Weird Adventures: A Touch of Class

art by Shipeng Li

After some consideration, and advice from others, I think I’ve decided on the classes for my upcoming Weird Adventures campaign. I’m  to keep the basic classes simple and use occupations/concepts similar to Akratic Wizardry’s backgrounds to “pulp-ify” them.

Here are the classes I have in mind, with the classic D&D classes they'll be based on:

Tough Guy (Fighter): The muscle.  Those who make their living through force of arms.

Man of Faith (Cleric): Miracle-workers--“The Gifted” I’ve mentioned before. Individuals who derive magical like abilities from their faith alone and don’t cast traditional spells.  Unlike the traditional cleric,the Man of Faith is not necessarily part of a church hierarchy.

Magic Man (Magic-User): These are scholars, experts in the magical arts. Some are thaumaturgists, who approach magic as a science, while others use their learning in the furtherance of their religious order--though the way these two groups cast spells is identical. Also included here are the mystics, who are more intuitive than “scientific” spell-casters.

Ace of Agility (Thief): Individuals who stand apart because of their nimbleness and skill. Some are indeed thieves in inclination and vocation, but others are circus acrobats, escape artists, or even film actors adept at physical comedy.

The above are given “male” names but that should in no way be construed to mean their strictly male.  A tough guy can just as easily be a “tough gal.”

Soon, I’ll present the occupations which will put a lot a flesh on the class bones and allow for pulp stand-bys like the private eye, or the two-fisted scientist.

Tramp Steamer to Yian

In 5886, as part of Gillam M. Bezoar’s Exotic Port’s O’Call newsreel travelogue series, writer Dan Carmody and a camera man shipped out from San Tiburon on a tramp steamer, the S.S. Venture, bound for Hyaishang, Yian. Here are excerpts from the notes Carmody made on the journey...

Only a couple of hours out from the port of San Tiburon. Capt. Clanton points out the islands called “The Teeth”--no doubt a name given them due to their appearance, or perhaps its because of the sharks that infest the waters around them. The Captain reports a story he’s many times heard in a waterfront dives that the isles are a sacred spot to sea devils who rise from the depths on moonless nights to worship their demon god-fish--some gigantic prehistoric shark, the tales reckon--in gruesome rites.

Four days out and we arrive in Pyronesia. This archipelago is every bit the tropical paradise it's often made out to be. We were there for two days, and I managed to make a trip (as close as I dared) to the volcanic peak of the Big Island. I glimpsed a lava child rising from the flows beneath; my native guide suggested we give them wide berth. They’re rarely hostile, but given their size and nature, it isn’t hard to see how their simple-minded playfulness could be dangerous.

Capt. Clanton’s skirt-chasing got him into trouble on one of the nameless islands of Oceania. A tribe of amazonian women seeking help from the spirits in their incessant warfare with the crabmen of the neighboring atoll decided to offer up Clanton and a crewman as sacrifices to their tiki idol. Only timely intervention of the first mate saved them.

On the subject of the crabmen: these odd humanoids are a common sight on the smaller islands throughout the south seas.  The belligerence between them and the human islanders is total; they attack each other on sight.  No islander I met even knows if the crabmen are capable of speech.  Certainly, the crabmen never initiate negotiation themselves.  Strangely, neither I nor any of the crew have ever seen a crabwoman.  I have seen odd wooden idols among the natives carved in the form of voluptuous human females with crustacean claws for hands.  In contrast to the almost obscene detail lavished on the bodies of these fetishes, the faces are carved smooth and featureless. Clanton (always one with a sea story) says that he has heard that these idols are images of the goddess of the crabmen, brood mother to them all, who is also held in superstitious dread by the natives.

A sailor off a Yianese junk traded me this print of a rather contemplative Demon Islander for a pack of Djinn cigarettes. We didn’t visit (for obvious reasons) the so-called Demon Islands. The red-skinned, horned humanoids inhabiting the archipelago live in a warrior-based society still ruled by the sword. Barely beyond a medieval level of technology, their raiding parties are only dangerous to their closest neighbors--though grim stories are told of the fate of those shipwrecked on their shores.

Brackett's Empire Strikes Back

All of the posts over at Grognardia about Star Wars have got me thinking about how I might run an alternate Star Wars game, or rather, one of the ways I might run one, since I can think of several. This particular one involves throwing out most of the accretions on to the universe that have come over the years...

I would not throw out everything since Star Wars (Episode IV, if you will) as some might. That would toss out the best movie of the bunch--The Empire Strikes Back. Still though, Empire gives us Vader as Luke’s father which it seems to me (along with Luke and Leia as siblings) one of the biggest dividers between the Star Wars Universe as given in the first film, and the Star Wars Universe of today which emerged in sequels and other media.

Interestingly, earlier this year Leigh Brackett’s 1978 first draft of Empire (which was at that point only the “Star Wars Sequel”) was leaked to the Internet. This was an exciting find as I’m a big fan of Brackett’s Eric John Stark stories and wondered what her version of Star Wars looked like. Lucas has always said he used very little of her script and only kept her name on the final version out of respect (she had passed on by the time the film was released).

Brackett’s script gives a version of Empire that is a bit more pulp space opera that Star Wars--which could be either a strength of weakness depending on one’s tastes. The rebel base on Ice Planet (it isn’t named Hoth) is inside a natural occurring ice structure resembling a castle. Wampas attack the rebel base en masse, and Chewbacca goes toe to toe with one. Lando is a clone, from a family of clones. The natives of Hoth (what we know as Bespin) are known as the Cloud People and ride giant, flying manta-ray type creatures and use dart guns.

There are also more fantasy type trappings. Vader’s castle lair includes small, gargoyle-like creatures flying around. Luke’s training involves sort of psychic contact with Vader where they appear to be giants among the stars. Minch (Yoda) is even more of a crotchety Chuin or Pai Mei-esque character than in the final film.

Then, there are the big differences. Darth Vader isn’t Luke’s father, he’s the man who killed him like Star Wars said. In fact, the script has Luke’s dad appearing in force ghost-form along with Obi-Wan. The central tension of Luke’s battle with Vader isn’t the father reveal, but the concern over whether Luke will give in to the dark side--which he does, in frustration, to try and defeat Vader. Luke realizes his error and backs down, but Vader claims victory from starting Luke down the path. Also, Luke’s sister (Nellith?) is mentioned, and the rivalry for Leia's affections between Han and Luke is more pronounced than in the final film.  Luke almost gets a chance to declare his love for Leia, but there is no carbomite freezing to give Leia the chance to declare hers for Han.

All in all, its an interesting trip into alternate fictional history. It could very easily be the branch point or a sharply divergent Star Wars game.

Random Femme Fatale Encounter

In the bold tradition of the AD&D Dungeon Masters Guide's Random Harlot Encounter Table, I thought I should offer a somewhat less focused Random Femme Fatale Encounter Table for use in the City, and its world--or maybe any pulpish setting.   And its illustrated.

Femme fatale’s are 50% likely to have useful information, but only 30% likely to spill it, and 15% likely to make up something. There is 60% chance she’ll attempt to enlist a PC's help in regard to her problem which will inevitably lead to more trouble.

01-10  Devil in a Blue Dress

11-25  Songbird

26-35  Reform School Girl

36-45  Carnival Girl

46-55  Burlesque Dancer/Stripper

56-69  Working Girl*

70-75  Wayward Wife

76-85  Gun Moll

86-90  Dope Girl

91-92  "Mata Hari"

93-94  Hayseed/Hillbilly Hussy**

95-98  Swamp Babe**

 

99-00  Witchy Woman

 

*If in an urban environment, otherwise replace with appropriate rural alternative.

**If in appropriate rural environment, otherwise re-roll.

Warlord Wednesday: The Curse of the Cobra Queen

It's Wednesday, so let's re-enter the lost world with another installment of my issue by issue examination of DC Comic's Warlord, the earlier installments of which can be found here...

"The Curse of the Cobra Queen" and "Wizard World"

Warlord (vol. 1) #28 (December 1979)

Written and Pencilled by Mike Grell; Inked by Vince Colletta (first story)

Synopsis: Riding across Skartaris, Morgan and Ashir reach a parting of ways. Ashir rides for Kaambuka to claim his crown, and the responsibility he’s shirked. Morgan is on his way to Shamballah--and his wife with whom he intends to reconcile.

The two haven’t long parted ways, when Morgan is startled by a meteorite streaking across the sky--one that must have chanced to fall through the polar opening and into Skartaris. Morgan is unaware that the meteor’s fall is even stranger than he can guess. It passes through the “corona” of Skartaris’ eternal sun and is bombarded with radiation. It crashes into the jungle, where a serpent comes to bask in the warmth of its eldritch emanations.

Morgan’s ride takes him close to the place of the meteorites fall. Due to the strange flow of time in the inner world, there is no way to know how long its been since he saw the shooting star. In an area of the jungle darkened by the tree canopy, amazons in reptilian headdresses ambush Morgan. Their numbers, and Morgan’s reluctance to fight women. allow them to take him down with a club to the back of the skull.

When Morgan awakens. he's tied before a throne of a bone, where a beautiful, green-skinned woman with a reptilian cast to her features, reclines. This is the cobra queen. She moves toward Morgan with a raised dagger, but instead of using it on him, she cuts his bonds.

Morgan is mesmerized by her sensuous grace; she moves in for a kiss. Suddenly, there’s a stirring in the underbrush, and the cobra queen recoils in terror. Morgan goes to investigate and finds it's only a small mongoose.

When Morgan turns back to the woman, he finds a giant cobra in her stead! The cobra queen’s hand-maiden’s flee in terror, but Morgan lunges with his sword. He stabs the serpent through its hood, but then is caught in its coils. His sword is wrenched from his grasp. Desperately, he stabs at it with his dagger, hoping to loosen its hold enough so that he can pull his pistol.

Finally, he’s able. He shoots the cobra in the head, killing it. He wonders for a moment if it was a woman who became a snake, or a snake who became a woman? Putting such idle thoughts aside, he rides on, leaving the mongoose to sniff at the body of what is now a beautiful woman once more.

“Wizard World”
In the forests near Shamballah, Tara, Machiste, and Mariah also see a fragment of the falling star coming down. Mariah, aware of the rarity of such a sight, rides ahead into an ancient ruin to investigate. Tara warns her that legends say this is a place where black arts were practiced in the Age of Wizard Kings, and magic is said to still be in the stones. Mariah dismisses all that as superstition.

As Mariah gets close to the meteorite fragment, a strange tear occurs in the fabric of reality, and she falls in. Mariah emerges from her fall through darkness inside of a pentagram inscribed on the floor--startling a diminutive wizard who had been trying to summon a three-headed dog!

The wizard (who addresses her as “demon”) tells her he’s Mungo Ironhand, Sorcerer Supreme, and that this is the Age of the Wizard Kings--it won’t be called Skartaris for another eon or two. He says he’s summoned her to do his bidding, and now he bids her to kiss him. Mariah firmly declines.

Meanwhile, back in Skartaris, Tara tries (unsuccessfully) to stop Machiste from following Mariah into the rift...

Things to Notice:

• Skartarian time weirdness is used in the furtherance of plot (sort of).
• Apparently, Skartarian cobras have some constrictor-ish characteristics.
• This is the first Warlord issue with a back-up story.

Where It Comes From:

This issue was perhaps inspired by the 1972 film Night of the Cobra Woman, wherein a beautiful woman, who transforms into a cobra, must seduce and suck the life from men to stay youthful.  It's also possible that the 1966 Hammer film, The Reptile wa in inspiratiom.  Here, a woman cursed by a snake cult takes on a reptilian form--much less attractive then our cobra queen in this issue.

Wizard World is both more "high fantasy" than Skartaris, and more humorous as well.  Grell seems equally inspired by Lord of the Rings and The Wizard of Oz.  Cigar-chomping Mungo Ironhand was perhaps inspired by a another cigar afficiando wizard with a not dissimilar personality--Avatar, from the 1977 animated film, Wizards.

Skills They Didn't Even Know They Had

In preparing for my groups foray into the Weird Adventures in the City, I’ve been thinking about skills. Of course, this isn’t everyone’s old school cup of tea, but particularly in a more technologically advanced setting like this one, I feel like it has its place.

What I don’t want is a complicated system with a lot of different skills to keep track of like GURPS, or even d20, or the like. Instead, I’d like broad abilities that work well with a sort of pulpy not terribly realistic flavor, and won’t bog the GM (myself) or player’s down too much. Most of all, I want them to suggest things the characters can do that enhance role-playing, rather than have players over-concerned with scanning character sheets for what they can or can’t do. In I way, I may be thinking more broadly; maybe abilities is a better descriptor than skills.

I think I’m going to employ Delta's "Target 20" mechanic--not just for combat, but as a central mechanic for skills/abilities, too. Player’s will add the pertinent ability modifier (mostly intelligence) to a role of the d20, and then the GM will apply a modifier based on some determination of difficulty, and the result most be greater than or equal to 20.

This line of though got me thinking about the skills/abilities that character’s have that aren’t (at this point) clearly delineated. Certainly place of origin and social status convey some benefits. The same goes for the "adventuring profession" itself.

Classes would confer skills, too, which would improve with level. Here’s some examples of what I’ve been thinking of:

• Fighters: assess quality of weapons, care of weapons, possibly some tactics, or even strategy
• Clerics: theology, liturgy, performing rituals, church gossip/personalities/history
• Magic-Users: magical history and theory, maybe a bit about magical creatures?
• Thieves: well, thieves already have an array of skills. Maybe these should be moved to a similar mechanic.

I’m not sure that these skills all need to be individually defined. In fact, I’d prefer that they aren’t. Anything that a player can convince the GM that its reasonable for him to know because he’s a cleric, I think he ought to be able to have a chance at--the GM’s job would be to assess a modifier based on not only difficulty, but how much the GM judges the character’s likely to know just based on his profession.

Anyway, all somewhat theoretical at this point.  I’ll give some examples soon that I intend to use in my Weird Adventures campaign.

Vampires and the City

“The face of evil is always the face of total need.”
- William S. Burroughs, Naked Lunch

The vampires which haunt the City’s streets and prowl its night-spots are somewhat different from those which might be encountered in other places, other worlds.

First though, the similarities: they are indeed undead, and they must drink the blood of the living to survive. Specifically, the blood of living humans; the blood of other animals will stave off withdrawal, but won’t give them the high they crave, and leaves them in a weakened state. Like vampires elsewhere, they’re nocturnal hunters who can’t stand the light.

Unlike the cloaked, evil masterminds of some fiction (or the immortal brooders of other fiction), the City’s vampires are perhaps best analogized as addicts or junkies. A vampire in need of blood is afflicted by terrible physical and psychological symptoms of withdrawal. Whatever their moral or ethical feelings were in life (or even in their undeath), the need crippling need drives them to harm others.

In the early stages of vampirism (perhaps the first few weeks after they rise), most enjoy the “high” of blood-drinking. Many only take it from semi-willing victims they have seduced, and are often careful not to kill. Some may only need to ingest blood every other week at this stage. Over time, tolerance develops, and the amount of blood needed to hold off withdrawal becomes greater--as does their willingness to do almost anything to get it. Advanced-stage vampires may need to consume blood nightly.

This increased use takes its toll on their body. Nature abhors the vampire, and immune elements in the blood they ingest lead to the the development of sores on their undead skin. Older vampires often loose their hair and muscle mass, and have yellowed nails, teeth, and jaundiced whites of their eyes.

Eventually, they are either killed in their pursuit of blood, or their need develops to the point where they can no longer feed it, and rest throughout the day. At this elder stage, their metabolism seems to shut down. They may spend months, even years, in torpor, only rising for frenzied binges, then sleeping again. Some later stage vampires move to injecting blood rather than drinking it, as it takes less to generate the desired effect.

Vampires of the City possess most of the usual vampire powers when flush with blood, however within 4-5 days for young vampires, and perhaps only as little as a day for older ones, these powers fade to something approximately an undead version of their previous (living) capabilities. These vampires are not affected by holy symbols (unless, interestingly, the vampire was devout in life, and the symbol in question is the one of the vampire’s religion), nor running water. Sunlight does burn them, as does silver. Those with magical sight can see that vampires cast two shadows--one normal, and one which has a hazy appearance and a gauzy texture. In a mirror, the one “normal” shadow visible to everyone, can be seen to move independently of the being casting it.

Not all drained of life by a vampire become one (the chance is perhaps 1 in 4). It is unclear why some develop the curse and others do not. Ghouls can be killed by vampires, but never rise.

There are said to be underground blood-parlors in certain parts of the City--decadent establishments which first appeared in the Old World, where younger vampires and vampire-wannabes gather to feed their mutual habits. There are also rumored to be procurers who find “fresh blood” for vampire clientele for a price.