Recent Releases: Kobold Guide to Worldbuilding

While my next big thing is a long-term project, I’ve got a number of small things in the hopper. One hit shelves today: The Kobold Guide to Worldbuilding. This is an anthology of essays by a host of talented designers, including people I’ve worked with in the past and others whose work I’ve long admired. The topics range from very broad to quite narrow; some look at things from a high level, whereas others are more practical… how to design a cult, a guild, a tribe, a nation. I contributed two essays, “How to make a High-Magic World” and “Bringing History to Life.” I’ve only just received my other’s copy, so I’m still digesting the other essays in the book. So far I’m enjoying it, and as someone currently designing a new setting, it’s given me a lot of things to think about. Wolfgang Baur will have more to say about the Guide in this week’s Six Questions, but until then, take a look for yourself at Drivethru RPG, Createspace, or Amazon!

Beyond this, my most recent releases are all tied to my love of Lovecraft. Unpleasant Dreams is an expansion for Cthulhu Gloom, adding new Stories, Transformations, Guests, and more; I discuss it in more detail in this post. Earlier this year I released Cthulhu Fluxx, which brings a little much-needed madness to the chaos of Fluxx. While it keeps the overall structure of Fluxx – get the Keepers you need to meet the shifting goal, while dealing with the ever-changing rules – Cthulhu Fluxx adds a second layer. You’re trying to win for yourself, but you also need to work with the other players to keep everyone from losing. No one wins if Cthulhu rises… with the possible exception of the secret cultist, if one is out there! It was a fun challenge as a designer, and I’m happy with the results.

I’ll be talking about my next big thing soon; we’re still catching up from the chaos of the holidays, and I’m getting back into my work groove. I hope that 2013 is treating you well so far!

 

 

Six Questions: Molly Lewis

I know a lot of interesting people. Some I’ve worked with, some I’ve met while traveling the world, some just owe me money. My name may be on the website, but it seems kind of boring if I’m the only person whose voice is heard here. So I’m bringing some of my friends to the site, as time permits. I’m not a podcasty kind of guy, so I’m just keeping things simple: one guest, six questions.

My guest this week is ukulele sensation MOLLY LEWIS. I first heard Molly’s music at W00tstock, then got to know her at PAX and JoCoCruise Crazy II. Her music addresses such timeless topics as the Lincoln Assassination and the immortal wisdom of Mister T; she’s also a brilliant gamer who plays a mean hand of Pit. If you aren’t familiar with her work, YouTube is here to help you out, and I suggest you go there IMMEDIATELY. We’ll still be here when you get back! In addition, Molly is just about to embark on a West Coast tour with nerd-folk duo The Doubleclicks. If you’re on the west coast, check the schedule for a local show!

If someone made a quirky primetime sitcom based on your life, what would we see in the first episode? 

I’m picturing an old-fashioned expository theme song and title sequence, sort of like That Girl. (“Who’s that? Doesn’t know how to drive a car / la la la lalala la / Who’s that? Eating kimchi straight out of the jar / la la la lala la / She loves board games, she’s kind of arty-farty / She’s a party animal! in that she talks to cats at parties / She’s MOLLY.”)

In Seinfeld, the original premise they pitched was you watch a comedian go through his day and gather material for his standup show, which you see at the end of each episode. It would be way taxing on me as a songwriter if I adopted this premise and then had to crank out a song every week, but if I have a sweatshop of other songwriters to help me, it might be plausible.

In the first episode I think we’d follow me getting ready for an upcoming Dammit Liz show. The primary sets that my sitcom would use the most would be My House, My Home Office, and Cafe Mox (Central Perk : Friends :: Cafe Mox : my sitcom). The first episode of my sitcom would have to establish all these sets.

We’d open up at INT – Molly’s House – DAY, where Ben and I are in our living room. He is playing Darksiders II or looking at pictures of shoes on his phone or something. I’m sorting through my Cards Against Humanity set to create a sanitized set I can take home to play with my family over the Thanksgiving holiday. After I reduce my whole pack down to about 10 useable white cards, I declare Mission Accomplished and decide to go upstairs to get some work done.

So we cut to INT – Molly’s Home Office – DAY. I get a Skype call from Dammit Liz (IRL I would get an email but Skype makes for better television) inviting me to the “Dammit Liz Presents A Guy Fawkes Day Musical Fireworks Celebration” or something. But uh oh! it’s been 6 months since I’ve written a new song, and I don’t have any material appropriate for Guy Fawkes Day. 🙁

I go to INT – Cafe Mox – DAY to meet up with my fellow nerdy songwriter friends The Doubleclicks and Marian Call. (By warped sitcom physics, Juneau Portland and Seattle will all be very close together.) We talk about my songwriter troubs and they suggest ideas that are well-meaning and clever but very distinctively their style, and I feel bad stealing ideas from my friends.

The pilot episode would probably end up at some Dammit Liz production, because we need to establish (1) that I’m a professional ukulelist, and (2) it would be a quick & easy way to introduce all my friends that might make appearances later in the series. Look, it’s the hilarious duo Kris & Scott (spinoff??), OMG the Loading Ready Run people, oh Logan Bonner you lovable scamp LOL.

The show would end with me singing my new song about Guy Fawkes Day (“My Parliamentary Heart Bursts For You” or something).

What are your favorite songs… that you’ve written, and that you haven’t?  

Right now I am mainlining some “Ballad of Booth” from Assassins, something fierce. As someone who has written a songbit about the Lincoln assassination from Booth’s perspective, it is SO choice. The whole reason I wrote my Lincoln song is because I read Assassination Vacation immediately before I got that prompt, and found the portion about JWBooth fascinating – He honestly thought he was being the Good Guy, a liberator and patriot, and wrote as much in his diary post-assassination.

I judge the quality of song rhymes based on whether or not I can tell which rhyming phrase was put down first; sometimes you can just smell when someone went “Oh crap, what rhymes with ‘call me MAYBE’? ‘This is CRAZY?’ Pffft, that’s fine.” If the rhyme works into the song naturally, and if you have command of the language, the anal-retentive listener shouldn’t be able to tell which phrase you put to paper first – or the rhyme has to be so cheekily clever that it comes around the other side. (Tom Lehrer does this a lot; he’s the inspiration for the “commuter bus / uterus” rhyme in my Mr. T song.) Sondheim rhymes are so tight that you can’t pick out where the thought even started. (Some say it was your voice had gone / Some say it was booze / Some say you killed a country, John / because of bad reviews.)  I’m pretty sure he could crush me between the lobes of his brain.

And it’s weird because he’s my friend and stuff, but “I’m Your Moon” by Jonathan Coulton is a fantastic song. That was the song that made me go “Just who is this Jonathan Coulton guy??”

I generally think love songs are boring cultural excess, but “I’m Your Moon” works for me on so many levels because the most romantic bits about it are based on actual scientific facts about Pluto’s relationship with its moon (they’re very similar in size and so Pluto’s center of orbit is between them, and their rotational orbits are synched so that they are constantly facing each other, like dancers), and it also gave the whole Pluto Isn’t A Planet thing some closure (at least in my heart). It took these inert space bodies and gave them personhood, gave them pathos. It was just everything you wanted to tell Pluto after it got demoted, from the only celestial being qualified to really console Pluto on anything. It’s really a very lovely, thoughtful, and well-constructed thing.

When I was in high school we had to write an Elizabethan sonnet for my English class; everybody else wrote sonnets about love or teenage angst, and I wrote about Pluto lamenting that it wasn’t a planet anymore. It remains an issue close to my heart.

Another recent acquisition is Let’s Misbehave / Irving Aaronson – A fantastic song for ukulele, I might add. It’s the kind of mischief that I want associated with the ukulele.

What led you to the ukulele?

The sheer novelty of it. No, really. I had gone through guitar, mandolin, and banjo in the span of 2.5 years. Guitar was too big for my tiny frame, mandolin was tough on my fingers (two of each string, ouch), and banjo was inherently fragile and dorky in a way I couldn’t work with. So one day my dad is coming home from the office and he sees this weird looking tiny stringed instrument in the window of a shop and says “That thing looks dumb, maybe Molly can play it.” So he brings it home and I go “Whaaa?” but it ended up incorporating all the advantages of the other 3 instruments while doing away with the disadvantages.

I played guitar for about 3 years before ditching it for ukulele, because I was reasonably good enough at it and it’s important for me to be able to sing while playing my instrument. I always got squirmy though because when a girl gets onstage with a guitar, especially a teenage girl, people are really quick to compare her to other lady singer-songwriters. People were eager to put me in a box, and they thought it was a compliment when they told me that I reminded them of Michelle Branch or Jewel or The Dixie Chicks or something. I found it insulting for some reason.

I picked up ukulele in 2004, sort of as it was starting to crest into trendiness, and there were no ukulele playing ladies that anybody could compare me to. I liked people asking “What IS that thing?” when I brought it out and played it. So I stuck with it.

If you were kidnapped by animatronic presidents and forced to work at a Disney Park, what would you want your job to be?

I’d love to play with Billy Hill & The Hillbillies, but I don’t think they have any openings. 

If I worked at the Dole booth outside the Tiki Room I could eat pineapple whip all day. I’d like that.

I definitely want to be the person who loads people on and off the Matterhorn. I’ve always envied their sweet wooly jackets. They’re long, kind of gray and forest green – they might even be reversible? Ben tells me they’re called toggle coats, because they have these horn things instead of buttons. The people that load the Pirates Of The Caribbean ride also get pretty cool outfits. They get to wear orange and burgundy striped socks, and the ladies get this suedey bodice thing – and pants. Most Disney ride operator ladies have to wear dresses of some kind.

When I was a kid I really wanted to be a skipper on the Jungle Cruise because I thought they had the most creative freedom of all the Disney employees? and then learned as I grew up that they actually have to submit their jokes for approval before they can use them on the job. So, that’s boring.

When you enter the Haunted Mansion, there’s this haunted stretchy gallery room you start in before you get into the boarding area. You’re supposed to stand in the middle of the room to get the full effect, and so there’s an employee (also with a great costume) who says “Ladies and gentlemen, kindly drag your bodies away from the walls to the dead center of the gallery,” their emphasis. This one time we had this lady who did not get where the jokes were in that spiel, and so she said “kindly move your cadavers away from the scary walls to the dead center of the haunted gallery.” I wanted to school her about how I was 12 and could do her job better than she could, but didn’t.

What’s your favorite game at the moment? 

Earlier this week I played Cash & Guns for the first time, the game mechanic of which involves pointing foam orange pistols at other players; I worried it would be sort of a gimmicky game mechanic that doesn’t add much, like the inflatable clubs in Ugg Tect, but I was pleasantly surprised to find that it’s a good and easy pickup game.

I really like team games that involve more bluffing and talking than, uh, actual strategizing. So Fiasco is a favorite, Werewolves is good (The Resistance is also in the same vein, but has more structure). Deck-building and turn-based games are touchy for me because I had some roommates in college who really loved Dominion but weren’t good about talking the other players through what they were doing in their turn. You only spent 1/4 of the game enjoying yourself, and the rest waiting for it to be your turn; there was a lot of “[nudge] Is your turn over?” “…Oh. Yes.” (They also didn’t like to put out that involved any kind of intrigue or stealing cards from other people, which is half the fun of Dominion.) Games like Fluxx or We Didn’t Playtest This or Gloom keep everybody involved in the game even when it isn’t their turn, and Dominion should be like that, but I wasn’t playing with the right people.

And I’m normally sort of unenthused with iPhone games, but I’ve recently discovered Spaceteam, which involves barking nonsense commands at your friends and twiddling knobs and switches on your phone screen. I love games you can spontaneously break out when you and your friends are waiting in line for something, or sitting around a table in a bar. (I carry Zombie Dice in my purse for this reason.)

If you were trapped on a desert island with only three Cards Against Humanity questions, what would they be?

“Why am I sticky?” Seems like a question I’d ask myself often on a desert island.

“In a pinch, [blank] can be a suitable substitute for [blank].” because that’s the sort of resourcefulness one needs on a desert island.

“[blank]. High five, bro.” You need to keep morale up when you’re stuck on a desert island.

 

Fantasy Roundtable: Family Ties

The holidays are a time when families come together. The presence of my relatives got me thinking about games, and how RPG characters often exist in isolation. After all, if my goal is to make the most efficient dungeon delver ever, what practical benefit is there to having a kid sister or an aging mother? Sheer mechanics aside, how will it make the game experience more fun for me?

In general, exploring family is a way to add depth to a character. Where have they come from? What are their roots? Is the fighter carrying on a proud tradition, or is he a black sheep whose adventuring career is an embarrassment to his noble family? Is there a town he calls home, or are his kinfolk spread across the land?

Here’s a few of my ideas on the subject. Some of these I’ve used in the past; others I might try in the future. I’d love to hear what you’ve done with families in your games!

THE ORPHAN

You want to be a lone wolf with no ties to the world? Nothing wrong with that. But if you don’t have any family, WHY don’t you have any family? A few scenarios:

  • Graven’s family were massacred by the Karrns in the Last War. This fuels his long-standing hatred of all things Karrnathi and general dislike of the undead. If he’s mainly a dungeon crawler, this might be as far as it goes. In a more intrigue-oriented campaign he might eventually learn that the attack was actually carried out by the Emerald Claw on behalf of Erandis Vol; his family held some secret that posed a threat to her. Can he uncover this and avenge the fallen? Alternately, some of his relatives could still be held in undead servitude. Can he lay them to rest?
  • Junius lost everyone and everything he knew in the Mourning (or Spellplague, or similar vast disaster). While it’s not a goal that drives him at the start, he might jump at the chance to uncover the mystery of the disaster that destroyed his loved ones. Another adventure might involve exploring the ruins of his family estate, salvaging family treasures still hidden there.
  • Sera has never known her family; she was raised in an orphanage/by wolves/by mercenaries. She’s never stayed in one place long enough to be friends. On the surface, this leaves the character with no story at all; however, it also means that there’s no facts in the way of making up a story, as when it is suddenly revealed that Sera is the long-lost last heir of the throne of Elf-dom, spirited away and hidden by a loyal retainer when her family was being hunted down by their rivals.

In popular fiction, Kvothe from The Name of the Wind is an orphan. Many of his adventures have nothing to do with this, but his desire to avenge his parents is an underlying theme that drives his long-term goals.

INHERITANCE

The Lord of the Rings and The Order of the Stick are both driven by quests handed down from previous generations. OotS’s Roy Greenhilt is bound to fulfill his father’s blood oath, while Frodo is given the task of carrying his uncle’s ring to Mordor. The heroes are also equipped by their elders; Roy wields his grandfather’s sword, while Frodo receives the sword Sting and a coat of mithral chainmail from Bilbo. By contrast, Thorin Oakenshield of The Hobbit has no special sword or armor, but he receives a map and a quest to reclaim his ancestral home. In all three cases, the inherited quest is the end goal of a campaign arc; all three have a host of adventures on the way to carrying out their heirloom quests.

This sort of story is easily adapted to a roleplaying game; it simply requires cooperation between the players and the GM when it comes to planning out the campaign arc. In terms of providing a character with an heirloom treasure, there are a number of ways to handle this. Each character could receive a treasure, so everyone is on even footing. It could be that only one character receives an heirloom, and this is balanced by increased responsibility or danger; the character is the subject of a vendetta and will invariably be the focus of enemy attacks. On the other hand, it may be that the heirloom drives the story but has no mechanical value. Thorin simply receives a map. And while Roy carries his grandfather’s sword, it only becomes a powerful magic item once he has it reforged. In this, there’s some similarity to Aragorn in Lord of the Rings; he has the pieces of a powerful sword from the very beginning of the “campaign”, but he is only able to reforge the sword after a series of trials and triumphs. In both cases, the sword has a personal meaning to the hero who carries it; it’s not just some random treasure plucked from a monster’s hoard. They effectively acquire the weapons through adventure – but the weapons have personal significance due to their family history.

THE FAMILY BUSINESS

Perhaps you are following a family tradition… in which case, other members of your family might be more advanced in your chosen field than you are. The wizard’s mother might be the Master Diviner at the Mage’s Guild. The father of the rogue could be a Boromar underboss who with a sizeable territory in Sharn. The fighter might be the son of a general in the army or the captain of the city watch.

This sort of connection raises a host of possibilities. The first is the question of the relationship between the player character and successful relative. Is the PC following in the footsteps of the parent? Does he expect to fill his forebear’s shoes, or is he following a different path? If the relationship is a good one, the relative could serve as a patron for the party… either directly supplying them with missions or simply cutting them a break on services they might not otherwise be able to obtain. Diviner Mom can help the party identify magic items, and she occasionally provides them with a free augury… but a time may come when they need to help mom overthrow the corrupt guildmaster, or exorcise the quori that has managed to weasel its way into her mind. If the family member does provide some sort of concrete benefit to the party—whether missions or services—it will make storylines that threaten her have that much more impact.

One question is whether or not you are aware of your family’s business at the start of your adventuring career. It could be that your ancestors are a secret order of demon-hunters, but your parents have kept the truth hidden from you because you weren’t ready to take on the responsibility/the stars weren’t right/your sister was the Chosen One. Now that the demons are rising/you found the sword of angels/your sister is dead/you’ve reached level ten, your ancient purpose is revealed… which might be just the thing to explain your new paragon path/prestige class.

A spin-off of this is the noble heir who starts off as a free-spirited adventurer, but who is eventually called upon to carry out the duties of his office. When King Bob is assassinated, it’s up to the fighter to take up his crown; he must deal with the problems facing the tiny kingdom. The party’s cleric must serve as his spiritual adviser, and the rogue is the spymaster. The little kingdom is caught between two greater powers; the PC King could escape much of this responsibility by swearing allegiance to the empire to the north, but will he surrender his kingdom’s independence so easily? Such a plotline is an interesting way to switch from a heroic arc to a higher level campaign. The PCs have honed their skills crawling through dungeons and fighting monsters; now they must deal with spies, assassins, and armies.

Another take on this is having the entire party be drawn from a single family. Looking to the Boromar crime family, you could easily have characters with different classes all pitching in to help the family business in different ways.

THE RIVAL

A family rival could be a friendly rivalry within your own family… the fighter’s sister is a sorceress, and has always been determined to prove magic superior to the sword. She has her own band of adventurers. Sometimes they help you; sometimes they beat you to something you were searching for; sometimes you only find out about an interesting dungeon because they got their first. This gives a possibility for cavalry to arrive when you bite off more than you can chew… but you might also end up having to bail your sibling out of trouble when they take on too much, and end up imprisoned/possessed/petrified/what-have-you.

Alternatively, you could be dealing with a rivalry between families. Capulets and Montagues, Hatfields and McCoys, Bagginses and Sackville-Bagginses. This could be primarily a political rivalry that has little direct affect on your adventures, and mainly comes out in the reactions of certain NPCs who either support or oppose your family. On the other hand, it could be simmering on the edge of violence, with a constant threat of assassins or attacks; between poking around in dungeons, you might raid the estate of an enemy family, or be sent as envoys to win the favor of a neutral family.

THE NEXT GENERATION

Epic level getting you down? Do you long for the simple days when a dire rat was a challenge? Perhaps it’s time to jump forward a few decades and start a new campaign based on the descendants of your current party. This works especially well if some sort of interparty romance has already formed over the course of the campaign; if the fighter and the wizard already hooked up, there’s a solid family that can be the backbone of the next generation. It’s possible for every player to play a descendant of their original character, but you shouldn’t feel tied to this; the core descendants will surely have friends and acquaintances from distant places. Likewise, use your imagination when asking where are they now for your original PCs. They could be happily married & running the local inn/wizard’s guild/kingdom. But perhaps the sorcerer vanished a decade ago, and no one knows what became of him. Maybe the rogue and fighter quarreled, and the rogue is now a legendary assassin whose name is spoken in whispers. The paladin has fallen and rules a dark kingdom with an iron fist. Perhaps the warlock’s child has inherited a problem from the original PC; it turns out that part of the warlock’s pact concerned the soul of his firstborn child, and it’s up to the next-gen PC to pay the price for her father’s lust for power.

These are just a handful of ideas; there’s many other ways that family could play a role in a campaign. An entire campaign could be based around dynastic conflict. Your kid sister is determined to be an adventurer and has followed you into danger… can you keep her alive? Your brother is getting married to the Inspired ambassador… do you trust her? What do you get as a wedding gift? Will you go to the destination wedding in Sarlona? Quests for vengeance, ancestral curses, the spell your great-grandfather never quite finished… delving into family can provide all sorts of interesting flavor and inspiration for good NPCs.

This is just a starting point. What have YOU done with family in your games? What would you like to do in games to come?

12/12: Books I’m Reading, Games I’m Playing

Clothes make the SpaceTeam.

I’m working on my post about my Next Big Thing, but in the meantime I thought I’d throw out a quick note about the things I’ve been enjoying over the past month. This isn’t a best of the year post; these are just the things I’m listening to, watching and reading RIGHT NOW, and my thoughts about them.

THINGS I’M READING

Locke & Key: Welcome to Lovecraft by Joe Hill and Gabriel Rodriguez

I’ve been enjoying Locke & Key for years now, but I had the good fortune to receive the special edition of Welcome to Lovecraft as a gift, and that’s got me reading the series through again. Locke & Key is certainly my favorite comic of recent years, and on the list with Sandman, Hellboy, and Grant Morrison’s run on Doom Patrol for lifelong favorites. It’s best to discover it on your own, but I’ll describe it as a blend of Narnia and a good ghost story. A group of children return to an old family estate and stumble across its ancient and magical secrets… but the doors opened by the magical keys can lead to more gruesome dangers than Lucy or Edmund ever faced in Narnia. I like keys, and as such I’ll also give a nod to Skelton Crew, a studio that has produced replicas of the magical keys from the series. As comic collectibles go, these are fantastic. The keys are the critical visual element and tool from the stories, and Skelton’s replicas are a good size and weight; they’re fun things to carry around even without the story connection. So far they haven’t opened any doors for me, but who knows.

The Wise Man’s Fear by Patrick Rothfuss

In The Hobbit, the people of the Shire know relatively little about the world beyond their fields. Luckily, Gandalf shows up and provides us with detailed exposition about the history of the dwarves and that the dragon. Moving on to the Lord of the Rings, through Gandalf, Elrond and Galadriel we are kept well-informed about the history of the conflict and its major players.

The Kingkiller Chronicles have some common threads with Lord of the Rings or The Wheel of Time. There’s an ancient evil lord. He’s got a cabal of powerful minions, much like the Nazgul or the Forsaken. They’re all up to something. But unlike LOTR or Wheel of Time, we don’t know what it is. Imagine Lord of the Rings without Gandalf. Frodo has the ring. He actually knows that it’s bad and should be destroyed in Mount Doom. But he doesn’t know where Mount Doom IS. The stories about Sauron are full of conflicting details, and while some legends say that he lived in Mordor, there are no current maps that show the location of this long-forgotten kingdom. In The Kingkiller Chronicles, Kvothe has much the same problem. He’s had a disastrous encounter with the ancient evil, but he has trouble finding out exactly what it IS. As he learns magic and hones his other skills, he—and we, through his eyes—gets glimpses of the truth through folktales, songs, rumors, and religion. But there are conflicts in all of these, and the truth remains to be revealed. Rather than the story being about the goal—IE, the destruction of the Ring or the defeat of the Dark One—it’s more about the journey. For me, much of what I enjoy is the way that the mysteries of the world are slowly unfolded instead of being laid out from the start.

I’m still only partway through WMF. In some ways, it’s a blend of Harry Potter and Ender’s Game—a brilliant boy learning the secrets of magic, using his wits to deal with rivals at school and the other challenges of life. Yet there are constant patches of crabgrass foreshadowing great deeds and tragedies that lie ahead. It’s a very different sort of tale from the warring kings of A Song of Ice and Fire. But it’s certainly managed to hold my interest; I want to know more about the world, perhaps more than I want to know about Kvothe.

 

GAMES I’M PLAYING

I play a lot of games. In the last week I’ve played Cards Again Humanity, Ticket to Ride, Lost Cities, Love Letters, Quirks, Cthulhu Fluxx and a few different flavors of Gloom. I’m very happy with Unpleasant Dreams, the first expansion for Cthulhu Gloom… if you have any questions about Unpleasant Dreams (or for that matter anything I’ve made), please ask here! Here’s some thoughts on a few of my favorite games I’ve played in the last month.

SpaceTeam

You’re flying a ship through a galaxy crowded with wormholes and asteroids. Your ship is barely holding together. Panels are falling off. Slime is leaking out from the cracks. There are an endless assortment of adjustments that need to be made. Punch the orbvalve! Set the microfluxer to 5! Deactivate the quantum valve! Consider purchasing upgrades! It’s more than one person can handle. Fortunately, you’re not alone. You’re part of a SpaceTeam.

SpaceTeam is a cooperative game for 2-4 people, played on iPads and iPhones. Each player has a piece of the ship’s control panel, covered with an assortment of bizarre and often hilarious controls. As the game unfolds, you receive instructions and have a limited time to complete them. But many of your instructions apply to the controls on the panels of other players. The result? A lot of panicked shouting, as you watch the timer counting down and hope that the command you’re shouting makes sense to one of your comrades. “Tighten the Ubercronk! Set the Hypermodulator to six! Tip the Waiter! Wormhole – EVERYONE FLIP!” Any given action is quite simple: push a button or turn a dial. However, the combination of time pressure, communication within your team, and console malfunctions that have to be fixed or simply ignored make it an extremely entertaining experience. I’m sad that they didn’t create a holiday version; I can imagine sitting around the living room with my family shouting “Deck the halls! Parum the Pum-Pum! Mistletoe – everybody kiss!”

In short, it’s a fun, quick cooperative experience, and a perfect way to pass time while standing in line or waiting for something to start. And it’s free. So what are you waiting for?

 

Geistes Blitz

A simple game that combines speed and pattern recognition. Five objects are placed in the center of the table. A card is drawn from the deck. Each card has four elements: two objects and two colors. If a color/object combination matches one of the objects on the table—for example, there is a picture of a white ghost—the first person to grab that object off the table gets the card and the point. However, in many cards, neither of the two objects shown are the proper color. In this case, you look for the object that isn’t represented on the card in any way. So if a card has a green rat and a red ghost, you are looking for an object that’s not a ghost or a rat, and isn’t red or green… which only leaves one possibility, the blue book. Grab the book and you get the point. If you grab the wrong object, you lose a point—so while speed is important, you don’t want to grab until you’re sure.

This basic game is a great deal of fun, and it’s good for people of all ages; I admit that I played about five rounds with an eight year old and lost every time. However, there are lots of ways to increase the complexity once your group is familiar with it. You can say that if there’s a ghost on the card, you need to shout the name of the proper object instead of grabbing it… or that if there’s a book, the correct answer is the object that’s the color of the book on the card, not whatever the normal answer would be. It’s fast and easily portable. The only problem is that it’s somewhat hard to find. I got my copy off the internet, and I’ve been recommending it to every brick & mortar store I’ve been to.

Always/Never/Now

Always/Never/Now is a cyberpunk adventure cycle created by brilliant designer Will Hindmarch, and I’d say that it’s something like a mash-up of Mission Impossible and The Usual Suspects as written by William Gibson. You’re a brilliant operative who’s been called out of retirement for one last job… a job that will span the course of many adventures and delve into a host of mysteries. The system is inspired by Lady Blackbird; it’s easy to use and encourages players to get into the mind of the character. As the group’s strategist, you don’t get experience for killing things; rather, you get experience when other people follow a plan that you’ve devised. As such, you are rewarded for being a leader. Pregenerated characters are provided, which means that you have a well-balanced team with a lot of interesting backstory built into the characters themselves. One element I found particularly engaging was the use of environmental tags. When our group was engaged in a tense car chase, Will provided us with a list of specific objects in the scene – high tension wires, a hapless motorcyclist, a tanker truck, a news helicopter, an overpass. Over the course of the scene, we could use each of these elements once in the description of an action in order to get a bonus to the roll. Now, nothing was stopping us from introducing these or other elements on our own; but by providing us with a list, Will really got me thinking about what we COULD do with those things. I might have simply tried to outrun the enemy; instead, I starting thinking about how the hapless motorcyclist could flip over their hood, causing them to crash into the tanker truck. It’s an idea I could easily see transporting to other settings and systems, such as Eberron. If you want someone to swing on a chandelier, let them know that the chandelier is right there waiting to be used!

Always/Never/Now was funded on Kickstarter early this year. At the moment, the only way to play it is to corner Will Hindmarch at a convention (and I suggest you do). However, it will soon be available as a PDF for download. I’ll be sure to mention it here when it is; it’s definitely worth a roll of the dice!

And finally, for those who missed my earlier post, here again is Gloomy Santa…

Six Questions: Will Hindmarch

I know a lot of interesting people. Some I’ve worked with, some I’ve met while traveling the world, some just owe me money. My name may be on the website, but it seems kind of boring if I’m the only person whose voice is heard here. So I’m bringing some of my friends to the site, as time permits. I’m not a podcasty kind of guy, so I’m just keeping things simple: one guest, six questions.

My guest this week is designer WILL HINDMARCH. He does an excellent job of covering his career at his website. In short, he is a writer, gamer designer, and extremely clever person. Over the years we have collaborated on a number of things. We worked together on the Feng Shui sourcebook Friends of the Dragon, which may (absolutely no guarantees) be one of the first places where flashbacks are suggested as an RPG story mechanic. Years later Will invited me to take part in his anthology The Bones: Us and Our Dice. Later still I had a chance to play in his cyberpunk adventure Always/Never/Now, which was one of the most entertaining roleplaying experiences I can recall. This doesn’t begin to touch on the scope of his work… like I said, check his bio. And now, let’s get to the questions!

Who are you? Please answer in exactly five words. 

Writer, designer, gamer, mooncalf? Word.

What have you done over the last decade?

Not enough. Since 2002, either on staff or as a freelancer, I’ve put a fingerprint on something like 100+ publications, mostly in the game sector, and it still feels like I’m lagging behind prized contemporaries and luminaries.

In the past decade, I’ve gotten married, moved from city to city a few times, and learned a lot about writing, design, development, and production from some of the gaming hobby’s most-skilled people. I’ve achieved a few long-term goals from my past but I have a lot more still waiting to be realized. I’ve sailed on the surface and I’ve scraped the bottom of the sea, but at least I’m still here, chasing new goals. Advance, setback, pirouette, onward.

The big thing that I’ve done in the past ten years and get to know some of my favorite game designers, writers, and other creative folk in a way that goes beyond fan mail or a handshake. I count myself incredibly lucky for the company I’m allowed to keep. I’m surrounded by intimidating talents and wonderful hearts and cunning minds and while I haven’t yet made the mark (or all the games and books) that I so desperately wanted to make by this point, I am better primed to do those things now than I was before. I remain hopeful, most days.

Always, Never, or Now?

I wish the answer was “always.” I fear the answer is “never.” I know it isn’t “now.”

What’s your favorite game you didn’t create?

Tricky, this one. I have created a number of games close to zero. Most of my work has been on other people’s games, expansions, and supplements. Vexing.

Truth is, I am near-sighted when it comes to favorites—my favorite game is often the one that I am obsessed with in the moment, so not only does my favoritism juke and weave, it often doubles back and leads me through the woods to familiar groves after years away. Which is to say, I don’t know. I’ve singled out Castle Falkenstein as an answer to this question a few times, but there have been times when my favorite game was Wraith: The Oblivion, the Saga system (whether it’s powering fantastical or super-heroic roleplaying), and I’m plainly a sucker for the confluence of mechanics that make up Lady Blackbird. I’ve been playing a whole lot of 7 Wonders for the last year or so, too; I admire that game rather a lot.

But my favorite game? It’s probably Thief: The Dark Project. That’s the most engaged and captivated I have ever been in actual play, and I was engaged and captivated something close to my maximum amount by that game. It builds a terrific world, tells a great tale, features wonderful characterization and mechanics, and is probably the most frightening game I have ever played.

If you were trapped on a desert island, what three dice would you take?

Probably 2d6 and 1d10. I can play a whole lot of my favorite RPGs with the sweet curve of 2d6 and the nice simple determination of a single ten-sider. Plus, if I can tally in the sand or make tick-marks on the tree(s), I can track successes and play all manner of great games calling for more dice. The sand will become a record of adventure, grooved all over with the scrap measurements of play, maybe even gridded out with a simple board for tracking coconut goblins and sea-smoothed stones standing in for bold adventurers.

When the sailors finally row up to rescue us, I’ll hold up my finger and be like, “Let’s just finish this round to see if we can save the lost treasure.”

What’s one of your favorite ways to set the mood when you’re running an RPG?

Music. I use a lot of tricks and techniques, from small talk to cadence to lighting, but music is one of my favorites because it’s like getting a whole secondary channel of mood and information into the play space. I can say one thing and let the music support or confound those words and create a situation or atmosphere that much more nuanced than I could do with just words alone. I’ve written a fair bit about this and hope to write more. A lot of what I do with music at the game table is intuitive but I’m eager to externalize it as actionable advice one day.

Have A Gloomy Holiday!

Overall, I’m pretty happy with 2012. We survived the Mayan Y2K+12 Bug with a fine bunker warming featuring Molly Lewis & the Doubleclicks. Looking back over the year, Jenn and returned to Portland after a brief stay in Austin, Texas. We sailed the seas on the second JoCoCrazyCruise. We acquired a pair of adorable kittens who have since quadrupled in size…

Our lives are one big adorable YouTube video.

In gaming news, I released Cthulhu Fluxx and the first expansion for Cthulhu Gloom, Unpleasant Dreams. Gloom was featured on the Geek & Sundry show Tabletop. I’ve expanded this site with Six Questions, which has helped me to get to know some of my friends a little better and answered such burning questions as “What three dice would Will Hindmarch take to a desert island?”

In gloomier news, the current issue of Dragon marks the final installment of the Eye on Eberron series. It is my hope that Eberron will continue to be supported in D&D Next, but I don’t have any news on that front. With that in mind, I am developing a new fantasy setting that I’ll be using as a foundation for games and fiction. Expect to see a more detailed discussion of this new world over the next few months!

I count myself lucky for all of the good things in my life. I’m grateful to be surrounded by good friends and family, and especially for my wonderful wife Jenn. And I consider myself blessed to have been able to share my creations with so many people. Working on Gloom and Eberron has been a wonderful experience. I always enjoy discussing my games and novels with people, and if there are things you’d like to know, use that contact button on the right!

Happy holidays to all of you, and I look forward to sharing stories in 2013!

 

Dragonmarks 12/21: Is Boranel Evil?

This will likely be the last Dragonmark of 2012. Come the new year, I will be focusing most of my creative energy on my new world, which I’ll talk more about next week. In months ahead, I will be discussing elements of the new world and asking for your opinions on different things. However, Eberron remains close to my heart and I will continue to do Dragonmark posts; they’re just more likely to be monthly than weekly. And while I have no new information on the subject, I hope that Eberron will be supported in D&D Next – if you want to see Eberron support in DDN, keep asking WotC and hope for the best!

As always, the answers to the questions below are my personal opinions and may conflict with canon sources.  

If Krozen’s evil, shouldn’t Boranel be evil too? He uses his dark lanterns to commit assassination, theft etc: evil acts.

Does he? Again, for my opinions on alignment in Eberron, take a look at this post. I’d pay particular attention to the discussion of Kaius and Aurala, and the note that Aurala’s generals and ministers may engage on actions on behalf of Aundair she wouldn’t personally condone.

Let’s compare Zilargo and Breland for a moment. Both have exceptional intelligence services. Both employ assassins. But just how do they employ those assassins? In Zilargo, the Trust routinely deploys assassins against its own citizens. Not only that, it regularly engages in pre-emptive assassination, killing people who haven’t yet committed any crime (but will if they aren’t stopped). They are content to, in short, rule through terror and the threat of execution.

In Breland, Lord Ruken ir’Clarn is the leader of a movement determined to end the Brelish monarchy when Boranel dies. He seeks to rob Boranel’s children of their birthright and change Brelish tradition. And yet, he’s still alive. Do you think Boranel doesn’t know what he’s up to? Do you think that Ruken is somehow so amazing that the Dark Lanterns couldn’t kill him? No on both counts. His shield is that he’s a Brelish noble and member of parliament whose actions are, by and large, purely democratic in nature. Boranel doesn’t want ir’Clarn to succeed, but if it the will of the people that he does, Boranel will accept it. I’ll also point to the fact that despite the Citadel being a key edge Breland had over the other nations during the Last War, Dark Lanterns were never deployed to assassinate other kings or queens. They were certainly employed in the war – look to Thorn’s Far Passage assignment – but there were places the king wouldn’t go.

Looking to the Thorn of Breland novels, Thorn’s first assignment is to recover a prisoner from a nation that is NOT a signatory of the Treaty of Thronehold and thus not bound by the Code of Galifar. Thorn is told that she is authorized to kill that prisoner’s jailer if need be, but that isn’t the mission; she’s there to rescue a prisoner, not specifically to assassinate a foreign leader. In the second novel, she is sent to identify a terrorist threat to Breland, and if it exists, to eliminate its leader. This is a straight-up assassination, true, but again it is targeting a criminal who potentially poses a threat to every citizen of Sharn… and she’s instructed to confirm that he is a threat before carrying out the sentence (and she’s pretty cranky about acting as what she sees as a paid assassin for House Cannith). In the third novel, her initial assignment is to protect Prince Oargev from assassins, and she’s authorized to use lethal force in the process – but she’s there in a defensive capacity. Breland is willing to employ assassination as a tool against terrorists and monsters. But it doesn’t use it casually and it chooses targets carefully. More important is the fact that Boranel is King of Breland, not master of the Citadel. He allows the Dark Lanterns to exist. At times, he even requests specific actions from them. But he is NOT their direct commander and is in all likelihood not even aware of many of the assassinations that they carry out. Who is? People like Talleon Haliar Tonan, commander of the Sharn Dark Lanterns (Sharn: City of Towers page 139). Talleon is specifically noted as being “devoted to the preservation of Breland and to the King, but he is utterly ruthless, and authorizes torture, theft, and assassination if the mission requires it.” I highlight the but because it speaks to the fact that this isn’t the general tone of Breland or the general will of the king; Talleon is willing to take extreme action in defense of the kingdom that Boranel likely wouldn’t approve of. And what’s Talleon’s alignment? Lawful evil. He works within a hierarchy and system – but he is willing to engage in evil acts to preserve that system.

Earlier there was a long discussion about the Valenar invasion, and that the Humans were only too happy to throw off the yoke of Cyran rule, based on hatreds dating back to old Sarlona. But what of Lhesh Haruuc’s creation of Darguun — from lands that had also been part of Cyre? Were the Humans there from the same region of Sarlona as those in Valenar?

No, I don’t believe that the human inhabitants of Darguun were or are of Khunan descent. The Khunans were never a numerous people. They fled directly across ocean during the Sundering, settling on the east coast of Khorvaire. They were thus refugees, not a planned settlement; they didn’t come with supplies or plans for expansion; and the region that is now Valenar was quite sufficient for their needs. You see similar “refugee colonist” cultures in the Shadow Marches and the Demon Wastes; in both cases you have a similar situation where these people were happy to settle where they landed and never had need or resources to push deeper into the continent.

Meanwhile, the people of Cyre are largely descended from the blended folk of Rhiavaar, Nulakesh, and Pyrine—people who came in an organized wave of colonization and expansion. Nonetheless, the human population density of Khorvaire is relatively low, and the Five Nations always claimed territory that they didn’t really need. Breland claimed Droaam and the Shadow Marches as part of its domain; however, unlike Cyre, it never actually conquered those territories. Cyre DID conquer Khunan Valenar and set its nobles up as overlords.

Being far inland, Darguun never had refugee colonists. Cyre claimed the territory and had settlers there, but it never had a particularly dense human population. The main reason it was so easily stolen is that Cyre’s grip on it was always tenuous… and there was no way it could stretch itself to reclaim that largely unnecessary region when it was already hard pressed on all sides by the other nations.

As I recall from a flashback scene in the Heirs of Dhakaan trilogy, some Cyrans fought back…and died. Are the rest now slaves, or did Haruuc treat them with dignity in exchange for their acceptance of the new realilty?

Haruuc had no interest in being an occupying force. He didn’t want to conquer humans; he wanted them out of the land that rightfully belonged to his people. As such, Cyrans suffered one of three fates:

  • Exile. Those who were smart and fled towards the heart of Cyre were largely allowed to leave.
  • Death. Again, Haruuc didn’t want the hassle of managing a large captive population, and unlike the Valenar he had no intention of becoming a liege lord to human vassals; again, he was building a new homeland for his people, taking back the land originally stolen by humanity. There was no room for human dignity in this equation. If people resisted, most were killed.
  • Slavery. Some prisoners were kept as slaves. Again, the goblin view is that these are the people who stole Khorvaire from their ancestors; they deserve no better.

Having said that, there’s no reason that INDIVIDUAL humans couldn’t earn the respect of the goblins around them and find some sort of acceptance within a Darguul community. But that would very much be a case by case basis; it wasn’t Haruuc’s intention in the war of foundation.

I will also point out that the Valenar had a longer engrained relationship with the Khunans. The Valenar had defended the region for decades. The Khunans were used to their presence; there were adults with no living memory of a time when they didn’t have Valenar defenders. The Valenar simply killed the Cyran overlords and said “We’re in charge now” and the Khunans largely said “OK, doesn’t make much difference to us.” In Darguun, you didn’t have this sort of pre-existing relationship. Goblins were employed as mercenaries, but the percentage of mercenary goblins was quite low compared to the current population of Darguun; Haruuc brought together a host of goblins who had never had anything to do with humans, promising them a better land and better life.

Apart from Aundair, who is more likely to ignite the next war?

If I had to pick one force, I’d go with the Lords of Dust supporting Rak Tulkhesh. The question is who they would trick into starting it for them. This is discussed in more detail in a recent Eye on Eberron article (http://www.wizards.com/dnd/Article.aspx?x=dnd/dragon/2012October).

What 3 historical events in Eberron timeline would make the best backdrops/focus for one-off adventures?

It’s very difficult for me to limit myself to three. So I’ll just say that these are three events I believe would make good one-offs – but by no means the only ones. If I had the time, I could come up with twenty, easy. And no, I don’t have time.

The Lycanthropic Purge: Part One. Some people have the idea that the Purge was a one-sided affair, with poor miserable lycanthropes being relentlessly pursued by evil templars. This wasn’t the case at all. When it began, it was a war. I like to call it “28 Days Later with werewolves instead of zombies.” I’d also consider Aliens to be an excellent inspiration for tone. A single lycanthrope was generally far more than a match for the typical templar (most likely a 1st level warrior) and all it takes is a single bite to pass the infection. I’ve often wanted to make a one-off about a group of lost/scattered templars and local shifters forced into an uneasy alliance as they try to escape suddenly hostile territory, or to deal with a fiend-possessed lycanthrope leader… dealing both with an extremely deadly foe and their own distrust of one another.

The Lycanthropic Purge: Part Two. Eventually the power of the curse was broken; the number of lycanthropes were cut down to more containable numbers; and it became closer to a witch-hunt. But that witch-hunt could make for a very interesting one shot. The PCs are a mix of Silver Flame inquisitors and local villagers. There are wererats in the village, and they are murderous, malevolent and very clever… and they will do their best to trick you into harming innocents. Can you find the true villains without harming or killing innocent people?

Against The Giants. The PCs take on the roles of elven resistance fighters from a variety of cultures in the last days of the war against the giants. You’ve got a drow assassin who’s turned on his former masters but is still distrusted by the others; a haughty Qabalrin necromancer and a Cul’sir wizard liberated from the giants… along with early Tairnadal. Take this group and turn it into Inglorious Basterds. I want my titan scalps!

Do you ever tire of creating content for the ‘kitchen sink’ of campaign settings?

This is related to another question…

Did you ever feel like the stipulation of “if it’s in 3.5, it’s in Eberron” hurt your creativity in any way?   Two examples of which that I can think of just to edify my point are this: I’m personally not a huge fan of psionics, but you not only have a custom race with them, but in fact an entire continent.  Arguably putting it on par of importance with Dragons (one part of the name of the game).   Second example is the creative take you took on the drow in Xen’drik.  I felt like they were something that had to be put in due to fan love for their race, and that you had to add, but that you really twisted on it’s head._

First, let’s tackle the phrase “kitchen sink.” This impression usually comes from that second phrase – the fact that one of the ten things you should know about Eberron is “if it’s in D&D, it has a place in Eberron.” The key to me is that when I hear “kitchen sink”, I think of it as a negative term that implies that things are jammed together with no rhyme or reason. We’re going to have a culture that is effectively identical to revolutionary France next to an Aztec nation next to Menzoberranzan. This isn’t the case in Eberron. Just look at the answers I’ve given in the last few posts. They are answers about the unique history and cultures of Eberron – the political and religious conflict between Thrane and Cyre; the fate of Cyran refugees; the difference between Boranel and Krozen. My recent Eye on Eberron articles deal with the Rage of War, the sacred assassins of the Silver Flame, and the Children of Winter. None of these are in any way defined by it being a “kitchen sink”; they are tied to the religions and mystical forces unique to the world.

It’s also vital to recognize that the statement isn’t “If it’s in D&D, it’s in Eberron.” It’s “If it’s in D&D, it has a place in Eberron.” If you love abeil (bee people), there are many places you COULD put them. They could have a lost hive-city deep in Xen’drik. They could be a product of the Mourning, in which a Cyran city was transformed into an Abeil hive. They could be a new creation of Mordain the Fleshweaver. But if I don’t like abeil, I don’t have to use them at all. They aren’t IN Eberron; it’s simply easy for you to add them in if YOU want to. There’s a place for them in Eberron. This is the key to the statement that Eberron is a “kitchen sink.” It’s as much of a kitchen sink as you want it to be. I don’t use goliaths, genasi, illumians, chaos gnomes, etc. But if I wanted to, I could find a place for them.

With that said, there are things I was forced to put in. We needed a clear role for the core races of D&D, including the drow… and with the advent of 4E, including dragonborn and eladrin. 4E added Baator to the cosmology. Now, if I had been told “The drow must be just like Forgotten Realms… in fact, we want you to put Menzoberranzan somewhere” I would be very frustrated. Instead, my challenge was “you’ve got to have drow… but what makes the drow of Eberron unique? What makes the eladrin of Eberron different from those of other settings?” I think the EoE article on Baator is the best example of this. I will admit that I HATED having Baator added to the cosmology when it wasn’t there before. The Eye on Eberron article gave me a chance to define Baator in a way that made sense for Eberron… to create a new story for it, one that used the same familiar cast of characters but gave them a new backstory, motivation and role in the world than how they’d been used before. Baator is a divine prison, and Asmodeus has only just broken his bonds and risen to power; the archdevils have an element of warring crimelords, struggling to build new empires from ashes.  It’s a completely different way of using the devils than you’d get in 4E core, and that’s what I like. If YOU like Menzoberranzan, you can add it to Eberron; no one’s stopping you. But I’m going to offer the Sulatar, Qaltiar, and Umbragen.

So is it creatively stifling? It IS limiting to be forced to work in some of these things, sure. There are some I wouldn’t add in if I was doing it entirely on my own, absolutely. But if anything, it’s an interesting creative challenge to say “How do I make gnomes that AREN’T the gnomes you find elsewhere?”

Looking to psionics, that was my choice from the start, not something forced upon the world. When I read my original AD&D Player’s Handbook, it came with an appendix on psionics. They’ve always been around in D&D, but they’ve generally been a weird stepchild that doesn’t really fit the tone of everything else… or forced on everyone, as in Dark Sun. With Eberron, I wanted a compromise. I wanted to give psionics a logical place in the world, and to consider the impact they would have on a culture much as Khorvaire explores the impact of magic. But I also wanted to make sure that someone who HATED psionics could essentially ignore them. Hence, Riedra. If you LIKE psionics, play up the role of the kalashtar and Dreaming Dark, and maybe even set your campaign in Riedra. If you hate psionics, drop the Dreaming Dark and the Kalashtar, and never go to Riedra. You don’t NEED to put kalashtar in your campaign; but if you like them, they have a place complete with history, conflict, and culture.

If you ever tire of it, what kind of theme/campaign setting would you prefer to work on?

Funny you should ask, as I AM working on a new campaign setting. Thanks to Jeff LaSala, I’m due to write about my “Next Big Thing”, and that is going to be my new campaign setting. The holidays have pushed me off schedule, so it won’t come out until next week, but expect more news then… to be followed by an ongoing discussion of the world as it moves towards completion.

Six Questions: The Doubleclicks!

I know a lot of interesting people. Some I’ve worked with, some I’ve met while traveling the world, some just owe me money. My name may be on the website, but it seems kind of boring if I’m the only person whose voice is heard here. So I’m bringing some of my friends to the site, as time permits. I’m not a podcasty kind of guy, so I’m just keeping things simple: one guest, six questions.

The Doubleclicks: Aubrey (L) and Angela (R)

My guests today are THE DOUBLECLICKS, Portland’s hottest comedy/nerd/folk sister band. In their own words, they “write songs about Dungeons & Dragons, beatboxing, and lots and lots of heartbreak.” You may know them from W00tstock or the Ladies of Ragnarok, or you may not know them at all, in which case you should stream some music right now.

On to the questions!

How did you get started? What drove you to dive into the cutthroat, Smaug-eat-Smaug world of Nerd-Folk music?

Angela: Growing up and through school, my favorite music has always been stuff with lyrics that have something to say – usually something funny – like They Might Be Giants or Jonathan Coulton. I started playing guitar during college, because, despite having a very musical family, it wasn’t until I left home that I realized that playing guitar actually “makes you cool.” Aubrey moved out to Portland toward the end of my college career, and encouraged me to write songs and perform them with her at a local open mic night – and, when it came to songwriting, I immediately jumped to emulate my influences – with songs that are more about lyrics and storytelling than anything else. That was almost 4 years ago now. We officially started the band in 2011, and we’ve had just an amazing time.

Aubrey: Angela started writing songs and playing the guitar for her friends, and I dragged her out to open mics around Portland because I knew other people would be delighted by her performances. Then we started playing little shows for our friends and found a band name, started writing more songs… and have been meeting amazing people ever since!

If you were taken to a zoo on a distant planet and forced to perform three of your songs for the rest of your lives, which three would you choose?

Angela: Oh, how I hope this doesn’t happen. For the first, I’d choose Oh, Mr. Darcy, because it’s a true story that has shaped who I am. For the second, I’d choose Imposter (the song about Mars Curiosity), because it’s also got true sentiments, plus it’s about space, so that might help us gain some sympathy with our alien zoo-keepers. For the third, it seems like I should choose a happy one, but I think I’d choose “A Song about EVE Online,” because it’s hard to play, and if we had to perform the same songs for the rest of our lives, we might as well be improving.

Aubrey: Setting the mood, Imposter, and Clever Girl.

Is “This Fantasy World” based on a true story? How did you get started with gaming, and what are some of your favorites?

Angela: “This Fantasy World” is about meeting someone in a Dungeons and Dragons game and falling in love. It is, in fact, based on a true story – it’s about the D&D game in college, in which I met my boyfriend. I got started with gaming in high school – my friends and I would play D&D with dice and graph paper in the foyer of our school, while I waited for my mom, who taught at my school, to be finished, so I could go home. My experience, through high school and college, was pretty limited to D&D, occasional tries at Werewolf or Mage, and some board games like Twilight Imperium (I didn’t know any better, ok?). It wasn’t really until we started the band that our worlds were expanded to see awesome indie RPGs like Lady Blackbird and Dungeon World, and fantastic board games – my current favorites being Ticket to Ride and Lords of Waterdeep (I’m a sucker for victory points).

You’ve just released a holiday album, Christmas Ain’t About Me. What makes it different from the average holiday collection?

Angela: Christmas Ain’t About Me is our take on Christmas. There are a couple of songs that are specific to this year’s holiday – about the old man with the white beard who makes the season great (Gandalf), and what happens on December 21 (The End Of The World.) We also took some of the classic Christmas Song Types – the love song, the travel song, and the song from a kid’s perspective – and twisted them to our own experiences. The making of this album was a great experience in getting-something-done-and-out-there-quickly – and we’re very proud of how it turned out.

Aubrey: There are several holiday themes- children, elves, presents, travel, being with friends… but we based it off our personal experiences which makes it a bit nerdier than average.

In honor of your song “Worst Superpower Ever”, I have to ask: Would you rather have Superman’s super-ventriloquism or Batman’s bat-thermal-underwear?

Angela: That is a tough choice – both of those seem *amazing.* I’d probably go with bat-thermal-underwear though, because super-ventriloquism seems like it go horribly wrong more often than not.

Aubrey: I want the thermal underwear! Being warm when it’s freezing outside makes me unstoppable!

What’s next?

This Friday, we are prepping for the apocalypse with a live-streamed bunker concert on Molly Lewis’ YouTube Channel at 7:30 pm PST. If we survive, in 2013, we will hit the road for a West Coast tour through Seattle, Portland and most of California – playing in a lot of game and comic stores. We’re planning to make a new album in the first half of 2013, and then tour all over the place, because touring is awesome.

Six Questions: Erin Evans

I know a lot of interesting people. Some I’ve worked with, some I’ve met while traveling the world, some just owe me money. My name may be on the website, but it seems kind of boring if I’m the only person whose voice is heard here. So I’m bringing some of my friends to the site, as time permits. I’m not a podcasty kind of guy, so I’m just keeping things simple: one guest, six questions.

Looking to my own novels, my favorites are the Thorn of Breland series. This is partially due to the excellent work of my editor, ERIN EVANS. You may know Erin from her own Forgotten Realm fiction, including The God Catcher and Brimstone Angels. Her most recent release is Lesser Evils, the second Brimstone Angels book.

What have you done over the last decade?

Met this guy. Graduated college. Bought an RV. Named it the Chairman. Drove east. Wrote. Drove West. Wrote. Worried. Became an ezine columnist. Lived in National Parks. Lived in Vegas. Wrote a little better. Landed, finally, in Seattle. Sold the Chairman. Got an internship with a small press (Per Aspera Press). Got a crash course on publishing. Wrote a little better. Bought a townhouse. Got a “real job” as an editor for Wizards of the Coast. Got married to that guy. Become Eberron line editor. Edited you three times. Wrote The God Catcher. Wrote a lot better. Got laid off. Had crisis.Wrote Brimstone Angels. Became freelancer. Worked on TERA. Told people they should at the very least play through to the quests with Fraya, because I wrote all her dialogue and I’m really proud of it. Had a baby. Wrote Lesser Evils. Was chosen for the Sundering series, the relaunch of the Forgotten Realms for D&DNext. Got this email. Bought a house. Forgot this email. Found it again. Answered.

The protagonist of Brimstone Angels is a tiefling – a horned humanoid with fiendish characteristics. Why drove you to write about tieflings? What’s appealing or alien about them? 

I have this thing about “ugly” characters. My therapist would probably have things to say about it (that I would probably turn around and use in a story!), but it boils down to the fact that I feel like if your character is going to be “weird” you should go all in–I don’t want to read about how hard your elf has it for having odd ears. I don’t buy it. I love 4E style tieflings, because you can’t pull your narrative punch and opt for a human with teeny sexy horns and a faintly unsettling air. They have to deal with their heritage and how it makes people react–whether that’s internalizing those preconceptions or raging against them or throwing themselves headlong into fulfilling them. There are a lot of very relatable character options created by those big horns and tail.

And it makes a lot of story options too. One thing I love about fantasy is that you can talk about real world issues in a way that feels “safe.” A lot of people who might feel uncomfortable confronting their own biases head-on can think about them more easily when you’re talking about people who aren’t real–and then you can make that leap to real-world. I know that helped me a lot. So things like having Brin, one of the main characters of Brimstone Angels and a human, react in a very expected, kind of bigoted way when he first meets the tiefling twins, and then reconsider his opinions when he hears other people taking those assumptions to places the girls didn’t earn, and reconsider further when he gets to know them–I love that.

What character from fantasy fiction would you like to punch in the face? 

Isn’t everyone’s answer Joffrey Baratheon? I know he’s a kid, but come on.

My second answer is a shameless plug: One of the villains in my next book Lesser Evils is a Netherese wizard called Adolican Rhand. Normally, I like writing villains that you sort of sympathize with–complex people who are making choices you can understand, until you get to thepart where they want to wipe out all the elves or blow up the moon or just burn down an orphanage. I think those villains are more interesting and, on a certain level, scarier–if you’re agreeing with them or feeling sorry for them, it’s a reminder that you too could have made a similar path.

But for Lesser Evils, I ended up with one villain who is meant to embody what’s scary about Shade–they feel entitled to an empire, and what lies between them and that goal isn’t something they really consider. And as a result Rhand became the creepy embodiment of a very visceral fear. I hate writing about him, because all I want Farideh to do is run like the wind. I have said before that if someone came up to me at a con cosplaying as Adolican Rhand, I would punch them in the face and run away, and apologize later from a distance. He just ooks me out that much.

What’s your favorite scene from one of your stories?

I still really love the scene in The God Catcher where Nestrix is buying a cloak and starts having flashbacks to what she remembers during the Spellplague. That was one of those scenes that came out whole cloth, and said everything I wanted it to in a very immersive way. But I have a lot of runners up: the prologue from Brimstone Angels, the fight with the gravehounds from “The Resurrection Agent,” and there’s a flashback scene with Brin in Lesser Evils that I really love. I think what they all have in common is that these are scenes that I feel managed to be the kind of thing that sucks you in as a reader and put you in the POV character’s mindset exactly how I want.

If you were sent to a desert island and only allowed to take three books, which would be the last one you’d burn to stay warm?

I’ve said it over and over, but To Say Nothing of the Dog by Connie Willis is just my favorite book bar none. To me, it hits a wonderful balance between concept and plot and character. And it’s hilarious. So I would hold onto that for as long as I could. Also, my copy is a mass market paperback, so it wouldn’t last long in a fire.

What are you looking forward to?

Finishing the first draft of my next book The Adversary. I’m really excited to be included in the lineup for The Sundering (along with R.A. Salvatore, Paul S. Kemp, Richard Lee Byers, Troy Denning, and Ed Greenwood), but I also like getting through the first draft. Partly because I’m at the stage now where I’m noticing things that need to be changed and debating changing them now or later, but also, once it’s done, you can see the whole shape of the piece and find the rest of the places it can be made even better.

Dragonmarks 12/5: Siberys, Flame and Hybrids!

Soon I’ll start talking about the new setting I’m working on, but for now here’s another round of Eberron answers to chew on. As always, these are just my personal opinions & aren’t canon in any way.

What can you tell us about the status of Eberron in the next edition?

At this point in time, I have no new information. It’s my hope that it will be supported, but I haven’t heard anything positive or negative in this regard.

When will you write more novels? Are you writing one now? Write one now.

As regards Eberron novels, that’s up to Wizards of the Coast, not me. Eberron belongs to WotC, and they are the only ones empowered to authorize Eberron stories. There’s lots of stories I’d like to tell, and this is one reason I’m working on a new setting – so that I’ll have free rein to develop fiction in that world.

In the unlikely event that a Warforged gained a dragonmark, would it replace the ghulra, or be its own thing?

A warforged getting a dragonmark is going to be a one of a kind story, so it’s up to you, really. Is the dragonmark somehow manufactured? Is the Prophecy declaring this warforged to be a tool of destiny? This will likely manifest in different ways. However, I personally wouldn’t replace the ghulra. The ghulra is, essentially, the true name of the warforged: the symbol of its soul. It is unique. A dragonmark is not unique; it can be shared by many people. It touches the soul, but it is not the entirety of it.

Can you provide an in game explanation about how the only interracial breeding possibilities are between human with orcs and elves?

First off, changelings and kalashtar can both interbreed with other races, including humans, Khoravar, and elves. However, these crossings don’t produce hybrids; a human-kalashtar crossing produces a human or a kalashtar, not a half-kalashtar. So to reframe the question, why are half-elves and half-orcs the only hybrid races?

First off, I see no reason to assume that other hybrids aren’t possible; it’s simply that if they are possible, the offspring are a) not sufficiently different from one of the parent races so as to require new mechanics, and/or b) are sterile or otherwise not true breeding. Essentially, if you were in my campaign and said “I want to play a half-dwarf… mechanically he’s a dwarf, he’s just a little skinny and people make fun of his mother” I’d allow it. But I wouldn’t give you any special abilities for it – you don’t get to take human-only feats. So there exists the possibility that half-elves and half-orcs aren’t the only hybrids. But they are still the only true-breeding hybrid races that possess their own unique racial traits, so let’s keep moving forward.

We’ll start with the Khoravar… that’s the name the half-elves of Eberron have given their race, for those who don’t know it. First off, as noted in the Dragonshard on the subject the elves themselves were surprised and disturbed when they had viable hybrid offspring. Why is this possible? It could be that it has little to do with humanity and everything to do with the elves. Remember that the elves are the product of genetic engineering; when the giants enslaved the people of Shae Tirias Tolai, they altered them and stripped them of their ability to slip through the Feywild, transforming eladrin into the modern elves. They were bred to be slaves; as such, it’s not unreasonable to think that they intentionally made them genetically adaptable to help maintain their stock. We’ve never discussed the possibility of, say, elf-goblin hybrids… but if you want to make things interesting, you could say that elves can breed with anything. It would explain the fifty shades of elf you find in many settings.

As for half-orcs, personally, I think orcs work in the same way. I don’t personally consider half-orcs to be specifically half-human, half-orc. In my opinion, a half-orc might be part hobgoblin, elf, shifter, or dwarf. Basically, the orc genes are dominant enough to produce a uniform set of traits when bred with other creatures; though with that said, I’d think that you would see some differences between the hobgoblin and shifter half-orcs. But mechanically they are identical. Why is this possible? It could simply be a bizarre evolutionary trait that has allowed the orc to thrive in difficult environments. Or it could have been a gift from Vvaarak – a blessing of fertility upon the first race of druids.

What if Siberys was not killed by Khyber, despite false myths that say the contrary? Or could he resurrect?

Well, assuming you take the Progenitor myth at face value, it’s hard for Siberys to be alive because the pieces of his body are scattered across the sky. The dragons were born from his blood, and the radiance of the Ring is in my opinion the primary source of the energy mortals manipulate with magic. If he’s not killed, you have no Ring, no dragons, and no magic.

Could he be resurrected? Anything’s possible. But I don’t know what you’d do with him if he was. We’re talking about a dragon wrapped around the world… a dragon who, in his first life, created entire planes for fun. Which means if he was alive again, there’s no particular reason for him to hang around in this one; he’d probably go and see how things were working out in Syrania and Irian, then swim off into the Astral to think about what to do next. The gravitational impact of this celestial motion would likely wreak all sorts of havoc, and there’s then the question of if there would still be arcane magic in the world if he left.

A key point here is that Siberys has no particular reason to care about humans. We’re children of Eberron, and late to the game at that. Even the dragons were born of his blood, not personally shaped by his hand; if anything, he’d be more interested in the outer planes, because those he worked on deliberately.

And worst comes to the worst, he’d want a second round with Khyber and might try to get Eberron to let her go. And Eberron is the world we are standing on. If Eberron were to rise, it would literally destroy the world as we know it.

So personally, I’d let sleeping dragons lie.

What kind of creatures dwell, by your reckoning and imagination as the creator of Eberron, within the distant Ring of Siberys.

Siberys is, in my mind, the source of arcane magic. Dragons are the children of Siberys and Eberron; as such they are mortal creatures whose blood is suffused with mystic power. Per Dragons of Eberron, the couatl were formed from “the pure blood of Khyber before it touched the earth.” So couatl are one example of creatures you might find in the Ring. The key to me is that natives of the Ring would likely be highly magical creatures, as much spirit as flesh; flight would also be a common thing. But beyond “look to the couatl as an example,” it’s not a subject I’ve given much thought.

Does Eberron exist in a specifically imagined Solar System; if so what are the other celestial bodies or major planets therein.

Nope. We defined the moons, and there are a lot of them; you could choose to spread them out as planets if you prefer. But we’ve never described other planets in the system. I believe there are other worlds – the daelkyr are described as having produced mind flayers when they destroyed the homeworld of the Gith – but we’ve never stated if these are physical worlds that can be reached through space travel or alternate material planes. It’s something I’m thinking about as I’m developing my new setting, but it wasn’t something that was considered for Eberron.

Why did Thrane reject Cyran refugees?

I’ll throw out a few factors.

  • Like all of the Five Nations, Thrane’s resources were stretched thin by the war. Krozen’s top priority was to make sure he could tend to the needs of his own people.
  • No one won the war. Cyre never conceded its position or acknowledged Thrane as a righteous victor. Many of those refugees are thus unrepentant enemy combatants. Even the civilians have the potential to form a hostile fifth column within the native population. Why should we put the safety and wellbeing of our own people at risk to help those who were, months ago, trying to kill them?
  • The Mourning is utterly terrifying. An entire nation has been destroyed. No one knows why or how. Is it divine punishment of the Cyrans, and if so, will it follow them wherever they go? We need to regroup, consolidate our forces, and find out what it is and how to protect ourselves from it; this is not a time to take unnecessary risks.

There’s three reasons. Jaela would likely argue for compassion for those in need. Krozen would counter that the closed border protects the people of Thrane. And in the end, Jaela is the spiritual leader; it was Krozen and the cardinals who chose to refuse refugees.

On the other hand, while I understand the motives for Thrane’s rejection of the refugees, it seems odd since Breland welcomed them, and this puts the Flamers to shame given their beliefs in helping others.

The key here is to look at the event in context. The people of Thrane follow the faith of the Silver Flame. But they are also the people of Thrane, and have secular concerns that drive their daily lives. This isn’t a case of peaceful innocents hurt by a natural disaster. At the time of the Mourning, Thrane and Cyre had been at war for almost a century… and the last few decades of the war were fairly bitter between them. Consider the following, drawn from The Forge of War:

  • In 978 YK, Cyre and Thrane were briefly allies. However, Cyre refused to aid Thrane against Brelish aggression. This led to a collapse of the alliance. One of the first conflicts following this was Cyre’s siege of Arythawn Keep. This was a brutal massacre. The Cyrans took no prisoners, and their warforged troops pursued those who fled, hunting them down tirelessly and slaughtering them. That’s an image that is very close to the minds of Thranes on the Cyran border: their own innocents being mercilessly pursued by Cyran troops.
  • In 993 YK, Jaela Daran came to power and immediately sought peace with Cyre. Queen Dannel refused her entreaties, and Thrane soon learned that this was because Cyre had an ambitious plan to bring down Thrane with a direct assault on Flamekeep itself.  Per Forge of War, while this plan was never executed, “Keeper Daran had no counter to High Cardinal Krozen’s claim that Cyre was a clear and present danger.” So again, when Cyre was seemingly punished by divine force for its folly, most Thranes felt little desire to aid the people who just years earlier had plotted to ravage Flamekeep.

In many ways, the question isn’t why Thrane didn’t help Cyre, but rather why Breland did. Breland and Thrane were allied against Cyre on the Day of Mourning. However, Breland had fewer bitter conflicts in its past – no incidents matching either of those I called out above. And to be more cynical, the fact of the matter is that the Cyran claim to the throne was always the best one. By taking in Oargev – keeping his former enemy close – Boranel put himself in a very strong position to control whatever future the nation may have. Breland’s actions may have been pure politics as much as humanitarian kindness.

I do believe that individual followers of the Flame quite likely provided aid to Cyran civilians in need, both before and after the Mourning; and remember, there are followers of the Flame in Breland as well as Thrane. But these incidents were the acts of compassionate individuals as opposed to the policy of a nation. Thrane’s refusal to aid Cyre was a secular act, not driven by faith; it was the act of a nation scarred by war, one that had offered the hand of peace in the past and been answered with betrayal and aggression.

Speaking of Cyre: was there ever anyone doubting what they were doing, when they were planning on attacking Flamekeep? That is, literally, the most important city for the Church of the Silver Flame… I can definitely imagine the shock people of Thrane felt, for those who found out about this (did it become public knowledge? because if so, yeah, Krozen is right in that you can’t expect Thranes to help the people from Cyre all that much)… Kind of insane, really, to consider destroying Flamekeep.

Who said anything about destroying it? We’re going to liberate it from the corrupt cardinals and false Keeper. And don’t forget, there are followers of the Flame who believe the theocracy is a mistake and source of corruption. Under Cyran rule, the church would be restored to its proper role.

Well, I mean, being seen to march against Flamekeep with the purpose of killing the Keeper, that would still cause some unrest, surely? Sure, the Church might have been too involved in secular matters, but going in there to try and kill Jaela Daran still wouldn’t go very well with most followers of the Church, even those outside of Thrane – Cyre isn’t exactly noted as a gathering point of the Silver Flame, so they can’t even do what Aundair might be able to pull off, and say they’re working towards protecting the true purpose of the Church, at least not while also being particularly convincing. Also, the Keeper was chosen by the Flame itself – then again, the queen could be trying to sell it as Jaela being false, so that could work, for those who would believe her.

Let me preface this by saying that the attacking Flamekeep scenario comes from The Forge of War, which I didn’t work on. As such, while I’m going to explain what I consider to be the logic behind it, it wasn’t my idea to begin with. But let me try.

The plan was not publicly known, nor did it involve fighting through Thrane. According to Forge of War , the idea was to defeat Thrane with a single massive naval assault on Flamekeep, with the idea that if Flamekeep could be seized Thrane would be forced to capitulate. With this in mind…

  • This plan was driven by the fact that there was a new, inexperienced Keeper… and surely enhanced by the fact that she was a child, something unprecedented in history.
  • I don’t think the plan was ever to “kill the Keeper.” Rather, it would be a matter of taking her as a hostage. Dannel would have a couple of angles she could work. First of all, she would be dissolving the flawed theocracy and restoring the church to its proper role as spiritual guardian. Second, she would be essentially serving as a regent. This child Keeper is too young to handle such responsibility; Dannel will protect her and guide her as she grows into her role. With the subtext being “she is our prisoner and we could kill her if we wanted.” Many followers of the Flame had doubts about the theocracy, and false Keepers aside, the idea of a child Keeper would seem strange to many. So Dannel presents herself as a protector restoring things to their proper place… not a destroyer or assassin. Rather, she kills Krozen, pinning all the blame on him for corruption and leading the church astray.
  • The plan wasn’t publically known. I would imagine that the force being chosen for the assault would be carefully vetted, either being loyal vassals of the Sovereign Host who would be happy to weaken the Flame, or followers of the Flame who strongly opposed the theocracy.
  • When Krozen exposed the plan, you can be sure that he painted it in the worst possible light. He likely accused them of wanting to kill Jaela, and if it was me, I’d say that Dannel planned to declare Oargev as a new puppet Keeper (doubly infuriating because the Keeper is chosen by the Flame, not by mortals). So yes, this infuriated both Thranes and other loyal followers of the Flame in other countries. The plan was thus never carried out; once warned the Thranes surely bolstered their defenses, and beyond that the public sentiment in all nations would make it an unwise move.

But yes, you can see why this would make Thranes unsympathetic to the Cyran refugees… if you go with the idea of Krozen presenting Oargev as Dannel’s would-be puppet Keeper, you can doubly see why there would be no hope of setting up a New Cyre in Thrane; I’d further play up a large segment of Thranes – and even Flame loyalists in Breland – bitterly hating Oargev in the present day.

Can the SF be a good deity and not just an impersonal force?

The Silver Flame isn’t an impersonal force. It’s a force of positive energy that holds mighty demons at bay. When Bel Shalor escaped his bonds and threatened Thrane, it reached out to Tira and gave her the power she needed to defend her people. Since then, it has continued to empower noble souls to defend the innocent. It calls paladins to service and grants its power to the most faithful of its servants. It’s not an impersonal force. It doesn’t grant its gifts to everyone. When Overlords ravage the land, it doesn’t ignore the people in need.

However, it’s not an anthropomorphic entity. It’s a gestalt of thousands of noble souls, many of which were never human. It doesn’t view the world as a human would, nor does it value humans more highly than other mortals; an orc and a human are equally worthy of its gifts, if they have noble aims. It exists to defend the mortals of Eberron from supernatural threats: demon lords who would collapse the world into chaos; undead forces that would drain the life from it; a plague of lycanthropy that could consume nations. It takes no stand on conflicts between mortals, whether that’s humans fighting humans or humans fighting orcs. It was kindled by couatls fighting demons before human civilization existed. It grants its agents the power to save humanity from demons; it is up to the humans to use that power wisely when no supernatural threat exists. In judging a mortal soul, it doesn’t view it the same way as we might. It responds to faith, selflessness, the desire to help others. Tira, Krozen, Jaela, and Dariznu all share faith and a fierce determination to help their fellow mortals, and it is this that binds them all to the Flame. It’s simply that they all have different ideas about the form this help should take. Dariznu believes that publicly burning dissidents alive is the only way to bring others to the righteous path; Jaela finds this to be horrifying, while Krozen considers it a necessary sacrifice to maintain order in Thaliost. All three believe that their actions and approaches help people… and that is what the Flame responds to. It’s also the case that the Flame can only act through its agents. When Bel Shalor threatened Thrane, the Flame couldn’t simply blast him; it could only empower Tira to do what needed to be done. The Flame isn’t an impersonal force. It was formed from a great sacrifice, and ever since then it has protected the world from evil. But it is only as strong as its mortal agents. It gives noble souls the power to do good; it’s up to them to live up to the promise of their own souls.

If you want the Silver Flame to be more active, I wouldn’t do this through the Flame itself; rather, I’d turn to the Voice of the Flame. Tira’s spirit is the bridge between Church and Flame. Per canon, her role is subtle and passive… it is the quiet voice that urges you to do good, set against the subtle influence of Bel Shalor pushing you towards darkness. If I want to give someone a divine vision from the Flame, I’d have it come from Tira. But personally, I don’t want the Flame itself to be actively intervening in the daily lives of most people, because it strips a depth from the stories. I want the PCs to be the ones who have to decide what to do about Dariznu – is he actually serving a greater good, as he believes? Do they have the right to bring him down, and have they thought about what happens after? If the Flame itself personally sanctions this action, it becomes clear-cut and to my mind, less interesting. As is, the Flame empowers your paladin because you have the conviction to do good, and the potential to do good. But it’s up to you to live up to that potential, and to make the right choices.