Stories And Dice

A few years back I told Jenn “You know what would be awesome? A gumball machine filled with dice.” I forgot about it… she didn’t. So meet the newest addition to our house. It’s just as awesome as I expected, but it’s not a small machine. Jenn included a few pounds of dice as part of the present, and I’ve added in all the loose dice I had around the house, but that’s still left us with a significant amount of room at the top. And that gave me an idea.

As gamers, dice are our faithful (and sometimes treacherous) companions and tools. We have our favorites, we have superstitions, we have memories of amazing critical hits and tragic fumbles. One of my favorite experiences during my Have Dice Will Travel tour was the story of how D&D came to Bulgaria… in particular, how for many years it was very difficult for Bulgarian gamers to acquire dice. A set of dice was a relic to be treasured by a gaming group. At one point the first Bulgarian gamer had to sell some of his dice to raise rent money. Stop and think about that for a moment: you need some significant cash, fast, so what do you do? Sell some dice, right? At the end of my trip to Bulgaria, my guide Stefan gave me one of those very dice (both pictured below), and that little grey die is one of my regulars today. It’s not much to look at, but once upon a time it was one of the only dice in Bulgaria.

Dice aside, I love hearing people’s stories about how they started gaming, why they play, or favorite moments. It’s especially great to hear from people who have enjoyed something I’ve done – to hear YOUR stories of Eberron, Gloom, or anything else. Last year at Calgary Expo I met a pair of newlyweds who’d met in an Eberron campaign; the year before I met a soldier whose unit played Eberron in Iraq using dice made out of toilet paper.

So I have a diceball machine with empty space at the top, and thousands of people out there whose stories I haven’t heard. I could just buy another two pounds of dice, but I thought I’d do something different. I want you to send me a die and a story. It doesn’t have to be your favorite die, and it doesn’t have to be an epic story; just tell me something about you. Why do you game? What was one of your favorite moments? If you played in Eberron, what’s the most awesome thing you did there? I’ve made a layer of white at the top of the machine so I can tell where the story dice begin, and if we get enough I’ll drain it from below. Perhaps someday every die in the machine will have a story.

If you’d like to take part, send your die and your story to:

Keith Baker

PO Box 13250

Portland, OR 97213

… or catch up with me in person somewhere! Let me know if it’s all right to share your story with others, and make sure to include your email address so I can follow up with you. And please pass this along to anyone you know who might be interested.

As long as I’m talking about the stories of dice, I’d be remiss if I didn’t mention The Bones, an anthology assembled by the brilliant Will Hindmarch. The Bones includes stories from Kenneth Hite, Matt Forbeck, John Kovalic, and many others… including a more detailed account of my time in Bulgaria.

In the days ahead I’ll be writing about Phoenix, Gloom, and the many exciting projects I’ve got lined up for 2014. I’ll be back with more Eberron Q&As. Until then, I hope you’re having a fantastic holiday, and I hope you’ll share a story with me!

Doom News & Things I’m Backing

The Doom That Came To Atlantic City is one step closer to reality. These resin models were used to create the molds for the playing pieces. Cryptozoic has proof copies of the miniatures and is showing them at Board Game Geek Con, going on in Dallas right now! This is the first time anyone’s been able to play the game with the miniatures, and it’s great to finally be closing in on the end of this particular road. Thanks again to everyone who put their faith in this project, and especially to Cryptozoic for their kindness and generosity.If you get a chance to see the minis at BGGC, let me know what you think!

While my experience with The Forking Path was painful and disappointing, I still believe in crowdfunding. I’m planning to kickstart Phoenix next year. The game is coming along and we’re continuing to playtest and hone, but we aren’t going to launch a campaign until we are entirely confident in our production budget and timeline. Having seen what happened with Doom, I have no intention of making those mistakes in my own campaign… and as a result, it’s still going to be a few months before we launch Phoenix. Meanwhile, I’m continuing to back a host of other projects. Some have just wrapped up, like Javier Grillo-Marxuach’s Middleman Crowd-Funded Franchise Resurrection and James Ernest’s card game Get Lucky; I’m looking forward to both of those. But there’s a few others that are still going on, and I thought I’d share.

THE STRANGE

An RPG project from Monte Cook and Bruce Cordell, this is a setting that crosses multiple worlds, each with its own unique laws and structures… and your character changes to adapt to each world. I played around with a similar idea a few years back, and I’m keen to see what Monte and Bruce have come up with. The Strange only has 24 hours left, and they’ve already unlocked a host of new material through stretch goals, so check it out quick!

ODYSSEY: A Game of Journeys

Odyssey is a story-driven RPG from Will Hindmarch. I’ve been a fan of Will’s work since we collaborated on Friends of the Dragon many years ago. His pay-what-you-want cyberpunk campaign Always/Never/Now is one of my favorite roleplaying experiences of the last decade. In my opinion, anything Will is involved in is worth a look, and Odyssey is no exception.

ZEPPELDROME

From the minds of Anthony Gallela and Jeff Wilcox comes Zeppeldrome, The Hazardous Dirigible Rally. If you’re like me, you’ve been bemoaning the horrifying dearth of dirigible-based board games on the market today. Zeppeldrome doubles down on this concept, as it’s a dirigible race in which the racecourse is itself in an even larger dirigible. This isn’t just a load of hot air, folks. Well, it is, but it’s also an intriguing game involving a modular board, pre-planned movement, and the ability to interfere with your opponent’s preplanned movement. I haven’t had an opportunity to check it out, but Jenn has, and it gets her seal of approval. So if you’ve been hankering for a quality game about humorously awkward airships, take a look!

 

 

 

Eberron Continued: What Is Canon?

I’ve got a lot of things I want to write about this week – Phoenix, Kickstarter, and more. However, a comment on the last Dragonmark raises an interesting question, namely “What is canon?”

Let’s start with the comment itself.

If you consider DDO to be canon in some way, there is two survivors from the Dragon/Giant war too: The Stormreaver and The Truthful One. They both died in the conclusion of the most recent game raid, but their history had been told since DDO launch.

Excellent point. But what really interests me is “if you consider DDO to be canon…” I am thrilled with everything that DDO has done and the stories that they have created. They have helped to keep Eberron alive over the years in which there’s been little new published material. But personally, I don’t consider that material to be canon… any more than I consider my own novels to be canon. Because in my mind, these are the same thing.

What COULD be considered canon? I could see a case for any of the following.

* Sourcebooks created by Wizards of the Coast.

* Articles created or authorized by Wizards of the Coast – the Dragonshards, Eberron Expanded, articles from DDI, Dragon, or Dungeon.

* Eberron novels authorized by Eberron.

* The lore created for D&D Online.

With that said, when the design team first created Eberron, we made the decision that novels wouldn’t be considered canon. A novel is a particular story that COULD happen in Eberron… but that doesn’t mean it WILL happen. In other words, just because a novel says that Lhesh Haruuc of Darguun dies in 999 YK doesn’t mean that you’ll ever see that mentioned or acknowledged in a sourcebook. In the Dreaming Dark Trilogy Pierce gets an artifact – the Docent Shira. When I wrote Secrets of Xen’drik, I included game stats for Shira. But I didn’t mention Pierce. Because if you want to use Shira in your campaign, I want YOU to decide what happens to her. So in a sense, SHIRA is canon – covered in a core sourcebook – while Pierce is not. In my opinion, DDO is in the same category as a novel. If DDO does something with the Lord of Blades that contradicts what you’ve done with him, you aren’t somehow wrong. DDO is one possible story, just like the novels. But it’s not any more important than your story.

This raises the bigger question: What is the purpose of canon? In my opinion, having canon material gives players and gamemasters a common language. It lets players from different groups share stories. It gives them something to expect. It can inspire stories and adventures. I can go into an Eberron game and tell the DM “What I really want to do is to investigate the Mourning.” Canon provides the major pillars that carry the setting… The Last War, the Mourning, the Treaty of Thronehold, the Dragonmarked Houses, the Prophecy. I may not know the specific details a DM has decided (such as the cause of the Mourning), but I know the Mourning is a major force in the world. Canon creates a CONTEXT. In my opinion, canon is most useful as a source of inspiration, when the ideas of the Lords of Dust or Lhesh Haruuc’s successor or the Race of Eight Winds or whatever gives you an idea for a story and gives the PCs context to fill in all the little details around it. What I don’t want is for it to limit you. Case in point, in the last Dragonmark someone asked if Eberron had legends of sunken lost continents. None of the material I’ve written does; in developing the setting I focused more on creating civilizations for the aquatic races than on having sunken surface nations. But as a DM, the LACK of canon information shouldn’t stop you from creating your own sunken nation. And regardless of what a novel says, you should feel free to kill Lhesh Haruuc, keep him alive, or just replace him entirely with this cool bugbear you’ve developed.

Beyond this: I might say “Sourcebooks are canon, but novels aren’t.” But the fact of the matter is that *I* don’t use everything in the sourcebooks. For example, I feel that the depiction of Thrane in The Forge of War runs counter to its depiction in other sources and to my personal vision of the nation… and thus, I ignore it. So in my campaign, The Forge of War isn’t canon. Meanwhile, you might decide that since you and your players love the Legacy of Dhakaan books, you want to make the events and characters in that book part of your story. So for you, it’s canon. When we talk about our respective campaigns, I can say “I’ve made DDO and the Thorn of Breland canon, but I’m ignoring the other novels”… and that lets you know what to expect, and gives you information you can use in creating your own character and story.

Ultimately, “canon” is a tool that helps you and your players understand the world. It creates a common language for storytelling. So what’s really important isn’t the broad generic canon, but the canon for your campaign. Personally, I’d suggest that you tell players what’s going to be canon when you start a campaign. If you like certain novels, you can say “These novels are canon.” If you hate a particular sourcebook, mention that you aren’t using it. What’s important is creating YOUR canon.

So… that’s my long rant on canon material. What do YOU think? Do you personally use the events of the novels and DDO in your campaigns? Do you feel that encouraging DMs to make the world their own is a strength of the setting, or a weakness?

Dragonmarks: Lost Lands and Obscure Places

Do you want to know what’s going to happen with Eberron in D&D Next? So do I. There’s still no official answer, but I’m hopeful that we’ll see support for the setting in some form. With that in mind, I’m finally getting into a Next Eberron campaign. The gamemaster is my friend Galen Ciscell, designer of Atlantis Rising… which means I actually have a chance to PLAY in Eberron, which doesn’t happen often.

Playing DDN in Eberron means that we’re making up house rules for things as we need them. I’m playing a changeling rogue, and over the last few weeks I’ve developed changeling racial stats and a background and rogue path for Inquisitives. I want to wait until I’ve had a chance to do some playtesting before I post any of these, but if there isn’t OFFICIAL support for Eberron you may at least get my house rules. It’s also been an opportunity for me to expand on my personal take on changelings. I’ve always loved changelings and doppelgangers; one of my first D20 products was The Complete Guide to Doppelgangers by Goodman Games. I didn’t work on the Changeling chapter of Races of Eberron, and I’ve got different ideas about changeling culture… so I may post those one of these days. The first session is tomorrow – we’ll see how it goes!

My next post will be about Phoenix. But today I’m going to tackle some lingering Eberron questions.

Are there legends of mysterious lost lands underwater like Atlantis in Eberron?

There’s many “lost lands” in Eberron. The Mournland and Noldrunhold are lost lands right in Khorvaire, while Xen’drik is an entire lost continent (Hmm, that sounds like a promising title for an MMORPG…). However, in canon material, there’s no SUNKEN lands like Atlantis. In part, this is because the original design had considerably more detail on the aquatic civilizations. So the oceans were essentially other countries – nations you didn’t visit often, certainly, but places you can find on a map; you could go to Sharn and talk to ambassadors from the Sahuagin nations of the Thunder Sea.

Of course, there’s no reason at all that you can’t add a lost sunken continent. But it’s not something I’ve ever encountered in canon material.

Concerning Xen’drik, did the giants ever deal a serious blow to the dragons?

No. The giants never FOUGHT the dragons. The dragons launched a massive preemptive strike while the giants already had their back against the wall fighting the elves. And consider the nature of that strike; we’re not simply talking about a physical assault, we’re talking about epic magic on a scale that hasn’t been seen since. The Du’rashka Tul collapsed most major population centers into bloodthirsty savagery. The Curse of the Traveler crippled communication and travel. By the time the giants knew what hit them – if they EVER did – it was too late.

As a side note, this is a subject modern scholars often debate with regard to Aerenal. Given the astonishing force the dragons unleashed against Xen’drik, how is it that the Aereni have held their own in conflict with Argonnessen? There’s two standard theories on this. The first is that this speaks to the massive power of the Undying Court. Taken as a gestalt entity, the UC is essentially an incarnate deity and Aerenal is its divine domain; it can’t extend that power to make an aggressive strike against Argonnessen, but it can defend Aerenal against any threat. That’s the elf-friendly theory. The other (mentioned in Dragons of Eberron) is that the dragons have never actually tried to defeat Aerenal. The “war” has simply been the actions of a small faction of dragons who are actually trying to hone the skills of the elves for some future purpose. It’s not a war of destruction; it’s like sharpening a blade.

But did the giants ever successfully retaliate against some dragons? Or… Will they?… Could they?

Bear in mind that Xen’drik fell over THIRTY-EIGHT THOUSAND YEARS AGO. The rulers of Xen’drik weren’t even the giants we know today; Emperor Cul’sir was a titan. All the dragons involved in the conflict are long, long dead. The situation is somewhat like us deciding to attack Mars in retaliation for something done to the Neanderthals: beyond our capabilities and seeking vengeance for something that has absolutely no bearing on our modern life.

WITH THAT SAID… If I wanted to do such a plot, here’s what I’d do. I’d say that the Emperor Cul’sir avoided death by becoming a vestige. I’d then have HIM return. His entire purpose at this point is vengeance. I’d have him reactivate all kinds of ancient magic, enhanced by the power he’s built up as a vestige (including warlock followers of many races) and uplift many of today’s pathetic degraded giants into titans, and make a huge XEN’DRIK RISING campaign out of it.

Is the Galethspyre that gives the town its name, the “narrow sliver of blue stone jutting up over 600 feet from the bank of the Dagger River”….any idea what this is meant to be? Some kind of plinth or monolith from the Dhakaani Empire or something older? I know you didn’t work primarily on The Five Nations, but I’m wondering if you have/had any ideas about this feature. The text has nothing more than that and I know my PCs will totally want to investigate the town’s namesake, especially if it’s ancient and magical.

Honestly, I’d never heard of Galethspyre until this question came up. If you haven’t heard of it either, you’ll find it on page 63 of Five Nations, where it’s described as a significant port city on the Dagger river with, you guessed it, a 600 foot blue spire. But just because I didn’t make it doesn’t mean I can’t come up with ideas. A few things came to mind.

1. Why’s the city a thriving city? It’s a port, which is a concrete practical reason. But this being Eberron, one of the major reasons to establish a city is to take advantage of some sort of natural magical resource, typically a manifest zone. Thus it could be that the spire is the result of a manifest zone, a marker placed so people can find the manifest zone, or an artifact with a useful effect on par with a manifest zone.

2. Why build a 600 foot blue spire? Nothing about it says “Dhakaani Monument” to me. That leaves a few interesting possibilities.

* It’s a natural occurrence, or a natural result of a manifest zone.

* It’s a creation of a pre-Galifar human civilization, though given that there’s no other blue spires mentioned, presumably something isolated – a Cult of the Dragon Below or a brilliant lone wizard.

* It’s an artifact of the Age of Demons, either generated by an Overlord or placed by the dragons to mark the location of an Overlord.

* It’s a creation of the Shulassakar, perhaps tapping into a natural point of power of the Silver Flame.

* Some combination of the above.

PERSONALLY, I’d go with the following:

The Galethspyre is an artifact of the Age of Demons. It serves as a lightning rod for the ambient energy of the Silver Flame – not so significant as the fountain in Flamekeep, but still noticeable. The area was originally settled by a group of Khaleshite* explorers, who were guided to it by signs; unbeknownst to the settlers, their priest was a Shulassakar halfblood, and there has been a hidden Shulassakar presence in the city ever since. The energy of the Galethspyre manifests in many subtle ways; the waters are usually well stocked with fish, weather is remarkably mild, and Flamic visions are clearer and more common than usual.

The Khaleshite faith was always at odds with the Pyrinean faith that came to dominate the region (which is to say, the Sovereign Host) and the people of the Spire maintained a low profile during pre-Galifar days. Today, Galethspyre continues to practice its own personal version of the Silver Flame, one of the few places where fragments of the Khaleshite faith has been preserved. While they acknowledge the Keeper and maintain the basic standards of the church, the rituals are older and the priests use Old Common in their rituals.

So there’s something to play with. Beacon for generally positive divine energy; secret family of Shulassakar priests; splinter sect of the Flame; possible Lord of Dust desire to destroy it.

Umm, that’s great. but what’s a “Khaleshite?”

Khalesh is one of the old human nations of Sarlona that predate human settlement in Khorvaire. You can read about it in Secrets of Sarlona, though the information is limited. Short form: the Khaleshite faith is what modern scholars call a “serpent cult.” It shared the same basic outlook and goals as the modern Church of the Silver Flame, but specifically revered the couatl as agents and symbols of the divine light. It was somewhat more aggressive that the modern church, in terms of aggressively seeking to eliminate the foul practices of, say, Ohr Kaluun. Most of the noble families had shulassakar blood, and this was used against them in the Sundering.

So looking at a modern Khaleshite sect:

* It would camouflage itself as a regular CotSF.

* It would respect the modern Church as a branch of the true faith, but feel that they’re “new money” if you will. Tira and the Keepers are all fine and well, but the Shulassakar were around long before Tira, and are directly touched by the ultimate source of the Flame.

* Nonetheless, they do believe in the same basic goals: protect the innocent from supernatural evil.

* There could be a line of Shulassakar hidden within the community.

* There would be lots of couatl imagery, and the services would be performed in Old Common.

 

How would you envision the architecture, look, and feel of Gatherhold?

Another obscure corner heard from! The Eberron Campaign Setting has this to say about Gatherhold, the only permanent halfling settlement in the Talenta Plains: “House Ghallanda built and maintains Gatherhold, both as its headquarters and as a place where all the Talenta tribes might gather and meet as equals.” A few things that immediately come to to mind:

The town is built into a rocky outcropping on the shore of Lake Cyre. “Built into” includes a number of structures that extend into the hill, hobbit-hole style. It also includes a large natural amphitheater; nature and magic combine to provide excellent acoustics, so while you may have thousands gathered here, someone who stands on Speaker’s Rock can be heard by all.

The Ghallanda enclave is largely dug into the hill. This makes it very secure; it’s generally cozier than subterranean structures of dwarves or goblins. Outsiders aren’t generally invited into the heart of the enclave, and it’s not built to accommodate medium creatures.

Along the base of the hill, you have buildings designed for outsiders, many of which are sized for medium creatures. These include a large Gold Dragon Inn and significant Jorasco and Deneith enclaves. The Deneith enclave was built by Deneith and is a notably different architectural style. I’d envision the traditional Talentan structures as being adobe structures with rounded edges, while Deneith is a stone fortress with hard edges.

Beyond this cluster of buildings you have a host of tents and wagons. 80% of the population of the city is found in this area; even the permanent halfling residents prefer tents to the hard walls of the enclave. Wagons and caravans are always coming and going, and the layout changes regularly. There’s always an open market and a festival of some sort, but the location and the theme is constantly changing. Some days there’s theater with masked storytellers; some days there’s races or jousting; some days its competitions around food or drink. The key is that it’s fluid and changing. And don’t forget dinosaur herds! The stock show is a great time to get into town.

I can’t find much on the King’s Dark Lanterns nor the King’s Shadows. How does one join? What kind of adventures or missions would one go on? From what I can tell, the Dark Lanterns are kind of like professional CIA, while the Shadows are like… problem solvers of the lethal kind. A bit like SPECTRES from Mass Effect.

Funny you should mention Mass Effect, since both Lanterns and Shadows are agents of the King’s… Citadel (entirely a coincidence, I assure you!).

The primary sources for information on the Citadel are Five Nations, Sharn: City of Towers, and the 4E Eberron Campaign Guide. The Dark Lanterns are the covert arm of the Citadel. Their primary job is the acquisition of intelligence, hence the name; they are the lantern that shines a light on things the King needs to know. However, as shown in the Thorn of Breland novels (which are out of print, but still available in kindle and Audible formats), Dark Lantern missions can cover anything from observation to theft to assassination. Lanterns can also duplicate the tasks of other branches (such as Thorn protecting Prince Oargev, nominally a task for a King’s Shield) when there’s something particularly sensitive about the job. The King’s Shadows aren’t really a separate division; rather, they are the most trusted and elite agents, assigned the MOST secret and sensitive missions. According the the ECG, “only the captain, commander, and king know its operatives’ identities.” You’d never introduce yourself as a King’s Shadow; you’d always have some other cover. It’s possible that Thorn herself is a Shadow as opposed to a Lantern.

How do you become a Lantern or Shadow? Well, the Citadel is an arm of the Brelish government; the Lanterns are a covert arm of the Citadel; and the Shadows are the most elite Lanterns. So first you have to earn the trust of the Brelish Crown and be willing to swear yourself to its service; then display enough skill and loyalty to earn the title. There’s no such thing as a “Freelance Lantern”; it’s a fulltime job. With that said, if you’re an amazing rogue who saves Breland or the king on multiple occasions, it’s possible you could be declared an honorary Shadow. It’s not exactly like being a Spectre in MA, in that you wouldn’t exactly have any authority and couldn’t advertise your position; but you could get cooperation from the other arms of the Citadel and be called in for special missions. If you like the idea of being a Spectre, you might be better off as a Sentinel Marshal, since their authority is recognized by multiple nations; the King’s Shadows are very specifically agents of the Brelish crown.

How would you integrate eyekin and non-evil beholders from your Complete Guide to Beholders into Eberron? Would they be enemies of the Daelkyr?

This ties to my recent post on the Daelkyr, which is to say that their actions are often inexplicable to humans. Personally, I could easily see Belashyrra as having created ALL the different types of beholders in the guide and sent them out in the world in intentional opposition to one another. Why? Does this advance his goals in any way? Maybe. Or maybe it’s like throwing paint at a wall because the patterns are beautiful. Alternately, you could get really weird and say that ONE of the types of beholder is the original, that they come from another material world, and that the Daelkyr actually destroyed their world and created all the other beholders just as they made dolgaunts from hobgoblins and mind flayers from gith. In which case THOSE beholders would be fervent enemies of the Daelkyr and dedicated to avenging their lost world. The Eyekin could easily be agents of Belashyrra, or you could align them to this “True Beholder” faction.

A few more questions about the Dragon-Giant conflict…

I must confess that I had alwayes before misinterpreted the fall of giant civilization because I thought that the giants and dragons direcly clashes at least once. Could it be that having inflicted terrible curses in Xen’drik the dragons brought upon themselves or attracted dome evil?

The giants and dragons DID directly clash once. But it’s hard to qualify it as a “war”, as that term suggests that the giants were able to respond to it, plan defensive and offensive actions, and that it lasted for a significant amount of time, much like the Giants’ conflicts with the Quori and the elves. It didn’t. Personally, I’d guess the conflict was measured in weeks. It was a sneak attack that combined epic magic on a scale beyond that known to the giants with brutal coordinated physical assaults. The giants were already crippled by their long conflict with the elves and were lucky to even put up a decent struggle in some places, let along launch a coordinated assault back at Argonnessen.

With that said, if you WANT to explore that story, there’s nothing stopping YOU from saying some giant wizard set all his talent and skill to creating a doomsday device to take revenge on the dragons. It simply raises the question of why it’s taken 40,000 years to take effect.

As for the dragons attracting evil, certainly. That evil is called “Tiamat.” The whole point of Tiamat is that she is the embodiment of all the worst elements of dragonkind: pride, aggression, hubris. When the dragons use their powers to oppress or destroy, Tiamat grows stronger. That’s why the dragons went right back to Xen’drik after the assault instead of colonizing it, and it’s why they’ve never taken similar action since. It was an act of desperation because they believed that the giants were about to inflict irreparable damage in their war against the elves; the Dragons destroyed them before this could happen. But it surely strengthened Tiamat, and they retreated to Argonnessen to continue to contain her. If you haven’t read Dragons of Eberron, the story’s in there.

If you consider DDO to be canon in some way, there is two survivors from the Dragon/Giant war too: The Stormreaver and The Truthful One. They both died in the conclusion of the most recent game raid, but their history had been told since DDO launch.

It was careless of me to suggest that all giants and dragons from this period are dead. The point is that the natural lifespan of a giant or dragon is such that any that were around in the Age of Giants would be long dead. But there’s lots of ways they could survive past their natural lifespans. In DDO, the Stormreaver and the Truthful One are reserved by a unique enchantment that binds their lives together. Emperor Cul’sir is a Vestige. Antaegus (from City of Stormreach) was held in suspended animation. There’s many ways to create exceptions, if you want to.

However, the core point is that there never really WAS an “Dragon/Giant War”; when the dragons assaulted Xen’drik, it was a cataclysmic, one-sided attack. If my DDO lore is correct, the Stormreaver and the Truthful One both come from the Giant-Quori Conflict, which happened two thousand years before Argonnessen’s brutal assault.

This does touch on a greater question: What is canon? I’ll get to that in my next post.

 

 

Demos at GeekGirlCon

This weekend I’m going to be at GeekGirlCon in Seattle with most of the Phoenix team – producer Jennifer Ellis & co-designer Dan Garrison. We have a table in the gaming area. What will we be doing there? That depends on you! We’ll be there on Saturday with the latest prototype of Phoenix: Nine Deaths, along with the new Unquiet Dead Gloom expansion. If people want to play Gloom, we’ll play Gloom. If you want to try Phoenix, we’ll do that. If you want to talk about Eberron, or Phoenix, or the rising price of throat-coat tea, we’ll do THAT. I hope we’ll see you there!

Music to Game By: Ink, Silence

This last weekend I was a guest at the G.A.M.E. convention in Springfield, Missouri. While it was a small convention, I had a fantastic time. I met many wonderful people, and had an opportunity to run an Eberron adventure and a Phoenix playtest. While I’ve run both scenarios before, both leave enough in the hands of the players that it’s a different experience for me every time. This collaboration is one of the things I love about roleplaying games; it’s like rereading a favorite story but having it turn out differently every time.

Quite often, gaming at conventions means running your game in a huge room filled with other people playing games of their own. G.A.M.E. gave me my own room for my sessions. Having this private space gave me the bring music to the table, something that doesn’t really work in the open air arena. It made for a great session… and that inspired me to write a little about music and games.

Music can be a powerful tool, if you have an environment that lets it work. In a story-driven game, we’re creating visions in our minds — imagining a setting quite different from the dining room or basement we’re playing in. Music can help ease that transition, and it can also help drive the mood of the moment. If you know the basic acts of your story and have time to create appropriate playlists. When you switch from the soft, eerie music of exploring a graveyard to the more dramatic combat music, it’s an instinctive cue to the players that the situation has changed and this scene is more active. In long running campaigns, I often like to establish a theme song for the game itself, and set that going when the session begins; it’s a nice way to start that transition from table to story, and to draw people back to the last session. You can even tie themes to individual characters… when people hear the Imperial March, they know Darth Vader’s just around the corner.

I don’t always have time for this level of preparation. I didn’t have time for this in my Phoenix session at G.A.M.E. Instead, I just picked a few things I knew fit the overall tone of the story and set them cycling. With that in mind, I thought I’d talk about a few of the tracks that often find their way on my gaming playlists. There’s dozens of excellent gaming soundtracks out there, and I’ll look at others in the future; and I’d love to hear about some of your favorites. Today I’m looking at two of mine: Ink and Silence of the Lambs.

INK (Jamin Williams, 2009) is a film about dreams. The soundtrack is quiet, eerie, and works through a small set of repeated themes. The repetition works to its advantage, because it means that a shift in track doesn’t automatically draw attention away from the game. One advantage is that it’s a fairly obscure film; the Game of Thrones soundtracks are excellent fantasy background, but when the title motif comes up it’s hard not to think “Game of Thrones!” While the primaryInkmotif is very distinctive, odds are good your players don’t have any prior associations with it. As I said before, it’s fairly slow, ambient, and eerie; I like to use it for exploration, investigation, and general background. It’s not TOO creepy, and it’s certainly not dramatic combat music… but it makes for a good background that won’t draw too much attention from your story.

SILENCE OF THE LAMBS (Howard Shore, 1991) is also good for general eerie ambience and the building sense that you’re building towards something terrible. It’s an orchestral score, and slightly more complicated than Ink. It also has a few themes that serve different purposes, so it’s not one you’re likely to want to play straight through. The Main Title, The Asylum, and the Finale are all excellent building/investigation music, if a touch more dramatic than Ink. On the other hand, The Abduction and Lecter Escapes both have SHOCKING DISCOVERY moments that can be distracting if you aren’t in a shocking discovery place. This was one of my go-to soundtracks for running Over The Edge, and I expect it to see a lot of use in my Phoenix tests.

Needless to say, this is only the tip of the iceberg; I’ll talk about more of my favorites in days to come. In the meantime, what’s some of your favorite music to game to?

 

 

 

 

Dragonmarks: JorascoCare and the Mark of Snails

It’s still convention season for me. I just got back from a fantastic weekend at G.A.M.E. in Missouri, and next weekend I’ll be in Seattle for GeekGirlCon. I look forward to writing about G.A.M.E. and about Phoenix, which I tested there and will be testing at GGC. But today seemed like a good time to address one player’s concerns about the deplorable state of healthcare in Eberron, so it’s time for another Q&A! As always, everything said here is just my opinion based on my personal campaign, and it may contradict canon sources.

I have a real problem with the ability of Artificers to outright heal people. I see Artificers as the inventors and creative geniuses of the magic world, being able to see the very essence of magic and it’s wondrous patters to infuse that energy into ‘wonderful’ toys. When I say magic I mean Arcane, as Divine is just something that is beyond the knowledge of the mortal being and unable to be manipulated.

Am I missing something? How is House Jorasco the ‘House of Healing’ if any artificer can throw around healing magic. I don’t see how Jorasco is still around with the prevalence of Artificers in the setting.

You don’t say what system you’re playing now, so I’m going to start with universal principles and then move to system specifics.

First major issue: There’s no such thing as “the prevalence of artificers.” The player character classes are rare and exceptional. If you go to the average temple, you won’t find a cleric or a paladin there; the priest will most likely be an expert trained in Religion, Diplomacy, History, and similar skills – someone who offers spiritual guidance, not magic. Where you do have magical healers – whether at Jorasco or in a charitable clinic dedicated to Boldrei or the Silver Flame – they’ll be adepts, not clerics. The vast majority of spell-workers employed by House Cannith (or anyone else) are magewrights. You said it yourself: Artificers are the inventors and creative geniuses of the world. The magewright is the magical equivalent of an electrician; an artificer is someone like Nikolai Tesla or Merrix d’Cannith—an innovator who can challenge the way people think about magic. There are AT LEAST a hundred Jorasco heirs for every artificer in the world… possibly considerably more.

Next, to quickly look to the original 3.5 artificer, there are no infusions on the default list that can directly heal organics. There’s only one way for an artificer to do this: to create a spell storing item. The whole idea of this is that you are literally creating a new prototype magic item on the spot—one that’s unstable and is going to be destroyed after one use. You have to make a UMD check to have it work at all, and if it fails, it might blow up in your face. Furthermore, it requires you to spend XP, which means it’s entirely possible that an NPC can’t use it at all, since NPCs don’t necessarily HAVE XP the way PCs do. Spell Storing Object is the infusion that truly represents the idea of an artificer as a creative genius: you are creating an item that CAN’T be created by a wizard, and you’re making it out of lint and pure determination. A wizard CAN’T create a wand for that – but you just did. It’s not a casual thing. It’s dangerous—and just as dangerous the second time as the first—and it costs you to do it.

If you’re talking about the 4E artificer, I can’t help you there. I didn’t work on the 4E Eberron Player’s Guide. The artificer isn’t my design; it was chosen to be a “leader” class, and leaders heal. But what I will point out is that healing in 4E means something very different than it does elsewhere. A warlord can heal you with an INSPIRING WORD. Literally. That’s not magic, it’s him being so encouraging that you get the will to get back up and get in the fight. So think of the 4E artificer’s healing as being more like that of the warlord than that of the cleric; it’s more that he’s giving you a shot of adrenaline than divinely removing your wounds. With that in mind, don’t think of “healing” as literally wiping away serious injuries; “hit points” are a very abstract thing representing morale, determination, and the strength to keep on fighting. Which brings me to the next major point…

MOST PEOPLE DON’T GO TO JORASCO FOR CURE LIGHT WOUNDS.  Loss of hit points is, by and large, a problem suffered by adventurers. Frankly, they make no sense when it comes to the idea of the health care industry. Consider that 90% of the population are either 1st level commoners or experts, and thus have three or four hit points. A sixth level dwarf fighter might have sixty hit points. What does that even mean? Can the dwarf literally stand there and get shot with a dozen arrows and just walk it off? Or are hit points a measure of his martial skill and ability to avoid damage in the first place? The short form is that a cure spell that heals 3d8+6 hit points isn’t a service that first level expert will ever require, and it’s questionable what it even MEANS in a physical sense. Most people are going to go to Jorasco for the same reason WE go to a hospital. You’ve got the flu. There’s a weird pain in your side that won’t go away. You broke your arm. Now, Jorasco DOES have the power to make these troubles go away instantly with magic, but frankly, most people can’t afford to pay for that, and most people don’t NEED the problem to go away instantly. They don’t go to Jorasco for magic; they go there for the mundane services of the Heal skill. When you go to a Jorasco healing house, you know that the people are professional healers; and you know exactly what to expect in terms of prices, because they are standardized.

Looking back to system, when the people of 4E go to Jorasco, if they aren’t just going for mundane healing they are likely going for a healing RITUAL, like Cure Disease or Remove Affliction. As noted in this Dragonmark, I actually restrict key rituals like that to the Dragonmarked. In the case of healing, I would make an exception for certain especially holy divine healers – but in my campaign, a cleric of Dol Dorn couldn’t actually learn the Cure Disease ritual. A cleric might be well versed in the Heal skill, and be able to help you through the disease that way – but the instant cure only comes from Jorasco.

Although given your concerns about arcane healing in general, I’ll note that you’ve got problems beyond Eberron; the 3.5 Bard is an arcane caster with cure spells on his list, which is the loophole that does let the artificer make an arcane wand of cure light wounds.

Now, given that we’re talking about Dragonmarks, I’ll throw an extra question in…

Do Aberrant Dragonmarks only do big dangerous things? Or are they just the ones talked about? Would people fear a rubbish one? If an Aberrant Dragonmark allowed me to control the actions of snails, would the cultural fear of the mark exile me?

The core idea is that true dragonmarks are constructive, while aberrant dragonmarks are destructive. The true dragonmarks deal with healing, communication, creation—and they do so in predictable ways. Aberrant dragonmarks deal with fire, plague, madness and more, and beyond that do so in unpredictable ways. One person’s aberrant fire mark lets them spontaneously generate flame; another burns enemies up from within; a third sets anything the bearer touches on fire. Furthermore, aberrant dragonmarks are often difficult or dangerous to the bearer. The person with the flame mark may suffer painful burns any time they use the mark, or it may activate spontaneously in times of stress.

There are exceptions to these rules; for example, the Mark of Storm has some offensive applications. But the mark is still predictable and doesn’t harm its bearer. On the flip side, take Brom’s mark in The Son of Khyber. It’s essentially localized reincarnation; he can survive almost any injury, but the wound heals with the flesh of a random species… so he has the arm of a troll, and it’s called out that he often regrows internal organs that don’t work with the rest of his physiology, requiring the medic to cut them out until they regrow in a compatible form.

Coercion is certainly a valid form of aberrant power. So it’s POSSIBLE you could have an aberrant mark of snail control. However, the key point is that aberrant marks are entirely unpredictable and never take exactly the same form. So no one is capable of looking at your mark and saying “Oh, that’s snail control.” All they know is that it’s aberrant, and that aberrant marks CAN spread disease, control minds, cause fire, and worse, and often cause the bearer to go mad. So yes, you will be ostracized and feared by many.

Some point out that the powers of least marks are easily mimicked by, say, a low-level sorcerer, and that’s true. The point is that generally, a sorcerer has to learn how to perform sorcery; it’s the result of training and discipline. An aberrant mark is thrust on the owner; is often difficult to control; and may cause pain or madness to the bearer. Essentially, people don’t automatically assume a sorcerer is a sociopath—while they tend to jump to that conclusion with aberrants.

With regard to the matter of true dragonmarks I have a question. If true dragonmarks are constructive in nature, what does that say about the Mark of Death? In terms of its role in the Prophesy/cosmology, is the act of creating undead a creative, potentially civilizing force? Or did the Mark have other applications and House Vol was simply doing it wrong?

I’ve written about this subject at length in a previous post on The Mark of Death. Here’s two key quotes:

…the Mark of Death should be about interacting with death and the undead, but I wouldn’t make it about KILLING, because that’s an aberrant path. Things like speaking with the dead; animating the dead; controlling or even laying undead to rest; these all fit. It could be that a dragonshard focus item could be created that would harness that power in a destructive fashion – but that’s not the innate power of the mark.

In 4E, I will say that in addition to providing access to focus items and any logical rituals, I’d probably allow someone with the mark to perceive ghosts and to use speak with dead as a skill challenge as opposed to a ritual. I’d likely put a limit on length of death, but I’d personally have the Mark of Death involve interaction with the dead… not to be confused with the Mark of Healing, which prevents people from dying.

Addressing your question specifically, look at your own phrase – “the act of CREATING undead.” Right there, it’s a creative act as opposed to a destructive one. Note that the Blood of Vol frequently uses undead to perform useful domestic labor; skeletons or zombies don’t HAVE to be used for aggression. Now, the Undying Court maintains that the creation of Mabaran undead harms Eberron itself – that negatively charged undead inherently consume the ambient energy of the world. But that’s a particular religious view that’s essentially like worrying about your carbon footprint; the UC believes it’s a serious threat and the BoV asserts that it’s nonsense.

Short form, though: The Mark of Death shouldn’t be about CAUSING death; it should be about INTERACTING with death and with the dead, just as the Marks of Handling and Healing interact with the living.

In light of your response, could the Mark of Death have been used to create undying, as opposed to Mabaran undead?

It’s possible. The line of Vol had been invested in the pursuit of Mabaran necromancy for thousands of years prior to the appearance of the mark. I wouldn’t say that the mark was inherently oriented towards Irian necromancy, but it could be that the mark was essentially “neutral” and Vol only explored its Mabaran applications.

With that said, bear in mind that there are some deep and fundamental differences between the two styles, which drive the reasons the different factions pursued each style.

First, there’s a basic mystical concept: creatures need energy to survive. An undead creature isn’t a zero-sum proposition; it has to have an ongoing source of energy to sustain its undead existence.

Negative necromancy is self-contained. You create a vampire and you let him go… from that point on he is self-sufficient and doesn’t need you to survive. Negatively-charged undead get the life force they need to survive by consuming it. In some cases this is obvious – the vampire drinking blood, the ubiquitous level drain. The Undying Court maintains that it is in fact the case with ALL Mabaran undead, even when it’s not obvious. A skeleton doesn’t APPEAR to be consuming anyone’s life force; but Court scholars assert that the skeleton actually absorbs ambient life energy from its environment – a theory that seems to be born out by the blighted areas around Fort Bones. In short, the UC believes that negative undead cause environmental damage just by existing.The key point, however, is that negative undead TAKE the energy they need to survive.

By contrast, positive necromancy requires energy to be given. The deathless can’t survive on their own. Deathless can be sustained by ambient energy in an Irian manifest zone, and many of the major Aereni cities (notably Shae Mordai) were constructing in Irian zones for exactly this reason. However, their primary source of sustenance is mortal devotion. The faithful of the Undying Court channel positive energy through their adoration of their elders. No one is harmed in this process – but it’s not something that can be forced. So if all the Aereni died or simply turned away from the faith, the spirits of the Court would dwindle and fade, clinging to their manifest zones just to survive.

The whole purpose of the Elven faiths was to prevent the future loss of the greatest souls of the elves. The line of Vol asserts that the Irian approach fails because it relies on continued devotion from the living… while a lich never runs out of power. While the Undying Court maintains that this is only because the lich preys on the living – and that if the people aren’t willing to sustain the undead of their own free will, it doesn’t deserve to continue.

Short form: Even if the Mark of Death COULD be used to create positive undead, bear in mind that those undead would still require Irian energy or mortal devotion to survive long-term; that’s the nature of positive necromancy.

Dragonmarks: The Gatekeepers

I’m leaving for GenreCon in the morning and still have to pack, do another round of Phoenix edits, and all sorts of other little life things, so I’m only going to address one Eberron question today. Don’t worry – I’ll get to the others next week! As always, this is just my personal opinion and might contradict canon material.

I always hoped for more info on the Gatekeepers, especially on their Seals and ways of breaking them.

A relevant question that’s come up before is “How can you have Gatekeepers and Cults of the Dragon Below working side by side in House Tharashk?” The answer is that both Cults and Keepers are deeply ingrained traditions that define the culture of the Shadow Marches… but that neither are generally relevant in daily life. The Daelkyr conflict was over seven thousand years ago. Let’s say a third of the people in the Shadow Marches follow the Gatekeeper traditions… what that really means is that it determines the holidays they observe, the songs they sing, the oaths they make. The typical follower of “The Old Ways” knows that you blindfold the dead so Belashyrra can’t use their eyes… but he doesn’t necessarily BELIEVE it. Meanwhile, the true Gatekeepers—the ones who are deeply concerned with maintaining the seals, who dispatch rangers into the deep swamps to fight Dolgaunts, etc—are sort of like a cross between a modern-day Revelations cult and the Men in Black. The majority of Marchers think that they’re a little over the top and creepy… while the true Keepers, in turn, don’t bother the common people with the fact that they just eliminated a force of Dolgrims under Zarash’ak because, frankly, they don’t need to know.

So the short form is the Marches are filled with, essentially, non-practicing Gatekeepers; people who know the traditions and stories, but consider them to be just that. Meanwhile, the active Gatekeepers are almost a secret society. The fact that people know the Old Ways mean they can operate in the open; it’s just that people don’t realize that the local holy man really IS a druid with significant powers and not just an old storyteller.

It’s up to you as a gamemaster to decide just how many true Gatekeepers there are and how far their influence spreads. There could be a tiny handful of them hidden in the Shadow Marches, with the true mysteries of their faith all but forgotten. Or they could be a powerful, active force that has been hiding in the shadows of House Tharashk, using the House as a way to plant agents and observers across Khorvaire and taking a very active role in combating aberrant threats. Essentially, it’s a question of what you want them to be. Are they a handful of sages who can provide the PCs with information but who need the PCs to actually face a threat? Or are they an active, powerful force that could provide significant assistance (or pose a significant threat) to PCs?

THE GATEKEEPER SEALS

There’s not a lot of canon information on the seals that hold the Daelkyr at bay. The IDEA of the seals is a core part of the setting, but like the cause of the Mourning, they haven’t really been nailed down. So I’m making this up as I write it, but here’s MY answer.

The Gatekeeper seals are one of the great mysteries of Khorvaire. It’s well-established in legend that the Gatekeepers created the seals that hold Xoriat at bay and prevent the Daelkyr from returning to the surface. But what ARE the seals? Listen to a dozen stories and you’ll hear a dozen different answers. Some say they are dolmen structures found in the deep swamps, massive rune-carved stones infused with byeshk ore and placed in powerful manifest zones. In other stories they are small disks worn as pendants by the Gatekeepers. Each pendant is connected to a particular Daelkyr, and the bearer can sense the thoughts of the Daelkyr and draw on its power… though this carries the threat of madness. One story says that the mightiest druids turned themselves into trees, and that these guardian trees are themselves the seals. One song popular in the Marches claims that IT is the seal, and that as long as it is sung the Daelkyr while never return. Others believe that the seals are the light held in the dragonshards scattered throughout the Marches, and fear that House Tharashk’s mining of the shards will doom all. All stories agree that powerful magic was used to hide the seals, and that much is clear as divination magic has proven entirely unable to reveal any sort of useful information about the seals; whatever form they take, they won’t be easily found.

As a DM, I would latch onto the mystery. There’s a half-dozen theories about what the seals are. What happens when the PCs NEED to know the answer… or when someone is clearly taking steps to systematically eliminate each possibility? I’d take the approach that even the majority of the Gatekeepers don’t know the truth; the order is thousands of years old, and the elders intentionally dispersed and hid the knowledge so it would be difficult to destroy. And all of the things described above do exist—dolmen sites, ancient druids preserved as trees, disks tied to Daelkyr, a song of faith. Perhaps one of them is the REAL seal… or perhaps they all are, and releasing the Daelkyr requires all of them to be eliminated.

With that said, I do like the idea of leading players to believe that the seals are stationary locations, and then having them discover that they are easily portable pendants… and having one of them come into the PCs’ possession. So you have an amulet which is personally holding Belashyrra in Khyber. You can use the amulet to draw on a fraction of his power or to get a sense of what he’s up to – but if you do, you draw his attention to you and he learns what YOU are up to. In a sense, it’s like the One Ring, except you CAN’T destroy it, because that will release Belashyrra. So what do you do with it?

The idea of portable seals in really interesting, but it seems to me that leaving the seals in the custody of isolated or itinerant druids would be incredibly dangerous, since (from Faiths of Eberron) the rituals to maintain the seals must be conducted annually, and a druid who had an unlucky encounter with a chuul wouldn’t be keeping up with the rituals.

I’ll point out that in at the very beginning of this post I note that the ideas here are my personal opinions and may contradict canon material…. IE, this may not mesh with Faiths of Eberron. I suggest a number of different forms that the seals might take. The FoE material really only applies to the static sites – IE, the “byeshk-laced dolmens”. If the seal is a song, it can only be broken if people stop singing it, and it’s not tied to a particular tainted location. Likewise, with the pendants, the idea is that the pendant doesn’t automatically taint the world around it; rather, it’s when you choose to use its power that you risk corruption.

My point is that all of these things could exist. There are tainted sites in Eberron that Gatekeepers tend annually. There are songs that people sing. And there are pendants. But which one of them is actually the seal? Again, if I’m running it, I’d say that part of the point is that even the druids aren’t sure any more… that the druids who tend those sites BELIEVE that if they fail in their duties the Daelkyr will be freed. And they might be right, or they might have been taught that just to make sure that even they can’t reveal the true secret of the portable pendant seals to the enemy. SOMEONE out there must know the truth… but who? Part of the point here is to emphasize that the seals were made seven thousand years ago by a society that at the time likely relied on an oral tradition. That’s a lot of time for misinformation to take root.

Likewise, my point above is that you could have the Gatekeepers as isolated shamans who drift from tribe to tribe and have little connection… or you could say that they are a highly organized conspiracy that uses the modern largely-ambivalent faith as a cover for the dedicated, coordinated druids and rangers who are tracking aberrant activity. It’s all a question of what best suits your campaign and what inspires you.

Phoenix: Nine Deaths

You’re going to die.

Your homeland is besieged by horrors. The dead are rising. Monsters are emerging from the wilds. The nights are filled with the howls of hungry spirits. And no one knows why. The world is falling apart, and it’s up to you to hold things together. And when you face these terrors, you are going to die.

But it’s not the first time you’ve died, and it won’t be the last.You’re a Phoenix, and each death makes you stronger.

Phoenix: Nine Deaths is a card-based roleplaying game in which you assume the role of a champion defending your beleaguered realm from a host of supernatural challenges. When you die you come back stronger than before, but as the name suggests, you only get to come back eight times. And death has many consequences. The nature and circumstances of your death determine the abilities that you gain in your next life; it’s a question of what lessons you learn from the experience. In addition, while you will return you don’t come back immediately. Your missions are often time sensitive, and careless death can result in the failure of a mission. Imagine you’re sent to put out a fire. If you all die, you may come back, but by the time you do that house will have burned to the ground. The same is true in Phoenix. The story isn’t over is you fail a mission, regardless of whether you live or die; but you will have to deal with the consequences. Death isn’t the end of your tale, but the challenge is making sure that it matters – that if you die, you don’t die in vain.

Aside from me, the current Phoenix team is producer Jennifer Ellis, co-designer Dan Garrison and artist Adam Levermore. We’re currently deep in the process of development and playtesting, and I expect to that to continue for months to come; I’m not going to discuss the system in detail until things have been refined. However, if you catch me at a convention you might be able to get in on a test. Eventually we’ll be crowdfunding, but we’re not going to start that process until we are entirely certain of the scope of the game, the costs of production, and our timeline; I expect that to happen early next year. 

To be clear: Phoenix is an entirely different project from Codex, the campaign setting I’ve discussed in the past. Phoenix is the story of a unit of soldiers in a time of crisis. There’s room for gamemasters to focus on different aspects of that struggle – to emphasize intrigue, action, or mystery. There’s lots of room for players to make unique characters. But it is a time of conflict and the players are on the front line. This is one reason we are creating a new system for this game, as opposed to simply adapting it to an existing system; the rules are specifically designed to tell this story, and to highlight the themes of this saga. This isn’t Eberron (or Codex), where you might play soldiers, inquisitives, explorers, pirates, or what have you; it is a campaign setting that is defined by a PARTICULAR campaign… though there will be ample opportunities to make that story your own.

More news to come in the days ahead, and I hope to see you at an October convention!

Always/Never/Now and Upcoming Conventions!

I’ve just returned from a trip to LA, where I tested Phoenix out on a group of friends. Most of the survived the experience. I’m going to write more about Phoenix later in the week, but I thought I’d tell you where I’m going to be in the next few weeks so you have a chance to see it for yourself. Let me know if you’ll be at any of these!

Friday, October 4th – Sunday, October 6th I’ll be at GENRECON in Guelph, Ontario. Friday night I’ll be playing Gloom & showing off the new expansion, Unquiet Dead. Saturday I’ll be running Eberron, playtesting Phoenix, and taking part in a few panels & a QA session.

Friday, October 11th – Sunday, October 13th I’ll be at G.A.M.E. in Springfield, Missouri. Friday evening I’m doing two hours of Q&A, and then I’m running Eberron and testing Phoenix on Saturday. There’s a theme here!

Saturday, October 19th – Sunday, October 20th I’ll be at GEEKGIRLCON in Seattle, Washington. Jennifer Ellis, Phoenix co-designer Dan Garrison, and I will have a demo table where we’ll be playingPhoenix, Gloom, and whatever else we feel like.

But wait! There’s more! Saturday, October 26th I’ll be playing Doom and Gloom at GUARDIAN GAMES in Portland, Oregon. Come by and try out Unquiet Dead and The Doom That Came To Atlantic City!

In addition to playtesting Phoenix last weekend, I had an opportunity to play IN a game… Will Hindmarch’s Always/Never/Now. I’ll let Will describe the game himself…

You were the best. Underground, cyberpunk street samurai, burglars and breakers, agents of a mysterious spymaster with half a name, zero history, and a plan. He made the missions and you carried them out. You were the go-to crew for high-stakes break-ins, dangerous ops, and impossible escapes. You fought the megacorps, the tyrants, the killers—all for the sake of making a better future, of beating the Technocrats at their own game of shaping tomorrow. You always won, never quit, lived in the now. 

Until, eleven years ago, he disappeared…

Now he’s back—back in trouble—and it’s up to you to save him and maybe, along the way, change the world.

Always/Never/Now is a self-contained campaign, a cyberpunk saga that plays out in thirteen scenes. It is built around six characters that are provided with the campaign, and derives much of its mechanics from John Harper’s excellent Lady Blackbird. A few of the things I love about the system:

  • Every character has its own path to success. If I’m playing the comic-relief con artist, I get XP when I tell people a lie and they believe me; when I make players laugh; and when I escape from a bad situation. Unlike many games, where the best way for a blacksmith to become a better blacksmith is to kill a goblin, here I get better by doing the things that define my character.
  • Often, one or more of these keys apply to the players, not just the characters. The “leader” character gets XP if other players follow a plan he comes up with. So it’s not just arbitrarily stated that he’s the leader; it’s up to him to BE such a good leader that everyone chooses to follow his plans (and actually, there’s two characters with this key, so there’s competition for the role!). The first time I played A/N/N was just after playing a bard in another game. In that game it didn’t really make any difference if I was entertaining. As the con artist in A/N/N, I got experience when I got the PLAYERS to laugh – which meant being entertaining wasn’t just a color choice, it was something worth working at. Essentially, it helped blur the lines between character and player, and made me really feel like I WAS the character.
  • The system has many elements that encourage players to develop the story behind their actions. As con artist Alex, if I wanted to bluff someone, I could just roll a single die. But I also had a list of tags, and for each tag I worked into the description of my action, I got an extra die. So how could “cash” play into the scene? What about “That Smile”, or “Something Like Sincerity”? Determining which tags applied made a challenge more than just a roll; it got me thinking about the scene.

Some people might balk at the fact that the adventure uses pregenerated characters. There’s a lot of reasons for this. The six characters are a well-balanced, versatile team. Will’s put a lot of thought into their capabilities and tags. More than that, they each have a role in the story – and as the saga unfolds, you really get to know them. One fun twist is that each character has a number of flashback scenes that can be sprinkled through the story – glimpses of the characters’ lives before the spymaster disappeared (and a technique Will and I wrote about in 2004 in Friends of the Dragon for Feng Shui). There’s lots of room to make these characters your own. For example, Alex the con man is described as having tried to launch a “failed street food business.” When I played Alex, I decided this was Faux Pho – a diet vegan Vietnamese option for “when you want a taste that’s almost like food.” In this last session, John Rogers decided Alex was backing Happy FunCo Space Pizza And Sushi, and invented an elaborate story about people’s nostalgia for a failed moon colony that he hoped would drive business his way.

It’s a different sort of experience from creating your own story from scratch. But it’s like reading a good book or watching a movie. The characters help DEFINE the world and draw you into it. Combined with the keys (which encouraged you to act like the character) and the way that your abilities also encourage you to think about the character, it’s easy to get attached to this crew. After playing for just four hours, one of the players in the last session said that it was “one of those incredible moments in an RPG where you feel like you’re going to cry, because you’re so invested in the story.”

Anyhow, I could rave on for a few more hours about how awesome this game is, but why don’t you see for yourself? The PDF is available right now, for the amazing price of WHATEVER YOU WANT TO PAY FOR IT. If you enjoy cyberpunk, it’s worth reading just for the ideas. And if you have a chance to play it, well, it’s the most fun I’ve had in years. Of course, I had the advantage of having a Will Hindmarch in the box to run it – but Will or not, it’s definitely worth a look.