Take a Trip to Gnydron

In an abandoned fragment by Clark Ashton Smith Gnydron is "a continent of the far future, in the South Atlantic, which is more subject to incursions of 'outsideness' than any former terrene realm; and more liable to the visitation of beings from galaxies not yet visible; also, to shifting admixtures and interchanges with other dimensions or planes of entity." Smith's Gnydron eventually became his Zothique. 

Lester B. Portly has picked up the name Gnydron in the same way he's salvaged some gaming ideas of yore for a series of publications that aim to inject a bit of "outsideness" into the terrene realms of your standard OSE or other B/X-derived gaming. 

I have known Lester for a number of years. He did the layout on several of my gaming publications (in addition to the likely better paying work he did for Goodman Games), and I played in a pulp campaign he ran set in his interpretation of my Weird Adventures setting. Lester has also been a fan of true old school gaming with its incursions and visitations from other genres, based on fiction that was not so firmly and definitely categorized as fantasy is today. Each of these Gyndron supplements focuses on another subgenre of fantastic fiction (and gaming) that was once a part of the old school domain these days is often trimmed or shunted off to works dedicated to it in modern old school-derived systems. 

Supplement 1 is subtitled "Mystic Fantasy" and offers an AD&D-styled Monk class and a cool system of martial arts. It also provides a system of Psionics that again reminds one of AD&D's but this one is more streamlined and appears imminently usable. There's a bestiary of old school psionic-based monsters that have either been left out of or de-psionicized in OSE and other modern interpretations. Rounding out the supplement are some optional rules and a Saurid (lizard man) race-as-class.

"Science Fantasy" gets its due in Supplement 2. There is a star-farer class for playing those high tech individuals stranded on a fantasy world and the Vat-Born, a synthetic mutant class. To support these two, there's a chapter on high-tech equipment and one on mutations with an appearance table. Again, there is a menagerie of science fantasy monsters, many derived/adapted from classic modules like Expedition to Barrier Peaks. 

"Weird Fantasy" rises in Supplement 3. Lester gives us the Initiate class, practitioners of ceremonial magic, and adherents to strange deities, and the Formican race-class of eusocial, hive-dwelling humanoids. There's a system of ritual magic to support the Initiate, as well as a chapter on deities where you'll recognize some Lovecraftian Elder Gods and Old Ones, among others. Finally, there's a chapter on Monsters from Appendix N. Lester really did a deep dive here, and I confess I didn't catch all the derivations, but I see creatures from multiple Burroughs series, works of Jack Vance, and the Gondwane tales of Lin Carter, among others.

All of this is presented in the nice, clean layout style Lester does so well and enlivened by the always flavorful artwork of Zhu Baije.

If you play OSE or other B/X inspired rulesets and dig Appendix N fiction, then these are a must. Even if you play a bit more variant old school ruleset and like those sorts of inspirations, they are worth your money to have all this content for easy adaptation.

If drivethru isn't your preferred shopping site or if you want POD, you can also find the Gyndron supplements on Lulu and RPG Trader.

The D&Dness of Nifft the Lean

Michael Whelan

Michael Shea's Nifft the Lean (1982) and its sequels are too recent to be in Appendix N, of course, but rereading the novel (really a collection of short stories) after 30 years, I'm struck by how much homology to a D&D game the stories have.

First, an introduction for those who may never have heard of it. The titular Nifft the Lean is a master thief whose fantastical exploits are related to us after his presumed demise by a friendly scholar. The stories recall Jack Vance and Clark Ashton Smith, but also, they remind me a bit of Wagner's Kane stories in what I see as Shea's attempt to weld Sword & Sorcery and the Gothic. Of several of them, one might could say they are Vance by way of Hieronymus Bosch.

Now, as to the D&D-like action of the stories, here's a warning: this will contain spoilers. Here's the list:

Competent Professionals

Like higher level D&D characters, Nifft and is companions (typically Barnar) are highly skilled. This is noted in world and demonstrated in comparison to others. While they likely possess inborn aptitude or talent, the learned skill aspect is more emphasized. They also complete their "exploits" (as they call them) not so much by badassery or trusting to luck (though there is some of that) but by planning and experienced execution--where they are the masters of their own destinies--and skill and improvisation when they are not.

In "Pearls of the Vampire Queen," for instance, they well plan first their illicit pearl diving and then their robbery of the queen's palace.

Improvisation

The point bears further emphasis. When faced with a challenge like say, descending from a mountain into a Subworld (Hell, essentially) in "The Fishing of the Demon-Sea," Nifft and Barnar make use of what they have around them to jury-rig a means of getting down (sort of) safely. In Pearls of the Vampire Queen," when diving for the swamp pearls proves too laborious and dangerous, they switch to another plan inspired by recent intelligence they got regarding the Vampire Queen.

Travel to Other Planes

Like high level D&D characters, Nifft and friends at least twice have to accomplish a mission on another plane of existence. In "Come Then, Mortal – We Will Seek Her Soul" Nifft and his companion Haldar go to the land of the dead to carry a wayward former suitor to a priestess for her vengeance. In "The Fishing of the Demon-Sea" they are forced to retrieve a young noble from what in D&D terms you might call the Abyss. Like in D&D, these are so much mystical places but dangerous adventure sites.

Lasting Injuries

Nifft and friends are mortal, not superhumans. They get injured a lot and retain scars. Nifft and Barnar both lose their left ears in different stories, for instance.

There are of course ways where the stories aren't much like D&D. There aren't really parties of characters nor are there explicit dungeons, though there isn't any reason there couldn't be. Also, they tend to center around specific heists or missions not general looting or treasure hunting. Still, if one was looking for fiction that mimicked the sort of things one gets up to in old school still games, I think these novels are closer than even a lot of explicitly D&D tie-in fiction.

The Mismatch in Appendix N

One of the things about Appendix N in the AD&D Dungeon Master's Guide is that, in the main, the protagonists of the works featured don't really represent the typical PC in the old school mode, at least in the way players first meet them at lowly first level. "You're no heroes" has become a cliched marketing line in newer games wishing to evoke the old school D&D vibe, but the fantasy protagonists of Appendix N are heroes, at least in terms of capabilities. 

In older D&D, characters get by cleverness (player skill) or by luck (die rolls), but even when we first meet them, the likes of Conan, Fafhrd & Gray Mouser, Ganelon, and Skafloc are skilled, puissant sorts. One might quibble regarding Fafhrd and Gray Mouser. They are presented in the chronologically earlier but written later Leiber stories "Snow Women" and the "Unholy Grail," as youths, but they seem to be pre-hero (call it 0 level) in those, to me. We are told that Conan, in contrast, was formidable even at a young age: "I was one of the horde that swarmed over the hills. I hadn't yet seen fifteen snows, but already my name was repeated about the council fires."

There is fiction more representative of these early level adventurers perhaps as likely to come to ruin as to succeed, but we don't find it as much in heroic fantasy as in other genres. Fairytales and legends with their less competent protagonists often have heroes escaping by cleverness or luck or Providence --or not escaping and meeting a bad end. Picaresque adventure novels and some novels in the Gothic tradition often have protagonists buffeted from one predicament to another and seldom do they get out of them due to their adventuresome capabilities!

While not as violent as D&D or as some older fairytales, the Oz novels have protagonists engaging in exploration, encountering dangers, and mostly having combat being a fail-state.

This sort of plot where characters either narrow escape (or fail to escape) does show up in fantasy, too. Lord Dunsany (who is in Appendix N) and Clark Ashton Smith have stories of this sort. Mignola and collaborators have created some stories in the style of these two masters in Bowling for Corpses and Other Strange Tales from Lands Unknown and Uri Tupka and the Gods. 

Are there any of the most frequently cited Appendix N authors and works that depict these sort of characters? I think so. Jack Vance with Eyes of the Overworld and Cugel's Saga, certainly, and Tolkien's The Hobbit.

Greyhawk Rising

 

Last year, I was working on a blog series doing my own take on the world of Greyhawk. As it goes with these things, my interest petered out after a bit, and I moved on to other things. I'm feeling that Greyhawk jones coming on again, and I think I have at least a few more posts on that topic in me. We'll see, but if so it seemed a good time to revisit where I'd been. 

I summarized collated the posts summarizing what I wanted to do with the project and the first batch of posts here.

I had three posts after that:

The Wild Coast

North Province

South Province

Saving Throws and Implied Class Characteristics

Art by Jeff Easley

Savings throw in latter day editions of D&D are intrinsically tied to ability scores, which is pretty easy to understand. Old school saving throws, in contrast, are oddly specific and therefore difficult to generalize. Beyond that, given that they are tied to class, and only a few get ability score bonuses, it's not immediately clear what's going on in the fictional world.

Of course, this can be seen as a feature not a bug. Proponents point out the abstraction allows the player and DM to interpret what happens in the fiction, making this an unexpectedly more narrative sort of mechanical feature.

That's all sort of interesting, but a problem (for me at least) is that their progression is uniform based on class, and every member of the same class has the same distribution of saving throw aptitudes. So, while you're free to interpret success (or failure) any way you like, whatever situational explanation you give doesn't really build or develop the fictional world. As written, every cleric's better saving throw than other classes against Death Magic is just a mechanic.

I think it's more interesting to view them as telling us something about the world, while leaving room for situational factors. The fact that every member of a class is more resistant to certain dangers than others can tell us something about the training, aptitudes, of characteristics of people in that class.

Compared to the normal individual (0 level Fighter in AD&D parlance), we could conclude that:

Clerics have divine favor bolstering their spiritual and mental fortitude.  This particularly protects them from effects that would destroy or disrupt the body. Their biggest advantage is against Poison & Death Magic, but they have consistently good defense against all sorts of dangers.

Fighters have their martial spirit increasing their fortitude and perhaps giving them a "sixth sense" for danger. At first level, they are neophytes and haven't cultivated this to a great degree, but by the time they max out, they have the best saves on average.

Magic-Users possess an innate arcane aura that strengthens slowly as they develop their skills. It makes them particularly resilient in the face of spells and spell-like effects cast from common magical implements like wands and staves. Interestingly, they are also somewhat protected against the magical breath of dragons. Their aura adds little to protect them from poison, though.

Thieves rely on luck to get by. In the beginning it mostly protects them against things that would bind, hinder, or directly impair them being who they are. Unfortunately, they tend to wear their luck out and they max out their saves worse off than the other classes.

Certainly, these aren't the only implied class abilities you could take from these, but I wanted to come up with an explanation that didn't implicate ability scores, and I haven't really seen another approach that does that.

The Apocalypse Now

Art by Jeff Easley

A lot has been written about the "Myth of the Frontier" underpinnings of D&D, and the games perhaps greater homology to Westerns than traditional fantasy in many ways. Interestingly, despite that clear element of the game's core assumptions, when we look at published D&D settings, we don't really see a frontier and expansion setup.

The implied setting of D&D, as a number of writers have pointed out, can also be said to be post-apocalyptic. That often conjures images of science fantasy writers from Appendix N, but of applies to in the literal sense if not the generic sense to the Hyborian Age of Conan and the 3rd Age of Middle Earth. Materially greater and in some ways more advanced civilizations must precede the current one for there to be so much wealth and magic to be looted in old ruins.

A post-apocalyptic setting allows the frontier to be closer at hand, and indeed really sort of obscures it even being a frontier, as no discernable border but instead the distance between "civilized points." Connecting these dots seems more reclamation than expansion.

That works, but in D&D settings like Greyhawk, Krynn, and the Forgotten Realms, the apocalypse is remote enough so that the current civilization doesn't seem post-apocalyptic, at least no more than the High Middle Ages seems to us recovering from the fall of Rome.

Yet, Greyhawk, for all its map full of named regions, heraldry, and rulers with elaborate titles, is really empty. Some of this exists to facilitate the desired game play, sure, but that's the Doylist explanation. I like the more Watsonian explanations of humanoid and demihuman groups that are not adequately censused coupled with events that have led to a decline in population.

As Chris Kutalik and other commentors suggested in his blog series of years ago, I think Greyhawk is best analogized not to some science fantasy post-apocalypse but to historical eras like the "Dark Ages" (or early Middle Ages) after the collapse of Rome, or the plague, famine and war riven period of the Crisis of the Late Middle Ages.

In many ways, I think, Greyhawk reads better as a setting where the apocalypse (or at least an apocalypse) is not the remote past but happening now or relatively recently. This isn't so much a total destruction kind of apocalypse but a "civilization is dealt a blow" sort of one. This allows for the breadth and complexity of social structures described in Greyhawk, but also for the population numbers and available real estate for enterprising adventures to carve out something for themselves. 

It's "points of light" to use the modern descriptor, but not (like so many of those settings) a rather static period, but one where there are still roving bands of invaders (humanoids, monsters, or armies of other human nations) and isolated communities that must either grow larger and more resilient or be wiped out. I should add, There's no one way the communities have approach this problem to survive. Orcs settling down to live in some sort of peace is potentially just as possible as driving them out and killing them.

I think this sort of implied framing could be fun to lean into. D&D settings need more Random Calamitous Event Tables and societies in flux (like we see in some epic fantasy like A Song of Ice and Fire). Christopher Buehlman's historical horror novel Between Two Fires and his fantasy series beginning with the Blacktongue Thief where human civilization is still dealing with the fallout from a disastrous (and still simmering) war with goblinkind are great inspirations, as well.

Elven Sects

Another way of recasting different groups of elves I've thought about is to draw inspiration from the wuxia tradition with its various kung-fu sects/schools/cults. Wikipedia has a nice (though I'm sure incomplete) list by author of these.

Though, I'm not opposed to kung-fu elves, mind you, perhaps in the case of elves, these would be based around a particular school or style of magic? They could be based on the elements or maybe the Classical Planets. They would presumably each be centered in a particular locale, probably remote from wider civilization.

Using this approach, different types of elves would have less physical or temperamental differences, but perhaps more philosophical ones. There might be rivalries between them. Since it's not an ethnicity but an allegiance, elves could move from one to the other, though perhaps not without some penalty.

I think this approach also has the benefit of making elven subtypes less background and more factions to interact with in gameplay.

Elves and Insects

I've suggested (way back in 2012) slapping some antenna on elves and giving them some organic-looking armor--in other words, reskinning them as the 80s Sectaurs action figures. I think the relationship between the faerie and insects makes elves ripe for this twist. I liked the idea so much, I made the elf stand-in species the Ieldra in my Gnydrion science fantasy setting have more insect like with brood queens and instars.

Back to regular old elves, though, I think replacing the Tolkien-inspired nations/tribes (or "subraces" in older D&D) of elves with insect-themed groupings has a lot to recommend it. For one, that group of bad elves, the drow, already have that sort of relationship with spiders (yes, I know they are arachnids, not insects), so there would be a certain symmetry in it. 

What particular insect type would depend on specifically how you envisioned them. Organized, social wood elves might be patterned after wasps or bees, but maybe they are solitary warrior badasses like Crow from Hawk the Slayer with more affinity for mantises?

I think the aloof gray elves would have the bushy antenna and pale complexions like some sort of moth, along with an ethereal strangeness. High elves might be bee-like (and matriarchal) or nimble warriors like dragonflies or damselflies.

I know that Adrian Tchaikovsky's Shadow of the Apt series has insect-themed races, so their might be some inspiration there, but I haven't read them to say. I know you could do a lot worse than checking out Bug Wars by Aaron and Asrar.

Dungeons & Baubles

The Revenger Trilogy is a series of science fiction novels by Alastair Reynolds. In a future millions of years hence, there is a spacefaring civilization amid ancient habitats that form a Dyson Swarm around the sun. Sisters Adrana and Arafura Ness flee their stifling life of wealth to become "bone readers" aboard a solar sail privateer searching for ancient, technological artifacts. 

Things don't go simply easily, as their ship falls prey to the infamous pirate, Bosa Sennen. From that encounter, the sisters are propelled into danger and more adventure than they ever wanted, and ultimately, the deep mysteries of their civilization.

The books are highly enjoyable in their own right, and the world would make a great rpg setting, but beyond that, I think that, in part, they are excellent inspiration for dungeoncrawling sort of adventure in any setting.

Working Class Treasure Hunters

The "dying in holes in the ground" aspect of low-level D&D beloved by old school play is poorly represented in the fiction of Appendix N, but the Revenger series very much portrays this sort of thing. Privateer crews are typically hard luck folks with scars, missing limbs, and stories of former comrades lost in the pursuit of that elusive big score. Such crewmembers have specialties: readers, openers, appraisers, to be efficient in the unglamorous work of seeking out treasures. These treasures are often strange--not as strange as things brought from the Zone in Roadside Picnic--but things that the current civilization can't make nor sometimes even guess their intended purpose. In these novels, these items often function as low level, utilitarian magic items.

Dungeon Lore

Having good intelligence on Baubles is a crucial part of "cracking" them. Baubles are surrounded by force fields that only open at certain times and openers rely on information from other privateers and their own readings and calculations to augur the time and duration of openings. Acquired maps are also essential for efficient and profitable "delves." Baubles have colorful names like His Foulness, the Cuckoo, Wedza's Eye, and the Yellow Jester, and their own internal arrangements and hazards.

Creative Uses

I mentioned before items brought out of Baubles, well their are obvious things of value like quoins (their unit of money), robots, or energy weapons, but also things that can be used less obviously in the privateers life. Bosa Sennen's dread ship has near invisible black sails made from catch cloth found in Baubles: a material that responds to some unknown and otherwise undetected emanation of the sun. Privateers prize even small peices of look stone, a strange glass-like substance that when peered through allows the ability to see through solid object. 

The Revenger series presents, in part, professional treasure hunters focused on resource-oriented and practical aspects of their trade. There are few "monsters" presented--just the pirates and one other threat I won't give away. The dangers are traps or merely hazardous aspects of the environment.  These aspects make more solid inspirations for elements of D&D that don't usually get much of a showcase in fiction.

Dungeon Innovations

Tsutomu Nihei

The following suggestions for dungeon adventure rpgs may not be entirely novel, but they certainly aren't common in published rpg dungeons, and I feel like they have potential.

Master of the Dungeon

Rpg dungeons sometimes have bosses, but mostly they seem to sit and wait for dungeoneers to get to them. In other media, they sometimes take a more active role taunting the protagonists or bedeviling them in various ways before the ultimate conflict. While this might become tedious, I feel like when used judiciously, it could be an interesting change of pace.

Time Trial

Despite the emphasis on resource management in some dungeon games, I don't think I've seen a dungeon that opened and close on a certain schedule. This is the case in all the "bauble"-based vaults in Reynolds Revenger series and forecasting the opens and how long they will last is an important job for looters. The anime adaptation of I Left My A-Rank Party... also has some dungeons for which time is a factor, as I recall.

A dungeon with strict time limits, in addition to adding pressure to move quickly, would also force characters to have some strategy about what they explore and loot. Do you try for the big-ticket items immediately or focus on quick exits with lower value items?

A Team Sport

While adventuring guilds aren't ubiquitous in settings, they're an established element. What I don't think I have seen in a rpg setting, though, is competing guilds or organizations (larger than individual parties). Inspiration could be found in the chariot racing factions (demes) of Byzantium or Roman collegia. 

The Stranger Realm of Dungeons & Dragons

I got around to watching the series finale of Stranger Things this weekend, and it gave me the idea for setting combining elements of that show and the Dungeons & Dragons cartoon series that ran from 1983-86.

We start with the secret experimentation with psychic phenomena in a small town. Through this experiment, a psychic rift to another world is opened. The reality of this world is either maleable or difficult for the human mind to comprehend. The psychic kid raised in isolation for the experiment, doesn't add much detail to the world and its denizens, but thanks to rift, the other world (or an entity in it) begins to make contact with the minds of other, susceptible individuals in the town.

One of these kids plays D&D, so the world begins to frame itself (or become framed) to humans in D&D terms. It's a small realm in Gygaxian fashion just a funhouse mirror of the kid's own surroundings, but with a fantasy Medieval adventure overlay.

Either of their own accord or as recruits of the shadowy researchers the kids would begin to explore this realm of Dungeons & Dragons. The psychic avatars of the kids are often imbued with the classes and abilities of their game characters but mentally and emotionally remain the kids that they are.

There's a dark power in this fantasy realm, though. A demonic sorcerer with origins in our world as well--and a desire to make the two realms one under his rule.

Weird Revisited: Spelljammer 1961

The original version of this post appeared in December 2020...

"Thinking beings of earth planet. This message was sent subsequent to the bravery of Yuri Gagarin and the achievements of the Soviet Union, but its intended recipient is every individual of your species. We are the Esoteric. We are now honored to admit you into the interstellar society. Many things we have to show you will definitely shock you and cause confusion. We have regret in that our policies mean you are living in a controlled environment where your understanding of physics has been restricted. We guarantee that this was done to protect you. Now, you are graded ready to have the safety guard removed to more fully experience the universe. We look forward to meeting with your government representatives and giving you a menu of offered services."

The poorly translated message broadcast to the entire planet was from beings who called themselves the Arcane. They revealed the image of the solar system taking shape from modern observations was an illusion. The real solar system was teeming with life, and ships powered by something more like magic that rocketry sailed through the heavens.

Once the principals were understood, humanity was able to get impossible, physics-defining things to happen even deep within Earth's gravity well, but it was always easier the thinner the atmosphere was. Humanity wasted no time in establishing orbital colonies and bases on the Moon, though they were ultimately more fantastic than anything science fiction had dreamed since the Victorian era. Once trade started with Mars and magical wood was imported, even private individuals were able to build all manner of spacecraft.

The Space Age had truly begun.

One thing that would have to determine with a setting like this is how technology Earth's technology would work in the Spelljammer type space. Could guns (or nuclear weapons) be exported into space. Spelljammer ships look much like sailing ships, but I don't know that the setting requires that as written. Could a C-47 cargo plane fly through "space?" What about a nuclear submarine, if it could get there?

The answers to these questions would perhaps take you further afield from trad fantasy, potentially moving things in a pulpier (and I think) more interesting direction, but it would make it harder to implement with D&D rules. 

The Non-Fantasy Origins of Fiend Folio Monsters

I've mentioned before how the original Fiend Folio (as compared to the Monster Manual) seems suited as inspiration for sci-fi creatures. In part, I think that's because the inspiration for so many of them seem to lie outside fantasy fiction or myth and legend. They owe their creation to media that would generally be placed in some other genre. 

Here are a few I'm aware of whose origins I think are generally accepted, but I'm sure there are more:

Grimlock 
(by Albie Fiore)
Inspired by the morlocks in H.G. Wells' The Time Machine (1895), particularly their portrayal in the 1960 film by George Pal.

Meenlock
(by Peter Korabik)
While the name likely has its origins in Wells' morlocks again, their portrayal adapts the demonic entities from the 1973 TV movie Don't Be Afraid of the Dark written by Nigel McKeand and remade in 2011 by Guillermo del Toro.

Art by David Mattingly

Quaggoth
(by Andrew Torchia)
Their name was possibly coined by blending Sasquatch and Sagoth, a race of ape-like humanoids (serving the "orc" role) appearing in Edgar Rice Burroughs' Pellucidar series, first appearing in At The Earth's Core (1914).

Art by Frazetta

Qsquip

(by Brendan Bulger)

Their description matches the ulsio (Barsoomian rat) first described in "City of Mummies" (Amazing Stories, 1941) later fixed up into Llana of Gathol (1948).

Art by Wayne Barlowe

Xill

(by Brian Ashbury)

Inspired by the alien ixtl in "Discord in Scarlet" (Astounding, 1939) by A.E. von Vogt fixed up into Voyage of the Star Beagle (1950).

Magic Systems I Like: The Riddle-Master series

I wrote a post almost a year ago related to portrayals of magic in fiction I'd like to see magic in fantasy rpgs be more like. In reading Patricia McKillip's excellent Riddle-Master series, I've come across more examples that are perhaps even more adaptable to fantasy adventure rpgs than some of the ones I mentioned previously.

In McKillip's setting, there are wizards but they are hidden/in hiding at the beginning of the story. The examples I've given here reflect the things able to be done by talented individuals (explicitly not everyone is capable of learning them) but not by people who either have the highest aptitude or training.

She had left, in front of Rood's horse in the College stable, a small tangle of bright gold thread she had loosened from her cuff. Within the tangle, in her mind, she had placed her name and an image of Rood stepping on it, or his horse, and then riding without thought every curve and twist of thread through the streets of Caithnard until, reaching the end, he would blink free of the spell and find that neither the ship nor the tide had waited for him. 

- Heir of Sea and Fire

Raederle (the "she" above), is also able to use this same technique to trip someone immediately (like in a combat situation by throwing a tangle of thread or similar material in front of them. She also is noted to be able to make a thorn bush into (or perhaps seem to be) a difficult to traverse bramble and to find her way out of a magical forest that confounds visitors and gets them lost.

These abilities seem more like spells of the AD&D sort, though they are perhaps wider in application than many and certainly less flashy than most. Another commonly employed magical ability in the series is "the shout:"

...Rood caught his breath sharply and shouted.

Morgon dropped the crown. He put his face against his knees, his hands over his ears. The wine glass on the desk snapped; the flagon on a tiny table shattered, spilling wine onto the stones. The iron lock on a massive book sprang open; the chamber door slammed shut with a boom.

- The Riddle-Master of Hed

More magical powerful individuals can generate more powerful shouts, even to the point we are told of laying low armies in rare instances. We are told that individuals able to shout are only able to do so at times of intense emotion, so it isn't exactly an "at will" power. Still, fairly D&D spell-like.

It's interesting to me how, in broad strokes, the magic conforms to Isaac Bonewits concept in Authentic Thaumaturgy in that, at base, its most common presentation is psychic phenomena. Characters are able to communicate telepathically and invade the minds of others to read their thoughts or memories. There is also a psychic attack--the mental equivalent of the shout--that came overwhelm the mind of an unguarded person and stun them or knock them unconscious. I suppose this psychic magic is hardly uncommon in literary (at least older lit) and real world belief, but it's very different from the energy-wielding magic of many modern portrayals.

Shape-changing is also common in the series, though a number of practitioners only have one form they are able to assume. Danan of Isig, for instance, is only able to turn into a tree, but that's a usual talent for hiding or resting in overland travel. Others are able to assume multiple forms in a way that would give a lot of rpgs fits due to concerns of game imbalance.

Overall, though, I think D&D magic could be molded more in the direction of this series pretty easily. A lot of it would be in reconsideration of the special effects of spells really. Oh, and for you bard fans, there's a bit of harping magic in the series too.

The Patchwork Kingdom Crawl

 As has been pointed out before, the kind of frontier envisioned by old D&D owes more to Westerns than it does to the Western European Middle Ages or most of the fantasy works in the Appendix N. The modern idea of the "points of light" setting is perhaps closer to these things but still tends to miss the mark for many sources of the game's inspiration.

There's another option that shows up often, in disparate places from Le Morte d'Arthur to Star Trek, and many works in between. We have heroes wandering from one place to another, perhaps with a goal, perhaps not. These places are more or less civilized jurisdictions, but they have unusual customs (from the perspective of the protagonists) or eccentric or antagonist authorities. While one of the examples I mentioned above describes voyages covering a significant amount of territory (interplanetary!), some fairy tale-ish or picaresque stories (like Oz novels) do the same thing over a much smaller area: A patchwork of fiefdoms or petty kingdoms. The sort of campaign that could easily be made from a map of Holy Roman Empire:

This differs from the points of light setting in that there really isn't a distinction between wilderness for adventure and civilization for safety. In fact, the challenges of the wilderness in such stories may be much more limited than the challenges of civilization. The various eccentric monarchs and humorously dangerous social situations Manuel finds himself in in Figures of Earth are good examples, as are the strange and isolated cities John Carter visits in his wanderings across Barsoom.

The advantages of this sort of setting to me would be that it's very easy to work in all sorts of adventures from social conflict and faction stuff to traditional dungeons and overland travel.

Weird Revisited: Further Ideas on Clerics

Prismatic Wasteland's call for a Blogging Conclave seemed like a good time to revisit this post originally presented in January of 2020:

It is no secret that clerics have always held a bit of an uneasy place in D&D. They were supposedly inspired by the vampire hunters of Hammer Horror with some further borrowings from Crusader orders. Even if later editions with variable domains, weapons, and powers have ameliorated there implicitly Christian, monotheistic origins, we are still left with them serving pantheons drawn from modern imposed-systemization on characters from later versions of myth, a systemization alien to actually polytheistic religions. But still, it's only a game, we can run with that, right?

Well, we're still left with unanswered questions regarding how the cleric class fits into the structure of religious organizations. Do all priests have spells? If so, where do they get the experience to go up in level?

Here are some possibilities drawn from real world examples that are potential answers, though of course not the only answers, to these questions. Most of these assume clerics adventure because they are "called" to in some way. Whether this is a legitimate belief on the part of the cleric and society or a mistaken one would depend on the setting.

Lay Brothers 
Clerics are not ordained priests but warrior lay brethren, like the sohei of Japan or the military orders of Europe. They would overlap a bit with paladins, but that's real just a matter of whether they were stronger in faith or battle. In this version, priests might or might not have spells, but if they did it would strictly be at the dispensation of their deity.

Prophets/Evangelists
This is more or less the idea I proposed in this post. Clerics are outside the church hierarchy, though they may or may not have started there. They were chosen by their deity for a special purpose. They may be reformers of a church that has been corrupted or lost it's way, founders of a heretical sect with a new interpretation, or the first in ages to hear the voice of a new god. Priests here may have no magic or may be powerful indeed but erroneous in their theology.

Mystics
Similar to my "Saints and Madmen" ideas before, mystics are either heretics or at the very least esotericists with a different take on their religion than the mainstream one. The difference between this and the Prophet above is that they have no interest in reforming the church or overturning it, they are either hermits or cult leaders who isolate themselves from the wider world to pursue their revelations. John the Baptist as portrayed in The Last Temptation of Christ would fit here, as would perhaps the Yamabushi of Japan, or certain Daoist sects/practitioners in China. They might be not at all scholarly (with all spells/powers being "gifts of grace" unavailable to less fanatical priests) or very scholarly with powers/spells coming from intense study or mediation which even more mainstream priests cannot master.

Special Orders
Clerics are members of special orders within the church hierarchy dedicated to recovering the wealth and lost knowledge of dungeons for the the glory of their deity and the betterment of their church. Not all  priests have spells. Clerics are priests chosen for their aptitude or particular relationship with the divine or whatever. These orders may be quite influential within the church hierarchy, but their mission thin their ranks and keeps them in the wilderness and away from centers of power--perhaps by divine will or by design of church leaders.

Arduin Got It

I don't know much of anything about Dave Hargrave or his inspirations for Arduin but the art and content suggest Hargrave's inspirations (or at least his artists inspirations) were much closer to mine and my friends' early influences than the likes of Gygax, Arneson, or Barker. 

I had read a few works off Appendix N in the first couple of years I played (some Howard, some Lieber. Tolkien) but it would probably be well into the 90s before fantasy comic books, art by Frazetta, Vallejo, and Whelan, etc., and animation weren't bigger influences that literary fantasy.

The things I see in Greyhawk now that I think were informed by Gygax's interest in historical wargaming would have been over my head when I first encountered it, and were not something I would have sought to add to a setting. Barker's world has a bit of Sword & Planet vibe but would have felt too bound by propriety and protocol. Greenwood's Realms seem geared toward trilogy novel so of play, but Tolkien's was the only trilogy I was interested in at that point. Hargrave, on the other hand, had insect people like Bug from Micronauts and Amazon warriors of the sort that were all over comics and seem de rigueur for fantasy worlds.

I can't say that (beyond the art) I've ever been particularly interested in Arduin. I came to it too late. Had I discovered it around age 12-13, it might have been a different story.

[Greyhawk] The Wild Coast

In the waning days of the Great Kingdom, folk who were faced with debts they could not pay or disagreements with the legal authorities that might see them imprisoned or facing the hangman often found it convenient to flee narrow area of flatwood, sandhill, and wetland along the Northwest edge of Wooly Bay. There, they would be, if not welcomed, at least accepted into the independent community that had grown up among the several, squabbling towns. The region had an infamous reputation and was known as the Wild Coast.

Primarily, the Wild Coast served as a safe haven for brigands and outlaws from the woodlands west and smugglers and pirates from Wooly Bay to the east. Trade went on between the groups without fear of Dyvers' or Greyhawk's tax agents. The towns grew up to crater to the needs of these clientele but also drew others in search of freedom: escaped serfs and slaves, political dissidents, fringe religionists, and more than a few nonhumans. 

The freedom of the Wild Coast was just as often manifest as lawlessness. Existence was precarious when local powers shift quickly and much of the population is transitory. Humanoids raided up from Pomarj and monsters driven out of other areas sometimes found this sparsely populated region ideal.

It seems like Gygax wanted the Wild Coast to evoke a bit of the American "Wild West." I drew inspiration from a number of places: the Romagna during the late Middle Ages/early modern period, Barataria Bay in the early 19th Century. Mostly, it's just a fantasy region though.

[Greyhawk] North Province

Art by Mihai Radu

The Overking was traditionally appointed by vote of the magnates ruling the constituent territories of the Aedi. One of these was the region now called North Province which was held by House Naelax since the Great Kingdom's founding.

In time, Naelax seized the Malachite Throne themselves after the period of strife known as the Turmoil between Crowns. This dynasty came to a end under Ivid V, sometimes called Ivid the Mad, though that epithet fails perhaps to distinguish him from his predecessors. Before his ascension, the young Ivid was hardly considered a likely candidate for the throne, given that he was not possessed of any exceptional qualities to make him standout from his numerous siblings. 

In the fullness of time, though, Ivid was proved to possess the most essential quality for rulership: he was still alive. Not a few of his siblings were likely murdered and these assassinations are laid at the feet of Ivid's cousin and staunchest supporter, Grennell, who was ultimately elevated to Herzog of North Province.

Grennell, born to a cadet branch of House Naelax, was not in line to inherit even a lesser holding, so he put his skills at the application of violence to use, first in skirmishes against the Northern Barbarians and orcs, and then as assassin for his cousin, first in secret, then more brazenly. In the end he was rewarded with a ducal throne. After the reign of terror perpetrated by the pair, there were few other potential claimants left.

By all accounts, Grennell is a man of perversity and sadism. People who had displeased him or even ones who provoked his interest for any reason were taken by his henchmen and brought to his Iron Tower where they were subjected to the art of a scarred hobgoblin who served as his chief torturer or the attentions of the Herzog himself. His passions excited by these horrors, he then joined his retainers in feasting, gambling and debauchery.

The commoners and lesser landholders of the area around Eastfair lived in fear of their Herzog. Many have taken to having their children and heirs moved to the hinterlands or even out of the province to at least save them from Grennell's appetites.

[Greyhawk] South Province

Under the enlightened rule of the Herzogin Eliamund, South Province could reasonably boast to being the most cultured and genteel realm of the Aerdi. The first Aerdian university was founded with her encouragement and patronage. The poets and troubadours who were welcome at her court composed ballads of chivalry, romance, and courtly love that then spread throughout the Kingdom. Perhaps owing to a culture dating back to the realm of Flan queen Ehlissa, women enjoyed a greater role in South Kingdom than in the more patriarchal north.

In the North, legends painted Ehlissa as a wicked enchantress, cruel to her subjects. The Southron troubadours, however, sang of her as a wise and benevolent, an interpretation encouraged by Eliamund.

This bright age did not last. The Turmoil Between Crowns saw Eliamund forced from the throne. She lived out her remaining days in an abbey. 

The South Province of 576 CY was not the land it once was. An ill-favored cousin of the Overking, Faastal, sat upon the ducal chair, a man incompetent as he was arrogant. He had been given a task that would have challenged someone of greater talents: to put down rebellion in the South and return the cities of the Iron League to royal control. Faastal crushed the people with taxes to fund his military blunders and dealt over-harshly with any dissent. His efforts only served to stoke the fires of rebellion he had been sent to quell.

For the rebel bands hiding in the forests and the towns barricaded against the Herzog's men, Eliamund became a symbol of their struggle and was given devotion like a saint or hero-god.