Three Rooms in Amber

I've been running X2: Castle Amber for my 5e Land of Azurth game. As my session reports suggest, I've tweaked so things and changed other quite a bit. At times, I've got better ideas after I actually run it. I may post all my alterations at some point, but here are the the pertinent encounters in the "color rooms" in Castle Amber:

Overview: I envisioned these rooms as looking like more fanciful (maybe) version of the sort of rooms in Versailles or Schönbrunn Palace. I didn't have good reference in place to get that across to the players when I ran it, though, and it probably doesn't matter much anyway. I won't repeat everything Moldavy wrote that I kept, but only what I interpreted or replaced.

WHITE ROOM: The white carpet is crunchy underfoot with frosty. The walls are dusted with frost. Hard rime coats the furniture. In the center of the room, In the center of the room a giant salamander (over 10 feet long), white and striped with vein blue, lolls on a chaise longue. It's finned tail extends well beyond chair and lazy stirs up snowflakes from the carpet. 

I think actual salamanders are more interesting that lizards for magical creatures. 

GREEN ROOM: The room looks like it might be in an abandon home. The green wallpaper is peeling, vines are growing down the walls. The giant in the center of the room is entirely encased in armor with a vaguely floral motif, and that armor is complete covered in verdigris. He is easily mistaken for a statue until he moves.

I had in mind this image by Eoghan Kerrigan for the appearance of the giant, if it were patined. I want to put a little bit of distance from the Green Knight so it wouldn't be immediately picked up on, but the schtick was still the same.

RED ROOM: A large man (barrell-chested and bandy-legged) in crimson monk's robes over glittering, golden scale armor, sits cross-legged on the floor in a pose of meditation. His skin is charcoal black. His eyes appear to be windows into an internal furnace. His reddish blonde hair glows and smolders like coals.  The man has fallen from the sun; he's one of the countless throngs of dwarfs that make up the sun. They labor at the work of the cosmos and dance and sing radiant hymns to the glory of the gods. The man was into the void in a gout of ecstatic solar toil and fell to earth. 

I utilized the background of my reskins of the Azer here, since I had never put it in a game. I already had another celestial castaway in the adventure.

Wednesday Comics: Storm: The Labyrinth of Death

My exploration of the long-running euro-comic Storm, continues with his adventures in the world of Pandarve. Earlier installments can be found here.

Storm: The Labyrinth of Death (1983) 
(Dutch: Het Doolhof van de Dood) (part 4)
Art by Don Lawrence; script by Martin Lodewijk

The giant creature with the multiple jaws holds back from attacking Storm and his comrades. They surmise it must be afraid of the light still emanating from Storm. It's something the monster has never seen before.

The Theocrats guards charge into the chamber. They aren't so luck. The creature begins devouring them.

Storm and friends, while somewhat conflicted about leaving the guards to their fate, realize the distraction they provide is their only hope of escape. Marduk's lackey manages to get away too, by following them.

Next they come upon a chamber full of rotting monster skins. This must be where it comes to shed. Ember notices a whole far up in the domed ceiling. They surmise the creature comes to this place so cases from decay can escape.

Storm comes up with a daring plan. Maybe they can use the skins to create a hot air balloon to fly up to the opening and escape. They cut strips of some skins and wrap them around swords and a shield to make a basket. They attach a balloon made from a large skin with similar strips.

Just as the balloon begins to rise:

The creatures tendrils wrap around Brush-head's leg. Rather than let the creature drag them all to their doom, the rebel leader cuts herself free of the balloon.

As the others rise to freedom, Ember recreates she never even knew the woman's name.

The opening is (luckily) large enough for the balloon to pass through, They kick Marduk's lackey off as they rise into the skies of Pandarve on their way to their next adventure.

THE END

The Inn Between Worlds

Our Land of Azurth 5e game continued last night with the fifth session of our free adaptation of X2: Castle Amber. Last time, the party had opened the gate with the silver keys--and promptly been attacked by an amber lion statue come to life. Two shatter spells meant the end to that creatures, and a load of amber shards as loot.

The party passed through the gate and found themselves in a rather unusual French inn, Bonne Joissance. Unusually because the staff are all fae, including the all woman band. Each will show the party to a door to a different locale where they fight find on of the treasures they are looking for (the same door, but it opens to a different place depending on which band member opens it).

The harp player opens the door to the forest Sylaire and a half-ruined tower upon a tor. There they find Freydis, a faerie queen who sits a vigil waiting for her lover. She will exchange the Sword of Sylaire for the party subduing (but not killing) her lover, now a werewolf under the full moon. The werewolf and his pack attack the tower, but again the mages save the day with a barrage of scorching rays.

When the door is opened by flutist the party passes through a limpid pond and a lovelorn knight, Luc. He's being trying to find a feather to match the one he snatched (and then lost) from the cape of a swanmay as she fled their dalliance at dawn. He's certain he can find a substitute to present to her, but no mundane feather seems to match. He is willing to trade the Ring of Eibon for a feather from the fearsome jubjub that dwells in the nearby forest. Shade the Ranger tracks the bird, and (via speak with animals) she learns it is willing to part with two feathers for something shiny. The party offers up some amber from the statue and gives one feather to Luc, getting the ring in exchange.

The drummer ushers them the hall of Lord Huidemar. Huidemar is very pleased to see the party as their coming has been prophesied. He relates that he is widely known as a fool, but he will become a wise man when they give him the feather of the Simurgh bird. They give him the jubjub feather instead, but he doesn't seem to know the diffference. They get the Serpent Encircled Mirror in exchange.

The guitar player opens the door to the location of the potion of time travel--the dungeons of the debauched sorceress, the Lady d'Azederac. The party interrupts a ritual. Their coming exasperates her but is not unexpected. It has been prophesied that beings from another world would bring her an acorn of gold from Eden. The presentation of this relic would turn her from her iniquities and set her on the path of saintliness. The party presents her with one of their acorns (though not from Eden, of course) and get the potion in exchange.

Returning one last time to the inn, the party uses the items to summon the tomb of Estyvan.

The Weird and the Unusual

The difficulty with dealing with the fantastic is too-often repeated tropes/ideas become cliches, and kind of unfantastic. The D&D (read: prevailing) view of elves, dwarves, dragons, etc. has thoroughly mundanified and Gygaxian-realismed these things into yawns for a lot of people. Now, it's resonable to ask just how fantastic an element needs to be in a game about killing stuff and taking its treasure, but feeling burned out on the standard tropes has led to a lot of folks reaching for the Weird. It's funny that almost 100 year-old tropes can seem fresh and untrod territory, but fantasy is nothing if not a conservative genre, I guess.

The trouble is, those elements might get a little stale for some people, too, with repetition. So there's the New Weird or gonzo, of course, but I'd also like to suggest that maybe things don't have to be wholly "new." They just have to be a bit surprising, and those surprises can each be employed a small number of times so they stay fresh.

I think looking back to mythology and folklore helps a lot, because there are a lot of forgotten elements in those that make no sense from the modern perspective, and so have tended to be dropped from retellings. Medieval bestiaries are good, too.

Here's an interesting thing I came across a couple of years ago: "mundane" animals as treasure guardians:

Washington Irving notes the folk-belief that the spiritual guardians of buried treasure could take on the form of animals, such as toads. “Wild vines entangled the trees, and flaunted in their faces; brambles and briers caught their clothes as they passes; the garter snake glided across their path; the spotted toad hopped and waddled before them; and the restless cat-bird mewed at them from every thicket. Had Wolfert Webber [a man in search of treasure, but who was unschooled in folk-magic] been deeply read in romantic legend, he might have fancied himself entering upon forbidden enchanted ground; or that these were some of the guardians set to keep watch upon buried treasure.” Diedrich Knickerbocker (pseud.), “The Adventures of the Black Fisherman,” Tales of a Traveller (1825), 2: 356.

So replace a dragon or some other "fantastic" creature with just an animal, acting kind of strange and maybe able to talk. Adventure Time! sort of (I'm sure unknowingly) uses this trope with a frog that serves as a portal to lumpy space:

Monsters that want to chat, instead of kill the party immediately, are also a mythological staple that is not as often done in rpgs (though I try to do a bit of this in Mortzengersturm). This one can hard because PCs are a stabby lot, but it can help put them in the old school mindset of the goal being to get treasure, not necessarily kill things. A loquacious monster is a challenge, not an encounter.

Finally I would suggest the behavioral reskin (this is sort of a broader application of the talking monster principle). We're all familiar with putting new flesh on a set of stats, but a more subtler reskin will sometimes surprise players more. If goblins aren't following their Gygaxian role, but instead all consumed with building/repairing some ancient machine, maybe that hooks the PCs interest? Maybe it's only me, but I think backwards talking derro that can only be understood if you look in a mirror as they speak, move a known monster away from an evil dwarf back to the Shaverian paranoid weirdness.

Those are just some examples, which may or may not work for you, but I'm sure you can think of your own. Instead of trying hard to make things fresh and new, just make them a little odd.

Guardians of the Galaxy, Vol. 2

I was not as fond as most people of the first Guardians of the Galaxy film. I saw Vol. 2 last night, and while I still wish I had gotten a Farscape movie instead, I think this one is a better film that the first.

In brief, the new movie pits the Guardians against the Goldenskinned authoritarian snobs of the Sovereign (who they ripped off) and Ego the Living Planet (a universe-imperiling threat). It has plenty of action and perhaps even more physical comedy that the first (too many hyperjumps causes cartoonish facial deformation). It manages to give all the characters some story beats and something interesting to do--something that other large cast Marvel films haven't managed as well. In contrast to the first film, the characters are allowed to grow a bit, in contrast to being reduced from their two dimensional comic versions to one dimensional cliched archetypes. Freed from the need to blatantly tie in to a larger Marvel "epic", Vol. 2 gets to more full psychedelic space fantasy, like Farscape if it were a Heavy Metal comic or Star Wars with a dayglo aesthetic and more dick jokes.

There are still some things I didn't like: I have come to the conclusion I just don't care for the Marvel Studios "fantastic" aesthetic. I thought Asgard looked like a Nike commercial version of the Star Wars prequels, and the first Guardians of the Galaxy managed to make Chris Foss inspired designs seem uninteresting. I'm still not sold; it all looks very expensive video for a pop song I don't like, but there are hints this time of a particular philosophy of design that makes the seedy Contraxia and the ostentatious Sovereign throne room work for me better than anything in the first film.

Also, it still seems like dimension hoping more than space travel. Forget Serenity's "into the black;" except for the fact that people dying in the vacuum is a plot point, you could be forgiven for not realizing they were ever in space. Everything is as awash in color, and planets are passed in travel not as planets but as little tableaux or comedy scenes, like the cosmic equivalent of the hapless fruit vendor getting his stand smashed in a car chase. I think colorful, busy design can be but to great purpose (I love Speed Racer) and in sci-fi (like The Fifth Element or the upcoming Valerian), but something about the way Marvel does it rubs me the wrong way.

Oh, and the music cues are omnipresent. Upping the ante from its predecessor (but in line with Suicide Squad) its much like a series of short music videos for classic pop songs. While not as bad as Suicide Squad in this regard, it also has a few that are so on the nose that the movie is sort of narrating itself to you in song (cf. "My Sweet Lord").

Bottom line: If you liked the first one, you will almost certainly like this one. If you were so-so on the first one, you still might like this one.

Weird Revisted: Fantasy Pharmakon

In February of 2010, I had fantasy drugs on the mind. I'm happy to say that in the 7 plus years since this post originally appeared, a lot of fantastic intoxicants have appeared on blogs and OSR products.

"Not that we needed all that for the trip, but once you get into locked a serious drug collection, the tendency is to push it as far as you can."

- Raoul Duke, Fear and Loathing in Las Vegas

A couple of years ago, I was following a messageboard thread discussing drugs--intoxicants--in the context of fantasy gaming. It was prompted by White Wolf's Exalted and the modern drugs like heroin and cocaine, apearing therein. One of the writer's involved with defended their choice to use those very modern drugs with those very modern names by saying that "made up" names for things were essentially lame/uncool, and that if a substance was familiar to player's under a certain name, that name ought to be used.

I disagreed in two ways. One, I think using too many words with modern connotations and origins can break the "mood" of fantasy. Such things are "amundisms," as Lin Carter would have it in his seminal exploration on world-building, Imaginary Worlds (1973). Secondly, and most importantly, why should a world like Exalted's Creation, where fantastic creatures like the Beasts of Resplendent Liquids exist--which eat raw materials and excrete drugs--be saddled with the same old, boring drugs found in the real world? Surely, that's a failure of imagination.

Thankfully, many writers of fantastic fiction have not been so limited. Here are several examples of fantastic intoxicants which should serve to inspire interesting new substances for role-playing game characters to use (or misuse):

Black Lotus
In most of Howard's Conan stories, black lotus is a poison (though in "Hour of the Dragon" it's noted that its pollen causes "death-like sleep and monstrous dreams"), but the ancestors of the thoroughly stoned citizens of Xuthal have cultivated it until "instead of death, its juice induces dreams, gorgeous and fantastic." The effects appear to be similar to more mundane narcotics in terms of the heavy sleep and euphoria it induces with the added effect of generating vivid, pleasurable dreams. Find it in: "Xuthal of the Dusk" in The Coming of Conan the Cimmerian.

Dreamshit
A mysterious, and powerful, new psychedelic drug on the streets of New Crobuzon in China Mieville's Perdido Street Station. Dreamshit takes the form of brown, sticky pellets about the size of an olive that smell like burnt sugar. Eventually, it's discovered that dreamshit is the "milk" of the deadly, mind-devouring, slake-moths. Find it in: Perdido Street Station by China Mieville.

Fledge
In Tim Lebbon's Noreela, fledge is a commonly used (and abused) substance. Mined from deep underground the yellowish substance is put to many beneficial uses by the race of fledge miners for whom it provides sustenance, healing, and the ability to project their minds outside of their bodies. The fledge miners experience no ill-effects from their use, but do have withdrawal if they go without it. Taken to the surface, though, fledge degrades in quality--its mental-projection effects greatly diminish--and becomes highly addictive. Not that fledge mining is totally without dangers. There are rare, but powerful demons (the Nax) sometimes found near fledge veins. Lebbon also gives us another drug--rhellim--which enhances sexual stimulation, and comes from the livers of furbats. Find them in: Dusk, and Dawn by Tim Lebbon.

The Plutonian Drug
The Plutonian Drug appears in the Clark Ashton Smith story of the same name. Also called "plutonium"--though certainly not to be confused with the radioactive element of the same name--it's found on Pluto by the Cornell Brothers' 1990 expedition (I remember watching the intrepid explorers' return on live TV in 1994, don't you?). Its native form is crystalline, but it turns to a powder when exposed to earthly atmosphere. Ingestion of the drug causes the user to be able to perceive their own timeline for a relatively recent period as if it were a spatial dimension, allowing them to see a short distance into the future. Several other extraterrestrial drugs are mentioned in the same story. Find them in: "The Plutonian Drug."

Shanga
Appearing in a couple of stories by Leigh Brackett, shanga certainly brings out the beast in its users.  It isn't actually a drug, but a radiation produced by projector devices, the construction of which is a lost art. Users experience temporary atavism, allowing one to (as the quote goes) make oneself into a beast to get rid of the pain of being a man. The ancient projectors used a prism of an alien crystal rather than quartz, like the projectors found in the seeder parts of Martian trade-cities at the time of the stories. The crystals, the so-called Jewels of Shanga, produce a more potent effect leading to physical de-evolution, with longer exposure causing transformation to ever more remote evolutionary ancestral forms. Find it in: "Queen of the Martian Catacombs" (The Secret of Sinharat), and "The Beast-Jewel of Mars."

There you go. Five substances for hours of simulated enjoyment. Turn on, tune in, play on.

Wednesday Comics: Storm: The Labyrinth of Death

My exploration of the long-running euro-comic Storm, continues with his adventures in the world of Pandarve. Earlier installments can be found here.

Storm: The Labyrinth of Death (1983) 
(Dutch: Het Doolhof van de Dood) (part 3)
Art by Don Lawrence; script by Martin Lodewijk

Marduk's devices begin siphoning off the energy spacetime energy for which Storm is a conduit and storing it in batteries. Then, the energy begins flowing back into Storm, powering him up. He begins using that power to destroy the Theocrat's lab.

Storm's energy is rapidly dissipated, but luckily the rebels arrive just in time. Storm and his friends are reunited. Their are too many guards, though, so they have to flee with the rebels.

Marduk isn't worried. He's confident there is no escaping the corridor they ran into.

Soon, the rebels come up on the "Golden Gates of the Labyrinth of Death." No one has ever entered it and lived:

To Marduk's horror, that doesn't stop our heroes from entering. He orders his hapless guards in after them.

Storm and friends and "Brush-head" (Storm's name for the rebel leader) make their way through the labyrinth. Their way is lit by Storm, still glowing with residual energy. They see the Theocrat's guards behind them, and run off down a random corridor. After passing through narrow tunnels, the way widens again and they encounter a horror:

TO BE CONTINUED