Talislanta Final Edition

The 6th edition of the Talislanta game and setting (being billed as the final edition) by Everything Epic released in pdf to crowdfunding backers last week. I haven't gotten a chance to review the books in depth yet, but being as Talislanta is a setting that I'm quite fond of I couldn't wait to share some initial thoughts.

One of the main questions for me regarding this edition was going to be how updated was it going to be? I mean this is several different ways. Most (or at least several) editions have advanced the timeline and altered some of the cultures or the political climate. For example, the Arduans became Aeirads and "evolved" in a more human direction in 3e (as I recall), and at some point, the Quan Empire was overthrown by their soldiers, the Kang. 

It looks like this edition has again updated the timeline, changing the political picture and bringing in some of the cultures/species which had appeared in the spinoff setting Midnight Realm--though I'm unsure if there's in "in world" reason given for this last part.

The other, large question of updating was in terms of modernization. The desires and expectations of gamers are different in 2024 than they were in 1987 and even in 2006. The art and presentation in the new edition is largely in keeping with modern gaming which is both more heroic in its depiction of the characters and sexied up at times as well. This will not afford you the chance to play a Marukan dung-merchant, if such was ever your desire.

Given Talislanta's age and source material there were aspects that would be problematic in the current era. Their approach to this is varied, one might even say haphazard. Some things have been removed; others were tweaked in an attempt to ameliorate the more problematic elements. Others appear to have been left as they have always been. I guess this could be viewed as the middle road, which I guess was the way to go, I'm just not sure how they chose what got changed and what didn't.

System-wise, this is just another tweaking of the system Tal has had since the beginning, which is fine, because I think it's a pretty good one.  I have read in places that there is a need for some errata, but that's sort of to be expected.

Anyway, look for more posts on this as I get to read more. Maybe I'll continue my survey of Talislanta across editions and some point.

Talislanta: Werewood

My work on a Talislanta adaptation for the Dying Earth rpg, made me think it was worth reviving my dormant series of posts from 2020 touring Talislanta through editions. Still, in the Western Lands, we come to Werewood. 

"Look yonder to Were Wood and its darkling oaks!"

- Jack Vance, Rhialto the Marvellous

The Chronicles tells us that Werewood is a "dark and tangled forest region" north of Zandu. It's described in forbidding terms. Enforcing this impression, Tamerlin tells us of its most baleful inhabitants: the Werebeast, which combine the "worst attributes of men, apes, and tundra beasts" (the Naturalists Guide says "Ur, beastman, and lycanthromorph") and the Banes. Banes are vampiric creatures with the power to mimic voices of any sort. They were inspired by Vance's deodands with their skin as "black as polished obsidian" and their large fangs and eyes that "glow like embers." Then there are the mandragores, plant things that stand immobile during the day, but move around at night to hunt prey.

Not everything in Werewood is deadly, however. There are the Weirdlings or Wish-Gnomes, who according to legend must give over their underground treasure if caught or grant their captor a wish. There are also the Dhuna, the human inhabitants of the forest. The Dhuna were persecuted for witchcraft in ages past and were forced to flee into the forest. They are still believed to have magical powers, particularly the women who can "capture a man's heart with but a single kiss." The Handbook adds, under the Dhuna Witchwoman/Warlock archetype listing, that they are "strange and mysterious by nature" and are "believed to engage in sacrificial rituals."

A Naturalist's Guide expands a little on the lore of the creatures. In fashion reminiscent of Dying Earth monsters, it says banes are thought to be a bizarre hybrid of "darkling, night demon, the extinct babbling howler, and perhaps even Ariane." Their fangs, claws, and ocular organs are sought by alchemists and thaumaturges. The mandragore are valuable because they speak the secret language of plants and trees.

The second edition expands a bit more upon the region. It adds locations with the forest, including the Valley of Forgetfulness, where a mist from the river steals memory, and the creatures known as gnorls, who get player character archetypes. The gnorls are an underground dwelling race, who practice a divination art called "rhabdomancy" (rhabdos rod, wand). They are speculated to be related to the Weirdlings.

This is pretty much the Werewood of later editions. The Dhuna get a bit more fleshed out: we are told they are persecuted for their "pagan beliefs" (presumably meaning non-Orthodoxist), and that they live in "close-knit clans or covens." They also have "liberal views toward matrimony," but the descriptions suggest more that they practice polygamy.

Werewood is the sort of dark, fairy wood of Talislanta. It has elements that recall Tolkien's Mirkwood, and Vance's Tantrevalles in his Lyonesse trilogy, but those resemblances may just be that they are drawing from the same inspirations. The Dhuna are sort of compositions of various witch tropes, including maybe some neo-pagan witches flavor. They're a good counterpoint to the Rennfaire types of Silvanus.

Given the potential fairytale scariness of Werewood, I feel like the Dhuna as insular, isolated people either fighting against (or sometimes embracing) that darkness ought to be played up. It seems like protecting their covens against banes, werebeasts, and mandragores ought to be a bigger concern than Orthodoxist oppression. The canon is somewhat inconsistent regarding the eldritch danger of the forest. The proliferation of inhabitants has added to that, but I'm in favor of gaining a bit of that back.

Jack Shear has some interesting thoughts on Talislanta and the Gothic that would be interesting here.

Talislanta in the Dying Earth RPG

Still cogitating on Talislanta in Pelgrane Press' Dying Earth rpg, I tried out character creation of a character from the Chronicles of Talislanta: Crystabal, the Cymrillian/Saristan self-styled "rogue magician." Here's what I came up with:

Abilities:

Persuade (Charming) 10

Rebuff (Wary) 8

Attack (Finesse) 9

Defense (Parry) 9

Health 8

Magic (Curious) 9

Appraisal 2, Athletics 3, Etiquette 2, Gambling 3, Perception 4, Pedantry 2, Riding 2, Seduction 2, Stealth 3, Wherewithal 2 

Wealth 2

Resistances: Avarice 2, Indolence 5, Gourmandism 4, Pettifoggery *[infinite]

Possessions: High-collared cloak, breeches and tunic; dyed leather boots; leather-bound spell book; rapier; pouch; shoulder bag; 2 magical trinkets; equs steed; 50 gold lumens worth in assorted coinage.

I had had the thought of just using the archetypes from 4e as the scale of abilities is pretty close to that of Dying Earth. Unfortunately, it isn't close enough--and Dying Earth's scale doesn't seem to be consistent across abilities, at least as far as I can determine looking at NPCs. This means a lot more just re-creating the archetypes, which isn't hard given the relative simplicity of the systems, but more work than I was hoping for. Of course, one could just ditch adaptation and interpret the Talislanta setting alone in the Dying Earth game, but I worry that would lose much of the flavor the archetypes provide (and make chargen take longer).

Another issue is spells. In Talislanta 1st-3rd editions, basic spells are rare broad and generically named, but advanced spells are more specific and have Vancian names. In DE, all spells are specific and have Vancian names. I'm inclined to just use DE spells, renaming some of them eponyms with the names of famous Talislantan mages, using the Tal advanced spells as a model.

Vancian Talislanta

I've again been pondering running Talislanta in Pelgrane Press' Dying Earth rpg. Why this particular ruleset, which just happens to be based on the work of an author who was a big influence on Talislanta (particularly when there's another Dying Earth game on the way, after all)? Well, attempting to emulate its source material, it discourages combat and killing and encourages social interaction and trickery. While this isn't the only way to approach Talislanta, it is certainly a reasonable way to do it, and one supported by the example of the picaresque travels of Tamerlin through the land in The Chronicles of Talislanta.

Also, take a look at the key ingredients of a Dying Earth adventure the GM advice identifies:

• Odd Customs
• Crafty Swindles
• Heated Protests and Presumptuous Claims
• Casual Cruelty
• Weird Magic
• Strange Vistas
• Ruined Wonders
• Exotic Food
• Foppish Apparel

I don't think all of those are essential for a good Talislanta adventure but Odd Customs, Weird Magic, Strange Vistas, and Ruined Wonders seem to me to be--and none of the others seems at all out of place.

The base level of the Dying Earth rpg is the "Cugel level" which seems to recreate the adventures of the knavish Cugel (hence the Crafty Swindles and Presumptuous Claims). The next level is that of Turjun (of Miir) and the earliest Dying Earth tales, which are a bit more standard Sword & Sorcery.  Turjun level protagonists are more competent and at least sometimes more moral, so the key adventure elements change somewhat:

Talislanta certainly leans "Turjun level" (with many an archetype based around combat), but I don't think it needs to abandon the swindles and verbal interplay of the Cugel level. My personal conception of Talislanta is that it would be best served by analogy to a Vance work that was written between the time of the early Dying Earth stories and the later ones (though Cugel's first appearance does predate it) and that's the planetary romance of the Planet of Adventure series. Tschai presents a sort of Turjun-level-esque hero, Adam Reith, in terms of competence--but he's less bloodthirsty than some other Turjun-level types--who is forced to deal with with verbose grifters at every turn and maneuver through oddball cultures.

Conceptual grounding aside, the ease of adaptation is always an issue with something like this. Completely remaking Talislanta in the Dying Earth system would daunting, even though Dying Earth is not terribly crunchy. I think though a complete adaptation might not be necessary; there may be a way to meld the sort of traditional Talislanta system with the DE mechanics, but I have only started thinking on this. Perhaps more on that in a later post.

Talislanta Returns

The word on the Talislanta facebook page is that the setting will be returning (via Kickstarter) in a 5e compatible form. While I don't know that 5e is the optimal system for Talislanta, I'm glad to see it back and will definitely kickstart it. 

This announcement puts me in a mind to get back to the series I started in 2020 but never finished where I did an in-depth look at setting. Those posts can be found here.

Talislanta: The Sarista of Silvanus

French Talislanta art

The Silvanus woodland of Talislanta is primarily home to the Sarista. They are clearly inspired at least to a degree by stereotypes of the Romani people, in fact, they are often called gypsies in the various texts, so it's not subtle.

Tamerlin's account tells us they are "a nomadic race of indistinct origin," and they are of "slender proportions" and have "skin the color of rich topaz, dark eyes and jet black hair." (Again with the topaz skin! I suspect their origins to be Phaedran, then whatever the mystery.) They tend to dress in a gaudy, ostentatious, or seductive way (their clothing sounds theatrical, to me), and they are known as "folk healers, fortune tellers and performers--or as mountebanks, charlatans, and tricksters."

These things are stable across all editions of Talislanta, with only minor differences in the text. Sarista have the distinction of having had a supplement devoted to them in the third edition, and are also otherwise fleshed out in the deuterocanonical Cyclopedia Volume IV. That work reveals the Sarista to be the descendants of criminals, witches, and various nonconformists that fled Phaedra when the Orthodixists took over. It also suggests that Saristan fools are called Rodinns after the ancient wizard.

"Let them scoff as they see fit! I will never compromise what I consider my art, especially for the sake of gain!" 
"For the sake of gain I’d compromise the art of my grandmother,” muttered Zamp under his breath. 
 - Jack Vance, Showboat World

I think I would de-emphasize the "gypsy" aspect of the Sarista, and certainly dispense with distasteful stereotypes like child-stealing, to portray them as perhaps less an ethnicity and more a vocation or society. The texts mention that the Silvanus Wood isn't conquered by the Aamanians because its the kind of playground/preserve of the nobility of Zandu. Sarista are part theater troupe, part carny. They make their living traveling the forest circuit performing for their mostly Zandu visitors, and fleecing the rubes as they can. Sure, some may be outright thieves, but not near so many as the texts suggest--that's just prejudicial slander.

Talislanta: In Zandu

Art by P.D. Breeding-Black

The land Zandu and it's people are relatives of the Aamanians, but the opposite side of the coin. Tamerlin tells us they are "eccentric and uninhibited" and "enhance their features with vividly colored pigments, adorn their hair with silver bands and dress in flamboyant apparel" to express their individuality. Where Aamanian society is uniform except for class, several factions of Zandir are described.

The entries on Zandu are no help with the Aamanian skin-color dilemma, however. The archetype descriptions across most editions say they have "topaz skin" (as they do for the Aamanians), but the setting text only says they "bear a marked physical resemblance to the Aamanians, both being descended from the copper-skinned Phaedrans." As mentioned before, the 4th edition attempts to resolve this by given the Zandir "copper or cinnabar" skin, and the 5th edition just says copper for everybody.

"I respond to three questions," stated the augur. "For twenty terces I phrase the answer in clear and actionable language; for ten I use the language of cant, which occasionally admits of ambiguity; for five, I speak a parable which you must interpret as you will; and for one terce, I babble in an unknown tongue." - The Dying Earth, Jack Vance

Perhaps the most interesting aspect of Zandu is its state religion, Paradoxism (or Paradoxy, as Tamerlin would have it). The Paradoxists  "profess to be mystified by their own existence." The central text  of the faith is "The Great Mysteries (author unknown), a lengthy book filled with over 100,000 questions, and no answers." The Paradoxist writ is named The Book of Mysteries from the Cyclopedia vol. 4 on. There are no Paradoxist priests, but wizards serve as seers for the faith. Outside of Zandu, these wizards "are largely thought of as frauds and impostors."

French Talislanta art

Paradoxy gets most detail in CTv4. It may contradict Tamerlin's original account by naming the founder of the philosophy as Zand, though this is ambiguous. I suppose he might not have been the author of the foundational text. While Paradoxy has no central deity or Pantheon, CTv4 introduces the idea of the Ten Thousand, which is the poetic name (there number is unspecified and ever changing) of the syncretized "saints, heroes, and deities" incorporated into Paradoxist practice.

"No fear of that. Cath has no laws, only customs, which seems to suit the Yao well enough."
- Servants of the Wankh, Jack Vance

All of that is the good stuff in the noncanonical CTv4, but it also has a tendency to present Zandu as the good guys with Aaman as the villains. There are hints of this in other Talislanta products, but it is the most present here. I think this is a mistake. Zandu is certainly more into personal freedom than Aaman, but it's ruled be an absolute despot and a capricious one to boot! It's a place where disagreements are often handled with duels.

I think Zandu works best if it is as frightening as Aaman in its own way. The culture of the Yao as presented in Vance's Planet of Adventure series would certainly be a strong inspiration. The libertarian, but baroque culture bound society of Sirene in Vance's "The Moon Moth" would be an influence here, too.

Paradoxy is, in many ways, more interesting than Orthodoxy, because it seems like it could come in so many flavors from absurd ascetism (not very popular) to lampoon's of New Age-y faddishness. I imagine variants of Paradoxy rise and fall like gods in Lankhmar (see "Lean Times in Lankhmar.") As to its seers being charlatans, well, I mostly take that to mean they have no more spiritual connection than anybody else, but their wizardry is likely real.

Talislanta: The Iron of Arim

"...a suspicious folk, who flourish their knives at a harsh word. At night they strike without provocation."
- The Dirdir, Jack Vance

Arim in the West of Talislanta is described in The Chronicles as "a grey and windy realm" of "rough and irregular hills." The Handbook (1987) tells us it's people are: "a dour and moody folk who find no joy in song, dance or revelry. They drink heavily, favoring chakos, a bitter and metallic tasting liquor." They're neither lookers nor snappy dressers, as Tamerlin observes:

They are swarthy of complexion, with long black hair and dark, deep-set eyes. The men tend to be gaunt and wiry, with glaring countenances and hatchet-like features; the women, heavy-set and lacking in charm. The customary mode of dress in this region defies all concept of fashion, and consists primarily of sackcloth garments, animal hide boots, bulky fur vests, and wristbands, knives, and ear-rings made of dull, black iron.

This description is largely ignored in later editions where they tend to present Arimites as well-muscled, relatively attractive folk.

Arimites are mostly miners, but this is usually only mentioned in passing to get to the more interesting stuff: Arimites' fame as skilled knife-fighters and their secret Revenant cult. The Chronicle describes the Revenants  as "members of a secret society who specialize in carrying out acts of vengeance for their clients." Tamerlin reports that they have subspecialties in various "forms of revenge from delivering insults and threats to arson, coercion, muggings and murder-for-hire." Later editions tend to emphasize their roll as assassins, implying that that's all they do.

The deuterocanonical Cyclopedia Talislanta vol. IV gives information on the structure of Revenant Cult's cells and mentions a mysterious High Revenant that rules them all. Third edition says this leader is an assassin-mage who lives in a mountain top sanctum, which seems unlikely given the preponderance of evidence indicating the Arimites are poor mages. All editions agree that the Revenants are the de facto rulers of Arim, in that the nominal ruler, the Exarch, refuses to leave the Forbidden City of Ahrazahd out of fear of them. The Exarch, for what it's worth, is not very popular among his people.

The Cyclopedia holds that Arimites worship or perhaps revere Destiny, or have a few of cults that do. Fourth edition says they are agnostics.

The Arimites have the gloomy environment of Robert E. Howard's Cimmerians and elements of a number of hill or mountain folk. They've got a thing for knives like the Afghans of pulp tradition with their Khyber knives, though the Arimites mostly use throwing knives. They're miners, and prone to feuding and substance abuse, traits often associated with Appalachian folk. I say play up that stuff and add a bit from the Khors of Vance's Tshcai--see the quote at the start, and here's another: "they consider garrulity a crime against nature."

The Revenants at times seem to be trying to draw on the Persian Order of Assassins and maybe even the ninja. I'm okay with that, as long as a hillbilly element is played up. I also like the Vancian absurdity of them doing acts of vengeance besides murdering people.

Exarch as the title of Arim's ruler is interesting. Since it's a Byzantine title for a governor of a territory, it suggests to me that the earliest exarchs were perhaps barbarian stoogies of the Phaedran Empire. A "Forbidden City" is an odd detail for hillfolk, but I assume it's more a fortified town and the Exarch is more a chieftain or tribal leader with delusions of grandeur.

Talislanta: The Purity of Aaman

Art by P.D. Breeding-Black

In The Chronicles of Talislanta (1987), our narrator the wizard Tamerlin starts his journey across the continent with Aaman in the Westernlands. The introduction of Aaman was actually in the Talislanta Handbook published a month before. This, in summary, is what we are told about the Aamanians, and what holds true across every edition:

• Aaman is a remnant of the Phaedran Empire and a theocracy, ruled by conservative Orthodoxist faith, worshiping Aa the Omniscient (Or Omnipotent. Or Omnificent.)
• Aamanians are high conformist and dressing simply and conservatively, and removing all their facial and body hair. 
• All Aamanians desire to attain mana, "so that they may rise in status and piety." 

The Aamanians' skin color is the subject of some disagreement across publications. Character archetype descriptions in the 1st-3rd editions hold that they have "topaz skin and green eyes." The text of The Chronicles, however, describes them as having "skin the color of cinnabar," as does the Talislanta Worldbook of the 2nd edition. The 4th edition is the first to be internally consistent is this regard and goes with "cinnabar." With the 5th we are back to some discrepancy, with Hotan's History saying "cinnabar" and the Player's Guide saying "copper-colored."

Art from the French edition of Talislanta

But that's a minor issue. What's more interesting is mana. The 1st edition Handbook tells us mana is accumulated by good works: "pilgrimages to officially sanctioned holy sites, donations to the church, service to the Hierophant, and so on." By gaining sufficient "mana points" one can advance in status. The Chronicles expands on this by telling us mana is "spiritual purity," and defines the hierarchy with the Hierophant with unlimited mana at the top, and the district-ruling (and mana awarding or deducting) Monitors beneath him having at least 1000 mana points. Slaves and infidels have 0 mana points, naturally, and between the extremes are ten ranks of Aspirants.  Advancement in status by this measure is a "preoccupation" of Aamanians because position in the worldly Orthodox "caste system" corresponds to position in the after life in some unspecified way.

Material wealth enters into this as we are told the easiest way to obtain mana points is to enter into the priesthood and study to become an archimage--but tuition is high. In addition to the other means mentioned in the Handbook, buying statues, medallions, and relics is also a possibility.

The 2nd edition (in the Worldbook) tells us that "aalms" are the unit of mana (presumably the mana points mentioned). Reading all the texts, I am confused as to whether mana is a state or a thing to be accumulated. I suppose like the word sin, it might be employed both ways, though the analogy isn't perfect because counted sins are discrete entities, not a continuum that needs units to measure it, like say force or electric current.

The Cyclopedia Talislanta vol. 4 (1989) is now considered "noncanonical" for reasons various and not entirely clear, but it does have some interesting, detailed information on Aaman. It emphasizes the importance of wealth in determining status, presumably indirectly by the purchase power it allows to buy aalms. (Confusingly, it calls mana "the mystical unit of a person's worth.") It notes a requirement to buy a different symbol of Aa at each level of the Hierarchy. 

The Cyclopedia is the first to address gender roles and places women as second class citizens in the hierarchy, making them always one status level below their husband or father. 

Art by Jason Sholtis

The oppressive theocracy is a genre staple, though Aaman never seems to dip into the "decadent or hypocritical theocracy." Instead, it seems to go in the direction of more secular totalitarian societies in science fiction. The aalms economy and rank system is interesting, too. It seems to have parallels to Scientology as well as the obvious ones to the indulgences of the Middle Ages.

I would leave out the sexism of the Cyclopedia; Aaman should be equal opportunity in its oppression. I would play up the extreme conformity and societal control, borrowing from Vance's The Pnume, and the speaking in aphorisms and quotations of liturgy mentioned in the text, almost to a degree that resembles the Ascians of Wolfe's The Book of New Sun. While material wealth would afford some advantages in maintaining one's position Aamanian society, I figure high mana is the key to getting wealth in the first place by leading to the award of lucrative positions, titles, and contracts, and some high mana individuals might wield considerable power without a lot of wealth.

Finally, despite what is possibly implied in The Chronicles, I lean toward the idea that Orthodoxy is aniconistic with regard to its deity--other than the eye. There is no commentary literature regarding the holy Omnival. The word means what the Hierophant says it means. Doctrine does change with time, but devout Orthodoxists will not admit a revision has ever occurred, indeed they may be strongly conditioned not to see it, even it it is pointed out to them.

Talislanta: The Continent and Magic

This is a follow-up to this post, and the beginning of my examination of the setting throughout its publication history. First up, the big picture.

Talislanta the setting is named for the continent which is its central focus. Though other, semi-legendary lands are mentioned in passing, The Chronicles of Talislanta (1987) makes a pitch for dropping the continent into any fantasy setting:

As to the land of Talislanta: those scholars who do not dismiss the topic out of hand disagree as to the origins of this otherwise forgotten realm. Some claim that Talislanta existed long ago, perhaps during the legendary First Age of Atlantis. Others, lending even broader scope to their imaginations, cite Tamerlin’s chronicles as proof of the existence of parallel worlds or alternate realities. Proponents of the hollow earth theory, avid readers of Charles Fort, and others of similar bent may formulate even more intriguing explanations for the Talislantan texts.

This vagueness regarding the wider world doesn't last. In 1988's Sorcerer's Guide, Talislanta's world is placed on the plane of Primus within the wider Omniverse, not utterly unlike D&D's planar setup, but much less complicated. With the 2nd edition and The Talislanta Worldbook (1990), Talislanta's planet gets a name: Archaeus. Archaeus has seven continents in total:

The origin of magic in the Talislantan milieu is revealed for the first time. A tribe of "Sub-Men" (Talislanta's name for the primitive humanoid inhabitants of much of the continent) discover the wreckage of a ship of some kind and find a crystal orb that contains "the secrets of a lost and forgotten art—magic." Learning magic, these Sub-Men develop into the race known as the Archaeans (simply called "Men" in the 1st edition).

The 3rd edition largely follows the Worldbook's details, but demotes Archaeus from the center of its system to being a planet orbiting binary stars. This star system is just one of many within the material plane. The Sub-Men tribe uplifted by magic from a wrecked "strange vessel," now become known as Archaens.

Archaeus' solar system is de-emphasized in the last two editions, but the origin of the Archaens is now firmly established. In the 4th edition, Sub-Men is a derogatory term for the "Wild Folk" and the crashed ship is called out as "alien" and called an "ark." The 5th edition, affirms the ship was alien and states that it is believed to be of extra-dimensional origin. There are parts of it still in existence, recognizable by the rainbow color they emanate. The Sub-Men are again Sub-Men.

Why does the stuff about the Archaens matter? Talislanta was established from the beginning as a post-apocalyptic setting with frequent references to a Great Disaster. The Archaens were not only the ancestors of the "human" races of Talislanta, but the source of most of its magic, and also (perhaps) the cause of the destruction of their own civilization.

The idea of magic, or at least the advanced practice of magic, being alien in origin is a nice little detail to me, and one I don't think Talislanta has ever explored to its fullest. There is a lot that could be done with that in a campaign.

The vacillation between extraplanetary aliens and extradimensional ones, seems to coincide with some ambivalence about whether Archaeus is a planet in a science fiction conception or a "world" in a fantasy conception. I like a view of "outer space" more metaphysical than strictly physical, like in Medieval cosmology or pulp fiction like Howard's "Tower of the Elephant" or Lovecraft's Dream-Quest of Unknown Kadath, for Talislanta. I favor a more fantastic Archaeus, as well. One where you could sail across an ocean and into another world, perhaps.

Those preferences are in general. For the Sword & Planet thing I'm planning, I'm go with a much more realistic world around a realistic star.

Through A Veil of Blue Mist Did I First Behold Talislanta

I've mentioned my appreciation for Stephan Michael Sechi's Talislanta setting. Since I'm contemplating running a Sword & Planet game that uses Talislanta as the "planet," I though it was a good time to revisit the setting, and it's publication history in a series of posts, as I think about what I'm going to use and what I might do differently.

Historically, Talislanta is both a setting and a game. It's core, however, has always been the systemless Chronicles of Talislanta, first published by Bard Games in 1987. Chronicles is the narrative of Tamerlin, a wizard from another world, as he explores the continent of Talislanta. Sechi's imaginative setting is made more compelling by P.D. Breeding-Black's distinctive illustrations.

When I first encountered Talislanta, I didn't have much experience with Sechi's inspirations: the works of Jack Vance, Marco Polo's Travels, The Dream-Quest of Unknown Kadath, and the comics of Philippe Druillet. To me, it seemed more daring than the implied setting of D&D, and at once goofier and more lurid than the likes of Middle-Earth. It reminded me of Star Wars and comic books. I liked it instantly.

My appreciation has only grown over the years. So, I'm going to trace Tamerlin's journey and the places it visits across editions and think about how I might make it my own, influenced by my understanding of Sechi's stated influences and influences of my own.

More to come.

Cymrilians [5e race]

The country of Cymril lies at the center of Seven Kingdoms and its green crystal-spired capital is the greatest city and unofficial capital of the alliance. It's people are descendants of the Phandre, masters of sorceries and rulers of Old Phaedra, until a rebellion instigated by the Orthodoxist faithful. Many Phandre were put to torment, but most of the wizards fled like beetles exposed beneath an upturned stone. In the wilderness they founded Cymril.

The Cymrilians are counted among the Talislantan races of men, so the standard human 5e racial options could be used for them. However, I think something like these variant human subtypes probably fit the Talislantan millieu better. Unless otherwise noted, treated them as human in particulars.

Cymrilian Traits:

Ability Score Increase: Intelligence score and one other ability score increases by 1.

Size: Cymrilians are taller and leaner than human average, with most around 6 feet in height. Medium.

Skills: Gain proficiency in one skill.

Magical Aptitude: Though not all Cymrilians are wizards, all possess at least a small magical facility. Each knows one cantrip of the player's choice from the wizard list. Intelligence is the spellcasting ability for it. 

Languages: Cymrilians can speak, read, and write Low Talislan and High Talislan.

Subrace: Choose one of following subraces.

Koresians

Typically just called Cymrilians, they are the dominant group in society. They have pale green skin and hair, and golden eyes.

Ability Score Increase: One ability score increases by 1 point.

Magical Society: Gain proficiency in Arcana.

Languages: Koresians can speak, read, and write ancient Archaen.

Tanasians

Tanasians are the exiled descendants of the former Phandre ruling caste and make up less than two percent of the Cymrilian population. Some have been raised in exile by families perhaps yearning to regain their former glory. Others may have gone to live in the wilderness, abandoning what they seen as the folly of their ancestors and political intrigues. Tanasians physically resemble Koresians.

Ability Score Increase: One ability score increases by 1 point.

Skills: Traditionally raised exiles gain proficiency in Arcana, while dissenters gain proficiency in Athletics and Survival

Languages: Traditionally-raised Tanasians speak an additional language, likely one related to their place of exile.

Pharesians

Make up about three percent of Cymrilians. They are voluntary exiles and nonconformists, owing to historical prejudice against the lime green of their skin. Many become itinerant peddlers of talismans and arcane parephenalia.

Ability Score Increase: Wisdom score increases by 1 point.

Skills: Gain proficiency in Perception and one other skill.

Jaka from Talislanta [5e Race]

Art by P.D. Breeding-Black

Jaka are humanoid species with features resembling both wolves and panthers. They are covered in sleek black fur and have silver-gray manes. They hail from the beast-haunted wilderlands of Yrmania, particularly the area of the Brown Hills.  With a reputation as peerless trackers, Jaka easily find work as scouts, guides, and hunters of both men and beasts.

Jaka Racial Traits
Ability Score Increase. A Jaka's Dexterity increases by 2, and Wisdom increases by 1.
Age. Jaka reach adulthood around age 12 and typically leave to around 80.
Alignment. Most Jaka are neutral.
Size. Jaka are Medium.
Speed. Base walking speed is 30 feet.
Languages. Jaka can speak, read, and write Low Talislan and are fluent in Wilderness Sign of the Talislantan tribes folk.
Darkvision. Jaka have a cat’s keen senses especially in the dark. They can see in dim light within 60 feet of you as if it were bright light, and in darkness as if it were dim light. Jaka can’t discern color in darkness, only shades of gray.
Natural Tracker. Jaka have proficiency with the skills Survival and Perception.
Scent Marking. As a bonus action, a Jaka can mark one creature it can see within 10 feet. Until the end of the Jaka's next long rest, its proficiency bonus is doubled for any ability check to find the marked creature, and the Jaka always know the location of that creature if it is within 60 feet. A Jaka can’t use this trait again until it finishes a short or long rest.
Sixth Sense. Jaka have the uncanny ability to sense danger, or even potential danger within 30 feet. They cannot necessarily discern the type, location, or degree of danger, but they know it is there on a successful check of their Passive Perception (Wisdom). In cases where they are actively looking for threats they have an advantage on their Perception (Wisdom). They are particularly sensitive to magic and add 5 to their Passive Perception checks if magic is involved and +2 to their active checks.
Jaka Weapon Training. Proficiency with the shortsword, shortbow, and spear.

Kickstarters Fulfilled

I've had several Kickstarters I backed drop their products in the last few weeks, and though some of them had longer than expected waits, I've been pretty pleased. Here's a brief rundown:

Talislanta: The Savage Land is a "prequel" to Talislanta as we traditionally have known it, written (at least in part) by Talislanta's creator Steven Michael Sechi. It's more barbaric setting loses so of the Vancian nature of the original and the various cultures are often familiar but different which will take so getting used to, but it has the creativity I expect from a Talislanta book and probably the highest production values yet.

Paladin: Warriors of Charlemagne adapts Pendragon's rules to Charlemagne's court as depicted in the Song of Roland and related Romances. I haven't dug much into this one yet, but Pendragon has a good ruleset, and this is a setting that has always interested me.

Aquelarre is the English translation of a well-regarded Spanish rpg. It bills itself as "A Medieval Demonic Roleplaying Game" which says it all really. Just browsing it, I'm really digging the wealthy of detail on the setting, broken down in easy to digest, pretty playable pieces. There are a host of classes like Muccadim (Jewish militia in ghettos) and Goliardo (licentious, worldly young monks) (the whole chargen system reminds me a bit of WFRP at first blush) and a number of monsters from Basque and Spanish folklore.

French Talislanta Art

While the English language Talislanta books are (currently) out of print (but official available for free here) the French translation of the game is still going strong, and apparently has some pretty cool art. Check these out:

The Ur

Phantasians

Mondre-Khan

Talislantan Space: In the Expanse

The Zaran Expanse is a region of decimated star systems and damaged worlds, the epicenter of the devastation of the Great Disaster. The area gets its name from the ancient Zaran Empire, though how much of the territory the empire actually controlled is a matter of debate. Traversing through and residing in the Expanse are a mix of species from all over the galaxy:

A Nagra bounty hunter draws on his quarry. The Nagra's "spirit tracking" ability allows them to trace the psychic ripples of their prey's passing, even across space.

A group of Zandir fencers perform an exhibition bout.

Two Batrean females run a confidence game.

A rare glimpse of a Muse Empath outside the Seven Worlds Alliance.

Talislantan Space: Kasmirans

Kasmirans are a short, lean, humanoid species with heavily wrinkled skins. Displaced by the Great Disaster, they now inhabit an arid world near the Seven Worlds Alliance's border with the Zaran Expanse. Despite their origin as refugees, the Kasmirans have become a wealthy people, though how they acquired this wealth is not entirely clear. They are infamous throughout the galaxy, however, as misers and shrewd negotiators.

The Kasmirans have maintained (and expand) their fortunes through investment banking.They have a reputation for ethical behavior and conservative investment, but also infamous as sticklers for the letter of contracts and for their hard credit terms.

Kasmiran society is divided into clans. The heads of these clans elect a Chief Executive Officer of Kasmir. When the Kasmiran clan leaders lose confidence in a CEO, he or she is replaced--and memory-wiped to insure the protection of secrets. This process is referred to as “beheading.”

Their desire to protect their wealth (and the wealth of their clients) has led the Kasmirans to become experts in both physical and data security. Prevailing Kasmiran aesthetics in physical security measures tends to favor clockwork mechanical devices with only sparing use of electronics; they extend this mechanical design into the nanoscale.

Kasmir City, the capital of the world of Kasmir, has a walled and check-pointed city center full of windowless high-security towers where the wealthy Kasmirans reside. Offworlders that work for them reside in the more modest areas surrouding it.

Some Images from Talislantan Space

Well, not really, but they work reasonably we for it:

Chana warrior.

Jaka manhunter.

Mondre Khan.

Sarista.

Talislantan Space: Cymrilians

The planet Cymril lies at the center of the Seven Worlds Alliance. Its capital and only city--the crystalline megalopolis Cymril City (or just “Cymril”)--is the de facto capital of the Alliance and the nexus of trading routes, as well. Beyond the city, Cymril is only sparsely populated wilderness, dotted with small settlements.

Cymrilians are a green-skinned humanoid species known for their powerful psi abilities. Not all Cymrilians possess these abilities, but psi training and experimentation are central to Cymrilian culture, and the most powerful psionics form the planet's ruling elite. They have even developed technological means of enhancing their mental powers. All children of Cymrilian society are tested at a young age for psi abilities and the most promising are sent to various academies.

Cymril was founded by a people called the Phandre from the Phaedran Star Empire of old. The Phandre exiles split into three factions/sub-ethnicites that exist to the modern day. The Koresians, currently ascendant in Cymril, are forward-thinking and more interested in being involved in galactic society. The Tanasians are conservatives descended from the former rulers of the Phandre. Until their ouster, Cymril was more a authoritarian and expansionistic state. Tanasians instituted a eugenics program to foster psi potential among their people and were generally opposed to alliances with other (lesser in their view) species.

The third group, the Pharesians, are radicals and rejectionists of Cymril society. Pharesians are distinct from the Koresians and Tanasians, having a darker green skin-tone. They are outcasts, dwelling in the wilderness outside Cymril City or wandering among the inhabited stars as merchants or traders. Their ancestors considered psychologically unsuitable for advanced psi training, Pharesians are barred from the psionic academies by Koresians and Tanasians alike.

Free Talislanta!

As many of you perhaps already know--and the rest should--Stephan Michael Sechi has liberated his creation Talislanta--at least from the black iron prison of out-of-print obscurity. Many of the old books (and perhaps, eventually, all) are offered as free pdfs under the Creative Commons License on talislanta.com.

For the uninitiated, Talislanta is an rpg created by the aforementioned Stephan Michael Sechi, and wonderfully realized by the art of P.D. Breeding-Black, first published by Bard Games in 1987. Most of us first heard of Talislanta through the ads in Dragon proclaiming "No Elves!"

And there were no elves--at least not by name. Indeed there weren't any of the usual Tolkienian or Nordic/Celtic influences common to fantasy gaming. Instead, the eclectic and (dare I say) slightly campy setting, is very Vancian (and is, in fact, dedicated to Jack Vance). Sechi outlined the rest of his Talislantan "Appendix N" in an online interview:

"Besides Vance, there was also Marco Polo's The Travels, Lovecraft's The Dreamquest of Unknown Kadath, certain of the works of William S. Burroughs (from which many ideas of Talislanta's illicit substances were derived), and many others. Visually, I was very much influenced by Salome, a three-part story published in Heavy Metal magazine, and written and drawn by Phillipe Druillet - I've looked for it ever since, but with no success. Richard Corben was also an influence, especially his vivid use of colors; also Steve Ditko's Dr Strange, and his depiction of spells and other dimensions. Those are just a few."

Talislanta has always been a setting I've had a a great deal of affection for, even though I haven't actually played in it that often. It's just fun to read, particularly the Chronicles.

Check it out, if you haven't already.