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Dungeonslayers 4.0 & The Demolished Ones

Dungeonslayers 4.0 & The Demolished Ones

dungeonslayersI’ve fallen for two game products I never expected to like. One is a slim paperback rule system for a fantasy role-playing game – and you might think we have enough of those, but this is pretty excellent. The other initially puzzled me because it seemed on first blush like it was a Victorian murder mystery… except that I discovered it more resembled The Prisoner.

The products have very little in common, except that they come from the same publisher and that I highly recommend them both.

All that you need to play Dungeonslayers – apart from dice, paper, pencil, and imagination – can be found in a slim 160 page paperback. I suppose a lot of role-playing games can make a similar claim, and it’s one I’ve heard often enough that upon first look I really didn’t see what the big deal was. But Dungeonslayers really is a different animal.

It’s beautifully presented and succinctly explained. There’s no bloat here, and there’s nothing confusing. It’s minimalist without being simplistic, and incredibly succinct. You can get the game up and running with a minimum of fuss.

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Appendix T

Appendix T

aljUnless one considers charts, tables, and mathematical formulas to be “illustrations,” the original edition of GDW’s science fiction roleplaying game Traveller (1977) contains only one piece of genuine artwork: namely, the portrait to the right. That portrait, by an uncredited artist, depicts Alexander Lascelles Jamison, the example character whose career is detailed in the first volume of the classic SF RPG. Like all Traveller characters, before he starts seeking his fortune among the stars, Jamison has already had a career, in this case in the merchant service, where he mustered out with his own ship and the rank of captain.

Looking at that portrait, I found myself remembering a quote from “Margin of Profit,” a story by the late Poul Anderson, first published in the September 1956 issue of Astounding Science Fiction. That story, too, depicts an interstellar merchant captain:

He was a huge man, two meters in height and broad enough to match. A triple chin and swag belly did not make him appear soft. Rings glittered on hairy fingers and bracelets on tawny wrists, under snuff-soiled lace. Small black eyes, set close to a great hook nose under a sloping forehead, peered with laser intensity.

Anderson’s merchant is, of course, Nicholas Van Rijn, president of the Solar Spice & Liquors Company, and one of the more famous characters from the period between the end of the Golden Age of Science Fiction and the rise of the New Wave.

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A Return of Pacesetter RPG Style Horror

A Return of Pacesetter RPG Style Horror

You are about to enter the world of CHILL, where unknown things sneak, and crawl, and creep, and slither in the darkness of a moonless night. This is the world of horror, the world of the vampire, ghost, and ghoul, the world of things not known, and best not dreamt of. CHILL is a role-playing game of adventure into the Unknown and your first adventure is about to begin — CHILL Introductory Folder

In 1984, a group of former TSR Employees that included Mark Acres, Troy Denning, and Stephen Sullivan formed Pacesetter Ltd. Games and ambitiously published four role playing games: Chill, Timemaster, Star Ace, and Sandman. The rights to these games now belong to a diverse list of small publishers. Phil Reed owns the rights to Star Ace, Goblinoid Games own the rights to Timemaster and Sandman (as well as the Pacesetter brand), and Mayfair Games owns the rights to Chill.

Chill wasn’t the first horror role playing game, nor is it considered the best by the majority of gamers.  However, it has long held a place as a “cult” favorite in the role playing game world. While it is a cult favorite, that cult status has not enabled it to garner a reprint in recent years. In 2009, Otherworld Creations attempted to do a Fundable campaign (a Kickstarter before Kickstarter was cool) and failed to raise the necessary money to do a new edition.

Chill was different from other horror role playing games that often sought to capture the dark nihilistic material horror of H.P. Lovecraft or turned monster-hunting into an action movie. Chill tried to capture the tone of Hammer and AIP productions. Because of this four-color focus, and I believe also because its creators were former TSR employees, Rick Swan reviewed the game quite negatively in Dragon magazine and in his Complete Guide to Role-Playing Games. Swan wrote that the game was:

A horror game for the easily frightened… While most of Chill‘s vampires, werewolves, and other B-movie refugees wouldn’t scare a ten-year-old, they’re appropriate to the modest ambitions of the game… Chill is too shallow for extended campaigns, and lacks the depth to please anyone but the most undemanding players. For beginners only.

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Appendix N: Carrying on the Flame

Appendix N: Carrying on the Flame

Runequest Sixth Edition-smallAs recently posted here at Black Gate by James Maliszewski in his article “The Other Appendix N,” the very first Appendix N bibliography of inspirational reading ever printed in a roleplaying game was actually in the 1978 edition of Chaosium’s RuneQuest; a year before Gygax released his own homage in the AD&D Dungeon Masters Guide. Whilst it merely followed the time honored convention of academic publications, few remember nowadays that it was RuneQuest which started an institution in roleplaying that still continues to this day.

Surprisingly, the differences between the two bibliographies are quite stark. RuneQuest’s list, rather scholarly, incorporated a lot of ancient history texts, books of military warfare, and Nordic sagas; whereas AD&D’s was more devoted to fantastical fiction, especially the less well-known authors of the genre. Central to both bibliographies, however, are some familiar names: Robert E. Howard, Fritz Leiber, Michael Moorcock, Clark Ashton Smith, and JRR Tolkien. Other than that, there was little overlap between the two.

Whilst these recommended reading lists reveal each game’s designers’ interests and objectives, it also highlighted that every writer is heavily influenced by the literature they read, and by implication, those stories available to them at the time.

For Gary Gygax, a man turned forty by the time he wrote the Dungeon Masters Guide, the early works of fantasy authors such as Poul Anderson, Leigh Brackett, Fox Gardner, Andre Norton, Jack Vance, and Roger Zelazny were readily available in bookshops, hot off the press. Indeed, almost all of the books on his inspirational reading list would have been as easy to pick up as purchasing a copy of A Game of Thrones is today.

Although the combined authors of RuneQuest were less than a decade younger, their drier bibliography somehow never matched the mystique of Gygax’s subsequent list, despite the fact that the game itself gripped my imagination with a far tighter hold. This fascination was more due to the Classical style of its illustrations combined with Greg Stafford’s wondrously magical world of Glorantha, with its roots firmly grounded in diverse mythologies – alas, unlisted in the first Appendix N.

When Lawrence Whitaker and I set about refining and re-launching RuneQuest as a quality roleplaying game, we too were influenced by our own youthful reading.

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Remembering Dave

Remembering Dave

davearneson
David L. Arneson (1947-2009)

Had he not died of cancer in 2009, today would have been the 66th birthday of David L. “Dave” Arneson, co-creator of Dungeons & Dragons and one of the most under-appreciated creators of the past century.That may sound like an exaggeration, but I mean it most sincerely. Through the medium of tabletop roleplaying games, a concept that owes as much to his imagination and ingenuity as anyone’s, Arneson has profoundly affected millions of lives, including my own. If you’ve ever played in any kind of game that featured a “dungeon” or had a character with “hit points” or who earned “experience points,” you can thank Dave Arneson, who pioneered all these game mechanics in his Blackmoor campaign in Minneapolis during the early 1970s. It was Arneson who made the conceptual leap from fighting battles on a sand table with miniature metal figures to playing individual characters who explored monster-filled labyrinths in search of “more and bigger loot,” as Volume 3 of the 1974 edition of Dungeons & Dragons memorably puts it.

Sadly, Arneson is far from a household name. When Gary Gygax, D&D‘s other co-creator, died in 2008, it was big news. Newspapers, magazines, and websites across the world, including such prestigious ones as The New York Times, The Economist, and the BBC (to cite but a few) all included high-profile obituaries of the man whom they called “the Father of Roleplaying Games.” More than that, these obituaries often served as springboards for wide-ranging reflections about RPGs and their place in shaping contemporary popular culture. The video game industry in particular hailed Gygax as its intellectual forefather, citing the seminal role Dungeons & Dragons played in shaping it – and rightly so, I should add. There’s no question that Gary Gygax played an incalculably huge role in the popularization of the roleplaying game, a new form of entertainment whose ideas took the world by storm.

Arneson’s death, just a little over a year later, didn’t receive quite the same kind of coverage. There were still obituaries in The New York Times and on the BBC, of course, but they were shorter, more muted affairs, perhaps in part because Gygax’s death was still fresh in people’s minds and there didn’t seem to be much more to say about Arneson that hadn’t already been said about Gygax.

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Adventure in a Place of Unholy Shadows: A Review of Crypts and Things

Adventure in a Place of Unholy Shadows: A Review of Crypts and Things

Screen Shot 2013-09-25 at 10.39.17 Back in the 70s, when I first started playing Dungeons and Dragons (D&D), I spent a long time wanting a ruleset that would let me recreate the sort of sword and sorcery that I was reading back then.

I wanted to play a game that caught the atmosphere of Robert E Howard’s Conan, Karl Edward Wagner’s Kane, or Fritz Leiber’s Fafhrd and Grey Mouser stories. I wanted to adventure in a place of unholy shadows, where magic was scary and thrilling and men with swords sought lost treasures in glittering towers where old gods and dark secrets waited.

Clearly, D&D was not quite what I was looking for. The white box contained an unholy mishmash of Tolkien, bits of medieval history, and a weird variation of Vancian magic from the Dying Earth which, while awesomely powerful, was not very scary or, well, magical. Magic items were as common as if they came in cereal boxes. And what was with it with those cleric guys and the undead?

The setting of D&D did not look like any fantasy world I had read about, but it was clearly influenced by a number of them. There were thieves that might have been Fafhrd and the Grey Mouser. There was a barbarian character class in an issue of White Dwarf that might, if you squinted, have resembled something like Conan.

But D&D did not quite hit the mark. There were also elves and halflings and dwarves and all manner of other things that did not exist in the S&S universes of my particular dreams. There were echoes of Howard and Leiber and Clark Ashton Smith, but they were smudged over with bits of Tolkien and a kind of high fantasy.

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Get The Temple of Elemental Evil for Free at DriveThruRPG

Get The Temple of Elemental Evil for Free at DriveThruRPG

The Temple of Elemental EvilThis week, through Saturday 9/28, the classic The Temple of Elemental Evil supermodule is free at DriveThruRPG.

The Temple of Elemental Evil may be Gary Gygax’s crowning achievement as a dungeon designer. It was the last major adventure he designed for TSR and — at 128 pages — was by far the largest and most ambitious. It was written by Gygax and Frank Metzner, and originally published in 1985. It has been out of print for over a quarter century, and is one of the most collectible of all TSR adventure modules.

Interest in The Temple of Elemental Evil remains very high, even after all these years. Matthew David Surridge wrote a fascinating analysis for us in his article The Art of Storytelling and The Temple of Elemental Evil. The module has been converted to a popular computer game and the opening chapter, The Village of Hommlet, was recently revised for 4th Edition Dungeons and Dragons.

In fact, the major impediment to playing the Temple today is that it’s very difficult to find. Used copies start at $40 – $50 at Amazon and eBay.

DriveThruRPG, through their DnDClassics.com site, has eliminated that problem. They’re selling a high-quality PDF of the original module for $9.99 — complete with all the original art and maps. And if you download it before the end of the day Saturday, it’s completely free. Get it here.

DnDClassics also has a huge assortment of early TSR adventures and rulebooks — including Castle Greyhawk, Deities & Demigods, Descent into the Depths of the Earth, and numerous Planescape, Ravenloft, and Forgotten Realms titles — in PDF, at excellent prices. Check out their store for more details.

Monster Island

Monster Island

Monster Island Runequest-smallI’ve been spending a lot of time on Monster Island for the last few weeks, wandering its haunted beaches, exploring its lovely hidden grottoes, and fleeing from its carnivorous apes.

This is hands down one of the finest sandbox gaming products I’ve ever had the pleasure to read. From what writer Pete Nash tells me, there may be other sandbox products coming from Design Mechanism and I will definitely be at the front of the line when they’re released.

But what, you ask, is a sandbox gaming product? Well, a lot of adventures are site-based. Take the most famous (and one of my least favorite) dungeons of all time, Tomb of Horrors. It doesn’t matter where you put Tomb of Horrors, really, because the entire product is about the dungeon and its contents.

Monster Island is a very different animal. First, it isn’t out to arbitrarily kill the players. Second, it isn’t just one adventure, it’s a campaign book – but not one that’s a linked set of adventures or dungeons. Instead, it describes an entire setting. It provides a host of adventure sites, setting specific monsters, random encounter charts, thumbnail adventures, background details, and the like.

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Jack Williamson, Lin Carter and Appendix N: Advanced Readings in D&D

Jack Williamson, Lin Carter and Appendix N: Advanced Readings in D&D

The Humanoids-smallMordicai Knode and Tim Callahan are making me look bad.

I know, what else is new. But seriously, these two have taken on the project of a lifetime — reading every author in Gary Gygax’s famous Appendix N (all 29) and reporting back in great detail every week at Tor.com.

I took on the project of a lazy Saturday afternoon: read their posts whenever I got around to it and report back here every two weeks or so. Sounded easy at the time. But Knode and Callahan still somehow managed to get way ahead of me. They’re relentless — since I last checked, they’ve covered Jack Williamson, Lin Carter, and John Bellairs, and meanwhile I’m still trying to figure out where the hell I left my copy of The Face in the Frost.

Okay, time to play a little catch-up. Let’s start with post 14 in the ongoing series, in which they tackle Jack Williamson’s classic SF novel, The Humanoids:

Mordicai: I’m just unclear on how it relates to Dungeons and Dragons. I mean, you could have a whole campaign about golems or Inevitables or Modrons and co-opt the plot from this book, but I think that is a stretch. Maybe the lesson you could learn from this book is that making hugely flawed characters is more interesting than making banal superhuman heroes who laugh in the face of danger and never give into the temptation to pry the ruby eyes out of the idol of Fraz-Urb’luu?

Tim: Yeah, I don’t see the Dungeons and Dragons link at all, and I am pretty darn sure Gary Gygax didn’t have any Modrons in mind when he generated his list of fave books. The Modrons are wonderful and all — who doesn’t like Rubik the Amazing Cube mashed up with Mr. Spock — but they aren’t central to early D&D. Or any D&D. Ever.

But, to be fair, Appendix N doesn’t specifically name The Humanoids as an influence, but mentions Jack Williamson in general. Probably his pulpier early stuff was what Gygax had had in mind. In retrospect, we should have read the Legion of Musketeers in Space with Falstaff and Friends book. But something called The Humanoids sounds like D&D from a distance. If you squint. And don’t read the back of the book.

Yeah, The Humanoids has nothing to do with D&D. Could have told you that. Guys, guys. You should have read our Jack Williamson feature last month. This is why we do this stuff.

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Sea-Change

Sea-Change

moldvay-basic1Fantasy literature and Dungeons & Dragons have a long history together. In his foreword to the original edition of the game (dated November 1, 1973), Gary Gygax specifically references several authors’ works, such as “Burroughs’ Martian adventures where John Carter is groping through black pits,” “Howard’s Conan saga,” “the de Camp & Pratt fantasies,” and “Fritz Leiber’s Fafhrd and the Gray Mouser pitting their swords against evil sorceries.” There are also – or, rather, were – references to Tolkien as well, but these were excised after the Professor’s estate objected (the excisions were not very thorough; even in later printings, one can still find occasional references to ents and balrogs, among other things). My own beloved “Blue Book” edition of D&D (edited by J. Eric Holmes) includes references not only to Tolkien, Howard, and Leiber, but also to Gardner F. Fox, creator of Alan Morgan, Kothar, and Kyrik, as well as to H.P. Lovecraft’s Great Old One, Cthulhu.

By now, Appendix N of the Dungeon Masters Guide is well known, both on this site and elsewhere. What many people do not know is that Gygax produced a “rough draft” of that appendix in issue number 4 of Dragon magazine (December 1976). Entitled “Fantasy/Swords & Sorcery: Recommended Reading,” its content is roughly the same as that in Appendix N. It’s primarily noteworthy for including Algernon Blackwood, though Gygax makes no reference to any titles he recommends from this great British writer of ghost tales. Another interesting aspect, at least from my perspective, is that, unlike Appendix N, which is quite clearly presented as a list of the books Gygax himself found “of particular inspiration” (to borrow his own phrase once more), this early version is presented as one of “recommended reading,” as if he were an instructor drawing up a list for an Introduction to Fantasy Literature course.

Fascinatingly enough, the 1981 edition of Dungeons & Dragons, edited by Tom Moldvay, includes an extensive “Inspirational Source Material” section that was drawn up, not by a university professor, but by a children’s librarian at the Lake Geneva Public Library. This librarian, Barbara Davis, is given a “special thanks” citation in the rulebook’s credits for “compiling part of our bibliography.”

Though it’s quite possible, even likely, that many of the titles included in the 1981 list were inspirational to Moldvay or to other members of the editorial team at TSR Hobbies, its presentation is much different than that of Appendix N. Whereas Gygax simply lists his favorite authors in alphabetical order, the later list is divided into several categories in an almost scholarly fashion. The three largest sections are “Fiction: Young Adult Fantasy,” “Non-Fiction: Young Adult,” and “Fiction: Adult Fantasy.” There are also sections for “Short Story Collections” and “Non-Fiction,” as well as a list of “some additional authors of fantasy fiction.”

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