tag:blogger.com,1999:blog-51201926688027623512024-03-13T07:06:26.618-04:00Edgar's Game BlogAnonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.comBlogger257125tag:blogger.com,1999:blog-5120192668802762351.post-5182684299277529432017-11-08T14:08:00.001-05:002017-11-08T14:08:10.153-05:00From Tragedy to GamingOn Monday, I had the opportunity to speak at a memorial for two students, majors in my department. One was a veteran with PTSD. He took his own life. The other, I already wrote about in my last post. I didn't know the former, Jay, but he was Marine Corps vet (like me), and, so, a brother of sorts. Summer, though, I got to talk about, and I got to express how very much we (faculty and students) miss her, how much I personally miss her. I told the students there that we faculty don't always get to say it, because of our peculiar relationship with them, but that we do care a lot about them. I hope my remarks were welcome. My colleagues seem to have appreciated them.<br />
<br />
Summer's boyfriend was in the crowd, too. He told a fellow faculty member, afterward, that he'd been worried about being able to afford a funeral service for her, and that the memorial had helped to address that need, that it might be enough. I'm glad for him, and glad we could do that for him. I've been thinking, since it happened, about him (even though I didn't know him) and trying to imagine how it must be. Horrible, horrible shit. I can't imagine losing my wife, Carol. She's so very good, and I wouldn't be able to cope, I think. I'd be holed up in my house, curled up in a ball, crying. I'd be lost without her. So, it was good for us all to get together and acknowledge the depth of our loss (however relative), and to be physically and emotionally present with each other for the time we spent doing so. I was closure of a sort, I guess, but I'm still grieving. They will be grieving for a long time to come.<br />
<br />
In the moments after the memorial, we met with surviving family/friends. I'm shitty at that. I know that nothing I can say is important. I went through the motions of thanking them for coming--the man who just buried his only son, and the man who suddenly lost the person he wanted to spend his life with--letting them know how glad I was that they could come. Then I just didn't know what else to say. What else was there to say? I even patted him on the back, and then, realizing I was doing so, I stepped away, awkwardly, feeling like it was so oddly formal and weird and stereotypical. I'd said stuff, but it wasn't worth saying on some level. It felt fake and forced. I wanted to do more, so I spoke again to Summer's boyfriend, Matt. I told him that if he needed someone to talk to, to vent to, about anything, I'd be there. I told him I know I don't know him, but that I would like to. I don't know why I had that impulse. I'm a good listener, sure, and I do want to help people (and him, especially, because his girlfriend was special and so must he be). So I told him I was there for him.<br />
<br />
He sort of drew back from me, in a posture where he was hunched over and looking up at me very intensely, almost suspiciously, like I was maybe fucking with him. And why the hell not? Who the hell was I to presume so much, and what motivations might I have to offer that to him? I just looked back at him, making no move or reaction to the intensity of his stare, just accepting it and meeting his gaze in return. I guess what he saw was okay, so we talked.<br />
<br />
He told me that Summer had recounted some of the things we'd done in my Advanced Public speaking class, last spring, and about the crazy role-playing elements. He revealed to me that he used to play D&D, too, had enjoyed it, that he missed it. I immediately knew that I had to ask him to play with me (even though I knew it was maybe too much to say on such short acquaintance and at the fucking memorial service. What. The. Fuck. Johnson.). But, because I'm just that kind of asshole, I made the offer to run a game. I told him that we get together and play in the afternoon and have beers and food after. To my surprise he said that sounded cool. Then he had out his phone, but I only realized what he was doing when he said, "What's your number?" So we exchanged contact info.<br />
<br />
I started assembling a new gaming group the very next day. Some people are from my old group, the one that broke up when a new player hijacked two of my longtime regulars for his own game. I lost the heart to play with them, after that, feeling deeply betrayed. "I'm getting the band back together," I texted them. I also reached out to a player from my on-campus game. She was an awesome role-player, and just really cool. I've been missing that game and wanted to play with her again, too. She and my daughter are acquainted, as well, so that's nice. There's also another guy, an Army vet with a lot of combat time in the Middle East (and everything that goes with that). We met up a while back, when he texted my wife about a crisis he was dealing with, after one of his soldiers killed himself. I met him at a Waffle House and we talked for a few hours, about depression and the military, about our lives. Mostly I listened, but told him a bit about myself, too. We talked about DCC, of all things, and he also revealed that he'd play it, and might want to play again if I'd run a game...<br />
<br />
I'm not a godly man, but I am superstitious in weird ways. In any case, I'm going to take this as a sign that it's time for me to get a group together. Maybe it will help some people to cope with the shit the world is throwing them. Maybe it will help me to deal with my own depression. I hope it works. It may be the height of arrogance to assume that any game I'd run would help anybody, with grief, with PTSD, with anything. But I want to do it, because it's basically the only damned thing I can think to offer, the only real reason I have to engage them. I do want to help, and I hope that, somehow, sitting with people at the table, playing games, shooting the shit, having some food and drink, and sharing physical and mental space with each other will help in some way, even if just on the days we can meet.<br />
<br />
It's weird. I've been thinking a lot, lately, about my life and my connections with people. I have a bad history with maintaining relationships. I move away, or the friend does. I lose touch. They stop returning calls when I try to maintain that connection. I've had the same problem with family. It sometimes seems like it's just me and my wife and kid, really, and it's like I have no past. I wonder if I'm just broken on some level, that I can't form deep and abiding connections. Am I needy? Annoying? Not worth the trouble? Or is it just circumstance? Probably this is driving my urge to connect with these people, like I'm trying to redeem myself. I'm afraid I'm going to screw it up, because it's really just me being selfish. I feel like I'm doomed to screw it up, but I really, really hope that I don't. I hope I might make some friends who might be around for a while. These are good people, and I really hope I can do that. (Don't fuck it up, Johnson!)Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com1tag:blogger.com,1999:blog-5120192668802762351.post-76788273834416435472017-10-29T14:14:00.000-04:002017-11-08T14:12:12.236-05:00Summer's Gone, and the World's a Darker PlaceThis isn't a gaming post, but a memorial.<br />
<br />
I found out this morning that a student of mine passed away. Her name was Summer, and she was one of my very favorite students. She was just 23 years old. I usually don't get very emotional, but I've been crying all day. I need to tell you why. It's just so fucking awful, unfair and shitty. Fuck.<br />
<br />
A few weeks ago, Summer started feeling sick, and thought she had a cold. It didn't go away, so finally she went to the doctor. They told her it was a cold, too. A couple of days later she collapsed, and she flat-lined. She was rushed to the hospital, where they were able to revive her. She was unable, beyond that point, to do much more than blink, but they thought she was still "in there," and able to communicate through blinking her eyes. That might or might not have been true, as they later found out she'd incurred some brain damage while her heart was stopped.<br />
<br />
They moved her to Emory University Hospital, in Atlanta. I've been waiting and trying to follow her situation since then, but getting the news through second and third-hand sources. I'd been waiting and hoping for the situation to turn around. It didn't. It got worse. She finally was diagnosed as needing a heart transplant. Then, they discovered that she was allergic to the blood thinners she'd need to make such a procedure viable. In the end, there was nothing anyone could do to make her better.<br />
<br />
Her boyfriend and executor was told that he could either wait for the inevitable or take her off life support immediately. That's where my knowledge gets hazy. I know that he didn't immediately take her off life support, but nothing between that and when she died, shortly after 3 a.m. on Saturday.<br />
<br />
When I met Summer, she was a major in my department. As I got to know her, mostly during the few classes she took from me, I found out that she was a deeply weird person. Not surprisingly we developed a mutual appreciation, and she took more of my classes, the last of which was Advanced Public Speaking. In that class, I ran a game/simulation called Romans... in Space! She played a character named Numeria Ulpia Crispa, and boy did she play it to the hilt. She was funny and mischievous in her play, making me and everyone else laugh at how far she'd take it. At one point, when the head of the Ulpius family was absent from class, she took the initiative to establish a new family business: a porn store. She was so very pleased with herself, and couldn't wait to tell Colin, whose absence she'd exploited for her own amusement. Why? Because it was funny. I loved that about her.<br />
<br />
Here's what I learned about her, over the couple of years I knew her. Summer was on her own in the world, except for her boyfriend. She was estranged from her parents, who were alcoholics and addicts. She'd left home when she was very young, and supported herself working the kinds of jobs someone without a degree can get. She worked full time at a coffee shop, usually opening at 5:30 a.m., so she could attend classes at the university. She'd recently completed an internship where, if I'm reading things correctly, she made a bunch of new friends and really impressed her boss. That's pretty typical. It's just how she was.<br />
<br />
As a professor, I try really hard not to play favorites. I try to treat every student with respect, caring, and honesty. I try to be fair (but kind) in my evaluations of their work, and to help them get where they need to go, from wherever they might start. Some care about their work, and some don't. I really appreciate the ones who do care. Summer was one of them. She was never the best of my students, academically, but she sure as hell was one of the best people. There's a lot of shitty people in this wicked world, and it's just so fucking unfair that she was the one who got <i>this</i>.<br />
<br />
She was a great person to have in the classroom, always present and engaged. She had some struggles with writing. She wasn't a strong writer, despite being smart and articulate. But she took her lumps, grade-wise, and payed attention to the feedback I gave her. She never got discouraged. She was getting better, bit by bit, and I know she knew it. It fucking kills me that she never got to a point where she was able to feel like she was a good writer. Maybe I'm just projecting my own concerns, but I think she would have relished the accomplishment, and probably would have said something funny about it. I probably would have told her how proud I was of her, and that I knew how hard she'd worked to get there. And she would smile, because she always smiled; and I would smile, too. Now we won't get the chance to share that moment, and I am so filled with sadness right now that I can hardly bear it.<br />
<br />
<br />
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That's how I'll remember Summer: Smiling.</div>
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<br /></div>
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Summer, you were a really sweet kid. I loved having you around, and in my classes. I hope that, in some small way, I made life happier for you, too. You left us far, far too soon. I will miss you, you weirdo, and I will always remember you. You were one of the good ones. I wish I'd had more time to be your friend.</div>
Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-14980727373542790222017-10-26T15:16:00.003-04:002017-10-26T15:16:50.172-04:00DCC Tournament TimeOff to run a DCC tournament for the Augusta University Gaming Club.<br />
<br />
This year's tournament is "Once Upon a Time... at Band Camp." Normal high school students are sent into the Metal Lands to face death. Who will triumph over the minions of the Iron King? Will they stick it to The Man and appease the Metal Gods?<br />
<br />
Those who do will receive acclaim and valuable prizes! Top three winners get DCC Quickstart Rules and a set of dice, and the supreme winner also gets a pound of dice and a trophy.<br />
<br />
Pure improv session, set in my old high school.<br />
<br />
I'll tell you about killing them later.Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-65138344061508985632017-10-26T07:59:00.000-04:002017-10-26T07:59:48.120-04:00Elves and Iron, Updated and CompleteThis is a "finished" version of a post I made a long time ago. It proposes a radical rethinking of the Elf class for DCC RPG. It was originally intended for Metal God of Ur-Hadad zien, but that never happened. It may someday see the light of day as part of a Goodman Games product, but not sure.<br />
<br />
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<b><span style="font-size: 16.0pt;">Of Elves and Iron<o:p></o:p></span></b></div>
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<b>Iron Rules for DCC RPG<o:p></o:p></b></div>
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Iron is inescapable. Iron is poison. Iron kills.<o:p></o:p></div>
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The presence of iron, unknown in Elfland (the human name for
the transdimensional realm where the elves live), was the downfall of the Imperial
elves of Ore. Iron changed and corrupted elven magic, driving elves with
particularly weak constitutions mad from exposure, causing low birth rates and
terminal birth defects, and occasionally producing horrifying mutations among
their children. The Dungeon Crawl Classics version of elves makes clear that
they aren't Tolkien elves, but more like the Fae, including an aversion to iron:<o:p></o:p></div>
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<em>Elves are extremely sensitive to
the touch of iron. Direct contact over prolonged periods causes a burning
sensation, and exposure at close distances makes them uncomfortable. An elf may
not wear iron armor or bear the touch of iron weapons for extended periods.
Prolonged contact with iron causes 1 hp of damage per day of direct contact.
(DCC Core Rules, p. 57)<o:p></o:p></em></div>
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In my mind, this is a bit too forgiving. Iron is inconvenient
to elves, but not actively dangerous. If we follow the rules-as written, iron
is a bit like poison ivy: It's nasty stuff, and it can cause a person some discomfort,
but it's really not that bad. Mechanically, the in-game effects are about nil,
unless you do the equivalent of stuffing your pants with iron nails (or poison
ivy for that matter). It's not likely that an elf is going to put herself into
a position where iron contact is constant. Moreso, Judges will tend to forget
or just ignore iron's effects on elven characters. Ignoring the Iron Rule is
not only against the rules-as-written, it's also forgoing an opportunity for
some great character development and role-playing. So, I begin with a question:
What if iron poisoning was a real danger for elves, akin to heavy metal
poisoning for humans?<o:p></o:p></div>
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<br /></div>
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Heavy metal poisoning is no joke. Symptoms include headaches,
weakness, fatigue, muscle and joint pain, and constipation. Information about more
specific metals suggests we could add diseases of the organs, brittle bones, and
permanent nervous system damage (with physical and mental effects). Medical
science also differentiates between "acute" and "chronic"
effects. In what follows, I will try to add some teeth to the effects of iron
on elven characters, and explores some of the ways iron-sensitivity has had,
and continues to have, significant effects on elven lives and culture.<o:p></o:p></div>
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<b>Iron Exposure: Acute
and Chronic Effects<o:p></o:p></b></div>
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"Acute" iron exposure results from injury, usually
by getting various pieces of brutal cutlery shoved into one's body—a sudden,
massive increase in the level of iron exposure. "Chronic" iron exposure
occurs over time, affecting the mind and body in painful, dangerous, and
frightening ways. <o:p></o:p></div>
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<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><b style="text-indent: -0.25in;">Acute
Effect</b><span style="text-indent: -0.25in;">: An "acute" iron effect check is triggered when an elven
character is reduced to 0 hit points, and either gets healed or has a
successful Recover the Body check. Roll on the following table, in addition to
the "bleeding out" and "recovering the body" effects described
in the DCC RPG core rules (see p. 93).</span></li>
<li><br /></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><b style="text-indent: -0.25in;">Chronic
Effect</b><span style="text-indent: -0.25in;">: Each time an elf gains a level, make a Fortitude Save (DC 10+new
level). If failed, roll d12 on the table (plus Stamina modifier). Should the
elf have the wherewithal to afford an iron-protective </span><i style="text-indent: -0.25in;">encounter suit</i><span style="text-indent: -0.25in;"> (see below), he or she should reduce the DC by 1 per
2,000 g.p. spent on the encounter suit (rounded down, maximum of 10).</span></li>
</ul>
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<b><span style="font-size: 11pt;">d12+STA
mod<o:p></o:p></span></b></div>
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<b><span style="font-size: 11pt;">Effect<o:p></o:p></span></b></div>
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<b><span style="font-size: 10pt;">less
than 0<o:p></o:p></span></b></div>
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<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
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<b><span style="font-size: 10pt;">The
Sickening</span></b><span style="font-size: 10pt;">: Lose 1d4
points of Stamina, permanently. If 0 or less, death occurs.<o:p></o:p></span></div>
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<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
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<b><span style="font-size: 10pt;">Nemesis</span></b><span style="font-size: 10pt;">: The character has gone irrevocably mad
from iron poisoning. Play as NPC with hatred for former comrades.<o:p></o:p></span></div>
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<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
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<b><span style="font-size: 10pt;">Fisher
King's Lament</span></b><span style="font-size: 10pt;">: Acquire
a wound that will not heal normally, and which requires a 4 dice result of a
Lay on Hands check to heal through divine means. Lose 1d6 hp per day until
healed.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 4;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Rust
Rot</span></b><span style="font-size: 10pt;">: Skin turns the
color of rust, and flakes off constantly. Lose 1d4 points of Personality, permanently.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 5;">
<td style="border-bottom: none; border-left: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><span style="font-size: 10pt;">1<o:p></o:p></span></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Vampirism</span></b><span style="font-size: 10pt;">: As result of damage major organs are mutated.
Character must ingest the blood of intelligent creatures of the living,
red-blooded races (e.g., humans, halflings, dwarves) in addition to normal
food. Failure to do so at least once per week results in roll for chronic
effect. <o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 6;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Ghoulish</span></b><span style="font-size: 10pt;">: Arms lengthen by 2d10 inches and grow
iron claws (1d3 damage).<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 7;">
<td style="border-bottom: none; border-left: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><span style="font-size: 10pt;">2<o:p></o:p></span></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Something
Human</span></b><span style="font-size: 10pt;">: You are no
longer immune to magical sleep and paralysis. Each time one of these spells
could affect you, make a Will Save as normal human. <o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 8;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Twisted
Freak</span></b><span style="font-size: 10pt;">: Body becomes contorted
over the course of two weeks (Strength and Agility -1d3).<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 9;">
<td style="border-bottom: none; border-left: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><span style="font-size: 10pt;">3<o:p></o:p></span></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Blood
in Your Eyes</span></b><span style="font-size: 10pt;">: Eyes turn
the color of blood. You no longer have infravision.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 10;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Orked
Out</span></b><span style="font-size: 10pt;">: Gain 1d3 Strength
and lose 1d3 Personality, permanently.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 11;">
<td style="border-bottom: none; border-left: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><span style="font-size: 10pt;">4<o:p></o:p></span></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Dulled
Senses</span></b><span style="font-size: 10pt;">: Normal ability
to detect secret doors reduced by 1d4, permanently.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 12;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Hot
blooded</span></b><span style="font-size: 10pt;">: You now bleed
red instead of "normal" blue-green. When you take damage, make a
Will Save (DC 15) or go berserk for 1d6 rounds. During this time, you will
have AC -2, to-hit and damage +2. You will always attack the nearest
"foe" even if that person is not your enemy.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 13;">
<td style="border-bottom: none; border-left: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><span style="font-size: 10pt;">5<o:p></o:p></span></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Human
Frailty</span></b><span style="font-size: 10pt;">: Hit dice
reduced from 1d6 to 1d4 when gaining next level.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 14;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Blood
Magic</span></b><span style="font-size: 10pt;">: Choose a spell
at random. Spell checks for that spell made with next higher die type (e.g.,
d24 instead of d20), but must Spellburn 1d3 points to cast. If caster does
not Spellburn, the spell is cast using next lower die type (e.g., d16 instead
of d20).<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 15;">
<td style="border-bottom: none; border-left: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><span style="font-size: 10pt;">6<o:p></o:p></span></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Freaked
Out</span></b><span style="font-size: 10pt;">: The character is
delirious from the effects of iron poisoning. Spell checks and Will Saves are
rolled at -1d6 for 1d3 days.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 16;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Wild
Mercurial</span></b><span style="font-size: 10pt;">: Choose a
spell at random. Each time you cast that spell, roll 1 additional Mercurial
Magic result, which occurs in addition to any other Mercurial effect(s). This
effect is permanent.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 17;">
<td style="border-bottom: none; border-left: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><span style="font-size: 10pt;">7<o:p></o:p></span></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">A
Little Itchy</span></b><span style="font-size: 10pt;">: Develop a
persistent rash at the site of the wound. -1 to Initiative rolls for 1d3
days, due to incessant itching. <o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 18;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Arcane
Chaos</span></b><span style="font-size: 10pt;">: Choose a spell
at random and roll 1d4-2. If the number is positive/negative the spell now
must be cast using a die up/down that many steps in the dice chain,
permanently. If 0, then no effect. However, that spell also requires 1 point
of Spellburn to cast.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 19;">
<td style="border-bottom: none; border-left: solid windowtext 1.0pt; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><span style="font-size: 10pt;">8+<o:p></o:p></span></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Acute<o:p></o:p></span></i></b></div>
</td>
<td style="border-right: solid windowtext 1.0pt; border: none; height: 14.5pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Iron
Burn</span></b><span style="font-size: 10pt;">: Lose 1d3 points
of Stamina. Any points in addition to the permanent 1 point loss required by
DCC RPG rules are temporary (like Spellburn) and will be recovered at a rate
of 1 per day.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 14.5pt; mso-yfti-irow: 20; mso-yfti-lastrow: yes;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" width="108">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: .75in;" width="72">
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<b><i><span style="font-size: 10pt;">Chronic<o:p></o:p></span></i></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 14.5pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; padding: 0in 5.4pt 0in 5.4pt; width: 391.75pt;" valign="top" width="522">
<div class="MsoNormal">
<b><span style="font-size: 10pt;">Holding
Pattern</span></b><span style="font-size: 10pt;">: No chronic
effect.<o:p></o:p></span></div>
</td>
</tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Since coming to Ore, elves have sought to escape the effects
of its poisonous, iron-rich environment, to find new ways to avoid the poison
that saps their vitality, warps their magic, and corrodes their very souls.
Unfortunately, their adaptations involve extremely expensive technologies, and
not all elves are able to make use of them.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Elven Encounter Suits<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Encounter suits are the product of millennia of elvish medical
experimentation ( none of it particularly ethical and some of it quite
horrific). Each suit provides a body-covering "suit" (a tough sheath
of cloth, sometimes enhanced with mithril thread), a face concealing helmet
with integrated breathing apparatus, and gloves/boots to cover the hands and
feet. The suits provide an enclosed, protective environment, free from the
corrosive effects of iron poisoning, and must be worn at all times to provide
their benefits.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Encounter suits are expensive, both to purchase and to
maintain, and elves think of them much in the same way that modern humans
regard things like automobiles: They are at the same time utilitarian objects,
expressions of personal aesthetics, and markers of social status and/or
financial wherewithal. Only the wealthiest of elves can even afford encounter
suits, as they are expensive both to acquire (at least 5,000 gp) and to
maintain (1% of purchase price per month). Also, should the suit be damaged, a
hasty repair can keep it in working order for a short time, but any real repair
costs up to 10% of the suit's value. They also, of course, are markers of
particular elves' identities and status. The sheathing suit, gloves, and boots
provide visual cues that other elves can use to determine things like clan
identity, personal triumphs and accomplishments, professional affiliations, and
so forth. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Encounter Suit
Garments (including gloves/boots)<o:p></o:p></b></div>
<table border="1" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 0in 5.4pt 0in 5.4pt; mso-yfti-tbllook: 1184;">
<tbody>
<tr>
<td style="border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
<b><i>Quality<o:p></o:p></i></b></div>
</td>
<td style="border-left: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
<b><i>AC<o:p></o:p></i></b></div>
</td>
<td style="border-left: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
<b><i>Cost
(gp)<o:p></o:p></i></b></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
Lowest Quality<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
11-13<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
2000+<o:p></o:p></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
Midrange<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
14-15<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
7500+<o:p></o:p></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
High Quality<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
16-17<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
15000+<o:p></o:p></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
Noble/Scion<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
18<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
25000+<o:p></o:p></div>
</td>
</tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Encounter suit helmets are as individual as the faces they
conceal, and the most important marker of a wealthy elf's social identity, the
face he or she presents to the world. For such reasons, even lower quality
suits are well made of high-end encounter suits are crafted using a range of
rare and valuable materials to highlight the owner's exquisite taste and
cultural refinement, and there's much emphasis placed, among elves, on matters
of encounter suit aesthetics that are, to the other races, incomprehensibly
abstruse. The elven nobility are particularly given to using their helmets to
mark particulars of rank and status, and each noble family has a distinctive
style unique to itself. Anyone else pretending to that style who is not a
member of that family invites a duel (at best) or even a feud.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Encounter Suit Helmet<o:p></o:p></b></div>
<table border="1" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 0in 5.4pt 0in 5.4pt; mso-yfti-tbllook: 1184;">
<tbody>
<tr>
<td style="border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
<b><i>Quality<o:p></o:p></i></b></div>
</td>
<td style="border-left: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
</td>
<td style="border-left: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
<b><i>Cost<o:p></o:p></i></b></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
Lowest Quality<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
3000+<o:p></o:p></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
Midrange<o:p></o:p></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
10000+<o:p></o:p></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 159.6pt;" valign="top" width="213">
<div align="center" class="MsoNormal" style="text-align: center;">
High Quality<o:p></o:p></div>
</td>
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20000+<o:p></o:p></div>
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Noble/Scion<o:p></o:p></div>
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50000+<o:p></o:p></div>
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There is great variation in the range of quality of
encounter suits, including their physical protective qualities, their ability
to shield their users from harmful iron, and the money that elves might spend
on their customization. It is up to judges to determine if and how they might
allow players to customize their encounter suits. However, no encounter suit
may reduce the saving throw DC for Chronic effects by more than 10 points.<o:p></o:p></div>
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<b>Iron's Effects on
Elven Culture<o:p></o:p></b></div>
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The effects of iron are ever on most elves' minds, and fear
of it is pervasive. Though not all elves are able to do anything to help
themselves—They simply can't afford the cost—there still are a whole host of
cultural practices, from mere quackery to science, risen around the problem.
Here are a few of them for judges to think about:<o:p></o:p></div>
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<ul>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><b style="text-indent: -0.25in;"><i>Elves are vigilant toward potential vectors of
iron infection</i></b><span style="text-indent: -0.25in;">. They find ways to seal themselves and their homes off
from those vectors. (</span><b style="text-indent: -0.25in;"><i>Adventure Idea:</i></b><span style="text-indent: -0.25in;"> Provide positive
modifier to Chronic Effect roll for players of elf PCs who role-play this
vigilance well.)</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><b style="text-indent: -0.25in;"><i>There is an area of arcane study concerned
with iron exposure and its effects on spell casting</i></b><span style="text-indent: -0.25in;">. Iron makes magic
work differently. Corruption will tend to be exacerbated by iron infection, or
it might manifest as symptoms thereof. (</span><b style="text-indent: -0.25in;"><i>Adventure Idea:</i></b><span style="text-indent: -0.25in;"> Magical artifacts
may be created to stabilize spell effects may uncertain by iron.)</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><b style="text-indent: -0.25in;"><i>Elves study healing/medicine concerned with
iron exposure and its effects on elven biology. </i></b><span style="text-indent: -0.25in;">This area of study is
guarded from outsiders, and elves have been known to assassinate any non-Elf
who tries to pry into these mysteries. (</span><b style="text-indent: -0.25in;"><i>Adventure Idea:</i></b><span style="text-indent: -0.25in;"> There may be cults who
engage in horrible experiments, attempting to "fix" elven biology.)</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><b style="text-indent: -0.25in;"><i>There is a thriving industry in quackery,
"holistic" approaches to healing from iron exposure, and other
pseudo-medical and faith-based scams.</i></b><span style="text-indent: -0.25in;"> Because iron is so dangerous, and
infection so inevitable, some elves will believe nearly anything in order to
cope with their fears, even if the cures offered are ineffective or even worse
than iron infection itself. (</span><b style="text-indent: -0.25in;"><i>Adventure Idea:</i></b><span style="text-indent: -0.25in;"> Charismatic cults
dedicated to healing iron poisoning have arisen among low-class elves, though
their practices have little or no real effect.)</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><b style="text-indent: -0.25in;"><i>Elven artisans craft devices to limit their
exposure to iron</i></b><span style="text-indent: -0.25in;"> (e.g., filter masks, special garments, etc.). This
tends to make them look even more otherworldly, and sets them apart from the
other races even further. Given the history of the elves on Ore, this means
that they are even further excluded from the society of other races. Encounter
suits are only one such technology, and the only one that works reliably. Elves
who can't afford them might attempt other means of self-protection (</span><b style="text-indent: -0.25in;"><i>Adventure
Idea:</i></b><span style="text-indent: -0.25in;"> PCs or NPCs could work to recover and develop lost technologies.)</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><b style="text-indent: -0.25in;"><i>Evan non-elves know that iron-infected elves
are potentially dangerous</i></b><span style="text-indent: -0.25in;">. The more powerful the Elf, the more likely
he or she is to be a problem. As a result, there is strong anti-Elf sentiment
in some quarters, and even some political impetus to exclude elves from human
society entirely. (</span><b style="text-indent: -0.25in;"><i>Adventure Idea:</i></b><span style="text-indent: -0.25in;"> Some NPCs/NPC Factions may display prejudice
toward elven PCs.)</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><b style="text-indent: -0.25in;"><i>Elves sometimes return to Elfland in order
to seek respite from the effects of iron infection, and to attempt healing of
some sort</i></b><span style="text-indent: -0.25in;">. Some never return. (</span><b style="text-indent: -0.25in;"><i>Adventure Idea:</i></b><span style="text-indent: -0.25in;"> Make this a Quest,
with associated effects based on level of success.)</span></li>
</ul>
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Clearly iron is important to the elves, but their attempts
(even failed ones) to deal with its effects is not simply a matter for each
individual to handle. Whole ways of life and industries have arisen to cope
with the sad reality faced by the elves of Ore. Within elven society, though,
there are other, potentially dangerous things brewing, because not every elf
can be protected from it. Wealth and nobility are keys to accessing the
protection needed to stave off iron infection. As with the other races, though,
not everyone shares equally the things from which all could benefit.<o:p></o:p></div>
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<b>The Spires of the
Elven Lords<o:p></o:p></b></div>
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The wealthiest elves live in great spires, sealed off from
the dangers of the outside world.<o:p></o:p></div>
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Though Man conquered the elves in His rebellion, lo these
many years ago, the elves never surrendered their Spires. They still stand, a
testament to elven persistence in their quixotic fight against the inevitable. <o:p></o:p></div>
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The Spires were built in the earliest days to combat the
iron threat. Though their arts are not now practiced (and are forbidden by
decree), the ancient elves of the Imperium were masters of technomancy, and
could create life through those forbidden processes (though it is rumored that
some elven factions still follow this path). They "bred" homes,
aether ships, fortresses, fell constructs bred for battle, and all manner of
other things. These creatures were grown from strange seed and nurtured into the
mature works of elven master artisans of this foul craft. Five elven Spires
grew from such seeds, rising thousands of feet into the skies above Ur-Hadad.<o:p></o:p></div>
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The Spires look like bleached, blue-white bones, shining
unsullied by time under the sun and moons of Ore. Their surfaces are
near-impregnable, with few windows or portals, and these well guarded. They
rise with celestial grace into the sky, their sharp points skewering the cloud
layers, disappearing from sight, far, far above. They look just a little bit
like thorny vines, engorged of stem and laden with fruits and buds, climbing
toward eternity.<o:p></o:p></div>
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Each Spire has a name Anuch-Dar (the Collective Mind),
Morgath-Ka'ak (the Bloody Hand), Morgath-Gur (the Sinister Hand),
Morgath-Noriel (the Adroit Hand), and Anuch-Ur (the Singular Mind). No one is
quite sure what these names mean, and the elves aren't inclined to answer
questions about them. In fact, the Spires are not spoken of in the hearing of
non-elves, and even those elves who walk among Men refuse any attempt to
discuss them, going so far as to fight duels to avoid doing so. <o:p></o:p></div>
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No non-elven person has ever entered a Spire. In fact, not
every elf has done so. They are sealed off to most, and guarded jealously
against unauthorized entry. Cloistered within are the elite of elven society,
whose faces are concealed by bizarre breathing masks and protective raiment,
and whose voices emerge, strange and discordant, from the places where their
mouths must be. No living human has ever seen the faces of the elven nobility. As
a result, we have little to go on but rumors. Here are a few:<o:p></o:p></div>
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<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">The elves are preparing to reconquer Ore.</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">The elves are using their arcane knowledge to
build a bridge to the moons.</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">The elven women are the true rulers, and use the
Spires to keep their breeding stock of pure-blooded males in harem.</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">The Spires descend miles into the depths of Ore,
and are just the tips of a far vaster structure that spans the entire world.</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">The Spires are great aether-ships, and could
leave the surface of Ore to sail among the moons and stars.</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">The creatures living in the Spires are not elves
at all, but demons, and wear their concealing raiment to hide their true
natures.</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">The elves are attempting to cross-breed with
Men, and the Spires are full of vast slave pens, technomantic laboratories, and
mad elves bent on fiendish experiments and lusting after human women.</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">The Spires are great libraries of lost
knowledge, jealously guarded by powerful elven nobles.</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">The Spires are portals to other planes, where
the elves still rule a great empire of cruelty and despair.</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">There are lost Spires out in the wilds and under
the seas of Ore.</span></li>
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None of these rumors has been substantiated, but neither
have they been disproved. And there are many more than these, each wilder than
the last, each speaking to the greatest hopes and deepest fears of the Men of
Ore, and underlining the cultural rift between the two races. <o:p></o:p></div>
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Men gaze suspiciously upon the Spires, pondering their
threat and their promise. Elves, too, live outside the Spires. They are not the
elite of elven society. They do not share in its bounty. Most cannot afford the
protections either of Spire or of encounter suit. Their misery grows,
generation by generation, as they are warped and corroded by iron infection,
and fewer and fewer healthy offspring are born. They, too, gaze at the Spires. Their
hatred springs like thornwood from blackened ground, growing from sentiment, to
philosophy, to vocation. It surely will bear poisoned fruit.<o:p></o:p></div>
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A terror cult has arisen among the common classes of elves: It
is known as Morgath'ak-Lugash (The Iron Fist). The members of this notorious sect
hunt, torture, and (usually) kill the wealthiest among the elves, using iron weapons
and instruments. Their first acknowledged victim was crucified with iron nails,
an iron spear drive into his side, and a wreath of barbed wire wrapped around
his brow. No one has been able to determine its terror cult's membership, what
resources they might have, or where they might lair.<o:p></o:p></div>
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<br />
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In the end, as every elf knows, there is only metal. Ore's
iron core spins malignantly beneath its crust, and its arteries pump iron-rich
magma. Iron dust blows across its lands, and the other races bear weapons and
raiment of iron, as if making mock of the elves great plight. From iron there
is no escape, no surcease, but only the long, bitter struggle against the
inevitable. There is death, or there is madness, or there is the choice to
"sail into the West," a cryptic reference that no elf has ever
explained to outsiders.<o:p></o:p></div>
<br />
<br />Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com1tag:blogger.com,1999:blog-5120192668802762351.post-71808255836452190482017-10-22T12:22:00.002-04:002017-10-22T12:22:42.854-04:00Children of the EarthI've long been dissatisfied with the mundane ways fantasy RPGs portray dwarves (or dwarfs, whatever floats your boat). They are, more or less, short, stocky, grumpy, bearded humans, except that they live underground and are greedy for gold and gems. Like REALLY greedy for them. They're sort of gnomish but way more industrious. And, sure, maybe they have other differentiating aspects. They have knowledge of the underground spaces, can see in the dark, detect slopes, suss out new construction, and all of that, sure. But in the end they're just little people who have some quirks. All of those quirks provide ways to differentiate their powers and abilities from other playable races, though I've never felt like it was really worth not just being human. Even DCC has this problem, sadly, and I've never quite understood the reason for the sword-and-board ability for dwarves in that ruleset. Seems like any warrior should be doing shield attacks, right? Mostly, it seems (again) just a differential power, with no reason for being except for "Not a Human." I won't even get into elves and halflings, now, because they tend to suffer from the same, "Like a human, but..." problem.<br />
<br />
What if dwarves were weirder?<br />
<br />
I like to think of dwarves as being more like the mountains themselves than like the men in the mountain villages. In fact, I think about giants the same way. They are children of the earth. They are born of the living stone (maybe literally "living") and take from it their flesh and bones, their character, their sense of the world. Different stone means different tribes. The granite and basalt dwarves are different. The dwarves around coal fields are especially odd (and flammable); and giants from those lands belch smoke and breathe fire. There are no sandstone dwarves, and none at all associated with sedimentary rocks: Only metamorphic and igneous rock will do.<br />
<br />
Each dwarven "race" takes its character from its original substance. The dwarves of the Iron Mountains have grey skin, streaked with orange, and those who dwell in Cinnabar bleed mercury. The golden dwarves are beautiful and pliable, and desired by all. They hide themselves away, hidden from sight, protected from being stolen. Dwarves are of the flesh that is not meat.<br />
<br />
A punch from a dwarf is like getting hit with a stone, and they have their own schools of unarmed combat. Such is the war they wage against each other, but they mimic the ways of humans to keep their true fighting traditions secret.<br />
<br />
Dwarves cannot abide mortar and concrete. It smells of old death, and seems like an astonishing perversion of their very substance. They hate human cities for this reason. In every human habitation, they try to teach the natives to work stone properly, and with reverence, so that they can fit it perfectly without any cement whatsoever. But humans are stupid, and willfully ignorant. They can't take the time to learn, nor the time to coax the stones into their proper shapes. It takes a long time, and they are so short-lived.<br />
<br />
Dwarves work stone more by persuasion than with blows of a pick, or chisel and hammer. They speak to the stone as they shape it, pressing their flesh into its flesh, and shaping it more like a smith than like a carpenter. Rather, more like an animal trainer, than like a craftsman. The stone listens. The stone speaks. The stone remembers, else how would the dwarves be born?<br />
<br />
All the wizards want their secrets. All the elves want to steal their nobility, the mithril dwarves. All the humans pretend that the dwarves are just little, hairy, grumpy humans, perhaps from Scotland. They refuse to understand how wrong they are. They trade in the bones of the dead, looted from deep burial grounds. They will count a reckoning, later. Stone is patient. Stone can wait. Stone will not forget.<br />
<br />
Dwarves (and giants) are the bones of the world, its blood and passion, and they have all the time in the world.Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-44073263221569420712016-09-16T06:14:00.000-04:002016-09-16T06:14:52.144-04:00Romans... in Space (The Whole Thing)It's been a busy couple of weeks, and much of my writing time has been devoted to completing this essay, my submission to the Southern States Communication Association annual conference. Give it a look. Note: I'm cutting and pasting from Word, so the formatting is a little bit wonky. I've also left out the appendices. Anyhow, give it a look, if you're interested.<br />
<br />
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<h1>
<span style="line-height: 200%; mso-bidi-font-size: 12.0pt;">Abstract<o:p></o:p></span></h1>
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Though most of the literature
examining "gamification" in learning environments focuses on digital
games and applications, use of game elements to "gamify" the
classroom experience, or development of (usually digital) games to enhance
student engagement, motivation, and other measures of affective learning,
almost none of the literature approaches gamification as an exercise in
role-playing. This article examines development of a role-playing simulation for
the author's advanced public speaking classroom. This approach was inspired by
the <i>Reacting to the Past</i> movement in
history education, but differs in several important respects. A critique of the
approach and suggestions for improvement are offered. <br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
</div>
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Romans…
in Space! "Serious Games" in the Advanced Public Speaking Classroom</div>
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In the last decade-plus, "gamification" has become
prominent in discussions of teaching and learning, building upon earlier
scholarship in experiential learning, especially David Kolb's (1984) Experiential
Learning Model (See also, Bergsteiner & Avery, 2014; A. Kolb & D. Kolb,
2005; Schenck & Cruickshank, 2015). The term "gamification" was
first used by Nick Prelling in 2002 in the context of developing user-friendly,
electronic device interfaces <!--[if supportFields]><span style='mso-element:
field-begin'></span><span style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Pelling</Author><Year>2011</Year><RecNum>189</RecNum><DisplayText>(Marczewski,
2012; Pelling,
2011)</DisplayText><record><rec-number>189</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1473081957">189</key></foreign-keys><ref-type
name="Blog">56</ref-type><contributors><authors><author>Pelling,
Nick</author></authors></contributors><titles><title>The
short prehistory of gamification</title><secondary-title>Funding
Startups (&amp; other impossibilities)</secondary-title></titles><number>August
9</number><dates><year>2011</year></dates><urls><related-urls><url>https://nanodome.wordpress.com/2011/08/09/the-short-prehistory-of-gamification/</url></related-urls></urls></record></Cite><Cite><Author>Marczewski</Author><Year>2012</Year><RecNum>188</RecNum><record><rec-number>188</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1473076939">188</key></foreign-keys><ref-type
name="Book">6</ref-type><contributors><authors><author>Marczewski,
Andrezej</author></authors></contributors><titles><title>Gamification:
A simple
introduction</title></titles><dates><year>2012</year></dates><pub-location>Raleigh,
NC</pub-location><publisher>Lulu</publisher><urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->(Marczewski, 2012; Pelling, 2011)<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->, but the definition of
gamification most cited in the literature is <i>the use of design elements characteristic for games in non-game
contexts </i><!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Deterding</Author><Year>2011</Year><RecNum>185</RecNum><DisplayText>(Deterding,
Sicart, Nacke, O&apos;Hara, &amp; Dixon,
2011)</DisplayText><record><rec-number>185</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1473074555">185</key></foreign-keys><ref-type
name="Journal
Article">17</ref-type><contributors><authors><author>Deterding,
Sebastian</author><author>Sicart,
Miguel</author><author>Nacke, Lennart</author><author>O&apos;Hara,
Kenton</author><author>Dixon,
Dan</author></authors></contributors><titles><title>Gamification:
Using game design elements in non-gaming
contexts</title><secondary-title>Proceedings of ACM CHI 2011
Conference on Human Factors in Computing
Systems</secondary-title></titles><pages>2425-2428</pages><dates><year>2011</year><pub-dates><date>May
7-12</date></pub-dates></dates><pub-location>Vancouver,
BC,
Canada</pub-location><publisher>ACM</publisher><urls></urls><electronic-resource-num>http://dx.doi.org/10.1145/1979742.1979575</electronic-resource-num></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->(Deterding, Sicart, Nacke, O'Hara, & Dixon, 2011, p. 13<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->).<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>
Because the concept first emerged in digital communication, much of the
literature available focuses on digital uses. Burke (2014), for example,
defines gamification as, “the use of game mechanics and experience design to <i>digitally engage</i> and motivate people to
achieve their goals” (n.p.n., <i>emphasis
mine</i>). Thus, theories and many applications of gamification were developed
under a digital paradigm, so commonly are adapted to gamification models
following the same paradigm. </div>
<div class="MsoNormal">
Hunicke, Leblanc, & Zubek (2004) developed the
mechanics, dynamics, aesthetics (MDA) framework to describe the essential
elements of computer game design, and their work has been taken up as part of
the broader understanding of gamification, as such (see also <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Robson</Author><Year>2015</Year><RecNum>146</RecNum><DisplayText>(Robson,
Plangger, Kietzmann, McCarthy, &amp; Pitt, 2015)</DisplayText><record><rec-number>146</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1472314400">146</key></foreign-keys><ref-type
name="Electronic Article">43</ref-type><contributors><authors><author>Robson,
Karen</author><author>Plangger, Kirk</author><author>Kietzmann,
Jan H.</author><author>McCarthy,
Ian</author><author>Pitt,
Leyland</author></authors></contributors><titles><title>Is
it all a game? Understanding the principles of gamification</title><secondary-title>Business
Horizons</secondary-title></titles><periodical><full-title>Business
Horizons</full-title></periodical><pages>411-420</pages><volume>58</volume><dates><year>2015</year></dates><urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->(Robson, Plangger, Kietzmann, McCarthy, & Pitt, 2015)<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. Further, gamification has
been deployed across divergent contexts in a variety of practical applications,
including commercial uses and marketing, though its application in those areas
has not been without controversy (Bogost, 2011; Zicherman, 2011). Gamification also
is used as a means to add game elements to non-game leisure activities, as in
the <i>Zombies, Run!</i> mobile application
for walking and running (and zombie) enthusiasts (https://zombiesrungame.com), and
the <i>Hero's Journey</i> workout, a 60-day,
bodyweight workout routine gamifies fitness development using a fantasy role-playing
game framework (http://darebee.com/programs/hero-journey.html). Gamification
also has a somewhat older counterpart in corporate, emergency response, and
military training as the "Serious Game" (Cook, 2005).<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a>
It is important to note a tendency within the literature on "Serious
Games" to emphasize that, though gamification may include game-like
elements, such games are not always supposed to be fun or enjoyable. </div>
<h1>
<span style="line-height: 200%; mso-bidi-font-size: 12.0pt;">Gamification in
Education<o:p></o:p></span></h1>
<div class="MsoNormal">
It may well be, as Marc C. Carnes (2014) notes, that
"play," as such, has a long history of vilification in educational
literature, and that bringing the "fun" elements of games into more
serious, non-game contexts may smack of subversion of authority and order. Nonetheless,
educational gamification has proliferated, both in the classroom and in the
literature. <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Dicheva</Author><Year>2015</Year><RecNum>123</RecNum><DisplayText>(Dicheva,
Dichev, Agre, &amp; Angelova, 2015)</DisplayText><record><rec-number>123</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1472307135">123</key></foreign-keys><ref-type
name="Journal
Article">17</ref-type><contributors><authors><author>Dicheva,
Darina</author><author>Dichev,
Christo</author><author>Agre,
Gennady</author><author>Angelova,
Galia</author></authors></contributors><titles><title>Gamification
in education: A systematic mapping study</title><secondary-title>Educational
Technology &amp; Society</secondary-title></titles><periodical><full-title>Educational
Technology &amp;
Society</full-title></periodical><pages>75-88</pages><volume>18</volume><number>3</number><dates><year>2015</year></dates><urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->Dicheva, Dichev, Agre, and Angelova (2015) have<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--> reviewed the broader
literature covering gamification in education, noting that, "there are
many publications on the use of gamification in education but the majority
describe only some game mechanisms and dynamics and re-iterate their possible
use in educational context, while true empirical research on the effectiveness
of incorporating game elements in learning environments is still scarce (p. 83).<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a>
The Washington, DC-based Educational Advisory Board, a for-profit consultancy, issued
a report including a broad overview of game-based learning (GBL), suggestions
for implementation and learning outcomes, and a list of challenges facing those
adopting GBL practices (Patel & Vasudevan, 2013).<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a>
</div>
<div class="MsoNormal">
It is increasingly possible and acceptable (even desirable)
to gamify a variety of features of educational practice, in part because of the
proliferation of games and gamification in other areas of life. Deterding
(2014b) uses the term "gamefulness" to describe the increasing
tendency for elements of games and gaming to influence the broader culture,
suggesting that, "If <i>ludification of
culture</i> captures how games and play increasingly inform other domains of
our everyday life, we also can and must speak of its counterpart: the <i>cultivation of ludus</i>” (p. 23, <i>emphasis</i> in original). That is, since public
and private life now feature games and game elements so prominently, and in so
many forms and contexts, it grows increasingly simple to include gamification
in education. Students recognize game elements as part of the grammar of public
culture, and are able to apply them in non-game contexts. However, readers
should also be cautious in the assumption that all students in all cases either
will recognize gamified elements, or will to apply them in the way(s) intended
by instructors. As with other literacies, facility with gamified elements is
unevenly distributed among learners, despite growing salience in the broader
culture. Even where gamification is implemented successfully in learning environments,
learning and affective outcomes still may be uneven (E. Boyle, et al., 2016; Connelly,
E. Boyle, MacArthur, Hainey, & J. Boyle, 2012).</div>
<h1>
<span style="line-height: 200%; mso-bidi-font-size: 12.0pt;">Gamification of
Public Speaking<o:p></o:p></span></h1>
<div class="IndentDSpace">
Given the breadth of examples of gamification and game
design applied in educational contexts, even in just the last decade, it might
surprise readers that the subject of gamification in the present work—an
advanced public speaking course—drew inspiration from entirely different
sources. In this case, the major influences are tabletop role-playing games, a
movement within history/humanities education known as <i>Reacting to The Past</i> (Carnes, 2014)<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></a>,
as well as game dynamics derived from this author's experiences with video
games like the <i>Civilization</i> series
and board games like <i>Diplomacy</i>. The author's
goal was to develop an advanced public speaking course in which a game-like
simulation provided students with a shared, fictional context and opportunities
to role-play within that shared context in completing in-class assignments and
activities. The use of simulation originated from the author's successful development
of a group decision-making exercise in several semesters' basic public speaking
courses. In those simulations, groups of students pretended to be members of a
foundation selecting students for scholarship grants. They developed criteria
for selection, chose "winners," and each group presented their
selection process, their results, and then justified their choices in a
15-minute Q&A session in which the audience pretended to be members of the
public and board members of the fictional foundation. As a test case, that
activity demonstrated the applicability of simulation in the author's public
speaking classroom and resulted in improved student learning outcomes in the
persuasion module for that course. It also suggested the possibility of
extending such simulation to cover an entire semester's speech activities.</div>
<div class="MsoNormal">
Later, in planning for SACS-COC reaccreditation, the
author's university hosted a series of meetings to discuss proposals for the
quality enhancement program (QEP) portion of accreditation, a program to be
developed around experiential learning. Shortly before these discussions, the
author had discovered the <i>Reacting to the
Past</i> movement in the humanities, and began to consider development of a
game-like simulation in an advanced public speaking course. "Reacting"
games treat history as a resource for students' experiential learning, not
simply requiring that they learn historical facts, but also allowing them to
participate by role-playing prominent "characters" in important
historical events. Later that spring, the author fielded a game-like simulation
in an advanced public speaking course, as proof-of-concept, but low enrollment
in the course and the experimental nature of the simulated content achieved
uneven results. While most students "bought in" to the simulated
element, their limited numbers resulted in group-think when making important,
in-game decisions, while the game itself was designed to create some degree of
conflict of interests among participants. The game's intent was not simply to
produce conflict, mind you, but some speech activities (e.g., in-class debates
between game factions) did not go as well as they might have. Also, not all of
the other assignments proved as useful as originally conceived. They would need
either to be revised or reconceived entirely. However, it also was clear that our
game-like simulation, whatever its shortcomings, had resulted in greater-than-normal
student attendance and generated substantial engagement and excitement among
the enrolled students. The course, though the results were not optimal, had
worked to an extent that was difficult to ignore, and provided important lessons
for extension and improvement of that first experiment. In spring semester 2016,
a new version of the course was offered. In this work different aspects of
course and game design will be described and assessed. Broader topics include
course design and game design and their interaction, specific game elements and
course speech activities, and integration of the university's learning
management system in a course of this kind. Finally, student assessments of
learning, engagement, and specific game elements will be considered.</div>
<h1>
<span style="line-height: 200%; mso-bidi-font-size: 12.0pt;">Omega Station:
Romans… in Space!<o:p></o:p></span></h1>
<div class="MsoNormal">
The broader conceit of this simulation was founded upon a
speculative fiction, one in which the Roman Empire had never fallen, and in
which they were beginning to engage in space exploration and limited colonization
of the solar system. The choice of a fictional context was intended both to
provide a real-world analog for their public speaking activities (e.g.,
deliberation and debate) but also to free their instructor from the confines of
actual history. While the <i>Reacting to the
Past</i> movement was inspiration for this approach, this author is not an
historian, and a speculative future allowed for a situation in which just about
anything could (and did) occur. This game design element was intended to
provide a sense both of mystery about the outcomes of the narrative and some
degree of player agency in how that narrative unfolded. Also, this future-Roman
conceit was designed to allow your author (the game master, or GM) to draw upon
the real heritage of Roman history, particularly its tradition of oratory, and especially
upon the life of Marcus Tullius Cicero, perhaps the greatest Roman orator of
all. It was hoped that the connection to tradition would also foster a desire
among the students to take the simulation more seriously than not, a desire
that was only partly realized in play. In this narrative, five praetorian
families (Benedocto, Medicari, Novari, Palatina, and Skora) had been sent to
run an asteroid mining facility (Omega Station) the fictional place where all
of the action took place. Twenty students were assigned randomly to the five families
(four each), and placed in a seating arrangement in close proximity to the
other family members. The praetorian families and their interactions would
serve as the social basis for the game element of the course, but that game
would require tight integration with the course requirements, for a variety of
reasons to be addressed in the next section.</div>
<h1>
<span style="line-height: 200%; mso-bidi-font-size: 12.0pt;">Course Design vs.
Game Design<o:p></o:p></span></h1>
<div class="MsoNormal">
One overarching goal for the course was that the speech
activities should be central to our concerns. While the game was important for
adding a sense of context, it should not be what we spent our time doing in
class. For this reason, game "turns" were made part of the homework
for the class, resolved between class sessions, and reported to the students
via the university learning management system's discussion application. The
game's mechanics are reported in a later section (see, "Game Mechanics").
The course itself, however, needed to be designed in such a way that the
overarching narrative provided context for in-class speech activities. This was
attempted through selecting speech activities appropriate to the narrative
context, and structuring them such that each built upon the results of the
others, making the game's narrative emerge from the actions taken, in-game and
in speeches, by the student/players. In practice the relationship between the
speech and game elements proved to be a somewhat uneasy marriage, but produced
a definable story arc matched to the pace of the semester's meetings. The space
available in this writing does not permit extensive treatment of the
game/speech interrelation, but a brief summary follows, below, after an
overview of the "game mechanics" portion of the course (see "Speech
Activities"). The game rules used in this course are included in the
appendix to this work, for readers interested in viewing them.</div>
<h2>
<span style="line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Game Mechanics<o:p></o:p></span></h2>
<div class="MsoNormal">
The game mechanics for enacting this setting included use of
"characters" (one for each student) in the manner of a computer or
tabletop role-playing game (RPG). Lay discussions of tabletop RPGs almost
inevitably lead to reference to ur-games like <i>Dungeons & Dragons</i> and various "geek" and
"nerd" stereotypes, but using RPG characters in the classroom provides
students with personalized narrative spaces for creativity and improvisation,
and enables the development of group narratives based on individual character
arcs. For these reasons, tabletop RPG characters provide an important means to
engage communication students through immersive and interactive play, with
space for narrative and interpersonal improvisation. To define this narrative
space, two different role-playing games were used, and then combined with
several author-designed game mechanics. </div>
<div class="MsoNormal">
The first game, <i>Microscope:
A Fractal Role-playing Game of Epic Histories</i> (Robbins, 2011) was intended
to provide an explanation for the students' characters—player characters
(PCs)—of the history of their families and of how Rome had come to space. It
helped us answer the question of what had happened differently than what is
recorded in the actual historical record. During the second class session, the
author led a session of <i>Microscope</i> to
answer the question, "How did Omega Station come to be?" Suffice it
to say, without going into too much detail, that the students surprised your
author. They demonstrated great, often confounding, creativity in the unfolding
narrative with unexpected events (e.g., alien artifacts discovered under the
ice of Antarctica, a deep space shooting incident with unknown
extraterrestrials, etc.), important ancestors of the Five Families (e.g., Jimmy
Skora, Jr., Will Ferrell Palatina), and other oddities. The outcome of the <i>Microscope</i> game shaped the emergent
narrative over the course of the semester, though not always in the expected
ways.</div>
<div class="MsoNormal">
The other RPG used was <i>Apocalypse
World</i> (Baker, 2010) from which three specific game mechanics were selected.
Two of the mechanics were used to provide player characters with role-playing
archetypes (e.g., Face, Spymaster, Prospector, Tactician, etc.), with
associated "moves" allowing each member of each family to contribute
during game turns in specific, unique ways. The Face role was mandatory (as
leader of the family), but then each family selected others from among several
others. Not all roles could be covered by the remaining three players, ensuring
that each family had particular strengths and weaknesses compared to other
families. This design element was developed to necessitate inter-family
cooperation as the players discovered the limits of their in-game actions. There
also was need for a resolution mechanic for actions with uncertain outcomes. <i>Apocalypse World</i> uses two six-sided dice
as a means to resolve actions taken in the game. The resulting die rolls would
provide chances for <i>success</i>, <i>success with consequences</i>, and <i>failure</i> of in-game actions taken by
characters. In the case where different characters engaged in opposed actions,
two rolls were made and compared. In all cases, the author used this game
mechanic to improvise narrative outcomes, rather than specifying die roll
results, so as to maintain students' narrative immersion.</div>
<div class="MsoNormal">
Several original game mechanics also were employed in this
game, including an asteroid mining mini-game and a social intrigue mini-game.
The asteroid mining element was the means through which each family generated
income. The income could be used to buy ships, bid on exclusive mining rights
in the nearby asteroid field, or (in an unexpected move by players) to bribe
other families to take specific actions in favor of one's own family. Wealth
generated in the asteroid mining-mini-game resulted in a "score" that
added to each family's victory points, though the "leader board" was
kept secret until midterm and then again at end-of-semester. The social
intrigue game dealt with attempts at spying on other families, discovering
upcoming Complications dictated by the game master, and enhancing the
reputation score of one's own or defaming that of the other families. Each of
these game systems, in combination with character roles and their associated
"moves" allowed each student to affect the narrative course of the
game (Complete game rules are included in the Appendix to this work).</div>
<h2>
<span style="line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Speech Activities<o:p></o:p></span></h2>
<div class="IndentDSpace">
One of the greatest challenges faced in running this
class was keeping the "class" and "game" portions
relatively independent of each other. While it may not be immediately clear why
such separation is important, it was critical. The course has programmatic student
learning outcomes, which must be achieved regardless of course format.
Incorporation of RPG content into the course was an aberration, and focusing
too much on the game would detract from students' ability to learn to deliver
various types of speeches needed to achieve specific learning objectives. So,
it was necessary to ensure that the "game" portion of the course occurred
outside of class time (for the most part), while at the same time providing
context (and some content) for the actual, in-class speech activities.</div>
<div class="MsoNormal">
Speech activities in the course began with a research-based
informative speech, but most assignments emphasized effective deliberation and
policy argument, including group deliberation, policy speeches, and policy
debates. The informative speech required each student to provide a response to
a specific research question dealing either with Roman history (e.g., "Who
was Marcus Tullius Cicero and what were his accomplishments?") or with
possible human futures (e.g., "How could asteroid mining help development
of space-based industry and activity?"). Beginning with the Roman history,
we moved to the current space programs (government and private industry), trans-
and post-humanist theory, and speculation about the human future in space.
Students were, at the same time, accomplishing course-specific outcomes (e.g.,
completing research, crafting and delivering a research presentation) and providing
everyone in class with a sense of the broader context of the simulation
comprised by the game. The goals of the informative speech demonstrate how the
author attempted to negotiate between the "game" and the
"class" elements of the course, such that students were able to meet
specific learning objectives for the class but also remained engaged in the
context of the game. </div>
<div class="MsoNormal">
Beyond the informative speech, the speech activities were
designed to build cumulatively, allowing students to scaffold learning outcomes
from one assignment to the next. So, a Faction Deliberation assignment explored
the elements of effective policy, and required each family to develop a
response to a policy question (e.g., "What should be done to prevent
piracy among the families?"). The Policy Speech required each student to
provide a stand-alone policy argument that included all of the required
"stock issues" logically required for such a speech (e.g., harms,
inherency, plan, etc.). Finally, the Faction Debates required to students to
debate matters of policy, each student receiving a chance to argue for both the
affirmative and the negative side, in different speeches, in a modified
parliamentary debate format. </div>
<div class="MsoNormal">
The class and game elements, by mutually reinforcing each
other, provided an immersive experience and a "serious game" in which
students' speech activities had broader meaning. They weren't simply delivering
speeches in a class, but giving speeches with longer stakes based in a shared
narrative framework. Moreover, the speech activities were developed in such a
way that "playing the game" did not interfere with the learning
objectives to be accomplished by students taking the course. While the
"game" remained separated from the "class" by requiring
that game turns be accomplished in the days between class meetings, as
homework, all of the speech activities required in the class were founded in
the context provided by the game. The broader effects of this immersion were
(for most students) increased engagement in speech activities and a real sense
that there was something at stake, besides simply completing assignments.</div>
<h2>
<span style="line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Learning Management System<o:p></o:p></span></h2>
<div class="MsoNormal">
The course used the university's chosen learning management
system (LMS), <i>Desire2Learn</i>, including
features used in other courses (e.g., grade book, attendance records). In this
course, however, the discussion/forum features also were employed. A separate
forum was developed for each of the five families, where they could enter their
game moves for processing of game turns, communicate with each other, and
otherwise engage with the "game" portion of the course. Using this
feature provided several advantages. First, it kept game discussion in a space
accessible outside of class sessions. It also provided a means to keep records
of student interactions and game "moves," making it easier to process
and review game turns and their outcomes. Finally, it allowed the instructor to
communicate directly with individual families, rather than with the whole
class. Two other forums were included in the LMS, one for directly addressing
rules and procedures questions, and one allowing for open discussions among the
families. However, those saw little (rules and procedures) or no (open
discussion) use over the course of the semester.</div>
<div class="MsoNormal">
In practice, using the discussion forums did not work as
well as planned. In some cases, students forgot (or were not particularly
engaged by) participation outside of the speech activities. This failure to
engage sometimes had the effect of slowing down the pace of the game turns.
Originally, the class was supposed to complete twenty-five turns, but only
nineteen had been resolved by semester's end. Processing the game turns also
became increasingly cumbersome as the semester progress, simply due to the
overwhelming amount of information.</div>
<h2>
<span style="line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Complications<o:p></o:p></span></h2>
<div class="IndentDSpace">
In-game narrative intrusions, termed
"complications" in the game, were introduced at various points in the
semester. Complications took the form of narrative descriptions of in-game
events to which the families, and individual players, would have to react or adapt.
The author had used such a narrative device in the scholarship board
simulation, described above, to good effect. With the introduction of such
complications, players might be moved to respond creatively to unanticipated
challenges or take advantage of unexpected opportunities. One such complication
also served as a means to demonstrate the concept of deliberation. Early in the
semester, once the students had a basic grasp of the mining/wealth generation
part of the game, those functions seemed routine to many. However, the news of
a miners' strike (Complication!) created a situation in which asteroids
captured for mining could not be used to generate wealth for the families. On
the instructor side of the equation, there was no specific answer or outcome
sought. It was important merely as an exercise through which the concept of
deliberation could be introduced, so that the students might get some
experience prior the Faction Deliberation assignment. A full session of the
class was set aside to address a specific policy question, "What should be
done to end the miners' strike?" This session created both an opportunity
for learning, but also a series of narrative consequences that would continue
to unfold over the course of the semester.</div>
<div class="IndentDSpace">
In practice, thatclass session was organized as a
legislative deliberation. Individuals (speaking for themselves or for their
families) were invited to contribute to a broader understanding of the causes
of the strike, the conditions resulting from it, possible remedies and their
potential advantages/disadvantages, and even to consider the broader framework
of values underlying the discussion. This was the first occasion when a student
suggested a violent solution to an in-game problem—literally killing the strike
leaders to bring the others in line. This caused a great deal of controversy,
and motivated others to advance less violent solutions. Though the problem
ultimately was solved in peaceful fashion, by implementing safer working
conditions and granting time off for vacations and free transport to Terra
Roma, at least one student continued to be troubled, stating in the course
assessment (discussed in next section):</div>
<div class="IndentDSpace" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-indent: 0in;">
I didn't like the
idea of a violent game. In the hall way, after a debate speech I gave where I
made a claim against a class mate, this class mate actually continued the fuss
about a claim I made against him. This can be dangerous. Violent games get
people engaged and it can go overboard sometimes. (personal communication,
April 2016) </div>
<div class="IndentDSpace" style="text-indent: 0in;">
The author was not notified of
the incident at the time it occurred, but it clearly indicates that narrative
immersion can generate passionate responses, and that it's important for
instructors using such course designs to account for possible negative
interactions, both between students and between individual students and game
elements. While some themes might be completely out-of-bounds for the course
(e.g., violent or eliminationist rhetorics, sexually explicit content) it's
also important to find ways to include explicit discussion of what is/is not
acceptable in terms of interaction, game themes, or even specific game
mechanics (e.g., piracy) in the context of students' personal growth and
development. While the author believes it's important that students engage
with, and learn to discuss productively, a variety of themes that might come up
in class (even troubling ones), such latitude should also include discussion of
interpersonal empathy, honoring of diverse viewpoints, and professional
interaction with one's colleagues.</div>
<h1>
<span style="line-height: 200%; mso-bidi-font-size: 12.0pt;">Assessment of
Course<o:p></o:p></span></h1>
<div class="MsoNormal">
At the end of the semester, students were asked to complete
an assessment of the course. Several quantitative items asked them to report self-assessment
of course learning outcomes, level of engagement with various course elements, changes
in confidence in public speaking, and prior experience with various types of
game activities. Open-ended items asked them to reflect upon their initial
expectations, lessons learned, impact of the game upon in-class speeches, what
they enjoyed least/most about the class, and "other comments about the
game or class." While there is not sufficient space to review all of these
elements, we will consider the students' assessments of their learning
outcomes.</div>
<h2>
<span style="line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Self-Reported Learning Outcomes<o:p></o:p></span></h2>
<div class="MsoNormal">
The course in question has the following learning outcomes:</div>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormalCxSpMiddle" style="line-height: normal; mso-list: l0 level1 lfo1; text-indent: -.25in;">Students will be able to deliver oral and
written communication appropriate to instructor-specified situations and
audiences.<o:p></o:p></li>
</ul>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in; text-indent: 0in;">
<b>Assessment</b>: Oral presentations and
accompanying written work evaluated with associated rubrics.</div>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormalCxSpMiddle" style="line-height: normal; mso-list: l0 level1 lfo1; text-indent: -.25in;">Students will develop significant academic
research for appropriate oral and written communication.<o:p></o:p></li>
</ul>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in; text-indent: 0in;">
<b>Assessment</b>: Oral and written work
evaluated with associated rubrics.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Several questions were asked regarding learning outcomes,
and student responded to them using a Likert scale indicator, with
"1" indicating lowest/most negative assessment, and "5"
indicating highest/most positive assessment of the item. Nineteen of twenty
students responded to the assessment.</div>
<h3>
Learning Outcome 1</h3>
<div class="BlockDouble">
Q4: As a result of taking this class do you feel you are
able to develop oral presentations tailored to specific <i>situations</i>? (Avg 4.37, N=19)</div>
<div class="BlockDouble">
Q5: As a result of taking this class do you feel you are
able to develop oral presentations tailored to specific <i>audiences</i>? (Avg 4.42, N=19)</div>
<div class="MsoNormal" style="text-indent: 0in;">
Students provided strong positive
self-assessment, for these items, of growth in their ability to create
presentations adapted to specific <i>situations</i>
and <i>audiences</i>, with 15 and 17
students, respectively, reporting "4" and "5" results, and
none reporting "1" or "2" results. Further, analysis of
students' open-ended responses suggested that some of this self-assessed growth
resulted from the game and narrative features of the course, particularly the
contiguity between the role-playing elements and students' ability to perform
in specific speeches. In brief, playing a role provided students with a better
sense of the connection between self-as-speaker and the co-constructed
narrative framework. Their speeches were not simply being addressed to a
"pretend" audience that is unknown/unknowable because it's
hypothetical, but to a specific, known audience and situation which, though it
is based on pretense, is both known and possesses a certain narrative coherence
contiguous with specific assignments. The shared framework afforded by game
play allowed for a clearer sense of the audience to whom their speeches were
addressed, and the available means of persuasion for addressing that audience. </div>
<div class="MsoNormal">
The instructor's evaluations of their speech and debate
performances tended, with some exceptions, to support the students' self
assessments. The degree to which these students addressed both this specific
audience and the specific situations to which their speeches pertained,
demonstrated superior results when compared to other more "standard"
iterations of the course. They knew whom they were addressing, and they were
better able to determine what situation-specific arguments might move this
audience.</div>
<h3>
Learning Outcome 2</h3>
<div class="MsoNormal">
The second learning outcome, however, was not achieved at as
high a level. In this case students were asked:</div>
<div class="BlockDouble">
Q6: As a result of taking this course do you feel better
prepared to answer a research question as part of developing an oral
presentation? (Avg 3.84, N=19)</div>
<div class="MsoNormal" style="text-indent: 0in;">
In this case, only 13 students reported
positive (4 or 5) results, while 5 reported neutral (3) and one student
reported a negative (2) result. In future courses of this type, the author will
address this shortcoming by requiring additional research in both of their
prepared speeches (informative and policy), and spending more in-class time
discussing the importance of research and factual argument in policy
deliberation.</div>
<div class="MsoNormal">
In this case, the instructor's evaluations support the
students' own self-assessment. While most of the informative speeches
demonstrated effective use of research, including appropriate citation
techniques, the depth of research was not as profound as it should have been,
based on assessment of the annotated bibliographies submitted to as part of
their written work. Further, while students were asked to complete an ungraded
outline in preparation of the speech, only a few of them actually completed
that component. In future courses of this type it will be important to
integrate the research, writing, and speech components more explicitly, and to
make the written components more rigorous.</div>
<h3>
Assignment Specific Outcomes</h3>
<div class="MsoNormal">
The author also was interested in student assessment of
specific assignments used in the course, including evaluation/critique of
students' own, and other students', speech and debate performances. The
following questions and results captured those elements of the assessment:</div>
<div class="BlockDouble">
Q7: As a result of this course do you feel better prepared
to evaluate and critique your own oral communication performances? (Avg 4.37,
N=19)</div>
<div class="MsoNormal" style="text-indent: 0in;">
As with Learning Outcome 1, students
reported strong positive assessments of growth in their ability to evaluate
their own performances. The self-critique assignment asked the students to
write a minimum of three pages, and to "provide description and analysis
of your speech performance, and describe specific goals for improving it… [and
to] discuss your role in the simulation, and how you incorporated it into the
performance you gave, the topics you covered, and so forth" (course
syllabus). While many of the students demonstrated insight and attention to
detail in completing this assignment, the instructor's evaluation of these
assignments noted that self-assessment of learning and development often took a
secondary role to description of the speeches' game-related content. In the
future, it will be important to include additional discussion of effective
self-critique process, and to develop an assignment more focused on speech
performance and improvement.</div>
<div class="MsoNormal">
Students also were required to critique others' performances,
and were provided with rubrics with which to do so. It was assessed as follows:</div>
<div class="BlockDouble">
Q8: As a result of this course do you feel better prepared
to evaluate and critique other people's oral communication performances? (Avg
4.21, N=19)</div>
<div class="MsoNormal" style="text-indent: 0in;">
Students reported relatively strong
positive self-assessment of their abilities to critique others, but the
instructor's assessment is somewhat more negative. Simply put, the rubrics were
not the best instrument for the job, as they simply required that students check
boxes and assign scores. They were simple to complete, but resulted in shallow
assessment of others. It is one thing to assess something as effective or
ineffective, but another to suggest what changes or improvements might be made.
In the future, it will be important to require that such assessments be
justified using specific, detailed notes, and require provision of actionable
feedback.</div>
<h1>
<span style="line-height: 200%; mso-bidi-font-size: 12.0pt;">Discussion<o:p></o:p></span></h1>
<div class="MsoNormal">
Experiential learning theory suggests that deep and
authentic learning is supported by curriculum that allows students to become
engaged actively with material, to experience learning through action and not
simply through rote learning or context-free practice. This author believes
that a course based around game-like simulation including role-playing game elements
is an effective way to provide effective experiential learning in an advanced
public speaking class. However, such an approach creates significant
challenges, even when the instructor is well-acquainted with both the course
material and the means to simulate situations in which persistent role-play is
possible. </div>
<div class="MsoNormal">
Among the greatest challenges is understanding (and
accepting) that, while some students will become very engaged in such a course,
it may lack appeal for others. Further, it is impossible to know in advance how
many students, or which ones, will be productively engaged by the simulation.
While the author's students, in general, reported high engagement and interest
with the course when it was run in this manner, approximately ten percent of
them stated explicitly that the approach was not something that interested
them. They would have preferred a more standard approach to the course, and the
"game" failed to engage them. As noted above, even getting them in
the classroom is no guarantee that the students will engage the course as
expected. Some will not. Also, it's difficult to determine in advance what
kinds of assignments, when included in a game-like simulation, will help
students best to learn the expected knowledge and acquire the requisite skill
sets. Even when "the course" and "the game" are well-matched,
students' engagement and learning are not assured. A student can be a creative,
engaged role-player in <i>the game</i>, but
still demonstrate average or poor ability in completing required work for <i>the course</i>. That said, the same
situation would seem to pertain to any form a course might take: Some students
will engage, some will do the work, and others will not. At least with an
immersive scenario like the one described in this work, more students tended to
be more engaged, and, very importantly, they actually attended class at a
greater rate than non-game iterations of the course. Further, no students
dropped the course and no one failed to achieve a passing grade, something
unprecedented in the author's experience.</div>
<div class="MsoNormal">
Another significant challenge represented by using a
game-like simulation is that it's nearly impossible to play-test such a
scenario in advance of implementation. The only time an instructor is able to
assemble enough "players" to fill a course is when they come into his
or her classroom. This makes it difficult to align coursework with simulated
elements during the first iteration of such a course. However, assuming that
one's academic department and institution are supportive of this sort of
approach to instruction, further iterations of the course get progressively
better. This assertion is supported by the author's previous experience using
immersive games in a basic course in public speaking. Successive uses of a
group speech based in a role-played situation allowed for better results.
Experience with adverse outcomes and conditions provide opportunities for
instructors to improve the course and its delivery. As a result, students'
experience of the simulation/scenario and achievement of desired learning
outcomes improve relatively quickly after the first iteration. It is worth
taking the risk, and learning from the mistakes that one will inevitably
encounter, when fielding either a discrete assignment or, as in this case, an
entire course relying on role-play, game-like simulation, and the various
course work such scenarios support.</div>
<div class="MsoNormal">
Finally, the "game" element of this course was
complex, perhaps needlessly so. Though it hasn't been discussed extensively,
the sheer amount of bookkeeping required for logging individual players moves
and their results was nearly insupportable, requiring at least an hour per turn
to document, to process, and to notify students of the results. This alone
slowed down the game, and took time away from more productive elements of the
course's implementation. As suggested above, only a few students really
relished the complexity of the game elements (e.g., turns, character
"moves," etc.) and some outright hated them. In design, these
elements were supposed to make the simulation more "real" and promote
immersion. Instead, they may have created a situation where the complexity caused
many students either to be confused by or to tune out the "game" part
of the course. Nonetheless, most students were deeply engaged by the more
narrative elements, and enjoyed role-play as an element of their experience in
the advanced public speaking course. In future iterations, the course might
benefit by emulating the "foundation board" exercise from the basic
course in public speaking, dropping the rules-heavy elements, and engaging in
more improvisational role-play to drive the emergent narrative. The narrative,
in fact, seems to be what drives most of the engagement. Students are
interested in seeing what comes next, and engaged in taking part in the story.
Even simpler "gamified" elements like leader boards and achievements,
as used in this course, didn't have the effect (or as much effect as intended)
of increasing student engagement through competition between the families. Most
didn't care, and some disengaged because their team wasn't "winning."
Others became so engaged by it that they violated significant professional and
social norms, making other students uncomfortable, as discussed above.
"Gamification" in that sense may not be suitable for every classroom.</div>
<div class="MsoNormal">
Even with these challenges, this author's experience using
the <i>Omega Station: Romans… in Space!</i>
simulation in an advanced public speaking classroom was overwhelmingly
positive. Most of the students remained engaged throughout the semester, taking
part enthusiastically in the class activities and nearly every student attended
every class. During discussion with students at the end of the semester, many
of them were effusive in their praise for the course. Even those who were less
engaged acknowledged that they appreciated the experience, though it was not
one they would care to repeat. The author plans to offer a modified,
"rules-light" version of the course in Spring 2017, and to improve
upon some of the more problematic elements described in this work.</div>
<h1>
<span style="line-height: 200%; mso-bidi-font-size: 12.0pt;">Conclusion<o:p></o:p></span></h1>
<div class="MsoNormal">
Gamification has become an important part of educational
practice, and even classrooms that are not "gamified" in the sense
discussed here may include elements of "gameful" culture brought into
being by video gaming and other forms of play. Gamification in education, as
described in academic literature, is relatively new in its development, only
emerging in the current millennium. Though it relies on older work scholarship
in experiential learning, much of it is concerned with digital-based learning
games, simulations and, in many cases, just the inclusion of gamified elements
to supplement more traditional education. In this work, the author has
described a rather different approach to gamification in the advanced public
speaking classroom, one that emphasizes role-play, improvisation, and
narrative. This approach has its roots in tabletop role-playing and relies on
students' interaction with each other, with their instructor, and with course
materials and activities specifically tailored for such face-to-face
interaction. While not without its flaws, this sort of gamification provides a
useful means for increasing student engagement and enhancing students'
abilities and confidence in public speaking. </div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
</span>
<div class="MsoNormal" style="line-height: normal; text-indent: 0in;">
<br /></div>
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<div class="APAReference">
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Recommending education scenarios. <i>iJet, 8</i>(1),
15-21. doi:http://dx.doi.org/10.3991/ijet.v8iS1.2320</div>
<div class="APAReference">
Faiella, F., & Ricciardi, M. (2015). Gamification and
learning: A review of issues and research. <i>Journal
of e-Learning and Knowledge Society, 11</i>(3). </div>
<div class="APAReference">
Fan, K. K., & Xiao, P. W. (2015). The effects of
learning styles and meaningful learning on the learning achievement of
gamification health science curriculum. <i>Eurasia
Journal of Mathematics, Science & Technology Education, 11</i>(5),
1211-1229. </div>
<div class="APAReference">
Farber, M. (2016). Gamify your classroom. <i>Education Digest, 81</i>(5), 37-42. </div>
<div class="APAReference">
Fleischmann, K., & Ariel, E. (2016). Gamification in
science education: Gamifying learning of microscopic processes in the
laboratory. <i>Contemporary Educational
Technology, 7</i>(2), 138-159. </div>
<div class="APAReference">
Gordon, N., Brayshaw, M., & Grey, S. (2013).
Maximising gain for minimal pain: Utilising natural game mechanics. <i>Innovations in Teaching & Learning in
Computer Sciences, 12</i>(1), 27-38. </div>
<div class="APAReference">
Groh, F. (2012, February 14). Gamification: State of the
art definition and utilization. Paper presented at the <i>4th Seminar on Research Trends in Media Informatics</i> Ulm, Germany.</div>
<div class="APAReference">
Hamzah, W. M. A. F. W., Ali, N. H., Saman, M. Y. M.,
Yusoff, M. H., & Yacob, A. (2015). Influence of gamification on students'
motivation in using e-learning applications based on the Motivational Design
model. <i>iJet, 10</i>(1), 30-34.
doi:http://dx.doi.org/10.3991/ijet.v10i1.4355</div>
<div class="APAReference">
Han, H. C. (2015). Gamified pedagogy: From gaming theory
to creating a self-motivated learning environment in studio art. <i>Studies in Art Education, 56</i>(3),
257-267. </div>
<div class="APAReference">
Hunicke, R., Leblanc, M., & Zubek, R. (2004). MDA: A
formal approach to game design and research. Paper presented at the <i>Challenges in Games AI Workshop, Nineteenth
National Conference of Artificial Intelligence</i>, San Jose, CA.</div>
<div class="APAReference">
Jagoda, P. (2013). Gamification and other forms of play. <i>Boundary 2, 40</i>(2), 113-144. </div>
<div class="APAReference">
Jagoda, P., Gilliam, M., McDonald, P., & Russell, C.
(2015). Worlding through play: Alternate reality games, large scale learning,
and <i>The Source</i>. <i>American Journal of Play, 8</i>(1), 74-100. </div>
<div class="APAReference">
Jamaludin, A., & Hung, D. (2017). Problem-solving in
STEM learning: navigating games as narrativized problem spaces for 21st century
competencies. <i>Research and Practice in
Technology Enhanced Learning, 12</i>(1). </div>
<div class="APAReference">
Jenson, J., de Castell, S., Thumlert, K., & Muehrer,
R. (2016). Deep assessment: An exploratory study of game-based, multimodal
learning in <i>Epidemic</i>. <i>Digital Culture & Education, 8</i>(2),
21-40. </div>
<div class="APAReference">
Kim, B. (2015a). The popularity of gamification in the
mobile and social era. <i>Library Technology
Reports, 51</i>(2), 5-9. </div>
<div class="APAReference">
Kim, B. (2015b). Gamification: Examples, definitions, and
related concepts. <i>Library Technology
Reports, 51</i>(2), 10-16. </div>
<div class="APAReference">
Kim, B. (2015c). Game mechanics, dynamics, and
aesthetics. <i>Library Technology Reports,
51</i>(2), 17-19. </div>
<div class="APAReference">
Kim, B. (2015d). Gaming in education libraries. <i>Library Technology Reports, 51</i>(2),
20-28. </div>
<div class="APAReference">
Kim, B. (2015e). Designing gamification in the right way.
<i>Library Technology Reports, 51</i>(2),
29-35. </div>
<div class="APAReference">
Kolb, A. Y., & Kolb, D. A. (2005). Learning styles
and learning spaces: Enhancing experiential learning in higher education. <i>Academy of Management Learning &
Education, 4</i>(2), 193-212. </div>
<div class="APAReference">
Kolb, D. A. (1984). <i>Experiential
learning: Experience as the source of learning and development</i>. New Jersey:
Prentice-Hall.</div>
<div class="APAReference">
Lang, J. M. (2014a). Being Nehru for 2 days. <i>The Chronicle of Higher Education</i>.
Retrieved from http://www.chronicle.com/article/Being-Nehru-for-2-Days/147813</div>
<div class="APAReference">
Lang, J. M. (2014b). How students learn from games. <i>The Chronicle of Higher Education</i>.
Retrieved from
http://www.chronicle.com/article/How-Students-Learn-From-Games/148445/</div>
<div class="APAReference">
Lang, J. M. (2014c). Stop blaming students for your
listless classroom: How the use of games as a teaching methodology has the
potential to break the long history of student disengagement in college
learning. <i>The Chronicle of Higher
Education</i>. Retrieved from http://www.chronicle.com/article/Stop-Blaming-Students-for-Your/149067</div>
<div class="APAReference">
Leaning, M. (2015). A study of the use of games and
gamification to enhance student engagement, experience and achievement on a
theory-based course of an undergraduate media degree. <i>Journal of Media Practice, 16</i>(2), 155-170. doi:http://dx.doi.org/10.1080/14682753.2015.1041807</div>
<div class="APAReference">
Marczewski, A. (2012). <i>Gamification: A simple introduction</i>. Raleigh, NC: Lulu.</div>
<div class="APAReference">
Marklund, B. B., & Taylor, A.-S. A. (2016).
Educational games in practice: The challenges involved in conducting game-based
curriculum. <i>Electronic Journal of
e-Learning, 14</i>(2), 122-135. </div>
<div class="APAReference">
Michael, D., & Chen, S. (2006). <i>Serious games: Games that educate, train, and inform</i>. Independence,
KY: Cengage Learning.</div>
<div class="APAReference">
Niculae, R., & Duda, M. (2015). Gamification as means
of getting from e-learning to experience in architecture. <i>eLearning & Software for Education</i>(2), 88-93. </div>
<div class="APAReference">
Nordby, A., Øygardslia, K., Sverdrup, U., & Sverdrup,
H. (2016). The art of gamification; teaching sustainability and system thinking
by pervasive game development. <i>The Electronic
Journal of e-Learning, 14</i>(3), 152-168. </div>
<div class="APAReference">
Olsson, M., Mozelius, P., & Collin, J. (2015).
Visualisation and gamification of e-learning and programming education. <i>The Electronic Journal of e-Learning, 13</i>(6),
441-454. </div>
<div class="APAReference">
Palmer, M. (2016). Red versus blue: Cold War games. <i>Agora, 51</i>(2), 51-58. </div>
<div class="APAReference">
Patel, T., & Vasudevan, N. (2013). <i>Developing game-based learning in the
classroom</i>. Washington, DC: Educational Advisory Board.</div>
<div class="APAReference">
Pelling, N. (2011). The short prehistory of gamification.
Retrieved from https://nanodome.wordpress.com/2011/08/09/the-short-prehistory-of-gamification/</div>
<div class="APAReference">
Robbins, B. (2011). <i>Microscope:
A fractal role-playing game of epic histories</i>. Seattle, WA: Lame Mage
Productions.</div>
<div class="APAReference">
Robson, K., Plangger, K., Kietzmann, J. H., McCarthy, I.,
& Pitt, L. (2015). Is it all a game? Understanding the principles of
gamification. <i>Business Horizons, 58</i>,
411-420. Retrieved from </div>
<div class="APAReference">
Roselli, T., & Rossano, V. (2015). Focus on:
Gamification and serious game for learning. <i>Journal
of e-Learning and Knowledge Society, 11</i>(3), 7-12. </div>
<div class="APAReference">
Schenck, J., & Cruickshank, J. (2015). Evolving Kolb:
Experiential education in the age of neuroscience. <i>Journal of Experiential Education, 38</i>(1), 73-95. </div>
<div class="APAReference">
Sheldon, L. (2012). The multiplayer classroom: Designing
coursework as a game. Boston, MA: Cengage Learning.</div>
<div class="APAReference">
Spöttl, G., & Schulte, S. (2015). Work process based
learning and serious games--didactical concepts and objectives for competency
development. <i>International Journal of
Advanced Corporate Learning, 8</i>(3), 50-53. </div>
<div class="APAReference">
Susi, T., Johannesson, M., & Backlund, P. (2007). <i>Serious games--An overview</i>. Skövde,
Sweden: University of Skövde.</div>
<div class="APAReference">
Tulloch, R. (2014). Reconceptualizing gamification: Play
and pedagogy. <i>Digital Culture &
Education, 6</i>(4), 317-333. </div>
<div class="APAReference">
Ulicsak, M. (2010). Games in education: Serious Games. .
Retrieved from Bristol, UK:
https://www.nfer.ac.uk/publications/FUTL60/FUTL60.pdf</div>
<div class="APAReference">
Urh, M., Vukovic, G., Jereb, E., & Pintar, R. (2015).
The model for introduction of gamification into e-learning in higher education.
Paper presented at the <i>7th World
Conference on Educational Sciences</i>, Athens, Greece.</div>
<div class="APAReference">
Vagg, T., Tabrica, S., Ronan, N., Plant, B., &
Eustace, J. (2016). A web-based 3D lung anatomy learning environment using
gamification. <i>eLearning & Software
for Education</i>(1), 556-560. </div>
<div class="APAReference">
Van Eck, R. (2006). Digital game-based learning: It's not
just the digital natives who are restless. <i>Educause
Review, 41</i>(2), 16-30. </div>
<div class="APAReference">
Wilson, D., Calongne, C., & Henderson, B. (2015).
Gamification challenges and a case study in online learning. <i>Internet Learning, 4</i>(2), 84-102. </div>
<div class="APAReference">
Zeynep, T., Zeynep, A., Kara, K., & Goktas, Y.
(2016). Gamification and education: Achievements, cognitive loads, and views of
students. <i>iJet, 11</i>(7), 64-69. </div>
<div class="APAReference">
Zicherman, G. (2011, August 29). Gamification is here to
stay. <i>The Atlantic</i>. Retrieved from http://www.theatlantic.com/technology/archive/2011/08/gamification-is-here-to-stay/244232/</div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
</span>
<div class="MsoNormal" style="line-height: normal; text-indent: 0in;">
<br /></div>
<div align="center" class="APAReference" style="text-align: center;">
Notes</div>
</div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br clear="all" style="mso-break-type: section-break; page-break-before: always;" />
</span>
<br />
<div>
<!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="edn1">
<div class="IndentDSpace">
<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>
See also <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Deterding</Author><Year>2011</Year><RecNum>186</RecNum><DisplayText>(Deterding,
Dixon, Khaled, &amp; Nacke,
2011)</DisplayText><record><rec-number>186</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1473075287">186</key></foreign-keys><ref-type
name="Journal
Article">17</ref-type><contributors><authors><author>Deterding,
Sebastian</author><author>Dixon, Dan</author><author>Khaled,
Rilla</author><author>Nacke,
Lennart</author></authors></contributors><titles><title>From
game design elements to gamefulness: Defining
&quot;gamification&quot;</title><secondary-title>Proceedings
of the 15th International Academic MindTrek Conference: Envisioning Future
Media Environments</secondary-title></titles><periodical><full-title>Proceedings
of the 15th International Academic MindTrek Conference: Envisioning Future
Media
Environments</full-title></periodical><pages>9-15</pages><edition>September
28 - 30, 2011</edition><dates><year>2011</year></dates><urls></urls><electronic-resource-num>http://dx.doi.org/10.1145/2181037.2181040</electronic-resource-num></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->Deterding, Dixon,
Khaled, and Nacke (2011)<!--[if supportFields]><span style='mso-element:field-end'></span><![endif]-->
and <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Deterding</Author><Year>2014a</Year><RecNum>183</RecNum><DisplayText>(Deterding,
2014a)</DisplayText><record><rec-number>183</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1473072945">183</key></foreign-keys><ref-type
name="Book Section">5</ref-type><contributors><authors><author>Deterding,
Sebastian</author></authors><secondary-authors><author>Fuchs,
Mathias</author><author>Fizek,
Sonia</author><author>Ruffino,
Paolo</author><author>Schrape, Niklas</author></secondary-authors></contributors><titles><title>Eudaimonic
design, or: Six invitations to rethink
gamification</title><secondary-title>Rethinking
Gamification</secondary-title></titles><pages>305-331</pages><dates><year>2014a</year></dates><pub-location>Lüneburg,
Germany</pub-location><publisher>Meson Press</publisher><urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->Deterding (2014a<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->).</div>
</div>
<div id="edn2">
<div class="IndentDSpace">
<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a> See
also Michael and Chen (2006); Susi, Johannesson, and Backlund (2007); Peterson
(2012), Chapter 3; Cate and Albright (2015); Roselli and Rossano (2015); Spöttl
and Schulte (2015); Bauermeister, et al. (2016).</div>
</div>
<div id="edn3">
<div class="IndentDSpace">
<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a>Additional,
recent works not included in Dicheva, et al. (2015) include, Adams, Mayer,
Koenig, and Wainess (2012); Banfield and Wilkerson (2014); Bilgin, Baek, and
Park (2015); Botte, Imbellone, Marinensi, and Medaglia (2015); Bramesfeld and
Good (2015); Cain and Piascik (2015); Chang and Wei (2016); Chen, Burton,
Mihaela, and Whittinghill (2015); Cheong, Filippou, and Cheong (2014); Cicchino
(2015); Coccoli, Iacono, and Vercelli (2015); Cózar-Gutiérrez and Sáez-López
(2016); <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Erenli</Author><Year>2013</Year><RecNum>125</RecNum><DisplayText>(Erenli,
2013; Faiella &amp; Ricciardi, 2015)</DisplayText><record><rec-number>125</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1472307452">125</key></foreign-keys><ref-type
name="Journal
Article">17</ref-type><contributors><authors><author>Erenli,
Kai</author></authors></contributors><titles><title>The
impact of gamification: Recommending education
scenarios</title><secondary-title>iJET</secondary-title></titles><periodical><full-title>iJet</full-title></periodical><pages>15-21</pages><volume>8</volume><number>1</number><dates><year>2013</year></dates><urls></urls><electronic-resource-num>http://dx.doi.org/10.3991/ijet.v8iS1.2320</electronic-resource-num></record></Cite><Cite><Author>Faiella</Author><Year>2015</Year><RecNum>126</RecNum><record><rec-number>126</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1472307552">126</key></foreign-keys><ref-type
name="Journal
Article">17</ref-type><contributors><authors><author>Faiella,
Filomena</author><author>Ricciardi,
Maria</author></authors></contributors><titles><title>Gamification
and learning: A review of issues and
research</title><secondary-title>Journal of e-Learning and
Knowledge
Society</secondary-title></titles><periodical><full-title>Journal
of e-Learning and Knowledge Society</full-title></periodical><volume>11</volume><number>3</number><dates><year>2015</year></dates><isbn>1826-6223</isbn><urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->Erenli (2013); Faiella
and Ricciardi (2015<!--[if supportFields]><span style='mso-element:field-end'></span><![endif]-->);
Marklund and Taylor (2016); Niculae and Duda (2015); Nordby, Øygardslia,
Sverdrup, and Sverdrup (2016); Olsson, Mozelius, and Collin (2015); Palmer
(2016); Ulicsak (2010); Vagg, Tabrica, Ronan, Plant, and Eustace (2016);
Wilson, Calongne, and Henderson (2015).</div>
</div>
<div id="edn4">
<div class="IndentDSpace">
<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a>
See also <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Tulloch</Author><Year>2014</Year><RecNum>151</RecNum><DisplayText>(Tulloch,
2014; Urh, Vukovic, Jereb, &amp; Pintar,
2015)</DisplayText><record><rec-number>151</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1472315298">151</key></foreign-keys><ref-type
name="Journal Article">17</ref-type><contributors><authors><author>Tulloch,
Rowan</author></authors></contributors><titles><title>Reconceptualizing
gamification: Play and pedagogy</title><secondary-title>Digital
Culture &amp; Education</secondary-title></titles><periodical><full-title>Digital
Culture &amp;
Education</full-title></periodical><pages>317-333</pages><volume>6</volume><number>4</number><dates><year>2014</year></dates><urls></urls></record></Cite><Cite><Author>Urh</Author><Year>2015</Year><RecNum>141</RecNum><record><rec-number>141</rec-number><foreign-keys><key
app="EN" db-id="0dwstzzzxa0dr9epdwx5f95hzp0dxsp50f5a"
timestamp="1472313432">141</key></foreign-keys><ref-type
name="Conference
Proceedings">10</ref-type><contributors><authors><author>Urh,
Marko</author><author>Vukovic,
Goran</author><author>Jereb,
Eva</author><author>Pintar,
Rok</author></authors></contributors><titles><title>The
model for introduction of gamification into e-learning in higher&#xD;education</title><secondary-title>7th
World Conference on Educational
Sciences</secondary-title><tertiary-title>Procedia--Social and
Behavioral Sciences
</tertiary-title></titles><pages>388-397</pages><volume>197</volume><number>2015</number><dates><year>2015</year></dates><pub-location>Athens,
Greece</pub-location><urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->Tulloch, (2014); Urh,
Vukovic, Jereb, & Pintar (2015)<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->; Van Eck (2006).</div>
</div>
<div id="edn5">
<div class="IndentDSpace">
<a href="file:///C:/Users/Edgar/Desktop/Scholarship/SSCA%202016/SSCA%202016%20Final.docx#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></a> See
also Barnard College (2016); Boss (2002); Courage (2004); Lang (2014a, 2014b,
2014c).</div>
</div>
</div>
<br />
<br />Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com1tag:blogger.com,1999:blog-5120192668802762351.post-56856496703280102342016-08-26T13:44:00.000-04:002016-08-26T13:44:08.736-04:00Romans... in Space! (Introduction)Last spring semester, I had the opportunity to try something new in my Advanced Public Speaking class: I built the course around a game-like simulation with role-playing and some war-game and resource management elements.<br />
<br />
While I'd done a version of the course a year earlier, including some of the innovations I planned to include in Spring 2016, only 8 students registered and the course wasn't as well developed. This time, I spent most of my winter break from classes writing a more complete set of rules and mechanics for the simulation, and lining up its core concept: Roman praetorian families competing for wealth in our solar system's asteroid belt.<br />
<br />
The course began with a full complement of 20 students, and absolutely no one dropped the course. This is unprecedented in my experience. For the game I divided the students into five "families," each of which would compete (and/or cooperate) with the others to earn wealth and reputation. Wealth could be acquired through mining asteroids or pirating other families' ships and selling them for scrap. Reputation could be acquired by engaging in social intrigue of various sorts: spying, rumor-mongering, and so forth. Each score was recorded as a number of points, and combined to create the total score.<br />
<br />
One of the greatest challenges I faced in running this class was keeping the "class" and "game" portions independent of each other. While it's not immediately clear why such separation is important, try to think about it this way. The course has some pretty clear learning outcomes, and these must be achieved regardless of course format. I have to meet them, just as any other instructor would. My incorporation of RPG content into the course is sort of an aberration. So, focusing too much on the game would detract from students' ability to learn to deliver various types of speeches needed to pass the class. My fix involved making the "game" portion of the course happen outside of classtime (for the most part), while using it to provide a context (and some content) for the actual speech activities.<br />
<br />
Below, I've included the FAQs from my syllabus.<br />
<br />
Next post I'll explore more details of my approach to the course, and in subsequent posts I'll explain the rules, how they were implemented, and some of the research emerging from the course.<br />
<br />
<h1>
<a href="https://www.blogger.com/null" name="FAQs">FAQs</a></h1>
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Here are some preemptive
responses to questions you might have about how this class is organized. Please
be sure to raise any others that come to mind, as we move along in the
semester.<o:p></o:p></div>
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<br /></div>
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<b>What do you mean by "participation" in this
game thing, and how does it apply to my grade?<o:p></o:p></b></div>
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At various points in
this syllabus, I have made reference to your participation in this course. Let
me take some time to describe what I mean, in greater detail. Participation
means showing up, being on time, taking part in discussions of texts and
readings. Participation includes just showing up for class, but it also means
that you participate actively in class activities. So, this course will include
participation in two other elements: (1) Participation in Simulation and (2)
Participation in Role-playing. These elements will be discussed in the next two
FAQs.<o:p></o:p></div>
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<br /></div>
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You will receive a
grade based on your participation in this class. It's worth 100 points of the 1000
total points available. Roughly half of the grade is for attendance and half of
it is for your engagement with our simulation. You should take part willingly
and enthusiastically, and engage effectively with other students, both in an
out of class.<o:p></o:p></div>
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<br /></div>
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<b>What is a simulation and how do I participate?<o:p></o:p></b></div>
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In the clearest
possible terms, a simulation is a real-seeming (but speculative) scenario. Your
participation usually occurs in some sort of role, in order to pretend that
it's real and that you can affect events as they unfold. Simulations are used
for teaching a variety of things, especially applied tasks, like performing
CPR, or dealing with customers, or responding to an emergency situation. Lots
of people use simulations to prepare for things they expect to encounter in the
world, to be ready (as much as they can) when they do so.<o:p></o:p></div>
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<br /></div>
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In this course I
hope to create a simulated situation that requires you to use your speaking
skills to inform, persuade, and make decisions in a small-group context. The
simulation provides a sense of a larger context in which the speaking occurs
and the decisions are made. You will compete and cooperate with others to
respond to the situations and events encountered as part of the unfolding
"story" of the simulation. My role will be to write and adjudicate
the simulation, and to provide "real-world" responses to your own
actions' impact on the simulated world. <o:p></o:p></div>
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<br /></div>
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<b>How will I interact with this simulation?<o:p></o:p></b></div>
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Each student will be
assigned a role: A particular person whom you will "play" almost like
an actor playing a part in a play or film. You will use the boundaries of your
role as a guide to your particular participation in the simulation. You will
pretend to be that person in the simulation, and you should remain
"in-character" as you do so, role-playing the part. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Of course you also
will be engaged in speaking and other classroom activities. Those, too, will
require some degree of in-character play. Just roll with it, and take the
opportunity to see how this kind of role-taking affects your speaking persona.
In fact, you might be surprised how often you do this, anyway, in different
contexts and with different people.<o:p></o:p></div>
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<br /></div>
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<b>What is role-playing?<o:p></o:p></b></div>
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Role-playing is
"playing pretend," basically. Every kid at some point pretends to be
something—a character in a book or movie, a person with a particular job, etc.—and
it's a big part of learning how to be a person living in a world with other
people. Even fanciful role-playing allows us to try out ways of being in the
world that are not necessarily familiar or comfortable, and to expand the
repertoire of responses we can have to the people, situations, and events we
will encounter in our lives.<o:p></o:p></div>
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<br /></div>
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The purpose of the
role-playing in this simulation is to help you get your head around what it
means to speak in context. You're not just giving a speech for a grade. Rather,
you're pursuing your own interests, your family's interests, and the interests
of the Empire. The speaking is happening in a deep, fictional context. You will
have a part in that context.<o:p></o:p></div>
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<br /></div>
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<b>How do I participate in role-playing?<o:p></o:p></b></div>
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You will play a
"character" who is a member of an influential family, but is also an
individual with particular beliefs, attitudes, and personal motivations, and
who also has social and cultural obligations. The student playing that role
must do his or her best to represent that character, and leverage that
character's resources and means of persuasion in order to influence outcomes in
the scenario.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
No one player has
everything she needs to succeed. No one faction of players can succeed without
the cooperation of the others. This means that your individual interests will
conflict, your factional interests may be at odds, but you must somehow find a
compromise in order to accomplish what you must.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b>Why are we doing this?<o:p></o:p></b></div>
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It is my belief that
the best learning comes from a feeling of involvement in what one is trying to
learn. A "normal" public speaking assignment doesn't ask much more of
you than to do a bit of research, to write a speech outline and develop visual
aids, and to present the result in front of the class. However, most people
don't spend a lot of time presenting academic-style speeches in their jobs and
social lives. Instead, we apply our communicative skills in ways that are
usually less formal, but also more impactful upon our work, our relationships,
and our careers. Both are important styles of communication, and you need to be
competent in each.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
By taking part in
this simulation, you are going to learn some important formal skills in
communication. You will do research to provide you with information about how
to respond to the situations produced by the class's interactive simulation. These
will result in formal speeches, like the Informative Speech and Policy Speech
assignments. You also will need to be able to argue your positions informally, in
assignments involving deliberation or debate. For these assignments, you will
need to be able to respond to the speech of others. Having a role to play makes
that easier, because your knowledge of the situation, your place in it, and
your relationships with other student "players" helps you understand
what you might say, your motivations for speaking, and what you hope to
accomplish (beyond completing the assignment).<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
So, each student
will take the role of a particular person whose interests are impacted somewhat
differently by the decisions made for dealing with game-based situations. You
must represent your interests, find compromise (when and if possible), and take
some course of action (or inaction). Your responses will affect the situation.
I will decide how it is affected. Your speech will have consequences, just as
in life, but in a more dramatic (and dramatized) fashion.<o:p></o:p></div>
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<br /></div>
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<b>What role do you play, Johnson?<o:p></o:p></b></div>
<div class="MsoNormal">
I am the Game Master
(GM). My job is to adjudicate the game, handle the game mechanics, keep track
of progress, keep score, and ensure that you stay engaged in the simulation. I
will determine in-game effects of your various speeches, if there are any. I know
what you must do to "win" and a have a set of rules to make that
happen. I also (of course) will need to evaluate your speaking activities and
written work. My main focus, though, will be to create an environment with
unresolved tensions—i.e., plot crises, narrative tension—that you must deal
with. It is my hope that such things will amplify the sense of immersion in the
simulation achieved by students in this class: I want you to be engaged in what
happens here.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b>How will we be able to affect the outcomes of the
simulation?<o:p></o:p></b></div>
<div class="MsoNormal">
I will treat your
in-game actions as real, and will incorporate them into the simulation as they
occur. Some of the actions will have little effect, but others may be
consequential, even critical. I also will take into account elements of the
speeches you give in class, using them to craft the overall narrative. Each
game turn is something like an episode of a soap opera. Your actions in each
turn help to create the game narrative as we play.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b>What does it mean to "win," and how does one do
so?<o:p></o:p></b></div>
<div class="MsoNormal">
"Winning"
means accumulating score. You will do this in two categories: Wealth and
Reputation. At the end of play, the highest scoring family wins. I also will
ask you to pick the top three speakers for each speech assignment, and award a
limited number of bonus points to participation based on those tallies. I will
calculate that score separately.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b>What sorts of research do we need to do?<o:p></o:p></b></div>
<div class="MsoNormal">
You will need to
understand what history shows us about various relevant historical periods,
especially the Roman Republic and Empire. You also will need to have some
understanding of humankind's present and future in space, and some knowledge of
a philosophy called, "transhumanism." I will suggest some readings to
get you started (see below), but you also will complete specific research
assignments to expand upon that information. For example, each student will
give an Informative Speech in response to a particular research question,
provided by me. Your research will be in the particular area covered by that
research question, and you should become the class expert on that topic.<o:p></o:p></div>
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<br /></div>
<br />
<div class="MsoNormal">
As each member of
the class contributes his or her research to the discussion, the larger picture
will become clearer. It is my hope that the Informative Speeches will grow
directly into related Policy Speeches.<o:p></o:p></div>
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<br /></div>
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<br /></div>
Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-988755077459745142016-08-03T14:05:00.001-04:002016-08-03T14:05:51.761-04:00Rise of the Norwegian BlueThis parrot's been resting a while. Sorry for being gone so long.<br />
<br />
I going to be posting here some more, in the near future, probably about once a week.<br />
<br />
Mostly, what you'll be seeing is discussion of work I'm developing. Some will be games-related scholarship, and some will be creative work. Some posts may simply be discussion of concepts and mechanics, some for specific games or situations, and some more of a philosophical bent.<br />
<br />
Hope to lure a few readers in for discussions of what I post. I'm interested in your input/feedback.<br />
<br />
Onward.<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-64424552112081190492015-07-02T10:15:00.000-04:002015-07-02T10:15:00.052-04:00Gonzo is Great<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">I hear the term "gonzo" used in games, a lot. The RPG Pundit, <a class="g-profile" href="https://plus.google.com/108006304228021078063" target="_blank">+Kasimir Urbanski</a>, <a href="http://therpgpundit.blogspot.com/2015/04/just-what-fuck-is-gonzo-gaming-anyways.html">posted something about this a while back</a>, but I actually started <i>this </i>post in December 2014, because I fucking hate how (many) people use this term.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">1. Break from strict genre boundaries (i.e., you've got chocolate-lasers in my peanut butter fantasy!) in ways that (a) demonstrate that the line between genres was there and (b) draw into question the value of the distinction(s) between them.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">2. Weirdness, zaniness, whimsy--The carnivalesque elements are coming in loud and clear. This weirdness is not just comic, though. It can also be horrific or spectacular. It is a break from the mundane, and one that highlights the joys and dangers of that departure.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">3. Let's do something awesome! I mean this in the sense that we want to WIN. We want to win with STYLE. We have a set of rules and game mechanics that allow even a zero-level schlub or 1st level character to do things they should not be able to.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">4. There are other trace elements in the game, from other places--e.g. the cultural aesthetics of the 70s and 80s, whether from music or literature or comics or cartoons or whatever.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">5. Gonzo means that something unexpected not only CAN happen, but is relatively COMMONPLACE. "Whoa, man, a halfling on a dinosaur with deathray arms..." </span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">"Yep, must be Thursday."</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">5. Gonzo can contain some degree of adolescent (male) fantasy, and some of that means things like boobs & cheesecake, indiscriminate slaughter, murder-hoboism, and the like. This does not need to be the case, but often is. When it is, some people enjoy it, and it can be fun. Some people don't, and may find it "problematic."</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">6. Gonzo means different things to different people. The word can be taken as prejorative--indicating that something is silly. This is the thing that pisses me off the most. I don't mind being serious about gaming, and playing serious games. I also refuse to draw a line between "serious" and "gonzo." These are not mutually exclusive terms.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">7. It can even be a reference to the absurdist tradition of H. S. Thompson, and beat luminaries like W. S. Burroughs, R. Crumb, the Freak Brothers, and things like that. This is, perhaps, the overlooked element. Breaking with "straight" reality is a political gesture in a limited way. "I refuse to engage with your straight reality. I reject the premise that this game must be played in a particular way. Look! I got a fuckin' laser pistol!" This can also lead projects to projects like </span><input class="CfgfKe sk" data-sbxm="1" data-token-displayname="Rafael Chandler" data-token-entity="@117163681806482190070" oid="117163681806482190070" style="background: rgb(238, 238, 238); border-radius: 2px; border: 1px solid rgb(221, 221, 221); color: #427fed; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; font-stretch: normal; line-height: 1.4; margin: 0px 1px; padding: 0px 1px; vertical-align: baseline; white-space: nowrap;" tabindex="-1" type="button" value="+Rafael Chandler" /><span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">'s Narcosa, or </span><input class="CfgfKe sk" data-sbxm="1" data-token-displayname="Zak Smith" data-token-entity="@110352289066114829231" oid="110352289066114829231" style="background: rgb(238, 238, 238); border-radius: 2px; border: 1px solid rgb(221, 221, 221); color: #427fed; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; font-stretch: normal; line-height: 1.4; margin: 0px 1px; padding: 0px 1px; vertical-align: baseline; white-space: nowrap;" tabindex="-1" type="button" value="+Zak Smith" /><span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">'s Red and Pleasant Land, among others. It finds "the normal" wanting, and invents something else.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">8. Too much gonzo upsets some people, even people who like gonzo stuff. Sometimes people just need a break from it. Alternately, they can also need a break from grim-darkness. I know that's part of the reason I found the move from <i>Dark Heresy</i> to DCC so refreshing. It was like waking up from a disturbing dream to find out that there's a party going on, and I can smile and laugh again.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">9. Gonzo draws from a variety of traditions, aesthetically, and some of those traditions aren't even meant to be silly. For example, GWAR demonstrates that heavy metal, as a genre, can be self-aware that it's pretty damned silly. Slayer, on the other hand, does not demonstrate this self-awareness in its aesthetic. That doesn't mean that it's not also silly. Nor does that mean I don't like them both. Hell, as I've blogged on several occasions, Redd Kross is a great bubblegum band. Bubblegum music is both aesthetically simple and predictable (sometimes even shitty) and absolutely awesomely fun (to me). Another example of silly fun: The Dickies. They also are a really decent band (to me).</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">10. Just because something is weird, or just because it departs from genre in jarring ways, doesn't necessarily indicate that something is gonzo. DCC RPG can be played deadly seriously. Part of the distinction (to me) is that the outcome matters. Death Frost Doom, for example, has a lot of stuff that could be read as "gonzo," in that it takes a bunch of metal tropes and inserts them prominently into its adventure milieu. The fact that those trope-y, stereotypical elements (brutal metal, zombies, crazy, reclusive dude, etc.) are there, that's not enough to make it gonzo. Because it matters what happens. You can end the world. You probably will. There's not reason why DCC RPG (as many have </span><span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">suggested) cannot support SERIOUSNESS. The issue is that what happens, matters, and has serious in-world implications, even if it is silly or gonzo in some senses.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">11. Gonzo is about embracing the chaos. Weird shit will happen. The world doesn't simply exist as you would have it. You will be challenged. Your tastes and experience will be challenged. It may make you uncomfortable, and push you out of your "comfort zone." I often listen to music that I don't necessarily <i>like</i>, but am interested in experiencing, and seeing where it can take me. Some of Zappa's stuff, for example, is hard to listen to. I do it anyway, because I want to feel what my brain does as an result of listening to it. There are so many other examples of music, film, art, and so forth. It doesn't need to make you feel good. You don't have to "like" it. It doesn't have to gratify you. It may make you sad, or grossed-out, or it might alienate you. This is one element of what I consider "gonzo" that often gets overlooked: It can change you by pushing your limits. I don't mean this in any particularly serious way, but I do mean it. Having our expectations challenged is a part of human growth and development.</span><br />
<br style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;" />
<span style="background-color: white; font-family: Roboto, arial, sans-serif; font-size: 13.3333339691162px; line-height: 20.2222232818604px;">There. I turned it up to 11 things about gonzo.</span>Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-46145695577044237922015-07-01T10:02:00.000-04:002015-07-01T10:02:12.982-04:00Follow-up from Yesterday's Game Prep PostAfter posting my (intentionally) inflammatory post, yesterday, <a class="g-profile" href="https://plus.google.com/101464641684194071353" target="_blank">+Adam Muszkiewicz</a> and I had a delightful exchange of ideas. I don't full agree with everything he says, but we are not as far apart as my original post might have made it seem. Also, a clarification. It should be noted (as Adam did) that his original post was directed at hex-crawl gaming, a different issue than (or a specific sub-issue of) game preparation in general. My take was, to be sure, based on ignoring that very true fact.<br />
<br />
Adam also agreed to let me post the full exchange. I will do so, and a small rejoinder to his last comment. I left the rest of you guys who commented out, because you just don't matter. Suck it! (I kid, I kid).<br />
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I actually do recognize my "information collection" process as being important to gaming, and I am aware that it informs and inspires my gaming. I think in my original post, the point I made had a considerably different focus, though, and that you're picking out only one detail of it (even of the part of the article in question; you're targeting a part of a part here), but I have to say, I stand by my initial assessment: an overabundance of prep stands between the DM and his players as a sort of informational wall that exists independent of the players' experience of that information. If the player doesn't experience it, then it doesn't exist within a game. </div>
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Also, I've never come out <i>against</i> prep, just against an overabundance of it. I love maps as much as the next guy and often, like <span class="proflinkWrapper"><span class="proflinkPrefix" style="-webkit-transition: color 0.218s; color: #427fed; transition: color 0.218s;">+</span><a class="proflink aaTEdf" href="https://plus.google.com/116765198557683126432" oid="116765198557683126432" style="-webkit-transition: color 0.218s; color: #427fed; cursor: pointer; font-weight: bold; text-decoration: none; transition: color 0.218s;">James Aulds</a></span> says, I just might start with a map. But what stands in the way of the game is having a list of exactly what every shop in town is and who runs it and how much GP they have in their safe, dresser or underneath a loose floorboard, whether I wrote it or someone else did. I feel like too often, DMs prep themselves into a corner and they lose sight of exactly what the game is to the point where a rift develops between player & DM, th players shrouded in darkness, suffering from indecision paralysis, the DM silently raging at himself "if they'd only do <i>this</i>, it's all so simple!" Of course, again, that's entirely my experience of it, especially as someone who used to over-prep.<br /><br />Effectively, I'd define "over-prep" as "designing game elements that your players will never experience." </div>
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I don't see that as overpreparation, because it helps (me) with what happens at the table. It's a thing that exists in the world. So long as it makes the world make sense to me, and helps me make the world make sense to my players, then it's a useful exercise in imagination. It may not get used directly, but it will shape what does get used.<br /><br />So, having stuff in my game my players never see may make sense to me, and help me make sense of the world I present, and may help me choose (wisely) the signifiers used to present that specific world-situation at the table.<br /><br />The fact that Bob the Butcher is getting leaned on by a specific member of a criminal gang may be insignificant to the players. They won't enter the shop. They won't buy a joint of meat from Bob. They may, however, try to pull some kind of caper in this town, or they may have dealings with criminals. When I know Bob, his situation, and why it exists, it is helpful to me when I'm at the table, and trying to present the world and the things in it to the players.<br /><br />Mind you, I don't usually get that far into the weeds with inconsequential NPCs. This is more of an extreme example to color in the point I'm making: Underprep is less helpful (to me) than overprep in allowing me to respond effectively to players during the game session.</div>
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My thought here is that, for me, all of what you describe the "I can do this at the table when I prep" can be handled as a natural extension of just applying the game's aesthetic to the situation. Why do you need to know that <i>this specific butcher</i> is being leaned on? Does that help in any way that knowing that <i>organized crime is rampant here</i> and then finding a way to show that to your players doesn't?</div>
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Another way of putting it. The exercise in thinking in detail about some of the minutiae of the city (e.g., people's names, their situations, etc.) help me, personally, to think about the city as a whole.<br /><br />Yes, the aesthetic drives this, but the aesthetic (for me) needs to come from the specifics. So, I might not do a write-up for Bob the Butcher, but I would want to think about people like Bob, and the sorts of things that happen to them.<br /><br />That's sort of like Morlan Twelos, the clerk you guys recently killed. I thought a lot about him and what he does, and who might be pressuring him in particular ways, and what his motivations might be. It didn't end up mattering in that case, because James and those guys offed him, but by thinking about him and the specific place he worked in has helped me to understand a bit more about the city as a whole, especially about corruption in the Imperial bureaucracy.<br /><br />I guess what I'm saying is that preparation is also a process of discovery for me, and not just for me and the players at the table. There are a lot of places I've "prepped" in that sense, not as keyed encounters, but as specific things that are happening, places that actually exist in the city (e.g., named taverns and landmarks), that allow me to improvise at the table, and to incorporate the actions of the players, after the fact.<br /><br />A good example, right now, has to do with the three guardsmen killed while the party was ransacking the offices of the mariners' guild. I want to understand how the government/guard will respond to that. I want to figure out how your employer (the Imperial secret police) will treat that. These are important questions for the party, and I want to have some specific answers. One think is that I need to figure out specifics of guard organization, and how the guard gets along with the Ministry of the Inspector General, and what kinds of things typically are faced by the Guard in dealing with the populace in Harbortown. Are such murders common, or not?<br /><br />I don't think we are disagreeing as much as all that. However, these kinds of details may matter to me more than they do to you, simply because I'm in the process of discovering this city, if slightly less than the players are. I can't abide not knowing certain things that come up, because they seem important to the game, and would affect how I run it. It's not just that I need to know how many copper pieces are in a tailor's strongbox, or what specific kinds of sausage Bob the Butcher keeps in stock. I do understand, though, that Bob has been experimenting with something very much akin to a good kielbasa...</div>
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Yeah, man, go ahead and put that shit up there. But first, here's my commentary on your last piece:<br /><br />I agree that I don't think we're as far away from each other on this point than you initially made it sound. I'm especially glad that you added the bit about how your in-depth prep informs you about what your aesthetic is, because that's what I would consider it rather than game prep: part of developing what your aesthetic is.<br /><br />It's probably worthwhile to point out that my post in question was specifically about the use of aesthetic within the framework of my concept of a dynamic hexcrawl, which is by its very nature an improvisationally-run sort of campaign. That having been said, I do apply the aesthetic logic that I've been talking about to EVERYTHING.<br /><br />So, allow me get back into this.<br /><br />I feel like aesthetic coming from specifics rather than becoming the rubric by which to determine what the specifics are is putting the cart before the horse. How can you just come up with these specifics if you don't know where you're drawing your inspiration from for those specifics <i>before</i>you figure out what the specifics are? If Bob has kielbasa, then we've made conscious decisions about aesthetic (that Bob knows how to make traditional Polish, pork-based preserved meats, which means that Bob likely comes into contact with something like Polish people or is one himself, all of which points to either a slavic-inspired or metropolitan aesthetic). If Bob's sausage selection has nothing to do with the aesthetic, then it's a detail that's not worth discussing because it doesn't tell us what things are like (unless the conscious decision is that<i>things are different here than elsewhere in the setting</i>); if its consistent with the aesthetic and flows from it, we can duplicate the results by applying the aesthetic (slavicism or metropolitanism) to the immediate game demand ("What sort of sausages does Bob have for sale?") and <b>bam!</b> the job is done.<br /><br />One of the toughest things about learning to use aesthetics as I am has been learning to trust myself to make the right choices. To make choices that improve the game, flow from the game and work to enrich that game. In my experience, having a good aesthetic guide for your game is like the Force: it surrounds your game, penetrates it, binds your universe together. When you need an answer, you dig deep and feel for the answer that your aesthetic is trying to provide; live in that moment and <i>go</i>.<br /><br />This does not mean "don't prep." This means "prep only what you're going to need for the next session or two," but I've got more to say on that front. In fact, I already have.<br /><br /><a class="ot-anchor aaTEdf" dir="ltr" href="http://www.kickassistan.net/2015/04/lets-talk-about-prepping-to-improvise.html" jslog="10929; track:click" rel="nofollow" style="-webkit-transition: color 0.218s; color: #404040; cursor: pointer; text-decoration: none; transition: color 0.218s;" target="_blank">http://www.kickassistan.net/2015/04/lets-talk-about-prepping-to-improvise.html</a></div>
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And a quick detour, because that's how we roll.<br />
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I'll be thinking of Bob the Butcher at lunch due to the sandwiches I brought with today, which informs me to ask: is his kielbasa bialy or czerwony? I'm having bialy today, myself. </div>
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One of these days (hopefully at the height of summer) I need to get up there and go out and about to eat with you. All this talk of kielbasa is driving mad with desire! For food. Yeah, for food.</div>
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Any time, Johnson. You should really come up for the Polish festival in Grand Rapids in October. Beer, polka, food... I think it's what heaven would be like. </div>
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"Bob the Butcher... the zine" - IN THIS ISSUE: This Year's Top Dungeon Beast Cuts - Intelligent Fungus Counts as Meat, Right? - Know Your Sausage! A Field Guide to Preserved Meats </div>
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Also:<br />10 Sexy Ways to Eat a Sausage<br />It's All Greek to Me: Gyros and Souvlaki for People Who Can't Pronounce Them<br />And don't forget his opinion column, "The Finest Cut."</div>
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<br />
Now, just a quick reply to the last serious comment Adam made:<br />
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<blockquote class="tr_bq">
<span style="background-color: whitesmoke; color: #404040; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">I feel like aesthetic coming from specifics rather than becoming the rubric by which to determine what the specifics are is putting the cart before the horse. How can you just come up with these specifics if you don't know where you're drawing your inspiration from for those specifics</span><span style="background-color: whitesmoke; color: #404040; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> </span><i style="background-color: whitesmoke; color: #404040; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">before</i><span style="background-color: whitesmoke; color: #404040; font-family: Roboto, arial, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">you figure out what the specifics are?</span></blockquote>
I think this is the main place where Adam and I part ways in our conception of game prep. I don't see this as an either/or thing. My details usually inform my aesthetic. I get caught up in them as a New Cool Thing (thanks, ADD!) and forget for a moment the overarching theme, at least in part. So, for example, in my thinking about elves (teaser for the upcoming issue of the Metal Gods of Ur-Hadad zine), I started with the iron susceptibility of the DCC elf class and asked, "Why isn't this used?" Then I thought about what it meant, on the level of the specific things that might happen to an elf character if iron susceptibility was taken to a logical conclusion (i.e., like heavy metal poisoning). What would the details of specific NPCs' lives be like if that were a thing, in Ur-Hadad? It would depend on who you were. So, thinking about the details of NPCs I'd like to use for that sort of thing got me thinking about what a society where this was an issue might be like (more of an meta-aesthetic thing). That got me to thinking about conflict in that society based on class divisions, technologies that might be utilized to help the problem, specific game-based effects on player characters and the like. I even started thinking about a detail like a faction leader who resents that a lower-class elf is doomed to horrible death, and becomes a terrorist. Cool details I may never actually use in a game, but which inform the overall feel of the game, and how I might present it to my players.<br />
<br />
My point: Sometimes I find that specific details that I think are cool become the resource material that provides the resulting aesthetic that will then be used to generate other details. Then, some of those details recur to the aesthetic frame and change it in subtle or not-so-subtle ways. I work back and forth between them--not always, but pretty regularly.<br />
<br />
Another example. I wrote an adventure called "Mysterious Temple of the Serpent God," where I wrote the entire adventure from song titles by the band High on Fire.* One of the songs used was "Frosthammer." The existence of the artifact known as the Frosthammer of Graki Deathstalker was a detail that I used to resolve other things that occurred in that adventure. The significant detail is, for me, one of the things that helps me to develop a coherent aesthetic. That said, I understand that it also can work the other way, and has done so for me, as well.<br />
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*Note that this way of generating the adventure was based on using song titles for designing specific encounters, and part of developing the adventure, as such, involved me discovering a specific aesthetic framework based on those encounters. So, detail to aesthetic. That said, the method for generating my encounters might be seen as, itself, an aesthetic. I do not agree that the method is, in itself, an aesthetic, because it lacks content associated with aesthetic frames. I could have used REO Speedwagon to do the same thing. The method would be exactly the same, but the result would have been completely different (one would hope).<br />
<br />
Another thing: I like having details in my adventures, even if they don't get explored by the PCs. Here's why. If you've ever played a CRPG like, say, Morrowind, and been frustrated by doors you can't open, or objects you can't manipulate, or NPCs you can't interact with, it creates a sense of futility, for me. It gets to feeling "railroady." Prepping a single location, like Bob the Butcher's shop, and thinking about what kinds of things he has there, and how that that implies what sort of neighborhood it's in, and how that affects the kind of customers he attracts, and what kinds of problems he has, etc., etc. All of those little things give me a better picture of the larger world around Bob. He becomes real and, as a result, the whole world becomes more real. The aesthetic springs from the details of the place just as much as the place is birthed from an aesthetic preference. Good fiction is like that, too: An "insignificant" detail can become the thing that makes the story meaningful for a particular reader. (and yes, I realize that I'm conceding Adam's point that this is something that is "significant" because a PC actually encounters it at the table, for this example). The larger point, though, is that the detail may not get encountered, at all, but it may help me (as a GM) understand the larger aesthetic and produce things that <i>are </i>encountered.Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-86049875304406837382015-06-30T08:21:00.001-04:002015-06-30T08:21:30.307-04:00Preparation and the Origins of "The Game"It's been far too long since I posted, and I have little excuse beyond a lack of coherent and useful thoughts, or maybe it's just a lack of belief that I have anything useful and original to say to you guys. I think maybe I need to set that attitude aside and just have some thoughts about gaming, period. I'll try harder.<br />
<br />
Anyway, it's time to dust off the keyboard and put down a few words about something I read today.<br />
<br />
My good friend <a class="g-profile" href="https://plus.google.com/101464641684194071353" target="_blank">+Adam Muszkiewicz</a>, over at <i>Dispatches from Kickassistan</i> <a href="http://www.kickassistan.net/2015/06/dynamic-hexcrawl-more-thoughts-on.html">has written a thing about dynamic game preparation and aesthetics</a>. Making a slight dig at <a class="g-profile" href="https://plus.google.com/105465069792614854044" target="_blank">+Donn Stroud</a>, he said:<br />
<blockquote class="tr_bq">
<span style="background-color: white; color: #1b1b1b; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> I know there are DMs out there who do all this prep -- like, insane amounts of prep, right </span><a class="g-profile" data-gapiattached="true" data-gapiscan="true" data-onload="true" href="https://plus.google.com/105465069792614854044" style="background-color: white; color: #705015; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px; text-decoration: none;" target="_blank">+Donn Stroud</a><span style="background-color: white; color: #1b1b1b; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">? -- and who seem to enjoy this sort of shit more than actually gaming. That's cool, whatever, write your novel. It won't help you at the table. And the table is where the game is, nowhere else.</span> </blockquote>
When he posted the blog, he also observed that it might be bullshit. It is, of a kind. He's also voiced similar thoughts to me, and in <a href="http://www.drinkspinrun.com/2015/06/episode-142-urban-campaigns-citycrawl.html">a recent Drink, Spin, Run podcast</a>, with guest <a class="g-profile" href="https://plus.google.com/105673193450594395171" target="_blank">+Harley Stroh</a>. Here's why this is bullshit.<br />
<br />
I am one of those people, like Donn, who is somewhat fixated on preparation. I like to know the places I'm talking about at the table, as a GM. I like to have an idea who the factions are that inhabit these places. I like to know about some of the specific people who live in these places, and how they look, act, and think. I like to have some sense of how these places, things, and people might interact with the characters who encounter them. I like to know how the world in which the game takes place actually functions. I think this is something that Adam can appreciate. What he fails to recognize is that my method (extensive prep) leads to the same outcome as his method (intensive prep), and is necessary, not because I'm trying to write my long-awaited novel, but because that's how my brain works. The landscape for the game requires that my mind be engaged in some very specific ways, otherwise the inspiration must be drawn from elsewhere, and I simply don't have the depth of particular kinds of experience (in gaming, especially) that he does.<br />
<br />
Where Adam and I differ is in terms of methodology, but even then I don't think we're so far apart. Adam preps, too, but it is possible that he doesn't recognize what he's doing as preparation, because it doesn't resemble what I do; and the level of detail I put into the sort of prep that I do may seem like more than it is, for someone who doesn't approach it this way. Let me give you an example.<br />
<br />
Lately, when I have the time and inclination, I've been drawing a map of the city of Magyaru. The Magyaru in my mind has seven levels, rising from the sea and up the side of a great mountain. So far, I've mapped approximately on third of the lowest level, called Harbortown. There are roads and neighborhoods and buildings. I've probably drawn a couple hundred buildings. I plan to map the rest of it, as well, in time. Here's the thing. I'm doing this a prep for gaming, but not in the sense that I know what's in every building, or the name of every street, or even that I have specific ideas about how "The Game" is going to unfold; rather, it is preparation of my mind to be fertile in responding to what my players do at the table. I know a few of the people in this place (significant NPCs), the sorts of things they do, and what currently concerns them. I also have some ideas about the organization of the city into districts, and (to a very limited extent) neighborhoods. I also have some ideas about what's happening on larger scales, cultural and social.<br />
<br />
For example, the design of the city means that there are open sewers on every level below the highest. They drain from east to west, into the river that marks the city's western boundary. Such a feature as an open sewer is, to put it bluntly, a shitty thing to have in your neighborhood. So, the neighborhoods along the length of such features are, necessarily, the worst of their kind, at least for the district. In the higher, more desirable districts, it's better than in the lower ones. In fact, the richest of the residents of Magyaru might have ways to abate the stench from the open sewers on their levels (e.g., hordes of slaves dumping quick lime into the canals). Not an ideal situation, but certainly better than those bastards down in Harbortown. This is a simple matter of political economy, but knowing this fact provides the city itself with a logic. It establishes it's flavor, its aesthetic. Here's a few ideas that spring from knowing this.<br />
<br />
<ul>
<li>There are striking class differences in this city.</li>
<li>The very lay of the land underlines and accentuates these differences.</li>
<li>Those with more can use their money and influence to abate some of the worst things about the places where they live.</li>
<li>People obsess about those differences, so they (particularly the most prosperous) pay close attention to social comparisons with their nearest peers. This causes resentment and jealousy among them, and provides one of the many ways they mark (in a social sense) their place in their society.</li>
</ul>
<br />
Sure, these are pretty easy things to know about <i>any </i>city, <i>in general</i>, but by prepping in the way that I do, I know why and how they are that way, <i>in particular, for this city</i>. For me, as a GM, it makes my understanding of the city coherent in a way that not having that prep in place could not. As a result, I could, right now, this very instant, take a group of players and start playing a game. Based on who they are, and what their abilities are, I can present them with a range of options (adventure hooks), and away they go. Sure, I might have some idea about what is "supposed to happen," but it really doesn't matter if that thing happens. I know enough about this place and its people and institutions that I can "wing it." They players can introduce things into the picture through their actions and questions. If, for example, I need a merchant or a tavern, something like that, I can make one up or I can simply ask, "What's the tavern called? Who runs it? What kind of place is it?" Then, it becomes canon. I get to use it in other games.<br />
<br />
So, it's not so much that I'm writing my novel, as Adam said (and I don't really think that was more than a playful jab at Donn, mind you), but that I'm working in my chosen profession. I was trained first as a sociologist, and then as a rhetorician. What unites my work in these fields is my interest in cultural production, change, and the like. So, on a micro level, I am interested in the lived experiences of specific human beings and how various aesthetics, social orders, relationships, etc., are made meaningful by and/or to them. Largely, this is about social orders and the semiological systems that accompany them. On a macro level, I am concerned with political economy, writ large, and how that political economy interacts with various sociocultural phenomena in particular social spaces. That is, I'm interested in how the Big Picture affects specific elements of the Little Picture.<br />
<br />
I don't talk about that stuff at the table. More likely, if one of the players has a question about where they might find the notorious pirate queen, Red Varza, I would point them in the direction of The Groin, a district in Harbortown. It's called that because it lies between two large avenues (The Avenue of the Emperors and the Avenue of the Merchants), and these divide Harbortown. The Groin is a free-for-all kind of place serving both the Imperial presence in West Harbortown and the commercial-industrial presence in East Harbortown, and lies between the "legs" of the avenues (hence, the name). In addition, because of all of the trade entering Magyaru's harbor, from distant Ur-Hadad and places beyond, there is a strong maritime, transient population of merchant sailors, Imperial crews, smugglers, pirates, and so forth. This makes it a dynamic place, and (often) a violent and dangerous one. This means that there are those in the district who work very hard to establish and maintain criminal and commercial enterprises, to build, control, and destroy those enterprises, just to make a simple living, and so forth: a host of competing interests. However, those interests are knowable and have a logic to them, because I know the lay of the land, some things about its people and its visitors, and so forth. My growing map of Harbortown makes that possible for me to do, on the fly, because it's just Stuff That I Know about that place. That thinking is partly My Story, but more largely my understanding about such places, and how they ought to be, in a more flexible, logical sense.<br />
<br />
I have similar thought processes with regard to factions in the city, and external relations with outlying districts and the natives peoples of this land. I write a lot of this stuff on index cards, color-coded by function (NPCs, places, factions, etc.), and (eventually) put them in Scrivener. The players, of course, in the guise of their characters, affect those people and factions, in ways small and large. I often incorporate, for example, new NPCs and places, and generally locate them where they seem "logically" to belong. Many of these new elements come out of game play. I write them down, they get put into the files, and they become "real" in some sense. These specifics don't, however, tend to change what is generally true of Magyaru, in the sense that shit doesn't change for most people, but can change very radically for very particular people, sometimes, with a little luck (good or bad). The world, as it is, continues to be very much how it is. Also, and this is where I think I must disagree with Adam, it's not because I already know The Story. This is not a novel. It is a real place where the game takes place. What happens at the table is important. It has consequences. It does not, however, change what the place is about or what kind of place it is. Maybe later, those consequences will become longterm facts of the place, but that's not resolved in the short term.<br />
<br />
For example, I have group of PCs hunting for Red Varza (notorious pirate queen) who is rumored to have pirated a missing treasure ship, which had been bound for Ur-Hadad before it went missing. Red Varza is an NPC who I came up with for a specific purpose: I needed pirates, so I named one. That one eventually because a woman, because why not. She became embroiled in this plot (with some local criminals AND a second group of PCs) to pirate the ship. The Imperial treasure ship was significant because some PCs had magicked a standing stone into gold, and the (22 tons of) gold was appropriated by the Imperials to be sent back to Ur-Hadad. These PCs wanted to get "their" gold back (Dammit!). Also, in the background, the native peoples are outraged by the desecration of their sacred henge, and have begun burning colonial villages; colonial troops have been sent to suppress them. Those last couple of True Things are because of specific actions of some PCs in my game world, and arose as a result of the logical (and unintended) consequences of their actions. But those outcomes are based on the way I prep the world. In my mind, it's a real place (Yes, I know it's not really real.), with real people. They have motivations, too, just as real as those of the PCs. The place where they live has a culture and a social order. Nobody gets to escape that, but they often try to. Occasionally some may rise or fall, but the Way of Things doesn't change.<br />
<br />
The place I've described has been used for (at this point) six different groups of players, face to face, on G+ hangouts, at conventions, and even in the classroom. Every single thing that happened in those games, if it affected The World in some significant way, made it's way into my campaign. Each group's actions have the possibility of affecting the world, and other groups who play there. An example: The ongoing hunt for Red Varza is (put bluntly) one group of PCs hunting another group of PCs. It's entirely possible they might kill each other at some point. I can't write that shit, but I can prepare for it.<br />
<br />
A final note: I think Adam preps just as diligently as I do. He may not recognize it as such. But when I hear him talk about Italo Calvino's <i>Invisible Cities</i>, or Jack Kirby, or first edition Warhammer Fantasy, or that game I've never played, or that comic book I've never heard of, or any of the many, many wonderful things he discusses on a regular basis (and brings to his gaming tables), what I hear is him saying is, "This is how I prepare for my game." He doesn't go in naked. He's be preparing and training for this for decades. He remembers all this stuff, and he can pull it out as needed. He's a genius in this regard; I am trying to learn some of those chops. I don't have that experience. I've only been back in gaming since 2006, after being absent from it since about 1983. I do have other experience, though, and that experience drives my methods for game prep.<br />
<br />
What's different between his method and mine has to do with inclination and training. I am inclined toward a systematic approach, because I need that to think things through. I also tend to forget the things that don't make sense in the system, or that don't get included in it, so I have to have a way to include them. I also am trained to think about societies and cultures as systems, and to have theories about how they function. I've read extensively in social and cultural theory, media studies, etc., and I include what I've learned in my game world. I've done a lot of writing, too, from technical writing to fiction and poetry. That's also a part of my "prep." What I don't do, though, is think of this as My Story, with the PCs simply along for the ride. I've tried that, and the games are terrible when I do so. I don't have fun, and the players don't have fun. Taking the next step, though, to establish My World, provides a much different experience, and one (I think) very similar to what Adam is going for.<br />
<br />
Bottom line: In game prep, I think we're going to the same place. I just take a different path to get there.<br />
<br />Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-59166043203175097682015-03-12T10:46:00.001-04:002015-03-12T10:46:16.210-04:00DifferencesJust a short post about a random thought I had after class, yesterday. Pardon the ramble. I'm trying to understand something, here.<br />
<br />
As I peruse my Google+ feed, I am struck, quite often, by how differently the people in my circles pursue gaming than how I do. Part of what I find remarkable is that there are a lot of games that just don't grab my interests in the ways they seem to interest others. For some folks, it seems like the best part of gaming is having a deep and complex character, and a system that allows for exploration of that character's identity, relationships other PCs and NPCs, and the like. Some players like to have a lot of narrative control, and enjoy games that allow shared responsibility for how the game narrative unfolds. They really dig working with (not against) the referee, or having no referee at all. Some people enjoy things like LARPing. Some dig card-based deck-building games. Some are boardgame fanatics. The list goes on. Sometimes it's differences in mechanics and sometimes in setting. Sometimes it's about the rewards they get, and how they are received. In short, there are a lot of people who really have a great time with things that I don't really find particularly interesting. That is their Awesome.<br />
<br />
There was a time when I might have thought of those differences as reasons to hate or mock those people, or to despise those games and the people who play them. I'm long past that point in my life. I'm glad that people enjoy their games, and I'm happy they've found friends and companions to join them on their journey in life. I watch them from a distance, with abstracted joy for their happiness, but no real connection to it. I revel (intellectually) in the fact of its existence, but care little for the substance, and remain disengaged from their lives and pursuits. I have my own things, and I like them, because they are <i>my </i>Awesome. The existence of these differences, though, causes me to question <i>why </i>I like what I do.<br />
<br />
Even with people I game with and am close to, this is a thing. I care little, anymore, for much of the Warhammer ethos. It bores me. I could list a bunch of things I don't really care about, but the only real reason I have for not digging it is that it doesn't have the Awesome, anymore, that speaks to my inner being. Likewise, I am weary of weirdness for the sake of weirdness. I understand that it's easy to get bored for the same old tropes and stories, and to want to push the envelope into new territory. I get that. Nonetheless, it seems more reactionary than revolutionary when the result seems more a commentary on standard fantasy tropes than a departure from them. I'm sure others could look at what I like, and suggest why they <i>don't</i> like it. That's cool. That's right.<br />
<br />
Me? I'm pretty boring, I think. My approach to gaming is probably pretty unremarkable, because I'm not bored with old mechanics (though I like to play with new variations on them). I don't mind the old GM-driven RPGs, and am not particularly interested in a lot of the things that newer styles of games pursue. FATE, for example, seems like too much work. I don't care for it, though I understand how others could like it, and I appreciate how it does what it does. I saw someone trashing on steampunk the other day, and I could see where he was coming from, but I hate the idea of doing that instead of, for example, simply driving on by without honking if you don't like it. Nobody cares what you hate, and particularly the people who like that thing. It just seems like picking a fight with some kid you don't know, just to be a dick. I'm not interested in being like that, not anymore.<br />
<br />
Here's where I think I may depart from some people. I like the grand scope, the epic tale. I like to see what the same-old-same-old looks like if you take it seriously. Not <i>grimly. </i>Not <i>weirdly</i>. Seriously. I don't mind standard fantasy, but I'd like it to be more... real. More human. I want conflict. I want characters and peoples with motivations that are complex and contradictory. I want war. I want death. I want to kill things and take their stuff, but I also want hope, and life, and to build things worth having. I want every adventure to have an impact on the world, however small. I want my characters to be invested in things, not simply viewing them with ironic detachment, or treating them as disposable. My vision of the Awesome is beautiful and flawed, always in the process of becoming, always breaking and falling into ruin. Death in this world is permanent, and irrevocable, but the world itself goes on and on, and life persists. There is always hope for tomorrow to be better, even if it probably won't be.<br />
<br />
How I'd like to get there, though, is not to have my character figured out from the start. I want to be surprised. I want events to define my character. This is true, also, of my world, as GM. I want the divine randomness of the dice to drive those events. At the same time, I'd like to have a world that, even if I don't know everything about it, has a human(ish) logic. The NPCs and factions have their reasons, and pursue their own interests, even if they seem irrational from the outside. Shit happens as a result of those NPCs and factions bumping up against each other (and the PCs). I like (as a GM) to see the ripples of cause and effect spreading out from what (if static) would be really elegant and simple statements of places, and statuses, and motivations (e.g., standard tropes and narratives). But they are not static. The cause and effect becomes chaos and new orders, and the PCs find themselves trying to impose their feeble wills on things they cannot control, though sometimes they are able, for a while, to find a place of peace and security, and to feel a sense of accomplishment. More than anything, I want to play in a game where what happens, matters. Here's the difference though: It matters because that's how things ended up, where they are now, temporarily, and just not how it all was conceived from the start.<br />
<br />
<b><i>Example</i></b>: In a class I teach, we are using a fantasy/colonial simulation as the basis of an advanced public speaking course. The students are colonial leaders split into three factions, and have recently been approached by a tribe who wishes their alliance against a hated foe. They investigated the situation. Yesterday, as I stepped to the lectern, I needed a story. So I told them this, making it up as I went.<br />
<br />
The tribe to the south lives in an area of foothills and mountains. Though they farm, they are mainly herders. Recent droughts have made them desperate, and their numbers are dwindling (but still formidable). They have a priest-king, and worship death. There is a lot of iconography featuring ravens. They put their dead on exposure platforms, because they believe that otherwise they would become skin-walkers. They believe that the purpose of life is a glorious death, and part of their worship is in killing and conquering. They wish to annihilate utterly their foes to the north. They also believe the colonists are prophesied to make that possible, and desire an alliance to make war on their enemies to the north. [Note: the colony lies between the southern and northern tribe]<br />
<br />
The tribe to the north are farmers and fishers. They worship the sun. Their society is peaceful and fecund. They engage in human sacrifice. The sacrifices are chosen through an elaborate set of activities including games, merit calculations, quotas, and other things. The colonists find them all but indecipherable and utterly alien. They believe that their task is to preserve the natural cycle, and that the tribe to the south (which they associate with the sun's foe, the moon) is part of that cycle. They recognize that the rain is sent by the witchcraft of the moon-tribe to blot out the sun. However, the rain also allows for the sun to bring new life to the land, so it is both necessary and desirable that their enemies be allowed to persist. They will only fight a defensive war, and will not ally to take on the southern tribe.<br />
<br />
Caught in the middle, the colonists have the choice either to pick a tribe, or to stay out of the conflict. Any choice they make will have consequences, and those will have further consequences. I have no idea what will happen, but I will be sure that the consequences remain consistent with the beliefs and motivations of those involves. New facets of each tribe will emerge in the unfolding of the story, usually logically but sometimes in ways that create new tensions.<br />
<br />
I have no idea what will happen next. The class factions will have a series of debates and then they will vote to pursue some course of action. I don't care who wins. I don't care who loses. The world will go on. The choices they make, the choices I make, and the choices ordained by their choices, and the dice, and they all will combine to tell us what happens.<br />
<br />
<b>Note</b>: The outcome will also influence what happens in my Lacuna Locurae campaign setting, which is maybe 100 years in the future of the classroom-based scenario/simulation.<br />
<br />
My love of this dynamic of randomness and order, and waiting to see what happens next, is why I don't think I could ever abandon the use of dice in gaming. It's also why I LOVE the DCC funnel conception (rather than the more recent "character-concept" or "character-build" conception) of character generation. I don't want special characters. I want special stories and special worlds to help me find characters worth knowing. This is part of the reason I'm so fascinated with <a class="g-profile" href="https://plus.google.com/101464641684194071353" target="_blank">+Adam Muszkiewicz</a>'s <a href="http://www.kickassistan.net/2015/02/dcc-donnerstag-emergent-characters-you.html">recent brushes with emergent character generation</a>. <a class="g-profile" href="https://plus.google.com/104210491262285279383" target="_blank">+Doug Kovacs</a> also does this to some extent. It's also why I think I've grown away from setting that assume happy (or grim) endings as inevitable, and that good and evil (or law and chaos) are somehow mutually exclusive, or easy to differentiate. It's also why I don't feel fettered by resort to standard fantasy (or sci-fi, or horror, or... whatever) tropes and situations. They are only starting points, and they are <i>Made to Be Broken</i>.<br />
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Poison Idea--Made to Be Broken</div>
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What I like in my games is not what everyone else wants, and I'm cool with that (as if it matters what I think about somebody else's fun). I just want it to be Awesome. <span style="font-size: xx-small;">Individual results may vary. </span>Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-56056586994842922962015-03-07T15:22:00.003-05:002015-03-07T15:22:37.388-05:00Lacuna Locurae: The Taking of the Imperial Treasure Ship HellbentAs I mentioned in my last post, my on-campus group has been playing in my Lacuna Locurae setting, and had recently become embroiled in a plot to pirate an Imperial treasure ship (the Hellbent).<br />
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At the time this session opened, the party had managed to infiltrate the crew, and was simply waiting to cast off. Their plans to take the ship were something like the following.<br />
<br />
Wait until the ship had passed the Outer Islands, where Red Tarza and her band of cut-throats would be lying in wait.<br />
<br />
Poison the crew<br />
<br />
Kill everyone else who was still moving.<br />
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Wait for a prize crew to meet them.<br />
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Sail with the ship to where the gold and silver could be off-loaded<br />
<br />
Profit!<br />
<br />
The main part of the plan involved the party's thief, who had infiltrated as a cook's mate, to slip a powerful poison into the grog provided to the crew each evening. After taking their dram of "medicine" the poison would put the crew into a coma state, making it simple to slit their throats and steal their groats, so to speak. In practice, the plan worked out pretty well. Much of the crew was taken out, along with almost all of the Imperial marine contingent. They were left to face 4 marines, 16 crew members, the captain of the ship, Brother Jelal (2nd level cleric of Luz) and his two acolytes, and Lugaro (3rd level wizard).<br />
<br />
At this point, since several players have had to step away from the game and two more have since joined it, the party consisted of a 2nd level thief, a 2nd level cleric, a 1st level thief, as 1st level cleric, a 2nd level warrior, a 2nd level wizard, and 4 zero-level characters (played by our newest player).<br />
<br />
Things started off very well, the thieves got very sneaky indeed and then got extremely stabby on top of that. Backstabbing successfully removed several of the regular crew, including the Cook. Then the battle royal broke out topside. 3 marines manned watch stations in the rigging, and 12 sailors were also on deck, the captain was in his cabin. Below, the four zeroes faced four of the sailors and the wizard. I won't do a play-by-play, but here are some highlights.<br />
<br />
One of the thieves aced the Captain very quickly.<br />
<br />
The imperial marine on deck also went down.<br />
<br />
Things were going very well for them up until one of the acolytes Charmed the party's 2nd level cleric, who then cast Word of Command on the 2nd level warrior. Then, the opposing cleric, Brother Jelal cast Holy Sanctuary with a result of 18, making it extremely difficult to attack him.<br />
<br />
Then, the party's rolling started going to Hell. The wizard and the 1st level cleric were killed. The wizard was revived but immediately taken out again.<br />
<br />
Eventually, they took out the main enemy cleric, but his acolytes proved very tough, and the sniping of the marines also took its toll. Much Luck was burned. By time the enemies on the deck had been accounted for, only the warrior and the 2nd level cleric were still alive. The cleric called for the marines to surrender, but then rolled a 1 on the Personality check, and only enraged them. The wounded party members didn't want to climb up to the marines, so they decided to go below deck to hide, and make them come down to fight.<br />
<br />
In the meantime, the four zeroes had attacked the four sailors working below. The fight started off well enough, but then zeroes started to fall. They also woke the grumpy wizard, who was attempting to sleep in his cabin. He bellowed for them to "Stop that infernal racket!" Instead, Rachel (the player who was running the zeroes) began to cry out for help, as if the sailors were assaulting the winsome lasses who were her characters. The wizard bought the ruse, and began killing the sailors to protect her characters' collective virtue. After the last sailor went down, the the three remaining (though wounded) zeroes rushed over to thank him for his assistance, and promptly assaulted him, without any support (3rd level wizard with 16 hp and a +2 ring of protection). Another zero died, but with a bit of Luck burned, and a bit of help from the 2nd level thief, who had gone below to avoid sniper fire from the marines, they finally dispatched the wizard. To be sure, they were aided by my horrible, horrible spell check rolls. Honestly, I don't know how they avoided a TPK.<br />
<br />
At that point, we'd gone 45 minutes over our allotted time, so I called it until next week. The remaining characters are all wounded severely, and the remaining cleric's disapproval range is 1-5. They still need to Recover the Body for their fallen comrades, but with the amount of Luck everyone burned, they likely are Dead-Dead, barring a miracle. They also will need to face the remaining marines.<br />
<br />
At this point, there still could be a TPK in the offing, but only three foes remain. Should the cleric manage to actually heal some of them, they should be okay. Now, where are those pirates?Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-12830166987154078172015-02-27T07:42:00.001-05:002015-02-27T07:42:46.673-05:00I can't complainSo, Johnson, you're supposed to be maintaining this blog, right? What happened?<br />
<br />
Short answer is: Work. Man, I've been busy lately. Trying to finish a book proposal (with a bit of writer's block to work through), regular teaching, some committee and admin work, that sort of thing. All in all, I'm doing some pretty cool things. I can't complain about that.<br />
<br />
Here's the latest thing I got involved in. Can you spot me?<br />
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Someone thought I should be on this search committee. How could I say no?</div>
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It's been a while since my last play update from the Lacuna Locurae campaign, and I'll be taking care of that now, if only briefly. A lot has happened.<br />
<br />
The students in my face-to-face group returned to the colony's main port (Magyaru) carrying 300 pounds of gold purloined from a transmuted standing stone. They left approximately 11 tons more of it behind. This fact was discovered shortly thereafter by an Imperial patrol. It had come to their attention because the local tribes whose sacred site had been defiled started getting pissed off and fighty. It's funny how a weird bit of mercurial magic can cause ripple effects, isn't it? I anticipate that a war may be brewing. Further, the gold being brought in from the hinterlands has had the effect of inflating the local economy somewhat, but the larger effects will be felt in the Empire itself, and will take a long while to manifest (as the Spanish discovered during their colonial period). This assumes that the gold actually reaches the Empire, which is not as certain as it could be. I'll explain in a moment.<br />
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In the meantime, the PCs have made contact with a faction of the local underworld. They think it's The Thieves' Guild, but my guy feeling tells me that the situation is far, far more complicated, and the power structure of the city more complex. They've made an alliance, and chosen a side. This may later have repercussions, once I determine what other powers might also be at play. They changed their gold for silver coin, and (of course) paid extravagantly for the service. Still, each PC was left with something like 5,500 sp. Several of them pooled resources to buy a piece of property. They propose to build an inn in the Low City, and call it the Red Lily. It's being constructed, and will be done in a few months. They will, however, need some more money.<br />
<br />
Their underworld contact, Molo Kratz, mentioned offhandedly that the Empire's "black ship" would be arriving soon, to transport the many tons of fine gold back to Ur-Hadad. As I hoped they might, the players saw this as a great opportunity to sate their avarice, and began to hatch a plan.<br />
It also became quite clear that they PCs would need help to pull this off. Molo Kratz provided some logistical help and advice (for a percentage of the take). He, of course, had been playing these fish, and knew he'd get his cut from the very start. The PCs are pretty green, and don't really understand how dangerous these people are. Later, one of the PCs, a thief, got a bit big for her britches and, while conversing with Molo, got from me one of the creepiest monologues I've ever delievered as a Judge. He let the PC know that the partnership was for HIS convenience, not theirs; that they were potentially partners, and not partners in fact, and still being tested; and that he could easily remove them from the board, should they disrespect him. Very menacing.<br />
<br />
So, the plan is something like this. Wait for the Black Ship to arrive. Take out some of the sailors from the ship. Get on the rolls at the Seaman's Guild, and replace them. Being low-level jamokes, they couldn't do it without aid, and sought the help of Mr. Kratz and his associates. They also sought the help a wizard, one Amor Ba-Gish, a creepy little fucker whose "help" can only be bought for future obligations, not gold. They will owe him a favor, later. To ensure they don't take the ship, he has poisoned them with a toxin that will liquify their innards in exactly 10 days, if they don't return to him for the antidote. He provides them with arcane means to (a) slow time and (b) to make dense fog and (c) to Sleep a ship's crew.<br />
<br />
Long story short, the Molo Kratz's guys demonstrated frightening efficiency in taking out the 12 sailors. The PCs managed to pass for competent replacements. Red Tarza, a notorious pirate, was asked to help out. She agreed, for a suitable cut. This negotiation was through Kratz. They also noticed that the Imperial legation included someone who appeared to maybe be a wizard. Hmm... perhaps this is going to be a bit more complicated than they thought... Also, the ship has a contingent of Imperial Marines. I really, really, hope that Sleep concoction the brought aboard is effective. It would be a shame if lots of their potential foes make saving throws, wouldn't it?<br />
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Next session: The Heist. If they pull it off, they'll be stupidly rich. They also will contribute to a ridiculously inflated local economy, become high-value criminals hunted by the Empire's thief catchers, be drawn into the machinations of Molo Kratz and Red Tarza, and owe a favor to a particularly nasty wizard. What could go wrong?<br />
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<br />Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-21778854287635360322014-12-21T14:40:00.001-05:002014-12-21T14:40:17.174-05:00Rejoice! Zappadan has come!Greetings to all of you fellow freaks, on this most glorious day of Zappadan. The world is safe once more to Freak Out! Happy birthday, Frank!<div>
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How do we celebrate? With my favorite album: Overnite Sensation!</div>
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Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-84200503948756967242014-12-12T08:47:00.001-05:002014-12-12T08:47:53.315-05:00I've Got Your Dervish, Right HereWell, I went and did it. Here is the Dervish class for Dungeon Crawl Classics. I've take from a variety of sources, for inspiration, including the Ranger class from Crawl! #6, the Thune Dervish from the I-series of modules (thanks, <a class="g-profile" href="https://plus.google.com/106732525592099902256" target="_blank">+Jon Hershberger</a>!), but mostly I was trying to figure out what kind of skillset an implacable hunter of men might have, particularly if that hunter was on a holy mission or quest.<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/MKZSqd5Y8nA?feature=player_embedded' frameborder='0'></iframe></div>
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This would be an interesting class to play, but its applicability is somewhat narrow. It would not, for example, fit in well with your gang of murder-hobo tomb raiders. It would, in fact, have to kill them for defiling holy ground. That said, I think that having a whole crew of these guys hunting a powerful necromancer would be a hell of a fun romp.<br />
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Give it a look and let me know what you think.<br />
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<b>The Dervish<o:p></o:p></b></div>
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<b>A Player Character Class<o:p></o:p></b></div>
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<b>for<o:p></o:p></b></div>
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<b>Dungeon Crawl Classics RPG<o:p></o:p></b></div>
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The Dervish is, at heart, a warrior; but it shares some
aspects of the ranger and paladin classes, and even a bit with the monk class,
for it is a, most importantly, a holy warrior. The dervish is on a quest for
perfection of self, through addition of those traits that are praiseworthy, and
purging of those that are corrupt. They believe that all gods are but aspects
of a unified godhead, and that through study, diligent practice of bodily disciplines,
and asceticism, they may attain unity with the godhead in life. It is of no
small consequence that such an attainment leads to extremely long life (for a
human), and perhaps, it is said by the greatest dervish master, Larkun Ba'Davi,
immortality. However, dervishes are best known to outsiders as implacable holy
assassins, men and women who track and bring to justice any who transgress
against the godhead, in any of its worldly aspects. Those who defile a holy
site, destroy a holy artifact, or loot a tomb on hallowed ground (no matter
what weird cult might consider it "holy") should be careful to remain
anonymous, lest a dervish band undertake a geas to bring the miscreants to
account for their blasphemies.</div>
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<b>Hit Die</b>: A
dervish gains 1d10 hit points at each level</div>
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<b>Alignment</b>:
Dervishes are of Neutral alignment in their dealings with those outside their
orders, but that's only in matters of religion. They have a very strict code of
ethics regarding the sanctity of religion, worship practices, and things and
places considered holy, by whatever religion they are considered to be so.
Should anyone desecrate, destroy, or otherwise defile something holy (including
any burial places), a dervish from the order will swear an oath to bring that
person to account. In that sense they are Lawful.</div>
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<br /></div>
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<b>Weapon Training</b>: Dervishes
may use any melee weapon, but specialize in the weapon of their particular
order. Swords are most common, but some orders use axes, spears, polearms, or
even whips or nets. They may use a Deed Die when using this designated weapon,
but not when using any other. However, they shun missile weapons, as ranged
weapons separate the dervish from the visceral experience of divine justice.
Dervishes may wear any armor.</div>
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<b>Holy Rite</b>: Each
dervish order (there are many) has a particular Holy Rite sacred to its
physical disciplines. Some engage in self-flagellataion, some in martial
practice with holy weapons, some dance their sacred dances, and some seek the
Divine through musical performance. Any player who decides on the dervish class
must designate such a physical discipline has his or her Holy Rite. </div>
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<br /></div>
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<b>Lay on Hands</b>: A
dervish may Lay on Hands as a cleric, once per day, per level. If the attempt
fails, the dervish may not use this power again until he or she conducts a Holy
Rite for an hour. Successful attempts will always be applied as if the target
is the same alignment as the dervish. However, a dervish also may do so for
him- or herself at will, but must take an hour's time to perform his or her
Holy Rite (see above). Doing so allows the dervish to heal 1d6 damage per
level, or restore 1 point of ability damage per level.</div>
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<b>Thieving Skills: </b>The
dervish may choose two Thieving Skills from the following list: Sneak Silently,
Hide in Shadows, Climb Sheer Surfaces, Pick Lock, Find Trap, Read Languages,
Handle Poison, and Cast Spell from Scroll. When attempting these skills, the
dervish character applies his or her Deed Die to the roll.</div>
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<b>Tracking</b>: A
dervish is adept at tracking, and may add the Deed Die to any roll to track a target
of divine retribution. Such tracking may involve a physical search for tracks
and traces of passage (Intelligence mod applies), but it also might involve inquiries
among those who might have seen or encountered what the dervish seeks
(Personality mod applies). Tracking doesn't just apply to attempts to track
down a defiler of something holy, but to any attempt to seek out a place or
thing.</div>
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<b>Survival</b>:
Dervishes are adept at determining location, finding shelter, starting a fire,
and seeking out food and water, even the most desolate and inhospitable climes.
They may add their Deed Die to any attempt to do so.</div>
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<b>Asceticism</b>: A
dervish cares little for material possessions, and what possessions they retain
are of a utilitarian nature, usually their holy weapon, some useful equipment,
and simple foodstuffs. They do not retain wealth beyond what is required for sustenance,
at a meager level, and give away any surplus wealth to those in need (e.g., the
poor, an impoverished temple or shrine, a library or repository of knowledge,
etc.). A dervish who covets wealth will have his or her Luck reduced by 1 per
day until he or she is able to dispose of the treasure in question, and may not
simply give it to another party member.</div>
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<b>Languages</b>:
Dervishes are found in every land, and are renowned travelers. As such, they
are able to learn 1d3 additional language per level, beyond those granted by
their Intelligence.</div>
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<b>Table D-1: Dervish<o:p></o:p></b></div>
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<b>Level<o:p></o:p></b></div>
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<b>Deed Die<o:p></o:p></b></div>
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<b>Crit Die/Table<o:p></o:p></b></div>
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<b>Action Dice<o:p></o:p></b></div>
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<b>Ref<o:p></o:p></b></div>
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<b>Fort<o:p></o:p></b></div>
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<b>Will<o:p></o:p></b></div>
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</tr>
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1</div>
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d2</div>
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<div align="center" class="MsoNormal" style="text-align: center;">
1d8/III</div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
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1d20</div>
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+1</div>
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+1</div>
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+1</div>
</td>
</tr>
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<div align="center" class="MsoNormal" style="text-align: center;">
2</div>
</td>
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<div align="center" class="MsoNormal" style="text-align: center;">
d3</div>
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<div align="center" class="MsoNormal" style="text-align: center;">
1d10/III</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
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1d20</div>
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<div align="center" class="MsoNormal" style="text-align: center;">
+1</div>
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<div align="center" class="MsoNormal" style="text-align: center;">
+1</div>
</td>
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<div align="center" class="MsoNormal" style="text-align: center;">
+1</div>
</td>
</tr>
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<div align="center" class="MsoNormal" style="text-align: center;">
3</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
d4</div>
</td>
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<div align="center" class="MsoNormal" style="text-align: center;">
1d12/III</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20</div>
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<div align="center" class="MsoNormal" style="text-align: center;">
+1</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+2</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+2</div>
</td>
</tr>
<tr>
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<div align="center" class="MsoNormal" style="text-align: center;">
4</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
d5</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d14/III</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20</div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+2</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+2</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+2</div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
5</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
d6</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d16/IV</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20+1d14</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+2</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+3</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+3</div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
6</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
d7</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20/IV</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20+1d16</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+3</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+3</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+3</div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
7</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
d8</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20/V</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20+1d20</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+3</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+4</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+3</div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
8</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
d10</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d24/V</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20+1d20</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+4</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+4</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+4</div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
9</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
d10+1</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d30/V</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20+1d20</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+4</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+5</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+4</div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
10</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
d10+2</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
2d20/V</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
1d20+1d20+1d14</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+5</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+6</div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt;" valign="top">
<div align="center" class="MsoNormal" style="text-align: center;">
+5</div>
</td>
</tr>
</tbody></table>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<br />
<div class="MsoNormal">
Dervishes do not use titles, though each is a student to
someone who is his or her master. He or she will call that person by the title
"master."</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Also, in furtherance of my own, personal holy mission, I give you another Zappadan miracle: This fantastic guitar work from that dervish of American music, Frank Zappa.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/WKQXpwc97uw?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoNormal" style="text-align: center;">
This is what my dervish character would look like.</div>
<br />Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-37556483674861109412014-12-11T10:23:00.002-05:002014-12-11T10:23:53.746-05:00I Need a Dervish ClassRiffing off of yesterday's post, here's a passage from a book I'm currently reading for my research on the Ottomans:<br />
<blockquote class="tr_bq">
It was among the dervishes that the <i>babas</i>, scantily clad in animal pelts, with their shaven heads and fondness for loud music, were welcomed with the fewest reservations. (p. 23)</blockquote>
Sounds like punks and metalheads (those who all liked speed and thrash metal, at least) back in the day.<br />
<br />
Makes me think I need to create a dervish class for DCC. The baba class might follow, but I think that the Savage class I wrote for last year's Secret Santicore (Vol. 1, I think) would fit that particular bill. Heck, it might do the job for both of these, but I think the dervish would be a bit more like a specialized paladin/sage type.<br />
<br />
<b>Reference</b><br />
<b><br /></b>
Faroqui, S. (2007). <i>Subjects of the sultan: Culture and daily life in the Ottoman empire</i>. London: I. B. Tauris.Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-72920232036890400682014-12-10T11:26:00.000-05:002014-12-10T11:26:00.195-05:00Lacuna Locurae: What is this fantasy/colonial thing?Lately, I've been reading a lot of historical sources to inspire my thinking about the Lacuna Locurae setting, the island of Magyaru (on which one finds the Imperial port city of the same name). Now, loosely speaking, the Empire is an extension of the Metal Gods of Ur-Hadad campaign, but there's a slippage in both style and chronology. Though we're dealing with sort of an "eternal now" approach, with characters from that setting moving back and forth between the campaigns, the "real" time frame is a few hundred years in the future. In European historical terms, we've moved from the medieval times to Renaissance/early-modern times. This is more an issue of technology, context, and tone than it is anything approaching historical accuracy. I'm not aiming to recreate European history, here, but to select elements of various colonial histories that I find interesting and useful for running a game. For this purpose, I've selected several broad models:<br />
<br />
<ul>
<li>England</li>
<li>Spain</li>
<li>France</li>
<li>Rome</li>
<li>Ottoman Turkey</li>
</ul>
<div>
Again, the goal is not to make them historically accurate, but to cash in on the things that made those colonial powers, and the issues they faced, interesting. Some examples:</div>
<div>
<br /></div>
<div>
The three-headed monster that colonized the Americas (England, France, and Spain) provided some interesting fodder for the setting.</div>
<div>
<ul>
<li><b>Conquest is about seeking riches</b>. In the main, the Spanish were after gold and precious metals, but then established plantations for sugar, indigo, and other things. The French engaged in the fur trade for the same purpose. The English, by and large, cultivated tobacco as their main commodity, but had other commodities (sugar, etc.) in the Carribean.</li>
<li><b>There is a religious, missionary component</b>. The Spanish and French were especially fervent in this regard, but religion was a strong part of the justification for colonization and conquest by all of the European powers. The Temple of Luz the Purifier has played a large part in financing and establishing this colony. They aim to preserve their influence here. Religion at the ground level also is burdened with the common people's folk superstitions and prejudices. Witches and wizards beware.</li>
<li><b>Relations with the native peoples are always a factor, and very complicated</b>. In the real history, diseases brought by European powers to the Americas wiped out about 90% of the native indigenous populations. The idea that these areas consisted of howling wilderness was not true, at least until disease took its toll. In some cases, particularly with the French in the north, the colonists needed the indigenous peoples just as much as those peoples wanted the guns and tools provided by the colonial powers. There was some degree of mutual cooperation. However, they also played different groups of indigenous people off against each other; this dynamic sometimes was employed by the native peoples as well. The Spanish model was very different. Their nobility sought to get rich, establish repute, and aggrandize itself through conquest (and the acquisition of precious metals). They were often brutal and ruthless. Later, their missionaries moderated (to a limited extent) these practices, but not often and not enough. By that time, diseases had taken their toll. The English were, in a word, arrogant. They expected the natives to roll over for them, and the fact that they didn't was proof that conquest was necessary.</li>
<li><b>The lower classes had opportunities in the New World they didn't have in Europe</b>. An English indentured servant, for example, could hope to receive an acreage in the colonies, to become a landowner. Land ownership policies in England (esp. "enclosure") had been eating away at this prerogative for many years. This was also reflected in the military, especially the navy.</li>
<li><b>Piracy became an issue</b> (as is the use of privateers). The on-again/off-again wars between these powers provided a surplus of able-bodied seamen, and they gained experience with taking and plundering ships. When the wars were over, many employed those very particular skillsets for other purposes (i.e., piracy). The colonial powers all spent time stealing from each other, just as they stole from the New World's native peoples.</li>
<li><b>There's a level of lawlessness due to the tenuous control of the center over the periphery</b> (though this varies over time, and due to circumstances). The competence, honesty, and loyalty of colonial governors, viceroys, etc., was not always assured, and this made life in the colonies somewhat chaotic in terms of how government got conducted. Further, there often were differences between "official" policies, especially toward other governments' colonies and the native peoples, and what those on the scene actually did. Later, this would result in rebellion over local control, taxation, etc.</li>
<li><b>The interests of the Church, the nobility, the Crown, the merchant classes and the commoners often run at odds with each other.</b> This creates a great deal of internal tension. While the colonial Governor is, ostensibly in charge, power must be shared in order for the colony to thrive. How that sharing occurs is a matter of constant dispute, with the potential for violent disagreement simmering below a polite and respectful surface.</li>
</ul>
</div>
<div>
These are just a few of the Western European elements that I find useful as context for Magayru. Rome also provides great fodder.</div>
<div>
<br /></div>
<div>
My model of the native peoples of Magyaru springs more from Pictish/Gaelic roots than from the indigenous American peoples. In part this is because I'm fascinated by the Roman experience in Britain, as well as the interactions between the Vikings and the Britons. I'm also interested in "flipping" the usual visual imagery of colonialism. The "savage" native peoples in this setting are pale-skinned ("They look like demons!"), and the Imperials are more like Mediterranean Romans and Ottoman Turks. In my mind, Ur-Hadad of the Metal Gods universe is more closely associated with Turkey and Eastern Europe than with Tolkien's more Western/Northern European aesthetic. Mostly, this is cosmetic, I'll admit. However, I think it proves more jarring to may players who associate colonialism with an American model rather than a Roman model. I think the combination of the two is interesting and useful in fantasy/colonial role-play. Also, the "colonists" are from warm and sunny climes, and Magyaru is a cold, dark, and gloomy land, mountainous and covered in great forests, crisscrossed by rivers, and filled with ancient standing stones, barrows, and ruins. It is a far grimmer place.</div>
<div>
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Finally, there is my weird idea of Turkey/Hungary. To be clear, it is in this area that a diverge from history the most. I like the idea of a powerful ruler, a cultured and educated, cosmopolitan empire. A certain level of decadence combined with a sense of cultural superiority. In this sense, my Empire owe as much to Robert Howard's Hyperboria as it does to whatever historical sources I might be reading. It also owes much to Adam Muszkiewicz and my interpretations of Ur-Hadad as an idea (perhaps more than a place). Also, in the background, there is the history of the World that Went Before, which includes all manner of fantasy races and tropes, sorcery, and so forth. So, it's not Turkey and it's not Eastern Europe, but it does filtch heavily from aesthetic and other elements that might be found there.</div>
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Add on top of these things, and the Howardian influence, the presence of Poe, Hawthorne, and Lovecraft, and you get a sense of where I'm trying to take this. I'm really enjoying playing in this sandbox, and seeing how the players interact with it and add to it. I think of this as an open world, and do my best to make sure the people who play in it are able to influence it.</div>
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Also, for our Zappadan offering, I offer this 1973 concert in Stockholm. Dig the grooviness of 1970s Sweden. Glorious!</div>
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Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-3116148739095010662014-12-07T10:46:00.000-05:002014-12-07T10:46:10.087-05:00Zappadan Mea CulpaSee, this is why religion is so difficult. You keep faith with FZ by making sure to listen to music with guitars; you listen to difficult music, music you can't quite dance to; you embrace the absurdities of life with a sense of amusement and wonder; and you try to maintain conceptual continuity through all the vicissitudes of life. You try really hard, but sometimes you fail to keep the faith. Forgive me Frank. What? You're too busy pissing in Jerry Falwell's face to worry about the little shit? Okay, then. Thanks, man, you're a mensch. So how about a little tune? How about a whole concert?<br />
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Mothers of Invention, live at the Fillmore East (November 13, 1970)</div>
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Happy Zappadan, people. </div>
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<br />Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-12664854316138990792014-12-06T20:14:00.002-05:002014-12-06T20:14:38.999-05:00I am not worthyI suck<br />
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The first day of Zappadan was two day ago. Fuck.<br />
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You motherfuckers will pay tomorrow.Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-89517005126837553102014-12-06T09:55:00.003-05:002014-12-06T09:55:48.888-05:00A Rickety Mass Combat SystemA while back, I had a chance to look at <a class="g-profile" href="https://plus.google.com/105673193450594395171" target="_blank">+Harley Stroh</a>'s draft of a mass combat system for DCC RPG. It made me think. He'd used existing ideas (e.g. hit points as "army points," wizard duel rules for combat momentum, the viscitudes of battle, and so forth). I was intrigued by the system, even though he's not particularly satisfied with it at this point, because it satisfies a need I see in both <i>Peril on the Purple Planet</i> and the <i>Against the Atomic Overlord </i>adventure I've written on for Goodman Games (which will be out sometime in 2015). While mass combat is not explicitly included in either adventure, there's strong possibility that it could come into play, depending on what the PCs do. So here are a few ideas of my own. I don't think they're better than Harley's mind you, but they do present another possible approach.<br />
<br />
Anyway, some preliminary ideas.<br />
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<b>Treating Units and Battle Conditions Like Characters</b><br />
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Each unit on the battlefield gets treated as a character. That is, the unit has a class, stats, armor class, hit points, saving throws, movement, etc. as a player character (or NPC). The units themselves should be treated as one of the martial classes (Warrior or Dwarf). These two classes have distinct functions on the battlefield (see below in class descriptions). Other classes might be used to establish battlefield conditions, or to attach a special power to an existing martial unit, sort like Aspects in the Fate system: They reflect a condition attached to the unit, instead of the unit itself. I'll explain this further, in a bit.<br />
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So, functionally, it might break down something like this.<br />
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<b>Warriors (normal unit)</b><br />
<ul>
<li>These are the main representations of combat units. Just use as standard warrior of appropriate level.</li>
<li>Hit points could be rolled or assigned as normal. Alternately, they might be a way to "buy" units (i.e., you get cheaper more plentiful units at 1 hp per level, then cost ascends from there). </li>
<li>Level of unit is measure of its veterancy. Veteran units get more hit points and are more formidable in combat. For mass combat there should be a limit on level, however. I think levels 1 to 3 are probably sufficient, though I suppose arguments could be made to make truly elite units with higher levels.</li>
<li>Armor class is translatable to light (AC 10-12), medium (AC 13-15), or heavy (AC 16-18) troops, with associated to-hit numbers, and with standard effects on movement (even with mounted units).</li>
<li>Weaponry should simply translate straight across. What are they carrying? If mixed weapons, then take the median or mode average result. If special weapons (e.g., missile weapons, pole weapons or spears), then make sure those advantages get reflected in the way they are used (e.g., pike against cavalry, missile weapon ranged attacks, etc.).</li>
<li>Number of attacks per round (a function of level) would always just be 1, but the die rolled might go up or down the dice chain for veteran troops. So, a "Level 1" unit rolls a lower die than a "Level 2" unit. I'd probably use a d16/d20/d24 dice chain for green/blooded/veteran units, respectively. For truly elite troops, I'd hesitate to use a d30, but would opt, instead, for a fixed bonus of +1 or +2.</li>
<li>You could even use Mighty Deeds in various ways: A Mighty Deed of Command to rally troops, a Mighty Deed of Arms to bolster attack or defense for a round.</li>
<li>Cavalry units are a special case, and are discussed below.</li>
</ul>
<b>Dwarves (special unit/battlefield condition)</b><br />
<ul>
<li>As units, a Dwarf represents siege weaponry. It is a ranged unit.</li>
<li>As a battlefield condition the Dwarf represents some kind of fortifications.</li>
<li>Their attacks represent siege weapon attacks, and their shield bashes represent how well fortifications protect troops in cover.</li>
<li>Siege weapon units are the only things on the battlefield that can attack fortifications.</li>
<li>Siege weapon units also can attack other martial units.</li>
<li>Damage against them reduces them on their attack/defense dice chain. The levels at which this happens, I'm not so sure about. Maybe 3/4, 1/2, 1/4, etc.</li>
</ul>
<b>Clerics (battlefield condition)</b><br />
<ul>
<li>These are something attached to a regular (warrior) unit, like a group of cultists (if spells are to be employed) or a medical corps (if using the Lay on Hands ability). I think I'd make the person using the Cleric in this way pick one or the other of these powers.</li>
<li>The cultist condition allows the unit to employ a limited array of spells. Probably Bless and Curse are the main ones, though Holy Sanctuary, Protection from Evil and others are appropriate.</li>
<li>The medical corps condition allows the unit to heal itself and/or any adjacent units, once per combat round.</li>
<li>Level of cleric can affect casting rolls as normal.</li>
<li>Disapproval range works as normal.</li>
</ul>
<b>Thieves (special unit or battlefield condition)</b><br />
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<ul>
<li>Thieves are special units that could be treated as scouts or even (potentially) assassins. </li>
<li>As a unit, they would be statted as thieves, including armor, hit points, etc.</li>
<li>They are effective only when they can remain hidden. To scout effectively, they must use stealth, represented by a die roll, depending on the sort of action attempted (i.e., Sneak Slightly for movement or Hide in Shadows for remaining hidden from the foe until they can best be employed). </li>
<li>To attempt to assassinate an NPC Leader (see "Leadership by Player Characters and NPCs," below) they must both accomplish a stealthy action (i.e., Sneak or Hide) as well as make a successful Backstab.</li>
<li>Whether successful or not, the assassin is always sacrificed by this action.</li>
</ul>
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<b>Wizards and Elves</b></div>
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I see no reason why wizards and elves need to be treated as mass combat units, like the martial units. They are powerful enough, especially in circles of mages, to be used simply as PCs or NPCs. That said, they would <i>function </i>as mass combat "units" for purposes of their use in mass combat.</div>
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<ul>
<li>They must target a specific unit to achieve a spell effect. </li>
<li>It might be that the array of spells used in mass combat should be restricted to a limited list of offensive and defensive spells.</li>
<li>They can also be targeted as distinct mass combat units, and probably should have the combined hit points of all the wizards/elves in the circle.</li>
<li>Any spell corruption or misfire will affect ALL the members of the circle.</li>
<li>Casting times are increased by 1 round per additional wizard/elf in the circle; however, each member of the circle beyond the first adds a bonus equivalent to his/her caster level, up to +3.</li>
</ul>
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<b>Halflings</b><br />
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I have no idea how I would use Halfling units, but welcome your suggestions.<br />
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<b>Mounted Combat: Cavalry and Pikes</b><br />
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Warrior units may be designated as cavalry. They get the benefits of being mounted for movement and combat purposes (see DCC RPG rulebook, pp. 87 and 418). Just treat the unit as if it were a mounted warrior.<br />
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These mounted units should be designated as light or heavy. Light cavalry is faster and lightly armored. It can perform Mighty Deeds in character with its nature (e.g., the Parthian shot). Heavy cavalry is slower, more heavily armored, and can perform Mighty Deeds in character with its capabilties (e.g., greatly enhanced damage on a charge).<br />
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Those defending against cavalry might also be able to prepare the ground to receive cavalry (i.e., by using Dwarves as a battlefield condition), or by equipping a particular unit with appropriate weaponry (e.g., pikes, which might get the same damage benefit as a lance does, but in the opposite direction).<br />
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Finally, cavalry might be designated as a scout unit. It would be statted as a mounted Thief. I could see ways in which the Sneak Silently and Hide in Shadows, or even the Backstab rules might be employed for such a unit, but the player or NPC would need to use terrain to achieve surprise in such cases.<br />
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<b>Leadership by Player Characters and NPCs</b><br />
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It may be that you want your PCs to be able to take part in this mass combat, as commanders of units or of the whole army. Such a course of action comes with significant benefits, but also with significant risk.<br />
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First, the PC or PCs in question must be attached to one or more of the combat units. In all cases, the unit in question must be either a warrior or dwarf unit, usually a warrior.<br />
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To provide a leadership benefit to that unit, the player character makes a d20 roll, modified by Personality. Warriors and Dwarves add Personality mod and Deed Die roll to total. Other PC classes add just the Personality mod. In addition, the martial PCs can attempt a Deed of some kind in mass combat. For example, "I drive my unit forward, hitting the center of the foe's line. I want to try to split her unit," or "I wheel the light cavalry to retreat from the charging foe, and attempt a Parthian shot." Like regular Deeds, the main limit is the player's (or GM's) imagination, but in this particular case the Deed should be conceived in terms of <i>mass </i>rather than <i>individual</i> combat.<br />
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Only units with PCs/NPCs attached to units already in play get this benefit. However, these PCs/NPCs also take damage when their units are damaged, putting them in peril of dying if things go badly.<br />
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<b>Conclusion</b><br />
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Anyway, there you go. That's my "first draft" version of a mass combat system for DCC RPG. I welcome your feedback. What am I missing? What could be added? What are some potential problems with my approach? Let me know.<br />
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<br />Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-21101795676351998312014-11-30T08:54:00.003-05:002014-11-30T08:54:57.397-05:00Lacuna Locurae Play Session Report 6: We're gonna be rich, I tell ya! Rich!Most of this session consisted of a very large battle with clay soldiers, their generals, and their warlord. The PCs concentrated on keeping the enemy forces bottled up in the main room, while some of their number retreated to the upper chamber to snipe at them through the newly opened hole in the ceiling, where the pool once had stood. It took some time, but they were, eventually, victorious. The two wizards wrangled over the crystal ball they found by the throne, and eventually decided who got it by die roll. Harris Patter, girl wizard, was disappointed. It may however, redound to her advantage, in the end.<br />
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They searched the room pretty thoroughly, and found a secret door. After some very careful dungeoneering, checking for all manner of perils, they went through. There, they discovered a room with what seemed to be both the contents of a warlord's field tent (camp chair, pallet,etc.) and an arcane circle with a bier in the center of it. Upon the bier rested the dessicated remains of the warlord in question. He was dead-dead, not un-dead, though some of the party feared he might rise to begin smiting them. Given how well they'd managed the previous encounter (awesome die rolling, despite a magic missile misfire almost killing the party's thief. Again.), I probably should have done something fun with the corpse, but it was approaching the end of the session, and both they and I were battle-weary.<br />
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The wizard with the crystal ball soon figured out that one might place said item in a concavity at the foot of the bier. Though there was some trepidation, they ultimately "pressed the Big Red Button" by inserting the crystal sphere. The result: A potential patron:<br />
<blockquote class="tr_bq">
Gazing into the crystal ball, you see an endless field of bright stars on a faint gray background. A ghostly image of the warwizard drifts in the star-strewn ether, perfectly still. Then a harsh goat-like face fills the full sphere, staring intently at you. “I have waited a long time for someone to take the warlord’s place,” says the strange goat-man in a deep voice. “His astral voyage was cut short before he could rekindle the spark of his mortal coil. I am still in need of an ally on your world. Fill this copper brazier with wood from a dryad’s tree and ignite it with the spark of a living fire. The blaze will reveal the location of the other half of the rulership rod. Find that for me, and you shall be rewarded.” Then the globe dims to mere crystal. (DCC Core Rulebook, p. 456)</blockquote>
I believe they intend to follow through on this quest at some point, but first they had a golden monolith to deal with.<br />
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As I mentioned in an earlier post, one of Harris Patter's spells has the mercurial effect of turning one random item to lead and another one to gold. I altered the function a bit for dramatic license, and had it affect two standing stones of immense girth and heft. They clearly couldn't carry the whole thing, given their rickety cart, which conveyance they'd brought from Hirot. So, after emerging from the dungeon, they discussed what they might do, ultimately deciding to hack off chunks of gold from the former megalith. It is, of course, sacred to the native peoples of this land, whose shamans will, no doubt, attempt to trigger a holy war of some kind against this outrage. That should be fun. I may need some mass combat rules...<br />
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After some discussion, I allowed that they could probably carry (and still be able to hide) about three hundred pounds of gold (leaving some 21,700 pounds behind, unattended in the barrowlands, soon to be found by natives). I recon that the gold coins of this realm aren't particularly large, and run about 20 coins to the pound. They have, then, roughly 6,000 gold pieces, should the gold be minted into coinage. That's a lot of gold. However, given that this is a silver standard economy, it's a stupidly large amount of gold, and it's not already in coin or bar form. They will need to get someone to exchange it for credit, equivalent value, or to mint it into bars or coins. That could prove both tricky and dangerous, and might draw the attention of many, many people in Magyaru, some of them powerful, some dangerous, and some... both. It will be a miracle if the party manages to hold onto their booty, and their necks.<br />
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Further, it may soon be revealed what happened out in the barrowlands, and why the natives are restless. They may soon lay siege to the city, coming with their war chariots, painted in woad, ready to burn and pillage, their holy men primed for revenge against those who would trifle with the very spirits of the land and sky. It might get pretty tricky for a group of low-level adventurers caught up in a situation like that. It certainly might... We'll have to see how that works out, because they've decided it's time to make the final steps of their voyage to Magyaru. They're all free people now, with no records of slavery or indenture to bind those laboring under such things. They have plenty of wealth, and a lust for power and glory. We shall see what is possible in Magyaru. It certainly won't be what they expected, in the end, though it may seem so to begin with.<br />
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On top of it all, I'm actually running a new game on Sundays, with a whole different group of people. It's set in the same world, and I've decided that the different groups will have to live with the consequences of actions of both. It should prove most amusing to watch how the chips fall. Mua! Muaha! Muhahaha! MUAHAHAHAHA! <--That's supposed to be my evil laugh.Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-50326505414053562762014-11-20T07:45:00.000-05:002014-11-20T18:08:57.049-05:00Lacuna Locurae Play Session Reports (4 & 5): Things change, things stay the sameSorry for the long delay between posts. Partly me being Dr. Lazybones and partly me being Dr. Lazybones because work's been kicking my ass. Will try to do better.<br />
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Anyhow, when last we left our adventurers, the town of Hirot was in an uproar. The peasants were revolting!<br />
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The genius of Mel Brooks continues to astound.</div>
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The Yamash and his bodyguard had returned to the longhouse to armor up and 'get swole' in preparation for some good ol' fashion oppression (Iron Fist included!). The town's uppity merchants determined that three feet of steel through the brisket was not particular fun or healthy, so they decided it might be better to attempt negotiation. Accompanied by some of the PCs they held parley with the Yamash. </div>
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They had high hopes to instill some of this new "democracy" thing into Hirot's political order, but the Yamash was not having it. He explained, very succinctly, that it wouldn't be happening. First, he would go down fighting. Then, he explained, rumors would make their way to Magyaru. The Governor would be obliged to send troops to quell the uprising. The leaders would be found, and summarily executed for treason. A new yamash would be installed, and it would be one less reasonable than himself. So, whatcha gonna do? Cometh thou at me, bros!</div>
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Still, he allowed, he would be willing to take advice from the wisest of these elders, and consider their council. The Yamash permitted that three of them would be assigned to such a body. These selfless merchants, seeing how such an arrangement could benefit them (and, of course, 'trickle down' upon the peasantry--like a good piss), knuckled under and proclaimed his wisdom. </div>
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The PCs, of course, now found themselves on the outside of this arrangement. They also were not well rewarded for the killing of the Hound, having participated in the aborted rebellion. Tough luck, people. Tough luck. So, they decided to venture into the Barrowlands to seek fortune. They also hoped, perhaps, to find that scoundrel Sylle Ru, who had scarpered off to parts unknown when his political fortunes had gone pear-shaped. I have a feeling we'll be seeing him again...</div>
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First, though, they had a date with the witch Ymae. For honoring the agreement, one PC received a nifty, golden shirt (as chainmail with fire protection) before the old lass went and broke his heart. He will soldier on, somehow. That done, they did their best to arm up, provision themselves, and the players leveled their zeroes up.</div>
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Leveling up took a while (two wizards and a cleric), and the mercurial magics thus gained were more of the "annoying and funny" type than the "awesome" or "oh, hell no" varieties. One such case would prove consequential later, in the Barrowlands. Thus fortified, they marched out of Hirot, bound for gold and glory. Or at least gold, they hoped.</div>
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The PCs marched into the hills and mounds of the Barrowlands, bypassing one obvious adventure hook (the Tomb of the Ulfheomar), before finding a Shiny Red Button. The Button in question was found in a narrow defile leading up to the cliffline, well north of Hirot. A causeway led toward the cliffs, barrows on each side. At the cliffs themselves they found a circle of standing stones and an altar (most likely used for terrible rites by the demonic, pale-skinned devils who inhabit this land). Above the altar was a weird carving, embedded with seven colored stones, in various parts of the design. One of the PCs, an astrologer by trade, figured out that this represented a constellation. This particular configuration of the constellation in question didn't quite match what was in the sky. However, being far from the shores of the Empire proper, the stars were not quite the same. Nonetheless, he determined that the stars were not quite "right," in comparison to the design. However, by their colors, the stones were misplaced. They needed to be shifted in the design to match the constellation in question. So, of course, they fucked with it.</div>
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Pretty quickly they found that touching the stones resulted in a point of ability drain (five of them, one for each ability). They took turns. They also found one that drained 1d3 hit points. Then, feeling optimistic, the party's thief climbed to the top part of the design, to seize the final stone. It zapped him for 3d6 hit points (hehe, silly thief). Your humble Judge, naturally, given his proclivities with dice, completely failed to kill the erstwhile character, rolling only five damage and bringing him down to two hit points. Stones in hand, they reinserted them, arranged them in the proper order, and a magical portal opened in the cliffside. </div>
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Oh, I nearly forgot. One of the party's wizards, one Harris Patter, has this mercurial effect for one of her spells:</div>
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<blockquote class="tr_bq">
<i><b>Accidental alchemist</b>. Each time the spell is cast, one random item within 20 feet of the caster is turned to lead and another is turned to gold. Both objects probably weigh more than they previously did, and the gold object is worth twice its normal cost or 1gp, whichever is more.</i></blockquote>
She decided to cast that spell (I forget exactly which). I determined that her spell had affected two of the standing stones, turning one to lead and one to gold. Some work with the calculator suggested that something in the order of 22,000 kg of gold, all of one piece, stuck way the fuck out in the hinterlands. Good luck getting that back to town. Good luck getting any more of it, once the natives discover you've been desecrating their sacred circles. Dickish? Nope (okay, maybe). Anyway, this is DCC RPG, and this is how we do that shit.<br />
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They entered the portal and found a short hallway and a door. They opened the door, leading to a room beyond. Four iron statues with spears attacked the doorway, but only one character was wounded. They gathered up the spears and stripped the statues of their elaborate, enameled scale mail (That shit looked pretty tight, ya see). Thus equipped, they entered the next room.<br />
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There, they found a large (30' tall) statue, its finger pointing toward the doorway (J'accuse!). Long story short, they figured out pretty quickly that attempting to leave the room meant getting doused with flaming oil. Several of them were thus attacked, but none died (much to my chagrin). Eventually, they bum-rushed the northern doorway and found a long room with a pool of water. They also found several weird humanoids, who approached their light sources, but otherwise seemed uninterested in them. They (wisely) did not attack.<br />
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One of the PCs noticed that the bottom of the pool was studded with "glowing" crystals. He decided to remove a few, and then a few more. At one point, the floor began to buckle, so he curtailed his activities. The party had found a door in the northeast, at that point, so they moved on. A stairway led downward, into a room with a big table with a host of martial figurines upon it, and in alcoves and on shelves in other parts of the room. A search revealed that several of these were made of solid silver, with a sheath of clay. They got a bit richer.<br />
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Then, they moved into the next room. There, they encountered an army of clay, a clay warlord, and seven clay generals. The host attacked! That's when things went haywire. Fucking wizards. Fucking mercurial magic. One PC wizard has a mercurial that causes terror. The warlord got skeered, and went to hide behind his throne. Much of the clay army had been degraded by the leaking ceiling (from the pool above, with its missing crystals), but there were far too many to fight. The party dropped back to use the doorway as a choke point. One of the PCs ran back up the stairs to attempt to collapse the ceiling/pool bottom into the clay army. Some good rolling ended in success, and about 30 of them were crushed outright. Others dissolved in the water. Still something like 26 of he statues managed to get out of the low area in which they stood. Their generals are still standing, and the warlord remains cowering behind his throne. Soon, though, he will recover, and then they will be fucked, well and truly.<br />
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That's where we ended last time.<br />
<br />Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-24195720766528181642014-10-15T10:53:00.000-04:002014-10-15T10:53:31.506-04:00Lacuna Locurae Play Session Report 3: Death of a Hound, and the Peasants are Revolting (You can say that again!)Last session, Lilya Jormal, daughter of Uxo Jormal, and Harris Patter, wannabe wizard, were taken prisoner by the Yamash and his (presumably) evil councilor, Sylle Ru. Their inevitable fate will be to appease the fiendish Hound of Hirot, as the Yamash hopes to make up for the missed sacrifice of the day past.<br />
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The party needs a plan. They have a (supposedly) magical artifact, a rope of corpse hair. They've been told by the witch, Ymae, that it will be able to bind the Hound, making it vulnerable to their weaponry. Also, a now-friendly Beacon Duu of the Temple of Luz has offered to bless them, though he avers that his faith is weak, these days, and he may not be up to the task. Nonetheless, they will accept his blessing and ask him to make them some holy water, just in case that might help. He gives it his best shot.<br />
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The women are taken to the standing stones to be sacrificed, and a guard is left there to ensure that no one will free them prior to the arrival of the Hound. The adventurers decide that they will wait until just before dusk, and then try to scare the guards away before the Hound arrives at the standing stones. One of them, an animal trainer by trade, makes an attempt to mimic the terrifying howl of the Hound... and rolls a natural 20. The guards run away with alacrity, the scent of fresh piss in their wakes. Then, the party arrays itself in waiting. This part of the plan takes some time, as they are trying to figure out (1) if getting on top of the stones will help; (2) if the prisoners (now chained rather than tied) should be freed or left in place--they decide to leave them in place, for some reason; (3) who will mount the animal trainers' ponies for a 'cavalry charge' against the ravening Hound; (4) how best to deploy the holy water against the Hound; and (5) where everyone should stand to wait.<br />
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Eventually they work things out, and the Hound arrives from the north, and the barrowlands. Things do not go well. Though two characters are killed outright, and one more is wounded pretty badly, they are able to, through a combination of daring-do, pony charges, and shitty rolling on the part of the Hound (by Yours Truly), bind and slay the beast, which crumbles to ash before their very eyes. They free the prisoners and gather the ashes (They might come in handy, don't ya know), but decide to camp the night among the standing stones, hoping to return to Hirot in the morning. They slay one of the character's goat for purposes of a feast, build a fire, and eventually go to sleep. The night passes without further incident.<br />
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In the morning, they return to Hirot, claiming triumph over the Hound. Hearing the hubbub, the Yamash and Sylle Ru confront them, claiming that they lie. One of the characters (can't remember his name right now), has the gift of gab, and launches into a real stemwinder of an oration, displaying their dead and wounded (Nice job waving the bloody shirt, by the way, Chris), and even showing the ashes they carry with them. The crowd is impressed, by the Yamash persists in his shit-talking. Soon though, things begin to get a bit tense.<br />
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Uxo Jormal and some of the towns craftsmen and tradesmen have had enough of the Yamash and his councilor, and have decided this is the time for a coup. Uxo tells the Yamash to go stick it. He and the "town council" can do his job just fine without him, thank you very much. The crowd is impressed, and begins to make some noise about it. The party, though, is divided on this. Rebellion against the Yamash is tantamount to rebellion against the Empire, and could draw reprisal from Magyaru (and land them in a heap of trouble).<br />
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Sensing the tide turning against him, the Yamash turns to his councilor, Sylle Ru, but the reputed sorcerer is nowhere to be found. No one saw him go, and nobody is sure where he went. The Yamash is cowed by the revolting peasants, and flees back to his longhouse. He is trailed by two characters, who want to see what he is about, and maybe to find out what Sylle Ru might be doing, as well. They find the Yamash and his bodyguard arming themselves to take by force the power that is theirs by right, but no sign of Sylle Ru, who may sense a change in the winds of fortune, and may well have fled for more pacific climes. Either way, the Yamash and his men are well-armed, own warhorses, and are pissed right the hell off.<br />
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Next time: Will the party lead the rebellion, follow the Town Council, or get the hell out of Hirot? Tune in to find out!Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0tag:blogger.com,1999:blog-5120192668802762351.post-82039649617869760272014-10-14T14:19:00.002-04:002014-10-14T14:19:27.529-04:00Lacuna Locurae Play Session Report 2: Fetch me my aura stretcher!<a href="http://revdoctoredj.blogspot.com/2014/10/lacuna-locurae-play-session-report-1.html">When last we left our zero-level schlubs</a>, they had rescued Lilya Jormal, the Innkeep's daughter and snuck her back into town. Unfortunately, their heroics would bear gruesome fruit. Later that night, The Hound would strike the town. The victims were a fisherman and his family, all of whom were slaughtered. Their home had been ripped asunder. Some members of the party decided to investigate.<br />
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When they arrived on the scene, the found Sylle Ru, the Yamash's councilor already at work, attempting to discover more about the beast. Harris (the aspiring apprentice wizard, hereafter knows as "Harris Patter") decided she would seek wisdom from him. She inquired what he was about. He answered her gruffly, asking her who she was, and why she wanted to know. She volunteered her name, and desire to be a wizard. He seemed unimpressed. So, she continued to pester him. Soon, her incessant questioning annoyed him past all endurance. "You want something to do, then?" he asked. "Fetch me my aura stretcher!"<br />
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Harris, not knowing much about magic, and never having worked in the construction trades, did not realize that he had sent her on a wild goose chase. [Authorial aside: Similar to when I was asked, by one of the carpenters on a construction job, to fetch a "joist stretcher" from my uncle. My uncle, upon hearing my question, fetched a toilet plunger, attached an electrical junction box to it, and told me to, "Tell him I said to shove this up his ass."] In any case, she soon realized the ruse, but returned to find the councilor gone. However, she would not be forgotten, oh no...<br />
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Other members of the party, though, sought out the witch, Ymae. They arrived at her squalid hut to find an old woman weaving golden thread from the flames of her cooking fire. Surely she must be quite powerful, both to accomplish such a feat and to avoid the wrath of the Temple of Luz (which abhors sorcery and witchcraft). After speaking to Ymae for a bit, she offered that she might have a way to make the Hound vulnerable to mortal weaponry, but there would be a price: One of the characters would have to marry her. After some discussion, someone agreed to do it. She rewarded them with a rope made of corpse hair, all magicked up good, and (supposedly) what they needed to get the job done.<br />
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About this time, the Yamash, Sylle Ru, and the Yamash's body guard descended on the town square. Clearly, the Hound had taken its revenge on Hirot the night before, leading Sylle Ru to proclaim that the sacrifices had not been accepted for some reason. Investigation led to the truth of the matter. It would seem that, in the absence of the PCs, Lilya's presence in the inn had been discovered. So, her life would remain forfeit. Even worse, another sacrifice would be selected in the lottery. If there was any doubt whatsoever, at this point, that the lottery was rigged, it was dispelled. The Yamash selected a name (among which were all of the party's names). "Harris Potter!" he proclaimed, and Sylle Ru smiled nastily at the lass. Lilya and Harris were quickly corralled and led away until such time as they would be taken to the standing stones.<br />
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Also, in an act of kindness seemingly uncharacteristic of him, the priest, Beacon Duu, of the Temple of Luz, attempted to provide comfort to the party. He believes the Yamash's councilor to be a sorcerer, and wicked through-and-through, but feels powerless to gainsay him, lest the Yamash decide to dispense with him and his acolytes. Clearly, there are faultlines in the power structure of the town of Hirot.<br />
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Can the PCs rescue Harris? Will they be able to slay the Hound? Can they get to the bottom of Sylle Ru's fiendish plot? Tune in next time to find out.Anonymoushttp://www.blogger.com/profile/00310118896949396274noreply@blogger.com0