Santa Claus is Coming to Town

For a venerable holiday icon, Santa Claus sees a lot of action. Could the Easter Bunny conquer the Martians? I think not.

Not only does he best alien invaders, but he teams up with Merlin to whup Satan in this 1959 gem, which could only come from south of the border. Frank L. Baum (of Oz fame) retcons Claus into Oz lore, and has him Santa raised by a wood nymph, educated by a council of magical creatures, and gifted with immortality. The Japanese thought that was so cool they made an anime about it with the appropriately anime-ish title Young Santa’s Adventures (Shounen Santa no Daibôken).  In The Lion, the Witch, and the Wardrobe, Santa Claus (or Father Christmas across the pond) shows up in Narnia to give the Pevensie kids the magic items they need to beat the White Witch.

Claus isn’t always the good guy, though. The far future of Futurama has a Santa Claus robot who takes down the naughty with extreme prejudice. The DC Comics anti-hero, Lobo, under contract to the Easter Bunny, goes after a badass Santa who’s abusing his elves.

All this makes me wonder if Santa Claus makes many appearances in gaming. Sure, most of these appearances are somewhat comedic in nature--but too comedic for Encounter Critical, or even Old School D&D? I think not.

John Stater gives us cool yule magic items, and a certain red-clothed demigod in NOD #6. Has anybody else had Santa come down the metaphorical chimney of one of their games?

Armor Class: 9?

Descending.  And, of course, not taking into account any dexterity bonus.

Seeking Answers?

Occasionally, I've been asked questions about the City and the Strange New World (some in person, some via email) by the inquisitive among you.  Maybe the answers to some of these will be of interest to others...

Does the City have a name other than just “the City?”
I sort of dealt with this way back in my first post introducing the City. It does have an “official” name, which I’ll probably save to reveal in Weird Adventures--not that its anything spectacular, but I’ve got to retain some mystery, haven’t I?

This world’s history seems to closely parallel our worlds. How closely? Was there like a Revolution War in the City’s world?
The Strange New World, and its strange earth as a whole, are certainly pretty close in many historical details to the earth we know. In some ways, it resembles our world more as its seen through some popular media. The Old World of Earlderde is more of a crazy quilt of bellicose, small states--often with eccentric governmental systems--like something out of The Prisoner of Zenda or The Mad King, than it is historical Europe post-World War I.  In the West of the New World, desperadoes, and wild Indian (or Native) tribes exist side by side with automobiles and other "modern" conveniences, much like how our real world West was presented in some old time radio shows and movie serials.

To the specific question about the Revolutionary War: No, there wasn’t one. The Ealderdish colonizers were too involved in their own squabbles to ever really keep close tabs on their colonies. Eventually, they were just able to declare official independence. 

Are there vampires in this world?
Yep, and werewolves, and mummies. Vampires, I’ve talked about in this post, revealing them as the addicts they are.

When are you going to put some of this stuff in print?
When I get it ready. :)

I have, of late, considered putting together a free pdf with expanded versions (perhaps with annotations) of some of the topics I've posted on which won't see much coverage in Weird Adventures. 

Also, I have in mind a detailed adventure locale set in the Strange New World: the expansive estate of a wealthy, reclusive--and recently deceased--wizard.  Here's one hint: "Rosebud." 

Of course, Weird Adventures gets my creative energies first.

Anyway, else out there in Internet-land has any short asnwer questions like those above, you call always post 'em in the comments, and maybe I'll answer them. :)

Monster Canyon

In the West of the New World is one of the geographical wonder. Nearly 400 years ago, when Eadlerdish explorers were first making there way across the western desert, they came to a huge, steep-sided canyon they described in their writings as “a great abyss.” The Natives told them it was impassable, and the abode of monsters. Those early explorers only went far enough to determine the apparent truth of the Natives’ words, and turned back.

It would be 200 years before any Ealderdishman found a way across, and thus proved it was not impassable. The “abode of monsters” part remains true to this day.

The feature is today known as the Grand Chasm, or the Colossal Canyon--and sometimes, the Monster Canyon. It's around 500 miles long, up to 20 miles wide, and reaches a depth of nearly a mile and a half. The Red River runs through its depths, cutting deeper into rock in a time-frame of eons, though some thaumaturgists believe the scale of the chasm indicates something more than natural forces were involved in its making.

The canyon has tributaries--”lost valleys” which boast flora and fauna long extinct in other parts of the world. Procurers for circuses and zoos sometimes enter these regions to bring out beasts for public show, as do alchemists in search of exotic botanical materials. Scientists point to the unlikelihood of viable animal populations surviving in such small places and suggest that vast cave complexes must underlie the entire region, providing a wider habitat.

Other places in the canyon attract adventurers and other treasure-seekers. There are ruins and entrances to caves, some of them previously inhabited or even perhaps made by some human hands. Tombs of the Ancients or some allied culture promise treasure, and ancient magics.

Any treasure to be found there is never easy to acquire. Getting into the canyon is difficult--the easiest way is to come downriver--though there are precarious trails that wind downward from the rim, if you can find a guide. Guides come at a price, and may not be completely trustworthy.

Once a way is found, things only get more dangerous. Wayward flying reptiles from the lost valleys pluck travellers from boats or trails. Cavern crawlers, cave fishers, and other strange creatures (the results of ancient magical experimentation gone awry?) crawl forth from hidden recesses of the chasm when they sense a meal. Then, there are primitive human tribes--some too debased to be worthy of the name--descended from Natives or lost expeditions often fallen to superstitious worship of the canyon's monstrous inhabitants, and sometimes cannibalism.

Still, adventure and treasure calls, and there are always those brave or greedy enough to make the descent.

(My article on the lost cities of the Grand Canyon in the world we know would be instructive and inspirational here as well.) 

Warlord Wednesday: A Horse of a Different Color

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...

"A Horse of a Different Color"

Warlord (vol. 1) #37 (September 1980)

Written and Pencilled by Mike Grell; Inked by Vince Colletta

Synopsis: Beneath the eternal sun of Skartaris, Travis Morgan and Shakira share a whispered conversation, as they crouch in the jungle. Their discussing a wild horse drinking from a pond, which Morgan intends to try and capture. Shakira thinks he’s going to get his neck broken.

Morgan’s determined. He sneaks up and leaps on the stallion's back. As it begins to buck, we now see that it's no ordinary horse, but a winged one!

Shakira tells Morgan to jump, but he ignores her, confident he has the situation in hand. The horse takes flight and Morgan has no choice but to hang on until it lands again. The horse takes Morgan toward a fanciful and futuristic-looking castle atop a spire of rock. There the beast lands at what Morgan takes to be its home.

Meanwhile, an exasperated Shakira runs along, trying to follow Morgan’s path. She’s brought to a halt when a lasso slips over her. Acting quickly, she cuts it with her spear. She finds herself facing an unnaturally tall, broadly smiling man she first takes for a Titan. She takes off running. When the man gives chase, emerging fully from the foliage, she realizes he's actually a centaur.

She trips her pursuer with her spear, then holds him helpless at spear’s point. The centaur protests he meant her no harm, but Shakira points out that’s exactly what he would say in this situation. The centaur tries to bargain for his life with some sort of service. At first, Shakira isn’t interested in his perhaps lewd suggestions, but then she thinks of something he can do for her:

Offered little choice by Shakira, the centaur, who introduces himself as Arvak Thunderhoof, agrees reluctantly to give her a ride to Morgan’s location.

In the castle on the spire, Morgan marvels at the decor--amazing life-like statues representing all the ages of man in Skartaris, from the Age of the Wizard Kings to the present. While he’s examing the art, a beautiful green-haired woman enters, and asks if he likes her collection. She asks Morgan to forgive her for not greeting him earlier--she wasn’t expecting him until much later.

Morgan asks me she means, but she doesn’t reply. She gives her name as Astarte, but says his other questions will wait, and makes her point with a smoldering stare and her arms around his neck...

On the ground below, Arvak points out the castle to Shakira, naming it Grimfang. Shakira intends to climb the spire. Arvak tells her it's impossible; no one could attempt that climb and live. Shakira attends to try, regardless--Morgan would do no less for her. She can’t figure out why that moves her--she’s never been particularly loyal to anyone--but it does. She transforms into a cat and bounds off.

She begins the climb. It’s difficult even in her cat form. It becomes more so when a hawk swoops down to make a meal of her. Shakira finds a wide enough perch, then transforms back into a human. The diving hawk gets a surprise--and a punch in the head.

In the castle above, Morgan still has questions, but Astarte puts him off by offering him wine. Morgan refuses, bu Astarte insists, and something about her eyes seems to compel him....

Then, a snarling, black house cat leaps between the two, and buries its claws in Astarte’s face.The glass she was offering Morgan spills. Morgan recognizes Shakira but doesn’t know what’s going on.

Astarte finally succeeds in casting Shakira away, but only after accidentally knocking over one of her statues. Morgan reaches down and dips his fingers in the red liquid from the goblet. He realizes it isn’t wine, and he knows how Astarte came by her “art collection.”

Morgan pulls his hellfire sword. Within the glow of the hellfire’s mystic gem, he sees Astarte’s true form--a green-feathered, harpy-like creature.

She says she would have made Morgan immortal in stone, but now she’ll send him to the halls of death. Morgan offers her some wine first--and throws the remaining liquid from the goblet into her face. Astarte turns to stone in mid-lunge, then crashes to the ground, and shatters.

Shakira asks if Morgan’s noticed how bad his luck’s been with woman lately. Morgan declines to discuss it.

Morgan and Shakira fly out of Grimfang on the back of the winged horse, while below, lonely Arvak watches them--Shakira, actually--go.

Things to Notice:

• Grimfang is in sort of an isolated place to attract a lot of visitors, it seems.  The time it took to acquire her collection must matter less to someone apparently as long-lived as Astarte.
• How does Morgan instantly know where Astarte's statues came from just from figuring out the liquid isn't wine?

Where It Comes From:
This issue is largely Greek mythology inspired.  It's got a winged horse (pegasus), a centaur, and a women who turns things to stone--though admittedly, not with her gaze like a gorgon.  Like Circe, Astarte offers refreshment which will transform the consumer.

Arvak Thunderhoof seems to have a bit of the classical centaur lecherousness, though he plays more like a seventies ladies' man than the would-be abductors of myth.

"Astarte" is the Greek name of a goddess of the Eastern Mediterranean of Semitic origin.  Her purview was fertility and war.

Another Petty God: Noom the Ubiquitous

Symbol: A small statue, boundary marker, or herma with an head of an (often bearded) old man wth a bemused expression.
Alignment: Lawful

Noom the Ubiquitous, or Noom the Unlooked For, is the patron of the lost (both people and things), wanders, and things overlooked. For as long as there have been roads, streets, and trails, people have been placing crudely fashioned statuettes of this smiling godling along them. He oversees journeys that are not as planned. He brings the lost traveler to a place more interesting than where she intended to go, and insures that lost items wind up in the hands of those who might need them at a crucial moment.

In manifestation, Noom looks like a portly, aged, dwarf in bright clothing. The pockets on his clothes always look full, and he typically carries a peddler’s sack, fit to burst,on his back. He seldom appears though, preferring to act through his idols.

Noom has few if any worshippers. So ancient and forgotten is his cult, few even realize the small, roadside statues represent a god. Noom aides travelers not in exchange for their veneration, but out of whim. Anyone lost in the presence of a Noom statue has a 40% chance of attracting the godling’s attention. This increases to 60% if they sleep in close proximity to a statue.

Noom will not help a lost traveler find their destination, but will either subtly guide something interest their way, or guide the person to something of interest. “Interest” in this case, may be the threshold of adventure, but it will generally not be something immediately dangerous (like a wandering monster). Noom’s intercession will never be obvious. Events will always seem natural, if perhaps a little strange.

Other times, Noom’s influence will be felt in the finding of an innocuous, but ultimately useful item. These will seldom be magical, and will never appear to be particularly value at first (though they may actually be). These will be found in the dust or weeds around Noom idols. It will be strange in many cases that the item could have been lost where it is found.

Destroying a statue of Noom will bring the godling’s displeasure. Doing so may result (50%) in getting lost, at least for a time, in an unpleasant and possibly dangerous way.

Inception and D&D Cosmology

Rewatching Inception on blu-ray this weekend I thought of another way some of the film's concepts might inform an rpg setting. Its portrayal of descent through “levels" of dream got me thinking how that might be applied to the standard model of AD&D cosmology.

First, you’d have to take the occult/mystic view that the multiverse beyond the Prime Material is largely a conceptual or spiritual place. The macrocosm (all that is) is reflected, perhaps even encompassed, in the microcosm of a human being. This is hardly a new view, but a different from D&D’s more mechanistic approach.

If the planes aren’t necessarily physical places in the usual sense, but more like states of consciousness or spiritual planes, they’re probably mostly reachable by astral projection, mental/spirit travel, or the like. Travelers’ bodies are left behind in the semblance of sleep.

The first stop would be the astral plane. This area would be malleable (to a degree) to the mind of an experienced traveler. Maybe it also impinges on dreams so random dream stuff is here that can be utilized. The distance through here to any “outer” plane might be a factor of attunement to that planes dominant emotion/ethos/mind-set, or maybe it has to do with some other factor.

Like dream-levels in Inception, I think it would be cool if time ran different in each planar level. The further from the Prime Materal, the “slower” time runs. The astral is only a little slower than the Prime, but in Hell things seem to last forever.

Anyway, that might mean that while each outer plane has a particular theme or character, it will be filtered through the consciousness of the traveler. Everybody gets his own heaven and hell--and nirvana, or whatever. I don’t know how that would work for a party. Maybe the lead traveler would have the biggest influence, but if they split up, individuals would gradually find themselves in very different realms. Of course, maybe the planes are sentient too--iconic representatives, after a fashion, of certain ideas. Maybe they assert their own influence which establishes the broad strokes of their appearances.

Anyway, I think you can see where I’m going with this. I suppose this idea might work better in a modern occult game or something like that, but I see it as playable with traditional fantasy, too. Characters (or players) need not have a real understanding of how the planes operate for them to work this way. In fact, it might be more interesting if they didn’t.