Now that a big writing project is done, I have more time to focus on this again. As a refresher, Reclaim Riverbend is my idea for a sandbox adventure that concentrates on the PCs building their community. In this particular case, a long 25 year war has ended and Commander Blackwell seeks to reclaim her ancestral home. Players build the town as a result of their adventures. Collect enough objets d'art and the town creates an art gallery or museum. Uncover enough gems and gain a jeweler. These NPCs in turn, provide benefits back to the PCs.
A reason I started with Reclaim Riverbend is because I want to explore concepts of colony building and exploration while minimizing the issues of othering. This was their land. Absent the past 25 years, it had been in their families for generations. I haven't figured out what to do about the invaders yet, if they are going to be some concept of true evil or if they might seem that way at first but overtime become more understandable. I think for the first version, they are just going to be evil.
I've also been thinking a lot about how to do the community building. Some people pointed out the Pathfinder downtime system. I like the system and will draw inspiration from parts of it but, to me, it still seems a bit too distanced. It's also focuses a bit on the individual's influence where I'm not sure that fits with what I would like.
The other inspiration point I know about is Flatpack. This game features a lot of what I want, it's about overcoming obstacles and fixing the future. PCs go out, find flatpacks, and bring them home. These flatpacks provide resources to the town. They are buildings that you can put together and give the PCs access to specialists. In some ways, that's part of what's going on in Reclaim Riverbend but there's a bit more that I'd like to accomplish. I know sometimes DMs sometimes struggle with players who keep killing their hirelings or assume an unlimited supply of things. My thought is that this setup can address those issues. You can gain unlimited supplies of some things, but it requires building the town up enough to gain them. Likewise, you can kill as many hirelings as you want, but you might not then have enough people come harvest time. There are choices and those choices have consequences.
My thought is that players would start off with their initial expedition party. This will include the PCs, a number of unskilled laborers, and I'm thinking one or two skilled laborers per PC. I contemplated making these families instead of individuals but that might work better as an optional rule. Since the entire kingdom is in a rebuilding phase, it will be a while before they get reinforcements or more supplies. So they are pretty much on their own for at least 3 months.
In looking at the D&D Next rules, many of the backgrounds fit in naturally with this. Commoners form the lowest level and most plentiful type of human resource. They provide most of the raw resources for the town such as food, lumber, animal skins, and the like. The Artisans form the next level. They transform the raw materials into products and they require a certain number of Commoners to support them. So, we might not get a carpenter until we have 10 foresters because otherwise there wouldn't be enough lumber.
I might make one change though. You can't gain access to certain types of Commoners until you have the natural resources to support them. One way to unlock natural resources will be to explore the hex map. So, explore enough forest squares and you can unlock a forester. Your exploration gives the forester confidence that the woods will be safe for him and his crew. Likewise, want fishers? Explore the waterways and determine their level of safety.
Gaining these more experienced laborers can happen in a few different ways. They can be part of the adventures. For instance, maybe you uncover a humanoid trafficking ring run by orcs that passes through the territory. As a result of raiding it, the PCs might gain a skilled laborer from the captives. Another way is inspired by Terraria. If you have an available storefront and uncover enough gems, either through treasure or as a result of uncovering a mine that has a vein of them, a jeweler might be enticed to live in your town. Or, if you uncover enough forest land, a laborer might decide to become a forester. Finally, as the town grows, the PCs might be able to pick particular types of skilled laborer that they would like to see more of and gain benefits from.
Another thing I'd like to focus on in this is that everyone has a role and is necessary for the functioning of the town. Food production is just as important as being a silversmith, even if it doesn't pay the same. Additionally, when the town suffers a catastrophe such as a natural disaster or a siege, each of these people are your resources for defense and recovery. My hope is that this would be closer to the reality of life in the middle ages. Adventuring brings great rewards but at a cost. You can decide to not teach the women basic defense skills but when you are attacked, you might find yourself at a disadvantage.
To summarize, here are some basic details and principles that I'm confident about.
- Hex exploration uncovers resources to use, both general ones like wood and adventuring areas where more specialized goods and advanced technology can be found.
- Simulate in a general way the hierarchy of resources and the people who refine them.
- Resource limitations are tied to the town and its inhabitants, making people the most important resource.
More info soon!
[TW: Sexual Assault]
In my previous post, I published the results from my harassment policy survey. Among the group that responded to the survey, they overwhelmingly felt these policies were important or very important (228 out of the 319 total responses). Twenty percent had witnessed or experienced something that made them wish there was an anti-harassment policy, and 15 percent had felt harassed or assaulted at a con. It's important to note here that nearly 72% of the respondents identified as primarily male/men and out of the 49 people who responded that they had felt harassed or assaulted at a con, 15 of them identified primarily as male/man.
As I pointed out in the last post, I can't extrapolate too much using these results. This wasn't a random survey. People shared them among their friend networks, starting with my own. People had their own reasons for deciding to click on the link and responding, sometimes because they were already in favor of the policies and sometimes because they were firmly against them. However, I have to say I'm not surprised by the responses. At the very least, I think it points to the fact that among some communities within the larger gaming umbrella community, this is a real issue and their lived experience.
Whenever we try to have a conversation about why these things occur, the topic of "rape culture" inevitably comes up along with it the numerous misunderstandings and misinterpretations, many of them based on little more than defensiveness. So, I'd like to talk about my experiences with rape culture a bit and my understanding of it.
Those who don't really understand the phrase often like to take the words as separate items, look them up in a dictionary or rely on their own knowledge of the meanings, and try to deduce the meaning of the term from there. This makes things really difficult. Rape culture encompasses far more than a culture that promotes rape. You can exist in a rape culture and never rape or be the victim of rape.
Like many academic terms, rape culture is rather abstract and can be difficult to identify in the real world. There aren't hard and fast boundaries. Here's a definition from Transforming a Rape Culture via Rape Culture 101 on Shakesville:
A rape culture is a complex of beliefs that encourages male sexual aggression and supports violence against women. It is a society where violence is seen as sexy and sexuality as violent. In a rape culture, women perceive a continuum of threatened violence that ranges from sexual remarks to sexual touching to rape itself. A rape culture condones physical and emotional terrorism against women as the norm.
In a rape culture both men and women assume that sexual violence is a fact of life, inevitable as death or taxes. This violence, however, is neither biologically nor divinely ordained. Much of what we accept as inevitable is in fact the expression of values and attitudes that can change.
That seems really abstract to some people and I get that. Here's an extract from a recent fantasy (as in the genre) novel (not a book meant just for adults) by a mainstream and well known publisher. The woman in this scene is the trainer of the "younger" man. I say younger because while his body is relatively young, he was reborn and had lived a rather full previous life and kept all the memories from that life. So, yeah. During a previous training session, the woman had kissed him, seemingly to distract him and win the fight. We also have hints that she is unsure about her feelings for him but seems to like him. R is the male character and D is the female one.
Why did you kiss me?"
She started to answer, but R's expression turned dark and he continued, "What did you hope to gain from it?"
D fell back another step, but then came forward aggressively, dropping her blade and putting her hands on her hips. She stood barely inches from R staring at him coldly.
"You cannot be mad at me!" R insisted.
"You have shown me-- you have taught me! You have taken me to those noblemen's grand parties and shown me how to use your charms to mainpula--"
D's hand came up faster than R could react and slapped him hard across the face.
She huffed and swung around to run away, but R caught her by the shoulder and tugged her back around, throwing himself at her. And when they crashed together, he hugged her tightly. He saw the moisture in her pretty brown eyes, and kissed her.
She twisted to get away. She pulled her mouth back. But R pressed in harder and rejoined the kiss and D's tension gradually melted away, and then she was kissing him as passionately or more.
"Do you doubt me?" she asked, and she twisted suddenly, dropping them both to the floor, her atop him.
"Have you never kissed any of them? Isn't that part of the game you play?" R asked.
This is an example of rape culture on at least two levels. Obviously, it sexualizes violence. The whole thing is violent from her slapping him to him being willing to gamble on committing sexual assault. If you want to quibble with that statement, reread the passage again. He doesn't know when he kisses her whether or not she's going to be ok with this. In fact, she has given plenty of signals that she says she is not ok with it at that moment.
Secondly, even after giving all of those signals. Even after all the "not being sure," she in the end gives in. Of course she does. Because that's a frequent rape myth, that, in the end women really want it.
Once I read this passage, I had to force myself to finish reading the book and I only did that because of other commitments. It sickened me and I couldn't believe that an author who often talks about the things he won't put into his books because he's mindful of his younger audience would put this in.
The hard part for me is I've lived this. I've been held hostage in a room because I wouldn't pay a kiss a toll to be able to leave the room. I've woken up with a male friend on top of me, kissing me, because he thought I really wanted it. At a dance, I had another man take my hand and put it on his erect penis not once, but twice, even after I said no. The second time, he forcefully held it there until I could pull myself away. I've had men, dozens of them, tell me that I don't have the right to tell people not to bother me because their right to try to bed me superseded my rights as a human being to live my life and network with my professional peers.
And this life imitating art imitating life reinforces that. This scene in the book, didn't need to be written this way. It didn't add anything to the story except that R is a complete idiot because after they have sex he has this realization:
He felt the fool for ever doubting this amazing halfling lass. She was playing no game for him; her feelings were honest.
What scares me is as I looked through the reviews for this particular book, many of them glowing, not a single person pointed this out. And that's the problem with rape culture. There's an acceptance that this is the way romance is done. That acceptance, in turn, is what allows sexual violence to happen at the high rates we see. It's why some try to differentiate between "forceable rape" and lack of consent. They don't know how consent works.
And among a portion of the people who commit harassment and assault at cons, this same lack of awareness holds true. After a well-publicized assault at a tech conference and the harassment and blame the victim received when she came forward, O'Reilly decided to look into the problem at their conferences. They noticed that among the people they found had done these things, had even admitted to doing them, a large percentage of them had no idea what they were doing was wrong. No one had ever questioned this behavior around them. Nothing they read had ever caused them to question it either.
That's why we need more stories like Saga, Sex Criminals, and Rat Queens. Take these panels from Sex Criminals #1:
In the first panel, the male character checks in to make sure everything is still good with the woman. She gives her enthusiastic consent. I find that pretty awesome. In the second, they are about to do something they haven't done before. He again checks in. Super sexy!
In this panel in Saga, two of the main characters are having a disagreement.
As couples often do, Alana tries to us sex to distract. Marko breaks our typical narrative by pointing this out and turning it down and continuing to work through their issues.
Why do we need more of these? Because we use all of these ideas, regardless of their source, to figure out our own ways of interacting with the world, especially at a con. Think about how many times you've repeated a line from a movie or book that you thought was freaking awesome and smooth. Now think about the number of lines that follow the "silence is sexy" script rather than the enthusiastic consent one? That doesn't mean no character can ever be the former, but it would be nice if the work was self-aware about it.
I've only scratched the surface on this one, I know. But I'd like to ask you to consider how at a con centered around a genre, the way that genre presents and deals with romance and sex might have an impact on how the people act at that conference. Let's create some fantasy characters we can actually aspire towards when it comes to sex and sexuality.
Back in August, I asked people to complete a non-scientific survey on their experiences with harassment at conventions and conferences. Since I go to both gaming conventions and tech conferences and personally feel there are a lot of overlaps with the issues, I didn't restrict this to one community or the other. I also knew that given my history and the people likely to hear of it, there was a good chance of there being a polarizing response. But I thought it still might be useful nonetheless.
By the time I pulled the answers on August 8th, I had 319 people respond to the 10 questions. I put seven of those questions into an infographic. All of the questions along with the responses can be found in this spreadsheet.
I had expected this to be at least slightly polarizing however I actually didn't get more than a few responses that seemed more intent at attacking me than discussing the issue. I also think the data shows some interesting information for the group who responded. For the respondents, anti-harassment policies were important or very important (228 out of 319 responded this way) and since 229 of the respondents identify "male/man" as their primary gender, this isn't just a gender issue. Of the respondents, 64 out of 210 experienced something that made them wish there was an anti-harassment policy in place. That's 20% of the respondents. Fifteen percent felt something happened to them personally, either harassment or assault. Finally, fewer than half of the people responded that they have never witnessed or been the target of unacceptable behavior to the question about reporting unacceptable behavior to con staff. Of those who did report, 72 percent found the response from the convention acceptable at least some of the time, although 56% also reported it was unacceptable at times and 18 percent didn't have the data to respond one way or another.
Now clearly this isn't a scientific study. I didn't do a random sample of all con goers, I advertised this using my social networks which means that it's likely to be polarized. Many of the people who read what I write care about this issue in an affirmative manner, they would like to see more anti-harassment policies at conventions, and a few will be very against them. This mixing of groups is evident in the freeform responses to the question, "Do you have any questions about anti-harassment policies at cons?" Here are some of the responses:
- Is there any evidence, other than ancecdotal, of draconian anti-harassment policies actually ever existing?
- Has there ever been a problem with having one that not having one would have prevented/stopped?
- Only "Why would any con choose to not have an anti-harassment policy?"
- Why don't all cons have anti-harassment policies?
- I find objections to anti-harassment policies on "free speech" grounds to be dishonest and loathesome. This is not a question, but I wanted to say it anyway.
- I want to know why cons are hesitant to implement them
- Are they really required? http://sushee.no-ip.org/opensourceisnotawarzone.txt
- Shouldn't you start suing these conventions until they shut down?
- Why won't organizers protect fans? I can't think of a good reason
- How do you ensure the accused is treated fairly? They're expecting to enjoy their time at the Con too
- Jesus, stop trying to make a story where there ISN'T one.
- Why are they not as plentiful as the "soap is your friend" snarks in con policies?
- Why doesn't evey con already have one?
- No. Why are you creating a new class of victims? That's so American....
- I think harassment should be handled by law-enforcement, not con staff .
So what does this mean to me? Well, I think it says that in some groups, a significant number of people have personally witnessed or experienced harassing and/or assaulting behavior and that a significant number of people would like to see cons do something about those who are perpetrating these offenses. I think there's also a small, but vocal community of people who are dead set against anything that might address these problems. In the end, I hope this points to the need for better and more widely distributed surveys, perhaps with the backing of some conventions.
Recently Rat Queens #1 came out. I had seen a lot of ads for this one, especially in the back of Saga. It's what happens when you create a comic around four tabletop RPG characters, all of whom happen to be women. Our cast of characters are Hannah the Rockabilly Elven Mage, Violet the Hipster Dwarven Fighter, Dee the Atheist Human Cleric and Betty the Hippy Hobbit Thief. The quartet are known for causing trouble around town and find themselves thrown in the dungeon yet again. They might be able to secure their release...if they complete a quest. Fail, and they are banned from Palisade forever.
Of course, they aren't the only group. In addition to the Rat Queens, we have Peaches, Four Daves, Brother Ponies, and Obsidian Darkness. Of course, we soon find out that there's more going on here but I don't want to spoil that for you. Besides, if you don't mind spoilers, Weird Girls did a great review of the issue in this video.
There's also a free preview issue that introduces the characters and gives a sneak peak into their world. There are two pages from that preview that I particularly love.
As some of the sample images show, this is not a prim and proper comic. The world is dark as is the comedy. There will be swearing, drinking, drugs, and sex. They are adventurers after all! Oh and lots of bad ass women. I also love that the characters, in my opinion, aren't drawn for our viewing pleasure and yet still obviously have sexual desires and sexy fun times. The comic is often self-aware about this at times.
So, if any of this sounds appealing to you, I urge you to check it out. You can find the free preview on the Image Comics website or through Comixology. Kurt Wiebe has previews and other information on his site. Issue #2 comes out on October 23rd.
In the most recent Prismatic Art update, we mentioned that Cheeky Mountain Parrot Games and Kaitlynn Peavler donated the art created for Conquering Corsairs to the Prismatic Art Collection. Today I've uploaded the last batch of the 48 images. Here's a gallery with them all.
"Master Gunner" © 2013 Kaitlynn Peavler and Cheeky Mountain Parrot Games, created for Conquering Corsairs, used under a Creative Commons Attribution-ShareAlike license: http://creativecommons.org/licenses/by-sa/3.0/
Talking about PAX and Penny Arcade is never easy for me. The D&D podcasts with the Penny Arcade/PvP crew are what convinced me to finally play D&D after watching it be played and supporting others playing it for nearly 2 decades. While I'm not ok with every joke they make, I'm actually a big fan of irreverent humor amongst friends, as long as that humor isn't used to punch down. As someone who wasn't always great with understanding how to deal with racism, transphobia, homophobia, and the like, I have some amount of sympathy for those struggling through it and not being sure what to do. I was going to sit this out in part because everyone else is doing such a great job covering it.
However, after Mike's clarification, I've noticed a few things that I'd like to address and, yeah, I'm going to take advantage of my platform to say them. First, for those of you who don't know about the Dickwolves situation, here's a very short explanation. Penny Arcade released a comic that intended to demonstrate how messed up MMO morality is if you really think it through. Most quests rely on you doing something x number of times and forget about anyone hurt by the x+1 thing you didn't have to do. They decided to make this point by using rape through a made-up monster called the dickwolf.
This upset and hurt some people. I get that not everyone understands how this can happen. To some, in a perfect world, people would read a comic like this and not do the internet equivalent of scream obscenities at the creator. I'd argue that in a perfect world we wouldn't live in a world that constantly trivialized rape and creators wouldn't use it as a punchline in a joke that doesn't address the very real issues surrounding rape that many people face, especially without warning them first, but the main thing to remember is, we don't live in a perfect world and when people are hurt, they are allowed to express that anger, at least to a point. I'm not trying to defend all expressions of anger here; I know that some people said some rather nasty things about Mike, Jerry, and their families.
So, we had this wide range of response to the comic. Some brought up points in a calm manner, some brought up the same points in a more impassioned tone, others threw feces. In response, Mike and Jerry went after those they felt were throwing feces but in a way that included everyone speaking up. They went pretty nuclear. They weaponized the dickwolves concept. It now became not a symbol of how utterly fucked up MMO morality is and became a battle standard in...something. I still haven't quite figured out what. To add to this, t-shirts were created and there was a movement in the message boards for the Penny Arcade supporters to wear those shirts to PAX East to show those...those...PEOPLE that they weren't welcome. Because, in the end, that's what it was about. It was a statement to even people like me, who merely wrote about why the topic of rape is such a sensitive matter, that we weren't really welcome there.
When people pointed this out to Penny Arcade, it appeared that they decided to pull the merchandise. I thought that it was because they could see that it would mean that PAX would no longer be the inclusive space they claimed they wanted (and the apology supports this). I felt comfortable attending because even though I knew that there was this group who would hate me on sight if they knew who I was, I wouldn't be surrounded with messages. I wouldn't be forced to run games for people wearing the shirts. I wouldn't see them in my panels as I was trying to speak. It was a big deal.
Fast forward to just a couple of days ago. There have been other issues with Mike, but people have always been trying to give him the benefit of the doubt by and large. And now he says on stage that pulling those shirts was a mistake. And the crowd cheers. Not only does the crowd cheer, but someone feels confident enough to then ask for the shirts to be brought back. (Yes, both Mike and Khoo said no to that on stage). I get that Mike wishes he had said more. I even believe that he didn't mean to make it sound like that was the only thing he regretted. These things happen although I'd like to think that he has grown enough as a professional to have a full response to the dickwolves thing rehearsed. But it is what it is.
But I'm also tired of apologies and token efforts to make amends without real change and what our community needs is change. So Mike, I'm asking you as a person, as a fellow gamer, as someone who loved your work enough to name her first character after one of yours, please, please learn to be a better person. Not because people expect you to be a role model and not because you were thrust into a leadership role that you don't necessarily want. Change because right now, you are attracting to you the exact people you claim to dislike, the type of people who cheer like that over your misspoken comment because they assumed you meant that the only mistake was in removing the merchandise. You are attracting to you the types of people you lampooned in your League of Legends comic. You didn't ask to be their mascot but your actions have made you it nonetheless.
For everyone else, if you want to support Mike's clarification and apology and spread its good will, I might suggest this. Those people who heard Mike's initial comment, felt hurt by it, and spoke up are being hounded by some of the worst elements of the internet. They are getting all sorts of threats. Instead of defending Mike to everyone and anyone who might say even the slightest negative thing, how about standing up for those members of our family and giving them support? How about allowing them their pain and not trying to police them for once? If Mike actually made a mistake and he claims he did, we need people to be able to express their pain at it. But right now, Penny Arcade surrounds itself with a community that makes that impossible.
Over the past year, I've spent a lot of time consuming books, movies, comics, and games, trying to figure out what it is that I would love to create next. My most recent idea can be summed up by the title of the games I plan to run at Carnage Con in November, Reclaim Riverbend. The fantasy game is set post-war. The dark forces have been pushed back and towns that had been under their control for the past 25 years are open for resettlement. Your leader, Commander Blackwell, is happy to learn that her ancestral home has been awarded to her. She last saw it when she was five. She's putting together an exploratory and settlement force to rebuild the town.
I've settled on this particular scenario for a few reasons:
- The characters should have some familiarity with the land but twenty-five years under not only foreign but potentially alien rule can really change a place. Similar to the Lord of the Rings when they decide to go into the mines.
- The enemies could have left behind valuable journals with information about long lost artifacts or temples that they had been hoping to get their hands on for centuries but couldn't because they didn't have access to the area. They still might have been lacking crucial information when they got here, information that the PCs' side has.
- The characters all have a purpose but that purpose can co-exist with the normal sort of D&D game where you go out and kill monsters and steal their loot. More on that later.
- The party will be larger than the player characters but still limited without resorting to game master fiat. Only so many people can go in the initial group. Also, the players and game master can build that group together, along with all of the connections between members and stuff. If the group wants it, there can be children and spouses as well.
- When they get there, some resources will be limited, again without game master fiat. However, many of them can be unlocked through player choices. More on that later as well.
- Specific to Commander Blackwell, I can add a mystery to the town or her family without making her good or bad since she left when she was too young to really understand things. This can give a more typical story arc to the setting while retaining much of the sandbox feel.
There are other reasons I'm sure I'm forgetting but these are a good start. Now let's look at the bigger picture. I know this sort of build the town subsystem/mini game has been done before. Pathfinder has something in Ultimate Campaign for instance, although I feel that system is meant to be more of a simulation and, while it fits into Pathfinder quite well, I'm hoping for something that's lighter and is meant more to drive story and be a way to simplify and connect the typical parts of a D&D-style game. It's probably easier to explain that by giving some examples of what I'm exploring.
Dungeon Treasure Adds Influence
So, I remember seeing a bunch of D&D loot charts that would include things like gems, object d'art, etc instead of just coins. This was meant to break up the monotony a bit and maybe make the world seem a bit richer. Sometimes they would serve as convenient hooks for getting players to role play or interact with things, but often they just got recorded on the group's balance sheet and by-and-large forgotten.
What if, instead, the group got the gold (or equivalent barter) for them, and the town created a museum to hold them? People might come to the town to see the artifacts as tourists, research them as sages, or seek healing from holy relics. Industries could develop around them if they are special enough and schools could even be built.
I haven't decided yet, but one idea would be to add to certain types of loot the idea of influence points, similar to experience points for players. I could build out a whole leveling system for the town, pegging population growth to it, giving advancement trees and feats. Influence points could also be given for things that are not tied to murdering monsters and stealing their loot, such as discovering natural wonders like the Great Falls or the Singing Rocks. I'm not 100% sold on a leveling system yet, but I do love the idea being able to layer on existing elements of the typical D&D game.
NPCs as Important Resources and Influencers
Likewise, many games have you save kidnapped people. Those people easily could become important NPCs in the town. They along with the NPCs attracted due to the town's influence, could be resources the PCs turn to when they need something or when they need to hire a role not filled by the party. Part of me is attracted to them being a once-per-session resource the party can use, something I've seen in a lot of non-D&D games, but I realize that clashes a bit with D&D. Session lengths can vary widely in D&D and I think that's one of the main reasons many of the refreshes are tied to in game time (along with the expectations some have of verisimilitude). Alternatively, asking an NPC to do a task could cost in-game time units but that would require a bit of bookkeeping. Offering both might help but would be more work for me.
Luxury Items as Currency
However, this leads me to another point I'm really excited about, making all sorts of non-combat, mundane items potentially important. Want to recruit higher-level hirelings and henchmen? Get the things they want in town. Want to increase their morale when they are out with you? Buy some of the luxury goods crafted by those NPCs who fell in love with Riverbend. I personally find this much more satisfying than the reliance on charisma (although I realize that part of the history of that was to make that ability score meaningful) and your mileage may vary. But I find this a decent way to make building the town important and giving PCs access to important resources without limiting their access to essential items like weapons.
I still have a ton more to write about this, but I think it's a good stopping point for today. I admit, I've always loved those challenges in school where you had to take random stuff and create something cool and useful out of them, similar to the Apollo 13 air filter challenge, so that's driving my desire for more NPC interaction and crafting. I also love building things and playing Don't Starve and Terraria has rekindled that a bit.
Image: City Streets by Kaitlynn Peavler. It's from her Deck of Legends Kickstarter project that has about 50 hours left. Due to the generosity of the backers, all of the art will be released to the Creative Commons. Check it out: http://www.kickstarter.com/projects/thedandmom/deck-of-legends
I recently finished A Labyrinth of Kingdoms: 10,000 Miles Through Islamic Africa by Steve Kemper. The book tells the story of Heinrich Barth, a German scientist who joined a British expedition tasked with exploring Islamic North and Central Africa. Over time, his two other companions on this trip died and he went on alone, eventually reaching the famed city of Timbuktu. Starting in 1849, the expedition took five and a half years and covered 10,000 miles.
What is amazing to me is how this expedition appears to be forgotten by history. As Kemper argues, part of this may be due to timing. The expedition happened at the tail end of the error of discovering the unknown and at the dawning of imperialism and some of Barth's research and findings undercut the beliefs required for imperialism. These include that at least the parts of Africa he visited had governance systems and histories, including some written. These were not exactly lawless lands full of people with no sense of history. Part of it is also Barth himself. He is a character and was not always as adept at navigating European politics as he was dealing with those he met on the trail.
While some might not appreciate the level of detail in the book, I enjoyed it, especially since one of the great values in Barth's work is that he took a snapshot of Africa before colonialism came through and made that impossible. I also found the details important in dispelling many myths about Africa and in presenting many of the historical figures as complex individuals making rational decisions given the reality of their world. Along with other works, I wonder if the details of the Barth's original books could be used to create an interesting historical setting that explains the world outlook in a way that makes sense to outsiders.
For instance, I loved the description of harems in some of the cultures. Concubines were part of a consumption culture. The women were an outward sign of wealth because 1) it took money to feed and house the women and 2) any children that resulted were entitled to full rights, the same as any of the other children. The women were concubines instead of wives because Islam limited men to a much smaller number of wives. Barth describes one man who collected women from each of the tribes and was interested when he heard about a new group because it meant he could add a new woman to his collection. Another man discusses with Barth how strange it is the European men drink alcohol so much to which Barth replies that since Europeans are limited to one woman, they must get their pleasures somewhere.
The book also touches on slavery, something that was important at the time. Abolitionists feature at times, although Barth often points out the issues with their schemes. He describes the devastation wrought by the razzia or raids, sometimes for livestock or other plunder but often for slaves. The whole system often relied on a neverending loop, plunder to get money for guns to protect yourselves from other groups doing the same things, all the while feeding the gun manufacturers. He also describes the differences between slavery as practiced in Africa and the chattel slavery practiced mainly in the Americas.
I also find the work important because it's an example not only of the fact that there were people arguing against the racism of the time, the same sort of racism we find in the foundational works of fantasy, but also what happened to those who stood up against that train of thought. Often when I try to discuss how our history is political, people try to argue that there wasn't a group trying to keep these sorts of arguments out. This book points out that the truth is probably at least a little more complex than that. Additionally, it means that for those who lived at the time and afterwards can't claim complete ignorance. These books and ideas existed. Barth did have some degree of popularity.
There are lots of interesting insights and contradictions with frequently repeated "facts" about Africa. Between the adventuring, politics, and descriptions of the land and peoples, there's bound to be a bunch of inspiration for games.
Last fall I had the great fortune of writing for new Mythic Adventures book from Paizo. The companion book provides ways to give a more mythic feel to your game, allowing for heroes and villains that break the mould. The system is meant to lay on top of the current structures of the game, allowing access at any level, even 1st, and tying it in with the deeds and actions of the characters. While I haven't had a chance to read the final book yet, this concept is one I was excited about from the first email I received and that interest hasn't waned.
In addition to the public playtest, Paizo recently released two previews of the Mythic Adventures content. The first has some of the path abilities. Mythic paths, to me, are meant to tie in to the notion of the hero's journey. During their ascension phases, the heroes discover something that sets them on a separate and distinct path from those around them. The way I see it, unlike a character class, a character can have just one path to walk, one archetype to fill in our common stories. The path abilities help to set them apart from all others and make them truly legendary.
Here's an example:
Guardian, 6th Tier:
Invincible Stand (Su): You can expend one use of mythic power as a swift action to make yourself nearly invincible for a short period of time. You gain DR 20/— for a number of rounds equal to your tier. If you choose to move or are moved by another creature during this time, this protection immediately ends.
As for me, I contributed a couple monsters along with some of the mythic adventure themes and adventure ideas. I had a lot of fun trying to come up with different levels of using mythic levels in a game. In my experience, it's not meant to be an on-off switch, but as a way of adding flavor and some additional mechanics in ways that suit the type of experience you want to build. Setting regular characters against mythic monsters will give a different feel from a game where mythic characters constantly fight other mythic beings. I also loved coming up with adventure ideas that played with some traditional tropes.
If you're at GenCon, the books are there! Jason Bulmahn posted this on his Facebook fan page. I couldn't make it this year, but be sure to say hi to the lovely folks in the Paizo booth.
And here are the full credits:
Lead Designer • Jason Bulmahn
Design Team • Stephen Radney-MacFarland and Sean K Reynolds
Authors • Dennis Baker, Jesse Benner, Ben Bruck, Jim Groves, Tim Hitchcock, Tracy Hurley, Jonathan Keith, Jason Nelson, Tom Phillips, Ryan Macklin, F. Wesley Schneider, Amber Scott, Tork Shaw, Russ Taylor, and Ray Vallese
Cover Artist • Wayne Reynolds
Interior Artists • Rayph Beisner, Eric Belisle, Eric Braddock, Dmitry Burmak, Anna Christenson, Jorge Fares, Taylor Fischer, Grafit Studios, Tim Kings-Lynne, Diana Martinez, Brynn Metheney, Roberto Pitturru, Klaus Scherwinski and Luisa Preissler, Jason Rainville, Denman Rooke, Chris Seaman, Bryan Sola, Matteo Spirito, Sandara Tang, Tyler Walpole, and Ben Wootten Cartographer • Robert Lazzaretti
Creative Director • James Jacobs Editor-in-Chief • F. Wesley Schneider Senior Editor • James L. Sutter
Development Team • Logan Bonner, John Compton, Adam Daigle, Rob McCreary, Mark Moreland, and Patrick Renie
Editorial Team • Judy Bauer, Christopher Carey, and Ryan Macklin
Editorial Interns • Jay Loomis and Cassidy Werner
Senior Art Director • Sarah E. Robinson Art Director • Andrew Vallas Graphic Designer • Sonja Morris
Production Specialist • Crystal Frasier
Publisher • Erik Mona
Paizo CEO • Lisa Stevens
Chief Operations Officer • Jeffrey Alvarez
Director of Sales • Pierce Watters
Sales Associate • Cosmo Eisele
Marketing Director • Jenny Bendel
Finance Manager • Christopher Self
Staff Accountant • Kunji Sedo
Chief Technical Officer • Vic Wertz
Senior Software Developer • Gary Teter
Campaign Coordinator • Mike Brock
Project Manager • Jessica Price
Licensing Coordinator • Michael Kenway
Customer Service Team • Erik Keith, Justin Riddler, and Sara Marie Teter
Warehouse Team • Will Chase, Heather Payne, Jeff Strand, and Kevin Underwood
Website Team • Ross Byers, Liz Courts, Lissa Guillet, and Chris Lambertz
Special Thanks • Ryan Dancey, Clark Peterson, and the proud participants of the Open Gaming Movement.
The Getty Museum recently made about 4600 items available as Open Content, meaning they are freely available for any use. While looking through the collection, I found a series of images that appear to be training information on different forms of combat. Through further research, I found out that they were actually part of the Il Fior di Battaglia (The Flower of Battle), by Italian master Fiore dei Liberi.
Fiore dei Liberi was a late 14th Century knight, diplomat and master-at-arms. This work is the third oldest European fencing manual to be discovered.
Here are some example images.
Equestrian Combat with Sword
Fiore Furlan dei Liberi da Premariacco, author (Italian, about 1340/1350 - before 1450)
Equestrian Combat with Sword, about 1410, Tempera colors, gold leaf, silver leaf, and ink on parchment
Leaf: 27.9 x 20.6 cm (11 x 8 1/8 in.)
The J. Paul Getty Museum, Los Angeles, Ms. Ludwig XV 13, fol. 44
Combat with Lance
Fiore Furlan dei Liberi da Premariacco, author (Italian, about 1340/1350 - before 1450)
Combat with Lance, about 1410, Tempera colors, gold leaf, silver leaf, and ink on parchment
Leaf: 27.9 x 20.6 cm (11 x 8 1/8 in.)
The J. Paul Getty Museum, Los Angeles, Ms. Ludwig XV 13, fol. 40
The full manuscript covers topics such as unarmed combat, sword fighting, daggers, pollaxes, lances, mounted combat, and more. Since I found the Getty website a bit cumbersome to use, I created a Pinterest board with the images, all of which link back to the original.
Beyond just being cool to look at or inserted into publications, here are a few ways to use this in games:
- For martial characters, what about having a life goal of becoming one of these masters. With the Game Master, you could work on developing and mastering your own sets of techniques. As you did so, you could create your own treatise of techniques that your character would be known for.
- Background artwork in NPC's houses or shops to give clues about previous experiences.
- In some types of games, where you might have expertise in a particular weapon instead of class of weapon, you could give expertise as a boon or reward for certain types of quests. Giving the player an "illuminated" sheet might be a nice way to record this.
- Assistance in visualizing and describing training scenes in towns and elsewhere, a staple of fantasy fiction.