: Players would make their combat rolls as normal. If it was a successful attack they indicated the damage done. I would let them know if this was a fatal strike or not. The play would then narrate a short description of the successful strike within the parameters stated. If they failed their roll I would indicate why they missed their target. The same also was applied when the monsters attacked the PCs. If the monster hit, I would describe the attack; if the monster missed the player whose character was being attacked described how they avoided the blow.

This led to colorful descriptions and everyone getting into the fun. The orcs they battled seem to be more fearsome and the characters more heroic as a result. The players all contributed to the description. The orcs took on more three-dimentional and individualized aspects - they weren't just a bunch of orcs the party had to hack their way through, they were worthy foes. One of the descriptions also earned a player a +2 circumstantial bonus on his next attack when he described with such color why the orc missed him.

Another wonderful scene in the combat was when a player described his fatal attack as knocking back the dying orc from the force of the attack. I picked up the ball and ran with it to effect the way the orcs reacted on their movement by holding the action of one orc, keeping him from rushing forward to fill a void in the ranks, as he held his dying comrade in his arms. The next round the grieving orc charged forward with blood in his eyes (the orcs passed their second moral check).

The descriptions did slow combat down a bit. We were only able to get through the major encounter with the orcs and do some retracing of their footsteps in the current dungeon, but no one seemed to complain. The battle with the orcs was made more memorable because of the interactive descriptions.

As a side effect, the players started describing some of the aspects of the dungeon they were exploring. This was pulling in another item of loot, namely scene framing and colaborative narration from Primetime Adventures. When one player's character discovered a loose stone and an empty cavity in the wall a different player called out to turn the stone around to see what was hidden in the brick. The adventure called for nothing other than a cavity in the wall filled with treasure, but I decided to take the two potion bottles from the treasure and embed them in the hollow of the brick (much like Ben Franklin's spectacles from National Treasure, from which the player was pulling this image). There was no harm in this, and I would not have kept the treasure from them had they not added this, but this one detail made the experience more vivid in all the players' minds.

I hope this was helpful in illustrating that you can teach an old dog new tricks. Our group enjoyed the experience and I'm sure these story game elements will remain a regular part of our play. Next I'll try introducing some scripted NPC-only scenes to give the players a greater understading of the story behind their adventures. I'll be sure to let you know how that goes.

Follow Your Bliss,

JJ

RPGs and Goals

In looking back to the beginning of my passion for RPGs I also decided to more closely examine the games that I played in my younger days. As mentioned before, I've been running several RPG groups using Basic D&D to see if it still clicks and, more importantly, why it clicks in the first place. The short answer is that it does indeed still click because it is cool. If you're happy with that, stop reading; if not, read on.

In related research I came across this definition of a game by Kevin Maroney. Perhaps this would give me a clue as to why I loved RPGs so much more than card or board games. In short,

"A game is a form of play with goals and structure."

Very simple and straight forward. Let's see how it stacks up against RPGs. I think it's safe to say without much argument that RPGs have stucture, some more than others (Role Master vs. GHOST/ECHO). Without structure it's free-form. Board games have structure. Card games have structure. Video games have structure. Cool, one down two to go.

Play, according to Kevin, is best defined as the opposite of work. It's a leisure activity; it's fun. We engage in these activities with the primary purpose of entertaining ourselves and others. Sure it can be educational or inspirational, if used to learn a skill or lesson it can be viewed as training, but at it's heart it is entertainment, pure and simple. Here again I think that RPGs, most card games, board games and video games are a form of play. Neato, two down. Now to tackle goals.

Kevin says

"The actions that players take in a game are directed toward achieving a goal."

The goal of Monopoly is to have the most money at the end of the game. The goal of the card game War is to be the one with all the cards. The goal of Tic-Tac-Toe is to align your symbols. The goal of D&D is...different for everybody, or at the very least can have a nigh-endless variety of goals.

Basic D&D can be said to have one implied goal (and no, "to have fun" is not it a goal, it's play) and that is to explore and adventure. Early games had all the power and information in the hands of the DM with players exploring the game world through their characters. This exploration was the motivation for the characters to delve into dungeons, suspense high as the party moved from room to room. Traveling the land the party is driven to see what was over the next rise. As such, exploration is open-ended, well, at least as far as the DM had finished mapping.

But exploration is not enough. Exploration should lead to excitement and adventure; adventure leads to wonder. Part of this wonder was never knowing what was next. This is why we DMs have that screen we hide behind. Don't look behind the screen, you'll destroy the magic! But adventure was reason enough to gird your sword and heft your backpack. Goblins moved into the woods? Let's clear them out! Dragon holding a princess random? We'll bring her back. To adventure!!

Soon each adventure became it's own goal - we have to get back all seven parts of the rod, we have to destroy Vecna, the schemes of the giants and drow must be stopped at all costs. Cleverly strung together these adventures goals would build into larger campaign goals. It only ended when the players decided there were no more worthy goals to achieve.

(Now once players realized they did have power in the game, they stopped blindly following the DM's carrot-on-a-stick, but that's a discussion for another post.)

Now, alignment can be argued as a motivation: we're Lawful, so we have to clear the woods of goblins. I'm not buying that. The way I see it alignment is the way you explore for adventure, not the goal in and of itself. However, it can be part of a self-imposed goal: I'm going to portray the best Lawful fighter I can so he can become a Paladin at 9th level.

Self-imposed goals are truly limitless. The ability to make your own goals in the game sets RPGs apart from most other games. Each player could have their unique goals and these could be layered with the goals of the play group. As RPGs became more story driven, characters were created with an eye toward more specific goals - I will reforge the broken sword and reclaim the kingdom. As RPGs continued to grow and evolve the games began to be written with specific goals in mind, but this rarely precluded a player/character defining their own goals in a game.

Bringing this back to the my examination of Basic D&D and current play, I see more clearly the implications of exploration and adventure. Adventure modules were written with very little in the way of story hooks. It was often assumed the party of adventurers had heard news of troubles and were riding in to save the day. And guess what, it's still just as fun today as it was then with nothing more than a goal to explore and adventure in the shared imagined space created around the game table.

I look at my players now and they don't question the reason for adventuring. Exploration and adventure are their own motivation and reward. They don't think twice when the Patriarch asks them to investigate an ominous fortress on the borders of their land. They jump in both feet first. And I find myself cheering along with them.

But this ability to have dynamic goals is magic. I can start to see each player beginning to formulate unique goals - I want to get my character to second level so I can cast cure light wounds, I want my character to get more money, I want my character to slay more monsters. No doubt they will soon turn toward different goals - what does it mean to be Traladaran in the Grand Duchy; I want to join the Elven Guard; I want to rise above the poverty that I was born into; I will bring faith to the faithless.

But this introspection has also raised a question for another time: What is the goal of the GM?

This post has come about as the result of a rather serendipitous journey started when I asked Judd Karlman a question about libraries and gaming and he responded with some links for me to explore. Thanks Judd for putting me on this path, I can't wait to see where it takes me next!

Follow Your Bliss,

JJ

D&D Game Day 2009

This weekend to celebrate this year's D&D Game Day I will have gamed a total of 12 hours: 3 hours Friday night and 2 hours Saturday morning (DMing Team Beta in the Back to D&D Basics campaign), 4 hours Saturday afternoon (playing in a D&D 4E sanctioned event), and 3 hours Sunday evening (DMing Team Alpha in B2B). For me, especially these days, that is a lot of gaming.

The happenings regarding the B2B Campaign can be found here. It was a lot of fun to play so much D&D with my boys and their friends. Friday night's group encountered a magical trap which put one of their party to sleep. An attempt to wake him led to an entire room in the ruined castle of Mistamere being set aflame. Eventually the sleeping member was wakened from his slumber with the casting of a Dispel Magic spell by a high level magic-user (which also depleted the party's funds).

What I found amazing was that simple encounter was the talk of the night and went into the next day when we sat down again to play a couple more rooms before having to return boys to their respective homes. This glimpse into their sense of wonder at the event was enlightening and encouraging that the time spent playing was truly appreciated by all.

As a counterpoint my experience with the Game Day event at a local game store was...interesting. My expectation was that this would be a scripted beginning adventure for 1st level pre-gen characters. The adventure was not scripted. In fact it was more of an adventure toolkit than actual adventure. And the pre-gen characters were not 1st level.

Each table of participants first gathered to create the adventure. This included selecting the creatures to be used in each of the two encounters and providing tactics and background story to get the party of characters involved in the action. This sounds like a great idea, but I would imagine this would seem very unusual to a person who had never played D&D before and was participating in the event to see what all the fuss was about.

Once the adventure was created the DM from our table went to a different table to run the adventure that was just created. Likewise, another DM came to our table to run his adventure for us. Now this seems odd to me because his adventure used all or most of the same pieces-parts (i.e., monsters) that our adventure had used. We had all read over the monster stats as we were putting together our adventure. Somehow there was little room for wonder once we got into play.

I will admit that the way that the monsters were implemented and the background to the adventure were unique in each case, but, I don't know, it didn't really sing to me. I knew that we would be facing minotaurs and dark dwarves, probably a scarecrow and demon priest. I guess it's no different than going to see a Bruce Willis movie and knowing he'll save the day, but not knowing how he'll get there.

The characters that we had to pick from were all 6th level, which in 4E means they have a laundry list of abilities as long as my arm (and I was playing a human fighter). In fact, some basic abilities were left off the sheets due to space limitations. I have played 4E on two other occasions and I've been playing RPGs long enough to stumble my way through. But if I had been a new-comer to the hobby, I think I would have walked away thinking this is way too complicated to be fun.

Another thing that rubbed me the wrong way was that once we arrived there were seats for us to join, but we each had to go to different tables. I didn't get to see how my son played. That left me a little sad and may have colored my overall appreciation of the event. I did enjoy gaming with the players at my table - most of whom I'd have no problem inviting to one of my games. This exposure to other players was refreshing.

In hindsight the event was not to get new players into the hobby. It was an event for experienced players. This too makes me sad. I was likening Game Day to Free Comic Book Day, in which people who did not read comics or had stopped reading comics could see what today's comic books were all about.

Participating in the event did introduce me to new players and got me into a store that I seldom visit (I was disappointed that a store closer to my home had not planned ahead and had not Game Day events). I now have the opportunity to join a local gaming group with ties to Bash Con, a local gaming convention. So maybe the event did what it was supposed to do, even it was not what I was expecting.

I hope players that enjoy D&D were able to participate in a Game Day event or celebrated D&D in some form or fashion.

Follow Your Bliss,

JJ