Tuesday, January 8, 2019

Google Plus Mix Tape, Track 01: Flailsnails

I have been on Google + for five years now. I have met so many of wonderful people there. We have shared practices, theory, information, and bits of wonder, frozen starlight, passed gleefully from one outstretched elfin hand to another. I have been in on the jokes (some actually funny), and shared sorrows with you. I have learned how to play Dungeons & Dragons with you, in unimaginably rewarding and novels ways. But now Google + is going away. So I made you this mix tape. I think you'll recognize some of the songs. I hope you like it.

Track 01: Flailsnails

Before the OSR got onto Google +, it lived mainly on blogs and in forums. There was a rich blogging scene in 2009-2011, with many blogs posting 3-5 times a week. This led to a sprawling conversation that was conducted via comments and cross-pollinating blog posts. There were limitations to this scene, because mainly people knew other people only if they both had blogs. So the bar to being in conversation with others was quite high, namely, being willing to post frequently on a blog you maintained. As a result, many people were probably like me at that time: a lurker who didn't really feel able to participate in the conversation.

The transition from the blogosphere to the Google+ scene came in 2011. People were drawn largely because of the new possibilities of gaming that Google+ provided through the combination of social media and the Google Hangouts platform. The F.L.A.I.L.S.N.A.I.L.S. Conventions were first published in August 2011. They were the brainchild of three people: the idea was originally proposed by Calithena to Zak Smith and Jeff Rients, and the three of them worked out the conventions together. They were published simultaneously on Zak's blog D&D With Pornstars, and Jeff Rients' long running blog Jeff's Gameblog. The idea was simple. If you signed onto the conventions, then you agreed to allow PCs from other campaigns into your online game. You opened the doors of your game to a bunch of dimension hopping weirdos who showed up to plumb the mysteries of your world, pull off heists, and generally get into a lot of trouble. This led to the phenomenon of ConstantCon, a rolling series of dozens of hangouts games, such that on any given night you could jump into an adventure somewhere in the multiverse.

At its height, enough people were playing that the whole thing took on a player-driven, campaign hopping, mission-based feel. For example, when one group of PCs got themselves imprisoned in Castle Amber in Wessex, other players would put together a team for a rescue mission. Consequences sometimes followed characters between worlds, like when Brutal Pete stole a statue of Blibdalpoop and charmed one of the god's avatars in Herman Klang's game, and an invasion of kuo-toa followed Pete to Jeff's Castle Vyzor game. Markets developed trading in items acquired in different worlds. Got a problem in the Hill Cantons? Maybe you can solve it with an item from New Feierland. Characters made name level, and opened taverns...at which other players caroused in downtime. There was a misty wandering neighborhood, the Snail Quarter, in which flailsnails characters took up residence. There was even a character, Sir Alan of Partridge, owner of the (not so) legendary sword Chatscalibur, who ran a talk show interviewing other flailsnails characters.

And the characters! Some of them became Google + household names. Most notorious and beloved was, hands down, Jez Gordon's Man-rider. Rolling 3d6 down the line, Jez got a total attribute modifier of -8. Always game, he decided that the character must be a legless goblin. He rolls into adventures riding on the back of a nameless human servitor.

Man-Rider, illustrated by his player, Jez Gordon
In one session, Man-Rider had a god give him a ride, in another he got cloned, but, infuriatingly, the clone had legs. Eventually he became a paladin, which is good, because then he could aspire to one day summon a super fancy man-mount. You can read the (almost) complete history of his legendary exploits here.

Other names that come up again and again include Sir Ward, Reynaldo Madrinan's Lawful Good paladin who acquired the Sunsword, and once, by using a coin-operated vending machine, had the misfortune to accidentally crash the Broodmother Skyfortress, destroying an entire town of innocent souls; Mo, Scrap Princess' drunken lost soul from the shit holes of New Feierland, whose main positive accomplishment was a certain rescue operation to be discussed shortly; Blixa and Gleichman, Zak Smith's human thief and his dog; Phillip the Bloody, Evan Elkan's taxidermy obsessed wizard whom Blixa accidentally killed; Noggin Threeteeth, Barry Blatt's cockney, anarcho-syndicalist, dwarven sewer worker from the City State of the Invincible Overlord, who was slain by spectres in the Dark Tower; Malice A'forethought, Zach Marx Weber's white elf assassin; Aleksandr Revzin's Brutal Pete, hated of Blidolpoop; Shoe Skogen's Elsgin; Ba Chim and Father Jack of Hill Canton's fame, played respectively by Humza Kazmi and Michael Moscrip; Quartle, Eric Boyd's Frogling wizard; Anxy P's Babs Mackelthorpe; Tony, Paolo Greco's Pigherder, and his pig Hansel; Joshua Blacketter's wizard Pete Loudly, who rose all the way to 14th level, along the way killing a frog god, and unleashing She Who Dreams and Whose Dream is the Sea on an unsuspecting world; and Magic Meryl, Nick Kuntz's wizard who became a casual cannibal after studying the Scroll of Ghouls a little too intently, and was smothered by serpents only to be reincarnated as a halfling.

A group portrait of flailsnailers that includes both Brutal Pete and Magic Meryl by Nick Kuntz; click to embiggen.

And last, but by no sane accounts least, Barnabus Sleet, Maxime Golubchik's absolutely game-breaking muscle-wizard. By the end of his career, he was able to kill dragons with a single punch, and had five attacks a round, and an AC of -8. He once killed the god of the lizard men by punching her to death. He was that kind of guy.

Barnabus Sleet, drawn by Sam Mameli
What were the conditions of possibility for the amazing phenomenon of ConstantCon? For one thing, a heck of a lot of folks had been running games using either familiar older rulesets of D&D or an increasing host of retro-clones, or other systems that were variations on these themes. This meant that converting from one to the other was not too hard, in fact, usually a breeze. For another thing, various principles of play, like high-lethality, unbalanced, challenge oriented, location-based adventures, and the 1XP per GP rule, were widely shared practices in the gaming of the relevant community of bloggers and forum goers. Everyone was familiar with the trope of the dungeon crawl, and with the idea of a megadungeon, and sandbox, all of which both lent themselves very well to this style of play. Finally, the integration of Google + and Google Hangouts made scheduling and running a game very easy.

My guess is that FLAILSNAILS, more than anything, probably congealed a joyful solidarity and a living culture of play in the OSR. Everyone was playing in everyone else's games all the time. Everyone got to know everyone else by seeing them face to face, and sharing adventures with them. Useful techniques were carried like a virus from one game to another. Things that didn't work so well were tried and left behind. People came to know one another's campaign worlds as living things by cycling through them in a low commitment, high-octane, gaming. People were led to push the limits in creating in kind of competition with one another.

This percolated beyond the world of FLAILSNAILS. When I started my dreamlands game online, a bunch of folks just showed up, ready and knowing exactly what to do. We shared a set of assumptions about what we would be doing and how, everyone was familiar with the platform, and many of the folks knew each other (but not me, mainly). They were all, also, master players. I think FLAILSNAILS is partly to blame. (Another culprit were the long running non-flailsnails campaigns. Don't worry; I've got a song in that in a later track on the mixtape.)

When I was soliciting memories from flailsnailers on Google +, Trent B., the creator of the legendary New Feierland setting where many a flailsnails misadventures were had, popped in to remind his players about the fate of Trumpet, their donkey. It would be hard to come up with a better epitaph for Google +. 

But I learned later, in a twist of fate, that this was not in fact the end of poor, innocent Trumpet. For Scrap Princess' drunken ne'er do-well character Mo actually ventured to hell to retrieve Trumpet. And Shoe Skogen informed me that he now lives in a grassy meadow outside an inn somewhere. I can't help but feel that if we can bring Trumpet the donkey back from hell, then perhaps, after all, there is hope that we can give this wonderful community a second life, in some new, unimagined form.

Art by Shoe Skogen

Sunday, October 28, 2018

So You Want To Make a Zine: Part II

Although my zine is out, and has been well received thus far, I have had a number of serious misadventures that all could have been avoided. So I though I would share my experience with this for posterity, so that my suffering would not be in vain, and you could avoid the problems I brought on my own head.

The whole problem arose from the following immense miscalculation. I planned on doing a print run of around 200 zines (plus a few more for contributors copies, and so on). I worked out all the kinks in production to my satisfaction. Things were humming along. I had produced around 100 (half) of the zines I was going to sell. I had the product sitting there, it was all ready to go, and I was really itching to share it with people. So I decided to start selling them, figuring that I could just keep producing the remaining zines until I hit my goal of 200. Hahaha. Here are the problems that accrued:

(1) My zine sold very quickly, much faster than I thought it would. So supplies started to get low very quickly. Meanwhile, UPS lost an order of the cardstock I was using to print the cover of my book. Then the paper supplier told me they had run out of it, but found a couple of replacements. They charged me for it...and of course, then UPS finally found my package. So production was delayed and now I've got a lot of cardstock cover paper, more than I need. Not the worst problem but...

(2) In the meantime, my brand new printer broke. Like a catastrophic failure. So I ordered a new one, since it was under warrantee, and got the replacement for free. So production was delayed and I wasted a lot of paper in the process of trying to make the broken printer work. Not the worse problem but...

(3) So I set about using my brand new replacement printer for my brand new printer. It turned out to be a little finicky, to get high quality prints on the paper I'm using for the interior it's requiring me to forgo duplex printing. This make each zine take twice as long to print. That's not the worst problem but...

(4) The pages are coming out skewed, tilted to the side, using the fancy paper I've been making the interior of the zine from. When I try it with ordinary copy paper, it comes out straight. I assume somehow the replacement printer can't handle the fancy paper. I try everything to correct it for a couple of hours. And then it dawns on me. The fancy French Paper Co. ream of 1000 sheets of simple white 100t has been MISCUT, and is not in fact an 8.5x11 rectangle at all, but rather some kind of hideous parallelogram. You can see the skew of the paper sitting on the perfectly square bed of my scanner/printer below. Luckily, they are good people who immediately overnighted me replacement paper. That's not the worst problem but...

(5) All of this slow down in production with my zines was putting me under constant stress, because it was always the case that if I didn't fix the current problem quickly, I would be unable to fill existing orders. Under this stress I raced through things, trying to be as careful as I could, but working feverishly to fill orders. One person has reported to me that the pages were out of order in his zine. I also caught a zine without staples in it just today. So I'm about to send out a quality control email to each purchaser of a physical zine, to ask them to check the page order, stapling etc., and tell me if there is a problem so that I can send them a replacement immediately. The last thing I want is someone out there feeling unsatisfied. I'm trying hard to make a thing of quality, and I want it to arrive in the purchaser's hands exactly as it should be, period, end of story. So please let me know if there's a problem and I will fix it. 

My main reason for wanting to tell this story is that all of this could absolutely have been avoided. Had I merely printed my entire print run before selling, then I could have solved production problems in a leisurely fashion as they arose. I also would have been able to do a quality control test for each zine. In fact, I would recommend not only doing your entire print run before you begin selling a single zine, but also going down an explicit quality control checklist zine by zine, maybe every 5 or 10 zines you produce. Check that each is stapled, has been pressed and trimmed (if that's what you're doing), check that page order is right in each one, check that there are no print nozzle errors (white lines) on each of the major illustrations, etc. It pays to be patient, anal, and very careful. Otherwise you'll constantly be scrambling. I'll never do that again, and you shouldn't either.

Monday, October 15, 2018

At Long Last, Through Ultan's Door Issue 1!

At long last, I present to the waking world issue 1 of my new zine. Go through Ultan's door in this inaugural issue into the Ruins of the Inquisitor's Theater, a 30 room dungeon replete with oneiric puddings, delicate shadow puppets, giggling white swine, and much more. This zine contains everything you need to launch a D&D campaign in the Zyan, flying city of the dreamlands. The issue is printed on deluxe paper, and comes with a detachable cover that has a map printed on the interior by Gus L., and a separate card for encounters. Brought to life with stunning art of Huargo and brilliant layout of Matt Hildebrand, it is an object that may itself have come from beyond the veil of sleep.

This is the first of good things. I'm already at work on issue 2. I'll let you know about that soon. In the meantime, you can purchase both print versions and PDFs here.

Friday, October 5, 2018

So You Want to Make a Zine?

So I've been working away on my first zine, Through Ultan's Door, and the first issue is ready for physical assembly. Along the way, I got a lot of good advice from other people about techniques and gear. If you are interested in making a zine and don't already know it, you should join the G+ community called RPG Zines--it's a great repository of collective experience and helpful advice. I then fiddled around with their suggestions, learned about different kinds (weights) of paper, found out about the maddening limitations of various printers, and thought about weird stuff like how you actually staple on the incredibly narrow spine of a folded piece of paper. I thought I'd share the fruits of my experience with you, because you might want to try your hand at the zine game. This is the post I wish I could have read when I was embarking on this. A warning: if you aren't interested in making a zine, this post will probably be about as appetizing as a piece of cardboard. I should add that I'm a relative novice and other people know much more than I do.

Suppose that writing, art, and layout are done. You have a PDF ready to print. The first thing you need to think about is what kind of paper you want to use to print the zine. Broadly speaking, paper is divided between "paper" and cardstock. Cardstock is the thicker stuff, literally the stock for business cards and wedding invitations. There are three different weighting systems that people use to classify the thickness and sturdiness of paper. The most commonly used in the US is a system that simply puts paper and cardstock on a single spectrum by weight: 20 lbs is normal printing and copier paper, 28 or 32 lbs is what you might print a nice resume or brochure on, and 60 lbs + is cardstock. Another weighting system, used for example by French Paper Co, employs a separate scale for paper and for cardstock. On this system paper is called "text", so there'll be a weight and then the letter "t", and cardstock is called "cover" ("c"). So, for example, on this system 80t might be much less thick than 60c. Confusing, I know, but the link above converts the various measures for you.

This really matters because the weight of paper you use has all kinds of consequences, including aesthetics, price, the viability of trimming your zine, and what your printer is able to handle. The most important thing to say is that you really need to test out different paper weights and types on the printers you intend to use. Luckily, you can usually order single sheet samples of paper pretty cheaply from paper sellers (like $1 a piece). As Nick Kuntz taught me, if you want really fancy paper, the French Paper Co. will send you samples of every single paper style at every single weight they sell for $30 plus shipping. 

You'll get a huge box like this if you do.

People usually use a sturdier cardstock for the zine cover, and lighter paper for the zine interior. If this is your first attempt and you have a limited budget, my advice would definitely be to go with a 20 lb interior and 60 lb cover, both of which you can purchase on Amazon with free delivery if you have prime. Then you can literally photocopy the interior at a copy place, and either use a home inkjet printer to do the cover, or have a copy place do it for you, likely at color copying prices. It will cost you roughly between $2 (if you print the covers yourself) and $4.00 (if they print the covers for you) to physically produce each copy, and the end product will look and feel like a nice zine. But that's not what I did.

The first issue of my zine consists largely of the dungeon that lies on the other side of Ultan's door. I really wanted the zine to be usable at the table. So I decided to produce a zine with a detachable cover with a map on the reverse, like old school modules, that could even stand up like a tiny DM's screen. I also decided to include a separate card with the encounter table reproduced on it, so that you could have the map, random encounters, and key all open at the table, running the whole thing straight from the zine.

For this reason, I went with an 80 lb cover, which it turns out my inkjet printer can handle printing. It has a very sturdy feel and stands up nicely when opened at the table. I experimented with using 60lb cardstock for the interior of the zine, since I happened to have a huge stack of it lying around. I thought it might make the zine super fancy and nice. But it actually was too thick--aesthetically it didn't really feel like a zine in my hands. The other problem was that it made trimming the zine both urgent and impossible. (More on trimming shortly.) In the end I went with a roughly 32 lb interior on nice looking paper...because I could. This zine's been three years in the making, and so I want it to be nice.

Once you have your zine printed, you will need to fold it. I find that it's hard to get a really neat fold if you try to fold all the sheets at once, there's a lot of rounding and stress marks on the paper, and it's hard to keep the fold perfectly straight. However, an amazing device called a Score Pad recommended to me by Keith J. Davies solved that problem for me. It comes with a handy little bone folder to score the paper.

You lay the paper or cardstock on the score pad, which has a ruler along the top with tiny little grooves running along each 1/8" marking. You can then run the bone folder lightly along the groove you selected (5 1/2" in my case) to make a light score that doesn't damage the paper. You then can fold it over using the guard rail to the right to make a perfect, neat fold.

If you score it heavily enough, it'll fold immediately over into a perfect fold. But that might damage the paper and cardstock, so I use a second tool to flatten the page. Jarret Crader recommended this next amazing device to me, a Cosmos 4-inch Rubber Brayer Roller. It's a little roller that does the job very quickly and neatly by running it along the front of the spine of the paper like so.

I do this process for the cover and every page of the zine, stacking up the finished pages until I have a complete booklet. Next comes stapling. I tried two techniques. Many folks recommended the Bostitch booklet stapler to me.

But I found it really hard to use so as to get a perfect staple right on the crease of the spine. This matters, because if it's not on the spine, then the pages of the zine don't turn properly towards either the front or the back. The technique I hit upon instead uses the more traditional longarm stapler. I'm using the Swingline model. It comes with a ruler and a guide. I calibrate the ruler precisely to the right distance and then line the zine up with the Score Pad as a rail to keep it straight. After stapling the top, I just rotate the zine and do the bottom. Although it's not 100% fool proof, I've found it works pretty well to deliver almost perfect staples even for someone clumsy like me.

The next step, which Jacob Hurst recommended to me, is to press the zines down under a weight in order to get the whole thing compressed into a really neat looking zine. His recommendation was putting fives zines, alternating front and back, between two pieces of cardboard, and then putting a cinder block on top of that. Since I'm an academic I don't have any cinderblocks, but I do have some excessively heavy books.

I knew the Complete Oxford Encyclopedia would come in handy one day.

Once you have your neatly pressed zines, the next and final step is to trim them. When you fold a whole bunch of paper over, the thickness of each sheet pushes the next sheet forward, so that the sheets closer to the middle stick out. This is not very neat or pretty looking.

So the final step, at least for perfectionist is to trim the zine. Now comes some bad news. Most affordable paper trimmers are not capable of handling the thickness of your zine. So if you have a 36 page zine (big but not so big), that's 9 sheets doubled over, for a total of 18 sheets you have to trim through. And it's even worse if you're using a heavier paper weight, like I am. Most cheap paper guillotine trimmers can handle 15 sheets. The ones that can hand 30 or 40 sheets are very pricey. Another thing you should know is that you really need to get a trimmer that has a clamp to hold the zine steady, or you might get an uneven cut. That means that for a lot folks on a lower budget, trimming might end up being too pricey. I've heard you can just bring your zines to a print shop and have them trim them for you, so you might want to look into doing that.

Since I'm planning on doing this for a long while, following Gabor Lux's suggestion, my major capital investment was a very fancy paper trimmer. So meet the Terminator of office trimmers, the Dahle 564 Paper Guillotine, capable of handling 40 sheets, with a handy clamp. It even has a laser to show you exactly where you'll be cutting.

Here it is in action. Did I mention it has a laser?

Be careful when you use a Paper Guillotine. The pricey ones all come with guards, but it's still very easy to cut yourself on them. And for goodness sakes, don't leave it where a child could get at it. Here's a before and after on the trimming. It makes a big difference.

And here's a pic of the finished product. It shows the map on the interior cover, the key, and the encounter card (propped up) all in action.

Now I just need to make 200 or so of these things. Not counting the time spent in the press when yo can be folding other zines, it takes me 4 minutes and 7 seconds to assemble each zine. With about another minute to stuff and hand-label the envelope, that's roughly 5 minutes a zine. So I guess that's 16.5 hours of zine assembly. See you guys in a couple of weeks.

Monday, October 1, 2018

Reviews: Echoes of Fomalhaut

This is a review of the first issue of Gabor Lux's zine, Echoes of Fomalhaut. For those of you who don't know him, under the moniker Melan, Lux was a valuable contributor to early OSR conversations. He has exquisite taste if you like swords and sorcery running towards the weird. To get the flavor his imagination and bursting creativity, check out this thread about his creation of the undercity of Khosura. He has an English language blog primarily dedicated to reviewing old school modules. You can see a great recent interview with him on False Machine here. And now he has launched a zine.

While I have more nuanced things to say below, the basic message is: it's packed to the gills with fantastic stuff. It has the spirit of the best early Judge's Guild stuff and a quirky sword & sorcery flavor. If you like that sort of thing you would be a fool not to buy it. You can get print versions of the first two issues here and PDFs here. I gather the third issue is on the way soon.

The first issue has a random table of merchants, a section on house rules about morale, a massive selections of philtres and dusts, and no less than 3 adventures, including one, Beware The Beekeeper, with 49 numbered areas! Furthermore, the first issue comes with a large, folded player's map of an unnamed city, printed on nice vellum. Talk about value for your buck.

The table of merchants is wonderful. There are a total of 100 million possible combinations. Many results are themselves excellent adventure seeds, e.g. "A distracted judge pursued by a mummy is selling titles to a kingdom" or "a dull prostitute is selling snakes to ruin a competitor". Others are just very flavorful, e.g. "A paranoid vagrant is selling a shave, now on sale!" The next time I run the City State of the Invincible Overlord, I am absolutely using this table. The philtres and dusts are useful and flavorful as well. For example: "Dust of the Radiant Sun (400gp): a golden granule resembling finely crushed glass, the particles of this dust can be hurled into the air, where they stay afloat and become pinpoints of searing heat. Passing through a field of particles does 3d8 damage. The dust settles in 1d6 hours." Woah, how cool is that?

The biggest dungeon in the zine is Beware the Beekeeper. It is set in the Singing Caverns, so called because of the sound the winds make blowing through the three cave mouth entrances. It has a strong British Fighting Fantasy aesthetic. For example, one of the cave mouths into the dungeon is blocked by a door with three faces that can all be rotated for different effects. When I read the passage I just hear in my head, "If you twist the angry face, turn to page 243. If you twist the sleepy face, turn to page 12. If you twist the sad face, turn to 131. If you wish to retrace your steps and try another cave mouth, turn to page 44." On the first level, there are the chambers of a mad druid (the Beekeeper) accompanied by swarms of bees, a tavern run by orcs complete with menu options, and on a lower level, a bandit layer and some forgotten antique bathes. The dungeon is full of nice little touches, like this piece of treasure: "A discarded piece of brass hammered into the crude likeness of a fish is magical, and will make for a spear +2 if mounted on a shaft." I ran if for my son and his friends just the other day and it was fun.

This image by Russ Nicholson does not appear in the zine. But shouldn't it?

The zine contains two other adventure locales. The first is the Red Mound, a wonderful little adventure locale, with only a few places to visit, but each containing further adventure seeds. There's a potent but cursed sword, a hidden portal to someplace perilous, and a forgotten god whom one can serve. I like the idea of this kind of adventure locale, where it provides a series of flavorful hooks and seeds to be further developed by the DM. It would be a neat recurring feature in a zine, maybe called "Seeds of Adventure".

The last adventure, The Mysterious Manor,  is a bridge to the setting introduced in issue 2 of the zine. In fact, there are many bits and pieces of it that you won't know the full import of until you read that later issue. For this reason, I actually recommend reading it after you have read issue 2. My view is that this adventure, while containing some excellent material, is not quite as gripping as the other two. A pirate's gang of humanoid baddies have holed up in a mansion over the haunted crypts of an ancient family, the Bonifaces. The pirate's gang part is interesting, because Lux's humanoids have more varied and nuanced motivations than typical orcs, so negotiations or subterfuge will possible and prudent. Their cultist pirate boss is certainly cool. But still the upper levels didn't grab me especially, nor did the mystery of the haunting on the lower level. I had a little trouble imagining why a party would poke around here long enough to uncover the mystery, nor did the denouement seem as compelling as it might. Given how much other great stuff there is in the zine, this near miss is not a serious complaint.

A more serious if churlish complaint about the zine is that it has too much stuff in it. At certain point, through no fault of the material, it all blended together in my mind. This was abetted by the fact that the first issue is really committed to its zinish-ness: the type is tiny and uses a standard font; the layout is utilitarian; there is some decent (but not inspiring) new art, but not much, mixed with public domain images; and the maps, while pleasing in their design, and having a certain charm in execution, also look kind of scrawled.

The walls of tiny text, unmediated by principles of graphic design, eventually induce a sort of trance state that Lux works hard against with his quirky and delicious imagination. It's also true that the adventure locales in the first issue have nothing to do with one another, or with a common theme, and this also makes it hard to hold the whole thing in your head at once. It's hard to complain when someone is clearly focused on giving you as much usable and flavorful content as they possibly can without getting hung up on further distractions. But I wish Lux cared a little bit more about conveying his vision through artwork and layout.

The second issue suffers somewhat less from this problem, not because it's shorter--it's longer!--but because it is centrally focused on presenting a setting, and one city in that setting, Gont: Nest of Spies. So it has a kind of unity to it that focuses the mind. And Gont is a great city that channels the City State of the Invincible Overlord to excellent effect. But in the interest of actually having this review see the light of day, I'll have to save my thoughts about issue 2 for another time. In the meantime, buy this truly excellent zine now!

Saturday, July 7, 2018

How Should I Share My Dreamlands Material?

I want to share with you my labor of love, the D&D dreamlands material that has formed the basis for my nearly 3 year (and still running) campaign on google plus, and about a dozen posts here. Speaking with Robert Parker the other day helped crystallize two major issues I've been struggling with in figuring out how to do this.

The first is that it's too BIG to produce. It is divided in reality and in my mind into three parts: (1) Zyan Between, the cluster of (more or less modular) dungeons in the undercity of Zyan that Ultan's door opens into. (2) Zyan Below, a 3-D hex crawl through the inverted white jungle that hangs from the bottom of the rock of Zyan. (3) Zyan Above, a cursed city in the dreamlands. It thus comprises a point crawl between dungeons, a massive wilderness hex crawl across four stacked hex maps, and a full city supplement. AND there are three tent pole dungeons, of the 200-400 room variety (only two of which my players have visited).

And even if it could be produced, what genre of RPG book would it be? Well, it's a tightly thematically unified campaign setting book for sure. In theory people don't like that kind of book, although they might like this. But it's also a point crawl between more or less modular dungeons, a wilderness setting in a dreamy alien jungle, and a city supplement. Oh yeah, and also kinda a megadungeon book (or three). Yeah right.

OK, so let's get real. How can I do this thing?

Robert suggested that I break it up (for now) and release things bit by bit, starting at the beginning. The idea would be start with Ultan's door and the area it opens into in the undercity of Zyan. (It opens into a dungeon called "The Ruins of The Inquisitor's Theater".) Zyan Between, where The Ruins of The Inquisitor's Theater is located, is inspired by the underworld of Empire of the Petal Throne, a vast complex of tombs, temples, and Red Nails style empty chambers. Zyan Between is the best entry point for introducing players and DMs alike to Zyan, since it's the most familiar in terms of the tropes of D&D. It's not as batshit crazy, or nearly as ambitious as the White Jungle or the city of Zyan itself.

So supposing this is the place to start, how should I do it? Robert suggested that maybe I should start a Patreon and do the first couple of dungeons, perhaps all of Zyan Between, as free PDFs with costs offset through supporter contributions. But my career doesn't allow me to make commitments to paying supporters that I will meet regular deadlines, so Patreon does not seem optimal.

Another option would be to do it as a series of zines. The first zine, for example, might be The Ruins of the Inquisitor's Theater. The second might be The Great Sewer River, and so on. Roughly one dungeon or pointcrawl area per issue. If the zine was modestly successful it might at least pay for itself, allowing me to hire people to do maps, art, and layout.

Another option is to do Zyan between as a series of free pdfs available for the community. (I love you guys so hard.) Without any funding source, they would have to be pretty bare bones, using my crappy maps, and maybe a single piece of commissioned art. Doing this doesn't foreclose eventually representing the material in a more developed commercial form. That's what ended up happening with my first module, The Submerged Spire of Sarpedon the Shaper, which started on my blog, migrated to the free supplement From the Vats, and is now going to be published (and sold) in a prettier, better, and more usable form by Necrotic Gnome Press. So if I do it free first, maybe later it could be presented in a different form. Or maybe not. Either way it gets to you.

A third option would be just to try to pair with a small publisher, and do Zyan Between as a series of modules. This would likely allow the most adequate presentation of the material, with for real layout, decent maps, and lurvely illustrations. But it wouldn't be as cheap as a zine, much less a free PDF. Also, I'm not sure that I will be able to find a publisher, although I'm certainly game to try.

So what do you think? How should I do it? What form would you prefer? Zines? Free no frills PDFs? Published modules? Any options I'm not considering?

Thursday, April 19, 2018

City State of The World Emperor: Lessons from a Failed Experiment

Cover art by Jannel Jaquays

Behold Viridistan, City State of the World Emperor, demon ruled metropole of a thousand intrigues! Look upon his Vasthosts of soldiers in fine battle dress, and his Equithrongs of archers, slaying from afar with their red metal arrows that cut like scythes, forged from carbellium drawn from the heart of a vast meteor! And yet, look more closely at the City of Spices' once exquisite alien architecture, and you will see that beneath the fanfare it is crumbling, as though consumed by a gnawing hunger. How riddled is the city with traitors, like a fine mansion, now honeycombed by termites. Look how the enemies of Viridistan--not least the Invincible Overlord!--have grown bold, and win unthinkable victories.

In a lot of ways, the City State of the World Emperor, published in 1980, is better than the City State of the Invincible Overlord that preceded it in 1976. It's conception is amazing. Viridistan is ruled by the self-proclaimed World Emperor, Huatulin Seheitt and his Empress Murielle Eidn. They are the last of the Viridians, an ancient, wicked race, tall and green-skinned scions of "remnants of the quarrelsome gods of the Uttermost Wars, Wild Men of the Confederate Tribes, and mermaids of the Trident Gulf". Emperor Seheitt is also God-Priest of Armadad Bog, a hideous entity of the depths. Part of Seheitt's papal palace is a horror choked submerged dungeon, where Armadad Bog has his watery throne room, dripping in Emeralds. Armadad Bog has enslaved the mermaids of the Trident Gulf, and in the World Emperor's inner chambers stand the tanks for "visiting" mermaids. It's kind of amazing.

And yet, for all its brilliance, the product is a failure. To be clear, I think it's brilliance is great enough that you should probably own it, and if you ever play in the Wilderlands, it will be absolutely essential to your campaign. And yet it doesn't work. I believe that part of the explanation is simple: the main author, Craighton Hippenhammer, felt himself forced to follow the template the CSIO laid down without understanding how that template worked. In fact, as I learned recently by corresponding with him on Facebook, he wasn't much of a gamer, and had only met Bledsaw at the Decatur Public Library where he worked. When he got him on board for the project, Bledsaw had already sketched out portions of the city, and finished some of the key entries, including, I suspect the entries on the city state history and the World Emperor.

Furthermore, as we will see, the template, so perfect for the CSIO made much less sense applied to the CSWE. This is interesting, since it suggests that the way we design our D&D city should depend on the city. Another part of the explanation is that Hippenhammer lacks the wild, banging away at his typewriter, hyped up on 1000 CCs of caffeine, elliptical genius of Bledsaw's terse prose.

Things Bob Bledsaw would never have written:

Sanitation Department
                            Class Align LVL HP AC SL STR INT WIS CON DEX CHAR WPN
Pike the Lefty     FTR   LE     4      20   10  6    18    9      8      11      8       10         Lance
Salman Rudee    FTR   CE     3      16    8   4    11    5      10     8       9        8          Spear

Pike supervises the cleanup crew in the city and arrest residents who continually throw garbage into the streets. Hires rodent specialists when they are needed. PROB 10% of sanitation workers contracting dysentary; 30% PROB contracting fever rash; but pay is good. Salman Rudee, in charge of the Street Scoopers Sections, sees that the constant traffic of animals is cleaned up after; he has a special detachment in each stable area.

This is the kind of fantasy trivia that has no purpose in a gaming product, and of which the CSIO contains exactly 0%. Does Salman Rudee keep a "special detachment" to shovel horseshit? Wow, that's interesting. And Pike the Lefty pays pretty well for rodent specialists...but they might catch dysentary. Classic. Let 1000 adventures bloom.

Even some entries that have real promise lack that Bledsaw verve. Take this one:

Barracks XIV Cavalry (LT)   

                            Class Align LVL HP AC SL STR INT WIS CON DEX CHAR WPN
Sasabonsum        FTR   LE     4      27   7    5   14     11    12    8       9        10         Scimitar     
The Duelist

An accomplished duelist, Sass is collecting the scalps of his victims on the mess hall wall. It is thought that he provokes many of these one-sided duels as a way of alternately feeding his ego and venting his frustrations. Like many other members of the realm army he is somewhat superstitious and will often postpone a duel until the omens and soothsayers feel that the time is right. His one big quirk is that he cannot abide to see any weapon or amor which is not in prime condition. This has saved him and his men on many occasions.

Here's how Bledsaw would have written that same entry:

Accomplished duelist; collects scalps of victims on mess hall wall. Superstitious, consults omens and soothsayers before every duel. He is meticulous about the condition of the arms and armor of his men.

The Bledsaw style version is less bloated. But it's terseness is also full of possibilities. Is Sass a serial killer who slays when the stars are right? Does he have an anal obsession with fastidious armor? Or is he just a grade A asshole? I mean what's up with this guy? This is the kind of entry where every detail lets you riff. An encounter with the Bledsaw version of this guy is going to be memorable; an encounter with the Hippenhammer version is not. The point of a Bledsaw description of an NPC or locale is not to do the imagining for the DM, but to spark her imagination. What you want from a description is just enough interesting material to get improvisation going and no more. It's a neat trick once you see how it's done, and it's not that hard to replicate. (I just did it!) But enough about prose style--on to the next point.

Different Kinds of City Make for Different Kinds of Play 

The City of the State of the World Emperor is not only the enemy of the City State of the Invincible Overlord, it is its opposite. The CSIO is an anarchic mess of a fantasy city, bursting with violent energy and sloppy juxtaposition. It is ruled from above with a light touch. It's the kind of place where you can pick up a rumor about a haunted mansion over on Festival Street while buying some illegal elven wine, and then get robbed by a minotaur on your way over to perform an exorcism. It's that kind of crazy. The City State of the World Emperor stands as order to this chaos.

For example, the text tells that the World Emperor is quietly replacing nobles with demons, about whom it says, "The demons have to look like common men and women, because most CSWE inhabitants do not care for strange differences in their neighbors." That's right, the main objection CSWE inhabitants have to demons is that they look like weird foreigners. The text also tells us that "The World Emperor loves order  and hates disturbances." Public disturbances are put down ruthlessly and will draw guards in 2.5 minutes (less than 3 rounds!). Even the map is rigid, as though someone had taken the CSIO map and smoothed it out, regularizing all its little quirky turns and alleys until a neat order prevailed.

The whole idea of this city is that everything of interest lies beneath the facade of order. It is a city of petty bureaucrats, yes, but also secret societies of cruel aristocrats, endless scheming rivalries between evil clerics and generals, and the plotting of hidden revolutionaries. It is a place where the World Emperor feels the need to maintain the upper hand by replacing his own nobles one by one with demons. And who knows what those infernal bastards want! In it's ancient, bureaucratic, and hierarchical manner, it reminds me most of a city from Tekumel. The same sorts of faction play, and shady patrons, double-dealing, and inscrutable cultural politics will be at the center of gaming in Viridistan.

The text, perhaps written by Hippenhammer, tries to stress this to players. He offers them this advice:

Gathering Information

Talk with everybody, being especially friendly with the employees of inns, taverns, and eateries. If possible, get them drunk, or otherwise in an open frame of mind. Observing marketplace activity can be extremely helpful. Encourage the relating of rumors, new and old. Learn about sudden unusual behavior. Concentrate on getting to know persons of one's own rank, position, and interests. Talk with the right people. Books and libraries (the literary kind) may also be advantageous. 

In Virdistan it's about who you know, and from among this subset, the tiny universe of those you can trust. It's all a game of cat in mouse in this ancient city of brooding secrets. This is a fun premise for play. CSWE tries to foster this with its tables of encounters, so different from those in the CSIO. It's all "Someone has urgent private information for a player," or "So and so is desperately searching for a prophet," or "A child is squeezing into a small space to spy on someone," or "The guards want to ask you some questions." It doesn't quite work, because it isn't quite the stuff of adventures, but one can imagine a good version of the encounter tables that would do better. CSWE also introduces an awful mini-game for "establishing comaraderie", reminiscent of the sexist mini-game for picking up women in CSIO, where the players has to perform a set sequence of actions to gain "levels" of comaraderie with an NPC. For example, two jokes plus a drink gets you "Level 1". Again, we could imagine less mechanically awkward and more productive rules for acquiring contacts in the city. (The Nightmares Underneath has some excellent ideas about this kind of thing.)

Hippenhammer was compelled to include entries for endless shops, military barracks, petty bureaucrats, and taverns over two separate books numbering 160 pages (with a third separate book for the Wilderlands Campaign Hexmap 6!). Furthermore, the locations leave blanks for the Judge to fill in their street locations. It doesn't bother putting them on the map, because, frankly, who cares where they are. Getting from point A to point B is not an adventure in itself, nor can one visit a notorious bootmaster married to a bigoted ogress to get shoe repairs. This lack of location gives the lie to the whole enterprise: the truth is that there is no point in this city to the micro-geographical knowledge provided by the CSIO.

And since the establishments aren't themselves sources of adventure, there's no point to detailing them all either. Hippenhammer told me in our brief Facebook conversation that he had trouble understanding why he was filling in all these trivial detail in the seemingly endless numbered locations. Partly this may be a lack of understanding of the model provided by the CSIO, but I think it may partly be a real lack of fit with the city as described. Seen from this perspective, one main problem with the CSWE is that it mechanically applies a template that is suitable for the specific style of play of the CSIO to a city better suited to a different style of play.

It is possible to imagine a better executed version of the template, that has the quirky Bledsaw energy in all the location entries, but tries to hew closer to the concept of Viridistan. Perhaps, instead of rumors, the entries for the establishments might say what secrets the owners of the establishment know, and who their allies and rivals are. This would certainly be neat, a sort of micro-geography of hidden knowledge and webs of relations. But this information would not see nearly as much play as the entries in the CSIO, since walking around the city is not an adventure in itself, so there is much less opportunity to bring the potters and glass-blowers of the city into the fabric of adventure on the fly. Still, I think it maybe could work.

But a more obvious approach for this city than detailing all the shop owners, would be to focus on the description of factions, of central players, of secret societies, and hidden and remarkable locations. We need tables of schemes, and hidden purposes. ("What does the intercepted message say?" "How is he being blackmailed?") On this approach, coming to know Viridistan is not coming to know its byways and alleys, much less its rooftop mazes. Instead, to know this city is to know its secret schemes and the people behind them. With Bledsaw quality prose, this approach could have produced an amazing city supplement more suited to running games in The City of Spices.

Because play is the thing, a city supplement must focus relentlessly on the facts necessary to enable the Judge's improvisation in this style of play. The ultimate limitation of the City State of the World Emperor is that it doesn't do this.
Druillet, who else?