Showing posts with label inspiration. Show all posts
Showing posts with label inspiration. Show all posts

Wednesday, August 21, 2019

Realistic Magic And GURPS Mechanics

I'm still working on articles that discuss realistic magic in GURPS terms from a philosophical perspective, but a quick note on how to approach it from a mechanical perspective seems appropriate.

Coming back here to edit now that I've finished the main article, I note with irony that "quick" may be a relative term here. Still, no cut tags today. You get the whole thing! Also, I seem to have touched on a lot of the areas that I was intending to touch on in regard to the philosophical underpinnings, so I am no longer sure that a separate article is necessary. I guess I can answer questions about anything I skipped over, or go back to the article if there are enough questions to justify it.

For the most part, GURPS can handle magic without going outside of the realm of existing skills and relatively non-cinematic advantages. The exceptions are pretty well handled in GURPS Low Tech Companion 1: Philosophers and Kings, with one notable loss from the perspective of those of us who approach matters with an animist bent. Those who conceive the universe in purely materialistic terms don't even have to worry about that little bit.

Let's start with advantages and disadvantages, then skills, and then discuss the matter of spirits.

GURPS advantages that can be used to represent any number of realistic magical elements include, obviously, the set of Luck advantages, including Luck itself in its various levels, Daredevil, and Serendipity. My own experience seems to indicate that there is nothing so blatant as Super Luck in the real world—though I am open to the possibility—but Luck, Extraordinary Luck, and perhaps even Ridiculous Luck do seem to affect some people. As well, Unluckiness seems to follow some people, and I am open to the idea that some rare people may even be Cursed. Higher Purpose and Visualization might be considered to fit into this cluster, as well.

Similarly, the Empathy collection of advantages—Animal Empathy, Empathy, Plant Empathy, Sensitive, and so on—would represent the basis of a number of demonstrated "psychic" abilities.

Channeling and Medium, as well as Spirit Empathy, should be available if spirits are assumed. See the discussion below. Some would say that they represent something real even in a setting where "spirits" are not literal entities.

Charisma is a real thing. To some degree, it is a trained ability—for example, see The Charisma Myth by Olivia Fox Cabane and other books that discuss "charisma"—but also represents the force of personality that magical training can build in a person.

Is Common Sense a psychic power? It certainly is a mental one, which is, after all, what "psychic" means.

Danger Sense does seem to be a real thing, demonstrated by non-human animals, and seeming to exist in some humans. Sure, you can explain it away as the result of a variety of sensory impressions being taken as a gestalt, but to a large degree that is exactly what "magic" refers to. Not exclusively, but that philosophical discussion is mostly beyond the scope of this article.

Eidetic Memory certainly covers some of the Art of Memory methods, which have been considered to be a part of magic for longer than materialism has separated the world into magic and science as opposed pairs. Photographic Memory is of a similar character.

The Basic Set doesn't mark Gunslinger, Trained by a Master, or Weapon Master as outside the realm of reality, but that's a question each Referee will have to resolve for themself. Obviously, Heroic Archer is in this cluster of advantages as well. If they do exist, then they would represent a certain sort of magic that is associated with "martial arts", speaking broadly.

I don't know if Illuminated corresponds with anything in the real world. Maybe it does. Certainly, there's nothing about it that would immediately disqualify it. Probably limit to certain sorts of settings, but still within the realm of realistic magic, I guess.

Indomitable seems like it is magical in nature, being specifically connected with the idea of influence. Unfazeable may be similar.

Intuition, of course, is clearly magical. It codifies into rules the ability to derive helpful information from seeming ignorance. It may also represent the sort of thing that goes by terms like "remote viewing", at least if connected to a skill like Intelligence Analysis and a Technique. Let's quickly write up something that we might use. We'll start with the idea that such a feat is of "Impossible" difficulty, but that it can be trained.

Remote Viewing
Hard
Default: Intelligence Analysis-10
Prerequisite: Intelligence Analysis, Intuition, cannot exceed Intelligence Analysis

By making a Remote Viewing roll, a character can get an impression about a distant target. The character may always take Extra Time in any such attempt, with a basic time of 10 seconds per attempt. The Margin of Success indicates how many interesting elements that the character successfully Views, with each element being determined by the Referee. For example, with a Margin of Success of 3, a character could receive a result of "An open plain, with a tree, and no animals or men present" (and, of course, they or their handler would already know what the target was, so they'd have to apply this description to what they already know). Note that some targets specifically include interesting but uninformative elements in an area they wish to protect from Remote Viewers. Referees should not take up more than one, or two if the false-interest objects are specifically designed (with extra cost at some level that I haven't worked out yet; probably 10 times?) for the purpose, of the "interesting item" slots with false-interest items. Failures at Remote Viewing will introduce false elements. Referees may mix false and true elements in a failed Remote Viewing session in order to particularly mislead Remote Viewers, but should never provide true elements that the characters don't already know about. For example, a failed attempt to Remote View a submarine base might include elements relating to a submarine, but then also false elements that are misleading. If the characters know little or nothing about the target for certain (Remote Viewing Mars, for example) then everything might be a false element on a failure.

Is Remote Viewing possible in reality? Certainly, there is quite a bit of experimental evidence. Some people do dispute the evidence, and in practice the ability has apparently been shown to be of limited practical use for Intelligence purposes (or is it just that Intelligence agencies have chosen to bury it deeper from scrutiny? Who knows what is really going on in that hall of mirrors. As it happens, some public entities, companies and individuals, do in fact consult Remote Viewers as part of their overall decision process, but this is another thing that should be left up to individual Referees for their particular settings). For some arguments about the method, along with some other science-based arguments toward "magic" generally, see Real Magic by Dean Radin, for example. I realize that some people disparage Radin and some others (Daniel Bem, Rupert Sheldrake, etc) on an ad hominem basis, but I can't help those people. Their studies speak for themselves, and it's fun to watch materialists move the goalposts whenever one of them seems to meet the predetermined criteria for showing an effect.

Even so, a glance at books like Naturalistic Occultism by IAO131 can show that there are a plethora of effects that have been traditionally codified as "magic" which can be described by such disciplines as modern neuroscience, and measured with devices such as CAT Scans and so on. If Remote Viewing is off the table, still a number of other abilities described here are not even controversial.

Okay, that was a little more in-depth into the underpinnings of the "realistic magic" approach than I really wanted to get into for this article. Still, it's useful, I hope.

Continuing on, it may be possible for the Referee (or players!) to come up with other Techniques that rely on mixing Intuition with other skills. Be careful to limit their effectiveness. Note that, for example, the Remote Viewing Technique above requires that the player spend as much as 12 points in addition to the cost of Intuition to have even marginal effectiveness (1 point in a Hard Skill for IQ-2, 11 points in the Technique to have it at Skill, or more likely 2 points in the Skill for IQ-1 and 10 points in the Technique to give Skill-1, either way giving a final Success Chance before other modifiers of 8). It's probably also worth looking at mixing other Advantages such as Danger Sense or even Luck with various Skills to represent other apparent abilities, such as maybe the alleged Remote Influence described by some soi-disant "psychic spies". That's getting outside of what I would consider strictly likely from my own experiences, however.

Oracle seems to be reasonable, and may be a way to represent those people who seem to be able to provide useful advice from divination techniques. However, as we'll discuss when we get to Skills, this may not be strictly necessary to represent these. From my own experience, I do think that some people are able to go beyond the limits described in Skills, but I think that the question remains an open one. Referees should probably allow a Technique that combines Oracle with Fortune-Telling if they want to allow the Advantage. I would, but I'm not going to define the Technique right now.

Alternately, a Referee could go so far as to allow the Precognition Advantage. There is some experimental evidence in its favor and the Advantage is sufficiently pricy for a fairly limited game effect. Up to you. I might not go this far, myself, but I go back and forth on it. In such a setting, the Destiny Advantages and Disadvantages are probably worth including. Similarly, the Psychometry Advantage isn't outside the realm of possibility, even if its experimental evidence is even less conclusive than that for Precognition. It is a little overly-reliable as written in game terms, though, so it's another one that is questionable.

Some theorists, such as Timothy Leary, have seriously proposed that Racial Memory might be a real thing, with a discernible, even possibly materialist, mechanism. There is some slight evidence that some sort of environmental information might be transmitted through DNA, with such things as the effects of trauma or PTSD possibly having an effect on the specific genetic sequences passed to the following generation. I dunno, maybe? This seems less well-documented than, say, Bem's precognition results. At the least, though, it isn't very outlandish in effect. Racial Memory (Active) might be pushing things, though, even at 40 points.

Rapier Wit. I mean, it's not a crazy effect, but it seems like it's probably cultural in nature. I probably wouldn't include it in a modern setting, where we're deeply indoctrinated with the idea that "words won't hurt me", but it might have a real effect in, say, an ancient Irish one where the effects of satire are understood to be real and powerful.

Single-Minded can represent certain types of trance states, but maybe it's better to leave this to the Autohypnosis Skill, which provides a similar effect. Speaking of that, I wonder if the two effects stack? Neither the Skill description nor the Advantage description rule the other out, so it would seem that they do. [EDIT: Looking into it, there is no official ruling yet, but the GURPS Line Editor has opined that the bonuses of the Autohypnosis Skill and Single-Minded Advantage should not stack, and that this should probably be incorporated into the rules. For all intents and purposes, the official stance is that they do not stack.]

Does Special Rapport exist in reality? There are certainly anecdotal reports of something like it. Sheldrake's experiments with dogs knowing about their owners returning home seem similar. It's questionable, but there is some reason to include it. Up to the Referee.

Visualization has a lot of experimental evidence in its favor. High-level athletes are not the only group of people who swear by the method. However, it seems to work best for people who are already at a high level of skill in the real world. Should it be a separate advantage, or just assumed as part of advanced levels of Skill? That's a difficult question. Should the Blessing and Cursing Enhancements from GURPS Powers be allowed? There is less evidence either way for this, but my experience would say that they should be. It's expensive enough that few characters in a realistic game are likely to have these abilities, but plausible enough to be worth allowing in theory. Cut the cost down by taking "Takes Extra Time" or the like.

I don't know about Wild Talent. Anecdotally, it does seem to exist to some degree, but I am not aware of any experimental evidence for something similar. I'd include it in a realistic game, but I can see arguments against it.

I'm not going to go through Perks in detail, though some of them clearly should exist in a realistic magic setting, like Autotrance.

Moving on to Disadvantages, let's just go through them in order, leaving out the ones we've already dealt with in the Luck cluster above.

Berserk matches up with some experiments that some groups have done with somafera "body-wild", which is specifically the idea that the human body can exceed its normal limits in particular circumstances. Advanced somafera practitioners relate that these abilities can be developed so that the loss of control is minimized. I refer the interested to Putting on the Wolf Skin and Scientific Magic, both by Wayland Skallagrimsson. Referees who accept these possibilities may make other Advantages available, using various Enhancements and Limitations. The prototypical ones would be Damage Resistance to Fire Only and Tough Skin, or Enhanced ST (or only Striking ST or Lifting ST) that costs FP, both connected via Accessibility to the Berserk Disadvantage, and then perhaps buying off the Berserk requirement (and Disadvantage) with further development.

Delusions are probably very common among real-world magicians. Certainly, in my experience, many magicians hold some very unorthodox beliefs to be true. Don't forget, though, that GURPS does specify that a Delusion might be factual in the end, it's just that most people don't believe it to be true and react to people who do accordingly.

Disciplines of Faith are a prerequisite to some of the "Technicians of the Sacred" practices described in GURPS Low Tech Companion 1: Philosophers and Kings.

Does Epilepsy allow a character to make use of the Dreaming Skill during waking hours? Up to the Referee. I'd say yes.

A lot of magicians develop something like Guilt Complex, since a lot of their worldview includes the notion that they have the ability to exert control over reality to some degree. In such cases, mishaps can be seen as personal mistakes and failings.

According to some researchers (here I am mainly thinking about T. M. Luhrmann, an anthropologist whose study, Persuasions of the Witch's Craft, is rather controversial in magical circles due to a justifiable perception that Luhrmann abused the trust of many of her informants, many magicians may suffer something very similar to Gullibility. I interpret Luhrmann's data in a very different way than she did, though. It doesn't help, when studying a social group, to apply one's own cultural assumptions to that group in interpreting the data from that group. Whatever, it's a book worth reading when trying to understand what exactly is going on in the real-world practices of magic. Like all of the ones I recommend, it needs to be understood in context, though, and not taken as Holy Writ.

Impulsiveness and Overconfidence might afflict some people who have too much reliance on their magical understanding and supposed powers. Similarly, people who rely excessively on divination might become Indecisive. Those who place too much significance on success and failure as magical outcomes might become Manic-Depressive, or even gain Low Self-Image. Obsessing over astronomical events might bring about Lunacy. Or maybe these things only reflect a deeper sensitivity to acausal connections.

Nightmares, Phantom Voices, Sleepwalker, and Split Personality can represent some cases of "demonic possession", and it may be possible to overcome them, at least temporarily but possibly as an explanation for buying them off, by using some of the magical Skills described later. That's a matter for the Referee to determine, and might already be described in the relevant rules, but I'm not going to go through them in detail right now. I think that GURPS Social Engineering: Back to School may discuss using Skills to justify buying off Disadvantages?

Pacifism is far from universal among magicians in the real world, but some do make it a distinct part of their worldview. Note that, in reality, most human beings should have Pacifism: Reluctant Killer in any case. Not having that Disadvantage is usually described, informally at least, as "sociopathic" or "psychopathic", and it might be worthwhile to give such characters an automatic Reputation Disadvantage (perhaps -2 to all who have the Reluctant Killer Disadvantage and notice that the character is a "casual killer"). Maybe Post-Combat Shakes or even Combat Paralysis could be a reasonable alternative, too, if the Referee is willing. Certainly, other forms of Pacifism could replace these.

Strange events often do cluster around people who get into the practices of magic. Whether that is because the practitioners become adept at reframing otherwise innocuous events as unusual or they actually do happen more often is an open question. If an actual thing, then Weirdness Magnet might be appropriate, though for myself I dislike that Disadvantage immensely (isn't this already assumed to be the case in a roleplaying game?) and would not recommend it.

Finally, the following Skills are directly appropriate to any character in any setting who is said to practice "magic" in the sense of occult sciences. Magicians will also often develop other useful Skills, such as the Influence Skills, Artistic Skills, and the Prestidigitation-related Skills (and see that discussion below), as well as the Cinematic Martial Arts Skills and Musical Influence if they are available, but this list is for the more strictly magical ones.

Autohypnosis, Body Language, Breath Control, Cryptography (one magical text, Steganographia, is entirely a manual of cryptography presented in magical terms), Dreaming, Esoteric Medicine (if available, and perhaps it should be), Exorcism (see the discussion on spirits below), Fortune-Telling, Hypnotism, Meditation, Meteorology/TL4 (aka Weather Sense), Occultism (of course), Philosophy, Propaganda, Psychology, Religious Ritual, and Theology.

It's important to consider the "Technicians of the Sacred" section of GURPS Low Tech Companion 1: Philosophers and Kings. There are a number of skills described there which can be used to induce Autotrance and Dreaming effects in those lacking those Skills, including Religious Ritual, Dancing, Singing, Musical Instrument, and so on, even Erotic Art (which corresponds to a fairly large section of magical practice known as "sex magic").

Now, keep in mind that it was the magician John Dee who founded the world's first espionage agency (and his code name in it was 007!), and that previously espionage was treated as a largely esoteric and magical practice. Specifically, the deliberate obscurantism of the magical arts in history have been useful to those trying to control the flow of information. Even today, espionage agencies are frequently found skulking around esoteric sciences and philosophies.

Prestidigitation. In the past, magicians had to provide a show for their clients, going all the way back to the shamans of Siberia and other such "primitive" magicians. Magic is largely a practice that affects the mind, and so its effects are not immediately visible. This can reduce the effectiveness as the client stops trusting in the process and begins to fall back into previous patterns. To dramatize these rituals, some magicians have made use of "special effects" involving sleight of hand and misdirection, such as seeming to withdraw "disease" matter from the body of the client. Modern "skeptics" have pointed to these practices as indicating that the underlying techniques were therefore ineffective, with many modern stage magicians getting in on the scam of "debunking" anything that isn't described in purely materialist terms. They're mistaken, of course, but then as someone who doesn't accept the automatic supremacy of the materialist hypothesis, I would say that. Anyway, a magician, especially before the early 20th century, is very likely to have learned various prestidigitation skills like Sleight of Hand, Filch, Holdout, and the like, as well as Performance and such.

Spirits. Here we come to the biggest break between the materialist and the animist worldviews. The fact is that we can't measure spirits. On the other hand, we have fairly reliable methods of communicating with them which anyone who wants to take the effort can learn. The more sensitive among us can naturally feel their presence even without communicating directly. Materialists have attempted to explain these feelings with talk of standing sound waves, low-frequency sounds, and the like, but these seem to ignore the intermittent nature of some of these perceptions.

So do spirits exist? I would argue that they clearly do, as many people report being able to sense them, and that is repeatable enough, if not 100% reliable. Religions exist because many people are able to sense the presence of spiritual forces or entities (and then those perceptions are organized into social forces; the existence of the latter does not disprove the former). If some can't sense them, that doesn't disprove them any more than the fact that some people are blind or deaf disprove the existence of light and sound. They do seem to be very subtle forces, of course. I wouldn't go so far as to simulate them even with, say, ST 1 Telekinesis. Or maybe they are capable of such limited effects, as some hauntings correspond with physical stigmata such as scratches appearing on the afflicted, and of course some people have documented, inconclusively, some sort of "poltergeist" phenomena. Don't even get me started on the weirder end of what has been called the "Daimonic", though the interested can begin with books like Passport to Magonia by Jacques Vallée, Daimonic Reality by Patrick Harpur, or just about anything by John Keel (but especially Operation Trojan Horse, aka UFOs: Operation Trojan Horse).

How, then, to represent them in GURPS terms? The simplest method would be to start with the Astral Entity Meta-Trait, and to assume that Medium or Channeling are the only sure ways of communicating directly with them. Alternately, some of the Spirit Meta-Traits described in the Basic Set, GURPS Fantasy, or GURPS Horror provide a great place to start, and then the Probability Alteration Power from GURPS Psionic Powers can represent the more direct effects that some Spirits can use to affect the world. In any case, the ability to affect the material world should definitely be kept to a minimum, but that doesn't mean that it should be ruled out entirely. Even beyond that, though, these entities have the ability to communicate with those who are sensitive to them, as seen through Medium and Channeling, but perhaps also through Dreaming Skill. Dreaming communications may require interpretation via Fortune-Telling (Dream Interpretation), and are likely to be presented in symbolic terms, such that a Spirit wouldn't just say, "Hello, there are people preparing to raid your headquarters," but would instead be understood through a communication of dogs bursting through the windows of a dream house. How this is differentiated from the same dream being a sexual metaphor and wishful thinking is via the use of Fortune-Telling (Dream Interpretation).

Some such Spirits should be tied to locations, representing the Spirits of those locations, while others will be tied to objects, groups, or concepts. A great many Spirits are those of living or formerly-living persons, with Spirits of dead people commonly being called ghosts while those of living people have various names such as doppelganger, the Double, and the like. GURPS Spirits has some discussion of different sorts of Spirits. The most complex and powerful Spirits are frequently called Gods, Lwa, O-Kami, and similar terms that usually indicate deep respect and worshipfulness. In my own experience, apparently contacts with these great beings are usually with entities that are representative of them, rather than the beings Themselves. GURPS Voodoo: The Shadow War was particularly accurate, in my opinion, in framing all such contacts as being with Spirits of varying power level and able to appear in more than one example, such that one person could call for a Major Manifestation of a particular Lwa, while their friend could also call one at the same time, and the person they were opposing potentially could as well! These could be said to correspond to angels "messengers", while the Arch-Angels of monotheistic traditions would be in roughly the same position as the Gods of polytheistic ones. (I will refrain here from arguing how polytheistic assumptions seem to match observed reality better than monotheistic or atheistic ones. See A World Full of Gods by John Michael Greer—note, absolutely not the one of that title by Keith Hopkins, which is on an entirely different topic relating to the rise of Christianity in the ancient world—if you are interested in that topic.)

I'm not going to enter into a long discussion of herbalism (GURPS: Pharmacy (Herbal), at least in part, plus Meditation and other Skills described in "Technicians of the Sacred" in GURPS Low Tech Companion 1), entheogenic substances (again, see that "Technicians of the Sacred" section in GURPS Low Tech Companion 1), alchemy (GURPS: Chemistry/TL0-4 plus Meditation, as well as the occasional prestidigitation Skills), and the like.

Finally, it is useful to any real-world magician to have detailed and specific knowledge Skills. Everything from Intelligence Analysis to Naturalist to Market Analysis to Strategy and Tactics Skills, and many more besides, are going to be useful parts of the knowledge base of a real-world magician. Gambling is useful in calculating the odds and so advising a King or other decision-maker, which is a common enough place for magicians in history (again, see Dr. John Dee and his relationship with Queen Elizabeth I's court). Even outside of that, magicians were sought out by other people looking for advice on topics ranging from love to healing and beyond.

Because I think that it can be useful to end a long article with a bibliography of works that are useful but weren't referenced in the body, here are some works that are going to be particularly useful in understanding real-world magic that weren't referenced above:

Betz, Hans Dieter - The Greek Magical Papyri in Translation

Brennan, J. H. - Astral Doorways (also a game designer, known mainly for Timeship, which was notorious for blurring the lines between magical practices and roleplaying, and that during the Satanic Panic years)

Child, Alice B. and Irvin L. Child - Religion and Magic in the Life of Traditional Peoples

Couliano, Ioan - Eros and Magic in the Renaissance (if you read nothing else I've referenced, read this one)

Dukes, Ramsey - How to See Fairies

Dunn, Patrick - Magic, Power, Language, Symbol

Dunn, Patrick - Postmodern Magic

Greer, John Michael - Green Wizardry (attempts to be for the modern world what Picatrix and similar texts were, in part, to the early modern one, a collection of useful science and art that can help a community or individual in daily life; more importantly for these purposes, discusses in some detail what such texts were trying to transmit, and so what magicians were often expected to know)

Greer, John Michael - Mystery Teachings from the Living Earth

Keith, William H. Jr. - The Science of the Craft (a somewhat credulous, but definitely worthy, attempt at understanding magic through modern, cutting-edge science; written by a noted gamer and fiction author)

Lecouteux, Claude - Witches, Werewolves, and Fairies (really, anything by Lecouteux is worth looking into; pick a title that interests you and go from there, and if you can read the French originals, more power to you)

Marsh, Clint - The Mentalist's Handbook

Paper, Jordan - The Deities Are Many (along with Greer's A World Full of Gods, an excellent primer of polytheistic theology; where Greer's work is an apologetic and even a polemic, Paper's is a confessional; I should probably point out here that "polytheistic" and "animistic" are pretty well synonymous in the world outside of academia and the people who build their worldviews on the frequently artificial and theoretical distinctions of the academy—which is to say that I can't think of a real-world instance of a polytheistic religion which isn't also animistic, nor any pre-modern example of animism which is not also conceptually polytheistic)

Paxson, Diana - Trance-Portation

Pócs, Éva - Between the Living and the Dead

Skelton, Robin - Spellcraft (especially in conjunction with Thompson, below)

Skinner, Stephen - Techniques of Graeco-Egyptian Magic

Skinner, Stephen - Techniques of Solomonic Magic

Smith, Dave - Quantum Sorcery (another credulous approach to mixing science and magic)

Smith, Morton - Jesus the Magician

Stone, Kelly L. - Thinking Write

Thompson, Christopher Scott - A God Who Makes Fire (especially in conjunction with Skelton, above)

Whitcomb, Bill - The Magician's Reflection

Wier, Dennis R. - Trance: From Magic to Technology

Wilby, Emma - Cunning Folk and Familiar Spirits

Anyway, I hope this is helpful to you in some way.

Monday, October 8, 2018

Deindustrial Future Update And Sword & Sorcery Campaign Setting Idea

After spending some time healing up, the characters started to question the spirit of the former Town Marshall, learning that Joe's father was the person in town who was most involved with conjuring spirits but little else. After deciding to go out to Joe's farm, they were distracted by a disturbance at the blacksmith's down the street. Arriving and asking for information from the Deputy Marshalls there, they learned that the blacksmith had been disemboweled and ritualistically mutilated.

Finally getting out to Joe's farm, the characters found themselves walking into a siege. Quickly dispatching four of the ranch hands, they got into Joe's house and assessed the situation, determining that at least ten more ranch hands had surrounded the house. At this point, we ran out of time.

I like sword & sorcery fiction. A lot of the early works drew on the occult history outlined by Madame Blavatsky's Theosophy movement. This is especially true of the proto-sword & sorcery fiction of Edgar Rice Burroughs. The correspondences between the races and structures of Barsoom and the speculations of Theosophy are complete. H.P. Lovecraft derived many of the concepts of his weird fiction from the same source, and Robert E. Howard—arguably the originator of sword & sorcery—drew on the material both directly and through adopting ideas from Lovecraft.

This is great, except for the fact that the occult history of Theosophy is also intensely, deeply racist. That the authors in question also had such ideas didn't make anything better.

I do think that drawing on occult histories as a basis for sword & sorcery fiction is a great idea, but unfortunately the Theosophical one cast a long shadow over the twentieth century and even into the present one. However, there has been a recent attempt to move away from the methods and ideas of Theosophy in crafting a new occult history.

Occult histories are a useful technique that are intended to assist creative approaches to data by creating a structure at odds with the accepted ideas. By creating an approving context for concepts that are disapproved by the intellectual authorities of our society, they allow for questioning of things that are conventionally accepted. Whether this is a good idea or not is up to you, but I think that it's at the very least useful for creative works.

As it happens, there is a recent attempt to forge a new occult history that draws on both cutting edge and fringe archaeology instead of the fringe Indology that informs the Theosophical one. A "chaos magician" named Gordon White recently published a few works, among them Star.Ships. Despite the title, the book explicitly disclaims the idea that extraterrestrial aliens had anything to do with our world. Instead, it lays out an argument that world history and prehistory is better explained from an animist perspective than a materialist one, and offers a history that incorporates everything from the "impossible" mesolithic site of Göbekli Tepe through Gunung Padang, strange anomalies about the Pyramids of Giza to the weirdly specific coincidences of astronomical mythology around the world—such as why just about everyone from Europe and Asia through to North and South America associates Sirius with canines—and more. Recently, a find of petroglyphs in India that seem related in style to other petroglyph finds, and which date to the appropriate era, seem to provide further support for the idea. Whether a stepped pyramid identified in China bears any relation remains to be seen, though the dating makes it seem unlikely.

Notably, for my purposes, it lays out some of the possibilities of a prehistoric civilization in the Sundaland region, which is now largely beneath the waves after being submerged at the end of the last Ice Age. The civilization would have been a mesolithic hunter-gatherer society which, if White's ideas are examined, had a sophisticated shipbuilding culture with advanced astronomical navigation and possibly advanced social organization. Its influence, then, would have spread across the ocean, from the Middle East and Nile Valley to southern Asia, up into China, Japan, and the Philippines, across to the Pacific Islands, and even to South America. If Göbekli Tepe was related to this culture, then its influence might even have reached to the Anatolian peninsula and so maybe even into the Old European cultures.

Players and readers don't seem to get very excited about Stone Age cultures, though, so I think that it would be worthwhile to suppose that the Bronze Age got a very early start in Sundaland. Like Howard's Hyboria, this allows for city-states and armies at a time when, as far as we know, they were not particularly likely in the real-world prehistory. Since some people connect the idea of Sundaland with Plato's story of Atlantis—among other things, the dates happen to match up, where other theories of Atlantis require assuming that the dates were wrong in some way—we can equate orichalcum "mountain copper" with bronze, which seems to be the trend today anyway.

Anyway, a lot of details still to work out, but it seems like it should be an interesting sword & sorcery setting. With ancient serpent people and the occasional Pleistocene—or even earlier—monster, along with the Flores Island "hobbits", there is plenty of room for the kind of weird adventure that makes for a rolicking story.

Tuesday, August 7, 2018

Hierophant

We've played a fourth session of the Deindustrial Future game, but I haven't written it up yet. Here's something to tide you over.

Illustration: Walt McDougall, The Salt Lake Herald, February 22, 1903

Seems like an interesting critter. Anyone want to stat it up for one game or another? Feel free to post it here or to your own blog. If you post it to your blog, give me a link here if you wouldn't mind.

Wednesday, May 6, 2015

More Examples Of Raygun Fantasy

http://view.stern.de/de/mitglieder/Mandragor
Obviously, I didn't exhaust the raygun fantasy catalog in the last post! Here are some more:

Krull - A movie that no one knew what to do with at the time, and worse, one that practiced a strange bait-and-switch! Whatever its other strengths and flaws, no one who sees it without having the ending spoiled sees that ending coming, though it makes perfect sense given the setup of the film. Unfortunately, audiences at the time were too confused by the combination of mixing genres that had become customarily separated and the auctorial sleight of hand to react well. As time goes on, though, I think that more and more people are coming to see the virtues of this strange, idiosyncratic raygun fantasy.

http://thegryph.deviantart.com/art/Dune-35280974
Dune - Perhaps the best-selling SF novel of all time, Dune is pretty solidly in the SF New Wave. Its psychedelic, anti-agathic drug that forms the fundamental motivating force of the whole interstellar society described in the six central novels is exactly the reverse of, say, the Lensmen's stark opposition to thionite. However, Herbert clearly chose his technologies carefully in order to emphasize the personal drama of swordplay and knife fighting over the impersonal tactical chess of ballistic or energetic weapons, while still finding a place for those, and his history was designed to downplay the influence of computing devices in favor of the sort of human interests that characterize raygun fantasy. Further, Herbert's own deep understanding of religion and spirituality inform much of the plot and setting of the books. To a great degree, Dune can serve as a model for how to merge relatively "hard" SF, in the modern sense, with raygun fantasy. To my way of thinking, this is one of the reasons that Dune, if not its sequels, is perhaps the greatest possible SF novel.

Many of the works of H.P. Lovecraft approach the ideas and themes of raygun fantasy, though the lack of human space travel tends to push it away. Still, the concept that what we know as "magic" could well be alien science touches on the merging of the material and the psychological that characterizes, to some extent, much raygun fantasy. It is, perhaps, not surprising then that we find later Lovecraftian authors (such as Toren Atkinson, whose roleplaying game Spaceship Zero is one I'll be dealing with as I discuss raygun fantasy RPGs) finding their way into the fold.

It's been suggested that Space 1999 would fit into the concept, though it has been a long while since I have seen the show so I can't commit to that, nor comment further.

Similarly Jack Vance's "Five Demon Princes" tales. I haven't read them, so can't comment on the idea.

Stranger in a Strange Land by Robert Heinlein deals with raygun fantasy ideas, though it is clearly moving toward modern SF. Some of his "juveniles", such as Time for the Stars or, especially, Between Planets, also deal with raygun fantasy ideas, and his "Future History" stories certainly fit into the continuum of raygun fantasy to scientifiction. Heinlein, though, seems to have been instrumental in ending the era of "retro SF", perhaps taking Galaxy's first-issue manifesto to heart. Heinlein was also an occasional practitioner of the closely related, but different, subgenre of science fantasy, notably in "Magic, Inc." and Glory Road.

While I'm at it, I am going to start listing roleplaying products that fit into the idea of raygun fantasy, or at least scientifiction, but without comment (or at least not much). I'll avoid more science fantasy entries such as Spelljammer or Empire of the Petal Throne, as well as edge cases like Gamma World, Metamorphosis Alpha, and Mutant Future:

Anomalous Subsurface Environment (depending to some extent on how it's run)

Burning Sands: Jihad (supplement for The Burning Wheel; a Dune knockoff)

Carcosa (tends toward planetary romance)

Dark Space (supplement for Spacemaster/Rolemaster)

Dune: Chronicles of the Imperium (Last Unicorn Games's last gasp, released by WotC in a limited edition after acquiring them)

Flash Gordon and the Warriors of Mongo (hardly an RPG by today's standards)

GURPS (3E) Lensman

GURPS (3E) Mars ("Dying Mars" chapter)

GURPS (3E) Planet Krishna

GURPS (4E) Tales of the Solar Patrol

High Adventure Cliffhangers: Buck Rogers Adventure Game

Hulks & Horrors

Lords of Creation (at least some realities)

Machinations of the Space Princess

Prime Directive (or its conversions to other systems, such as GURPS Prime Directive; while the Starfleet Universe of ADB tends to try to avoid raygun fantasy ideas, at least when they interfere with the militaristic approach of the setting, going so far as to have the Organians simply leave without explanation, there are some indications that raygun fantasy remains involved where it can provide a tactical exercise, such as the Loriyill of the Omega Sector)

Rocket Age

Savage Swords of Athanor

Spaceship Zero

Star Trek (two different companies to date, FASA and Last Unicorn Games, plus fan projects; limited to Original Series and Animated Series eras, and possibly the original cast movies)

Star Wars (three different companies to date with official games, plus fan projects like Star Wars Galactic Adventures)

Stars Without Number

Starships & Spacemen (to some extent, anyway, as a Star Trek knockoff)

Tales of the Space Princess

Terminal Space

Under the Broken Moon (Thundarr RPG)

Under the Dying Sun (unfinished project, sadly)

Under the Moons of Zoon

Warriors of the Red Planet

White Star

The World of Thundarr the Barbarian (supplement for Mutant Future)

X-plorers


I look forward to hearing other suggestions. I'll discuss the RPGs in more detail as time goes on.

Tuesday, May 5, 2015

Cataloging Raygun Fantasy - An Initial Foray

In the last post, I discussed my basic thoughts on what constitutes "raygun fantasy", and how that subgenre of retro SF differs from "scientifiction". It's also different than other retro SF genres such as steampunk or dieselpunk, but those others aren't really relevant to the current discussion. For now, I'll limit myself to the continuum between scientifiction and raygun fantasy. I did note elsewhere that one could call the blending of the two poles "sword & blaster". There is one other subgenre that is relevant, though, which is the "planetary romance". Most raygun fantasy falls within the bounds of planetary romance, which is a subgenre concerned with adventure across the varying environments of an alien world. Planetary romance dates back to the earliest era of SF, being the category one could place such works as A Princess of Mars by Burroughs and its sequels, or even the Flash Gordon newspaper strips that I consider definitive to raygun fantasy.

What I'd like to do in this post is begin cataloging the works that constitute raygun fantasy to some extent or another. It can't be complete, and I would certainly appreciate suggestions from my readers to help expand the list. I'm specifically going to avoid mentioning roleplaying games, as I intend to examine those individually in future posts. All of that said, here we go:

The stories about Northwest Smith by C.L. Moore - These were the stories that gave me the realization that there was a subgenre to identify in the first place. The repeated theme of powerful, incorporeal aliens which were interacted with in manners that resembled magic or religion are definitive to raygun fantasy. Moore's first story about Smith was "Shambleau", and she went on to write a total of twelve stories plus a short vignette, all collected in Northwest of Earth.

The Flash Gordon newspaper strips and movie serials - Especially the Sunday strips written by the creator of the character, Alex Raymond. Flash's trips to Mongo were clearly inspired by Edgar Rice Burroughs's tales of John Carter, and include the requisite swordfights and inhabitants of Mongo who are differentiated by their skin color (though that latter distinction lessens and eventually vanishes from the strip by the end of Raymond's run). In one sequence, Flash fights against the "Witch-Queen", whose arcane - and unique - technology gives her powers that resemble magic. The inventions of Dr. Zarkov occasionally resemble magic, as well, such as one sequence in which the doctor invents a booth that can make a man invisible for a few hours. The 1980 film version draws on ideas from the SF New Wave that were current at the time, such as chemical enhancements, and added an element of deliberate camp.

Star Wars and sequels (and prequels, etc.) - Originally, George Lucas wanted to make a Flash Gordon movie, but couldn't get the rights. This resulted, happily, in the excellent idea of making his own sci-fi pseudo-serial. The story of Star Wars centers on the action of the Force, a mystical, all-encompassing energy field which directs the fates of the central characters to varying degrees. I don't think I even need to discuss this one further, as probably everyone reading this is intimately familiar with the details of Lucas's stories.



After those three, which I consider to be the central, defining works of raygun fantasy, there are many others.

The Lensmen series of stories by E.E. "Doc" Smith - While Smith tried to make plausible explanations for the devices of his Galactic Patrol, the telepathic powers of the Lensmen themselves, as well as the instrumentality of the Lens and the "Ascended Masters" manifest in the Arisians (who are fighting the demonic Eddorians that are breaking into our reality from another), force the series deeper into human, spiritual concerns. Some of the fans of the series only consider the four books Galactic Patrol, Grey Lensman, Second-Stage Lensmen, and Children of the Lens to be truly canonical, and to be best read in that order.

Eric John Stark and other stories by Leigh Brackett - I haven't actually read the Skaith books that change the setting from the planets of the Solar System (mainly Mars, Venus, and Mercury) to a broad range of stellar systems, but I hear that they are basically the same in tone as the original three novellas. Brackett gives a noir edge to retro SF, and Stark runs into mystical forces masquerading as technology, from the soul-transfer crown of "The Secret of Sinharat" (a revised and expanded version of "Queen of the Martian Catacombs") to the mystical, titular talisman of "People of the Talisman" (a revision and expansion of "Black Amazon of Mars"), not to mention the very title of "Enchantress of Venus". Many of her other stories are set in the same background as the Stark ones, and so are well worth reading (see, for instance, the collection The Best of Leigh Brackett, edited by her husband, Edmond Hamilton).

Speaking of Hamilton, The Star Kings and other stories of his fit well into the realm of raygun fantasy. The Star Kings, in fact, are the subject of the only official collaboration between Hamilton and his wife, "Stark and the Star Kings", connecting Eric John Stark to that series.

Buck Rogers is certainly influential on raygun fantasy, but it is itself pretty solidly scientifiction as I've defined it, being more concerned with developing the implications of the gadgetry than exploring the mental and spiritual natures of the characters. The late-'70s television series included more raygun fantasy elements than the original newspaper strips or the novella Armageddon 2419 AD.

John Carter - Edgar Rice Burroughs nearly singlehandedly invented the planetary romance when he wrote "Under the Moons of Mars", serialized in The All-Story starting in February 1912. When the serial was finished, it was collected as the novel, A Princess of Mars. Deeply influenced by Theosophy, Burroughs's adventure tale went on to influence sci-fi deeply, and may be the original source of the frequent mysticism infusing raygun fantasy.

Barbarella - Starting out as a comic book of "erotic SF" in 1964 in France (though you can almost find more racy material on television for children these days), written by Jean-Claude Forest, Barbarella took the images and tropes of sci-fi and married them to European concerns about humanity, sexuality, and liberation. Famously made into a movie starring Jane Fonda in 1968 (though it didn't really succeed until its re-release in 1977 as Barbarella, Queen of the Galaxy, with the nudity toned down - not that there was much to begin with!), this is one of the places where the SF New Wave joined closely to retro SF and explored raygun fantasy.

Battlestar Galactica - Not so much the "reimagined" series of the early 2000s, which developed its own (related) concerns, but the original television series touched frequently on spiritual and religious issues, leaving it pretty firmly in the area of raygun fantasy. The reimagined series is pretty well in raygun fantasy territory, but seems to have dropped a lot of the fun in favor of existential dread, which I think disqualifies it to some extent, in the sense that such existential concerns are nearly the opposite of the spiritual ones of raygun fantasy. As a case study in what it is about Modernism and Postmodernism that opposes Romanticism and Enlightenment concerns, the reimagined series is probably an excellent example - but that isn't really my concern here. There is little to recommend the "sequel" series, Galactica 1980, excepting only the final episode of that mercifully short-run series, which dealt with the fate of Starbuck.

Guardians of the Galaxy - I have not, unfortunately, read the comic on which it is based, but the 2014 film includes the mystical pseudo-technology characteristic of raygun fantasy and updates it for modern audiences, as well as the physical and personal fighting to be found in it. I'm particularly happy, from a gaming perspective, to see the theme of treasure hunting included.

Tara, Marauder of the Spacelanes - Available in a collection from Nuelow Games (though missing the first, origin, story which was apparently presented in Wonder Comics #15; the collection features a prose short story intended as an origin which does not draw on the original). Originally a fairly obscure and short series found in Wonder Comics in the late 1940s, mostly known now because it passed into the Public Domain. That said, it is a lovely, quirky example of raygun fantasy, though it tends toward the more pure adventure elements than the spiritual and psychological concerns of most raygun fantasy. In that way, it resembles Flash Gordon to some extent, though the art and writing are not nearly as good. Tara's Atom Sword is obviously one of the precursors of the lightsabers of Star Wars.

Edited 12/30/2016: I have since learned a great deal more about this story. There were seven comic and four or five two-page prose stories about Tara published. All six of the issues from 15-20 of Wonder Comics had comic stories, and issues 16, 17, 18, 20, and maybe 19 (I haven't seen a copy of that issue yet) had two-page prose stories. In addition, a final episode, "Satellite of the Moon Spiders", was published in Thrilling Comic #71. I am trying to find the story or stories from Wonder Comics #19 (I have been able to find all of the rest, but not that issue so far; as it seems that only 26 copies are known to still exist, that's perhaps not surprising), at which time I hope to publish an edition of the complete Tara stories with some editorial commentary since they are all out of copyright at this time.

He-Man and the Masters of the Universe - Starting as a line of plastic toys and the show-length advertisements for them masquerading as entertainment, these quickly developed into some serious stories. While perhaps not the best, they were nonetheless very well-received. The live-action movie, while not a classic, isn't terrible. Again, I doubt that I really need to go into detail about this.

Thundarr the Barbarian - Probably the last Saturday-morning cartoon that wasn't either slapstick or a toy advertisement, Thundarr is more post-apocalyptic, but deserves mention as sharing many of the concepts of raygun fantasy, such as swordplay, magical technologies, and even straightforward magic.

Star Trek - While it has a reputation as being relatively "hard" SF, the original series and its animated followup actually follow raygun fantasy ideas much more often than the technogadgetry that typified the later Generation or even Enterprise. Starting in the two pilot episodes, "The Cage" and "Where No Man Has Gone Before", the series immediately laid out a concern about the spiritual elements of being human as being pre-eminent over the validity of the science. This was quickly reinforced by episodes such as "Charlie X", which re-wrote* Heinlein's Stranger in a Strange Land as a tragedy of adolescence (a necessary change due to the show's basic conceit, which could not support the messianic message inherent in Heinlein's story). The exploration of raygun fantasy themes would last all the way to the last episode of the original series, "Turnabout Intruder", which presented a machine that transferred the "essence" of two people between each other, just as the Crowns of the Ramas in Leigh Brackett's "The Secret of Sinharat". The animated series continued to explore those themes, as well, to varying success. While The Next Generation did occasionally (especially early on) touch on such matters, mostly they were dealt with dismissively or ham-fistedly. Compare Q to Squire Trelane for example. Despite being similar enough that the former's first appearance in "Encounter at Farpoint" seems at times almost to be a direct remake of "The Squire of Gothos", the latter is pretty well handled while the former quickly becomes tiresome. Perhaps this due to his frequent employment in the series, or to the fact that Trelane is presented as a child while Q is merely an annoying and frequent interloper.

I'll stop there for now. What are some more that you think would fit the idea?


* This is purely my own theory. I do not know for certain if Gene Roddenberry and D.C. Fontana were directly influenced by Heinlein's novel.

Sunday, April 26, 2015

Raygun Fantasy and Scientifiction

I'm working on a more complete essay on the subject, but I wanted to get some initial thoughts down about the difference between what I am calling "raygun fantasy" and "scientifiction". The basic idea is that raygun fantasy takes ideas and themes that are most common in fantasy stories, such as spirituality, heroism, and other human concerns, cloaking them in imagery related to technology but without concerning itself too closely with the actual plausibility of those images. Scientifiction (the term is taken from Hugo Gernsback's preferred term for science-oriented fiction), on the other hand, tends toward matters of the sciences, dramatizing either scientific concepts or technological speculation, without much concern for realistic human issues. I use the term specifically for "retro" forms of SF, which are based in forms of science, technologies, and hypotheses that have not proven to be useful or practical, from theories of the luminiferous ether to ideas of negative mass. Of course, there is a certain overlap where raygun fantasy fades into scientifiction, and certainly other terms could be coined to more precisely situate various stories along a continuum between the two poles.

For example, many episodes of the original Star Trek series were basically raygun fantasy. The various episodes in which powerful aliens - or computers! - who masquerade as gods, angels, or who act in much the way that spiritual beings are said to act here on Earth are especially indicative of this. "And the Children Shall Lead", "Metamorphosis", "Wolf in the Fold", "Arena", "Who Mourns for Adonais?", and many other episodes of that series typify that sort of approach. Northwest Smith encountered many beings that were from other dimensions or planes of existence and were no different than otherplanar beings in fantasy fiction. Star Wars is notable for its fantastic elements, especially the various manifestations of the Force, and draws many of its plot concepts from myth and legend. The Lensman stories tend toward scientifiction, but the Arisians resemble occult concepts of Ascended Masters to a great degree, the Eddorians invade our universe from an alien space-time continuum, and the telepathic powers of the Galactic Patrol are largely similar to magic.

Another frequent element of raygun fantasy is the use of swords. This can be either unexplained, as in Flash Gordon where fighting with swords just happens or Krull where the presence of swords is taken for granted, or else given a rationale of some sort, such as the interaction of light sabers and the Force in Star Wars or the shield belts of Dune. This happens often enough that I had considered calling the subgenre "sword & blaster".

That last brings up an important area of crossover in subgenres of SF. The SF New Wave frequently drew inspiration and concepts from the era that gave us the core of raygun fantasy, and as a result often fits well into the concept. In fact, the influence occasionally went the other way as well, after a fashion, as when the 1980 film of Flash Gordon featured an Emperor Ming who controlled and enhanced his soldiers with drugs, a common New Wave motif.

To my way of thinking, the ideal of raygun fantasy stories are C.L. Moore's Northwest Smith stories, Flash Gordon, and Star Wars. Those form the core around which I am building my ideas of the subgenre. There are many other examples, from Lost in Space and Battlestar Galactica (the 1978-79 series more than the 21st century remake) to Richard Corben's "Den of Earth" stories and Leigh Brackett's Eric John Stark tales, plus the Masters of the Universe toy line and television series, not even to mention videogames like Final Fantasy. One of the most recent manifestations of the idea is found in the blockbuster film Guardians of the Galaxy. I'll discuss this all more completely later.

Wednesday, September 3, 2014

What Is This?


Over at Photoshop Disasters, there was this image of a four-eyed mountain sheep. It must have stats in some game or games. Share them with me! Is it a Gamma World mutant? A demon from the depths of AD&D's Abyss? Something else?

Saturday, July 19, 2014

D12 Random Table - What Does The Mage Use For Protection?



Still feeling the heat, but it's getting better. Have a random table:


1 - A magic circle with crabbed writing around the edge

2 - An amulet carved from a star sapphire, depicting a rooster-headed figure with serpents for legs

3 - A small, sealed bottle filled with urine and iron nails

4 - A crucifix

5 - A small box containing magical writing on paper, fastened to the back of his hand with ribbon arranged in a specific pattern

6 - A human tooth that once belonged to a Saint

7 - A cockatrice bezoar set in a silver cage and hanging on a silver chain

8 - A union suit embroidered with magical symbols

9 - A dog skull engraved with secret signs

10 - A wooden disk with a concave surface, painted black with a red pentagram and mystic writing in white

11 - A circular, concave silver mirror set in a wooden triangle

12 - Roll twice on this table

Monday, August 19, 2013

Did You Miss Me?

Two and a half months since I've posted anything here, and for some reason I think that there will still be people reading it. Maybe I'm crazy. Anyway, I've got a couple of things that I wanted to mention, gaming-wise, and so I'm going to post about them now.

First off, I looked in my mail today, and found a neat little packet from Tim Shorts of Gothridge Manor and GM Games. It was an envelope containing the spiffy adventure (originally a one-page dungeon) called "Where is Margesh Blackblood?". It's available in PDF form at RPGNow for "pay what you want", so you could run right over there right now and get it for free, or for a buck or two, or for a hundred dollars if you wanted to pay that much for it. It's a quick little bounty hunt for a wayward bandit. I love Tim's adventures, even the simple ones like this one. Well, simpler than some. There are some neat twists here that will probably have the players questioning their characters' motivations. Or not.

I am still thinking about how best to really review Traveller5. For a quick one-liner, though, I am sad to say that I am not entirely happy with it. Still, it's got some really good stuff in there.

I was recently nudged back toward working on my Top Secret retroclone. I opened the file, but didn't really get anything done. We'll see how that goes. Most of my other projects, such as the WRG Ancients-based RPG, have pretty much been abandoned. A major exception is the MegaTraveller retroclone idea, which I have modified into a version of that edition adapted to my own SF starfaring setting.

People who have been paying attention to that Goodreads widget down there toward the bottom of the right sidebar will have noticed that I have been reading Stephen King's "Dark Tower" series of books. This is my first time reading them. When I finish the one I am on, I am going to go ahead and read the eighth one (The Wind Through the Keyhole) rather than going on to the fifth one. I am told that this is the intended order, and that King only wrote the fifth-seventh ones first because he wanted to finish the story before he dies (the car accident that almost killed him kinda kicked him in the ass to do it quickly). I'm a little bit surprised that I have never seen a gaming version of Mid-World. I like it, though it is substantially different than my own "sixguns & sorcery" setting.

Speaking of my own settings, Tim Brannan over at The Other Side has given us his own version of Appendix N. I think that's a neat exercise, so I've done up my own, as it would currently be. Like Tim's, mine will also include particularly interesting movies (I'll list them after the books, though). I make no apologies for the fact that I include a couple of westerns, and even an SF title or two. I am, however, going to avoid non-fiction and gaming books for now:

Books:


  • Asprin, Robert L.: "Thieves' World" series (editor)
  • Burroughs, Edgar Rice: "Barsoom" series
  • Cherryh, C.J.: THE DREAMSTONE and THE TREE OF SWORDS AND JEWELS (particularly as published together and slightly revised under the title THE DREAMING TREE; can also be found together, unrevised, as ARAFEL'S SAGA)
  • Herbert, Frank: DUNE
  • Holdstock, Robert: "Mythago" series
  • Howard, Robert E.: "Conan" stories
  • L'Amour, Louis: THE HAUNTED MESA, THE WALKING DRUM
  • Lee, Tanith: "Flat Earth" series, THE BIRTHGRAVE, et al.
  • Leiber, Fritz: "Fafhrd & Grey Mouser" series
  • Lovecraft, H.P.: "Dreamlands" stories
  • Martin, George R.R.: "A Song of Ice and Fire" series
  • Powers, Tim: ON STRANGER TIDES, et al.
  • Sabatini, Rafael: CAPTAIN BLOOD, THE SEA HAWK, et al.
  • Smith, Clark Ashton: "Zothique" stories, "Averoigne" stories, et al.
  • Tolkien, J.R.R.: THE HOBBIT, "Lord of the Rings" trilogy
  • Tremayne, Peter: "Sister Fidelma" series


Films:


  • Cat People (the original, though the remake is not terrible) and Curse of the Cat People
  • Conan the Barbarian (it is not Howard, but Milius's magnum opus is still an intriguing fantasy film)
  • The Dark Crystal
  • Dead Man
  • Dragonslayer
  • Excalibur
  • Eyes of Fire (sometimes called Cry Blue Sky)
  • Fire & Ice
  • The Good, the Bad, and the Ugly, and the other two "Man With No Name" films
  • Heavy Metal (the Taarna sequence)
  • John Carter (like Conan, above, it is not the original, but it is still a good science-fantasy film)
  • Krull
  • Labyrinth
  • Legend
  • Lord of the Rings trilogy
  • Pale Rider
  • Pirates of the Caribbean series
  • The Princess Bride
  • Princess Mononoke
  • The Secret of Roan Inish
  • Spirited Away
  • Star Wars (the original, now called "Episode IV", is an excellent fantasy adventure story with coming-of-age themes)
  • Unforgiven
  • The Warrior and the Sorceress
  • The Wicker Man

There you go. I don't know if I'm back in the sense of regular posting, but I hope to at least post a little more often than I have been.

Thursday, March 7, 2013

Gameable Fiction

I've been spending most of my reading time these days with George R.R. Martin's "Song of Ice and Fire" series. I was introduced to the setting through the excellent HBO adaptation, but quickly decided to read the books as I was sure that there was deeper content, and more of it. I was not disappointed.

Of course, we all know that the series has been adapted as a roleplaying game (though to be sure, I don't know very much about the game and how well it adapts the material; it seems to me that HârnMaster would go a long way toward developing the feel of the setting, with some work adapting the terrible and exotic magics of Martin's fantasy). There are a few other literary settings that have been adapted by specific roleplaying games: Tolkien's Middle-Earth, Vance's Dying Earth, Moorcock's Melnibone and some other Eternal Champion material, Lovecraft's Cthulhu stories, Niven's Known Space, Fleming's James Bond (though perhaps that was more an adaptation of the movies), Constantine's Wraeththu, Herbert's Dune (twice, though only once officially), Butcher's Dresden Files, Zelazny's Amber, along with a very few others. This doesn't include those settings that were mere supplements for other games, such as Thieves' World, Wild Cards, or Adams's Horseclans. There are even a few, such as Howard's Conan, that have been adapted more than once. In addition to those, there are some movie and television settings that have seen adaptations, like Star Wars (three times so far!), Star Trek (more than three times, depending on how you count it!), Firefly, Babylon 5, and so on.

However, there are some settings of fiction that have not been adapted to roleplaying games, and I am not sure why that is. Eddings's Belgariad, Erikson's Malazan Book of the Fallen, Butcher's Codex Alera, Burroughs's Barsoom (well, it sort of has, but not really), Lee's Flat Earth or Birthgrave, Donaldson's Thomas Covenant, Brooks's Shannara, and so on. Some of them, I can understand if the rights have issues or are otherwise difficult to secure, but the popularity of such as Malazan or Shannara would seem to have caused someone to go through the effort.

What settings do you most want to see turned into freestanding roleplaying games? Which would be better off as a supplement for an existing game like D&D/Pathfinder, GURPS, BRP, or whatever?

Monday, November 12, 2012

He Is The Wizard



I love this short music video, done for the new Looney Tunes Show. It's been around before, but I was just reminded of it. There are plenty of ideas for gamers in the story told, assuming an interest in the gonzo, and be sure to check out the oddly familiar castle at about 3:28.

Sunday, August 19, 2012

Swords & Sorcery

I've been looking at the upcoming setting product Tales From the Fallen Empire, which looks really interesting to me. I love that it takes inspiration from the fantasy films of Roger Corman, such as The Warrior and the Sorceress and Deathstalker, as well as the more traditional sword & sorcery fiction of Leiber and Howard. The only thing I'm not so intrigued by is that it is going to be for Dungeon Crawl Classics. Now, I've not got much against that game, but it's just not likely to be one that I am going to pick up. I've already got a couple of class/level games that treat sword & sorcery topics well enough (I'm talking about D&D and S&W, as well as The Arcanum), and I haven't seen anything that really compels me about DCC.

Anyway, I discovered this setting when I was googling around for information about The Warrior and the Sorceress, and found a thread on one of the RPG boards about it where it was mentioned that one of the classes in the setting (the "Wanderer") was inspired by the Order of the Homerac from that film, or specifically by David Carradine's character in it. It got me thinking, though, about what specific movies and fiction I'd want to use as inspiration for a swords & sorcery setting, staying away from the obvious ones like Conan the Barbarian and the works of people like Howard or Leiber.

The Warrior and the Sorceress is a no-brainer. There's a lot of implied setting there that can serve as inspiration. Similarly, Deathstalker is pretty neat. There are some interesting ideas in Fire and Ice, which is pretty much what happens when you take Frazetta's art and make it into a setting and story. The "Taarna" sequence from Heavy Metal has a lot of inspirational imagery and concepts, and the "Den of Earth" sequence has a few ideas as well.

Speaking of Taarna, there's the story sequence of Arzach and Legends of Arzach by Moebius and Lofficier.

An unusual source which might be interesting is the boardgame Dark Emperor from Avalon Hill. The idea of an immortal necromancer coming back from the land of the dead with the Lord of Vampires and the Goddess of Fear to conquer a decaying empire is an interesting one. The unusual geography (it is based on a landscape of meteor strikes and the resulting round seas instead of plate tectonics) is neat, too.

Tanith Lee's Tales From the Flat Earth books are amazing. Vaguely Arabesque fantasy with a darkly modern perspective, like fairy tales told by a madwoman. She's also writing a couple of new ones, so soon there will be seven volumes or more, with the upcoming two to be published in 2014 and 2015.

Richard Tierney's Simon of Gitta stories are a wonderful mix of sword & sandal, sword & sorcery, and Lovecraftian themes, rationalizing the heretic Derleth's ideas with those of Lovecraft through the interpretation of Gnostic theology, but a lot more entertaining than that sounds. Most of the stories are collected in the Chaosium collection Scroll of Thoth, and the others are found in the novel The Drums of Chaos, one story in the Chaosium collection The Azathoth Cycle, and one story (originally published in the magazine Crypt of Cthulhu) online here. There's also a novel titled The Gardens of Lucullus, which is part of the cycle, but very hard to find at the moment. Loosely connected, the movie The Silver Chalice was an inspiration on this series of stories, as Tierney has said that Jack Palance's portrayal of Simon the Magician is how he envisions the main character.

What odd sources would you use for a sword & sorcery setting?