Mostly AD&D 1st edition based in the World of Greyhawk and other stuff that strikes my fancy
Get your tissues handy! I’ve got a little gift from me to you today, written long before I found publication and was raw with the need to reach and connect, and short on literary grace. You may have seen this last year, but it still makes me cry.
Angel’s SongSilent night, holy night.
by
Kim Harrison
All is calm, all is bright. . . .
Humming, Kaylin held her coat close against the cold, more from habit than anything else as she dodged through the unseeing, evening shoppers. She was anxious to get home. Her work had seemed to stretch forever today, but finally The Boss had let her go. She couldn’t wait to see her daughter–it had been too long since the entire family had been together.
Slipping at the bus stop, she grasped the door to the bus, just making it on behind two tired women as the doors closed. The sound of their money jingling into the box chimed like bells, and the bus jerked into motion. Kaylin stood where she was, gripping the ceiling support as the gears shifted. Her gaze rove over the heads, looking for acknowledgment she existed. There, at the back where the heat didn’t reach, was a smiling face and a beckoning hand.
Though she didn’t recognize him, Kaylin went to sit with the old man. She smiled shyly, the anticipation of her coming evening prompting her to be more bold than usual. “I’m going home for Christmas,” she said by way of greeting as she jammed her gloves into a pocket.
“First time?” the old man murmured, his brown eyes going sad in memory.
She nodded. “Since my accident. I can hardly wait to see everyone together.” Kaylin put her hands in her lap, glad she couldn’t feel the cold anymore.
The man met her eyes. “See that boy up there?” he said, pointing with his chin. “I’m spending Christmas with him. He’s a college student on his way home. He needs all the help he can get, and my family doesn’t miss me anymore.”
Kaylin bit her lip and fussed with the hem of her coat’s sleeve, uncomfortable with the idea she would eventually be forgotten. “I’m sorry.”
“Don’t be. Make the most of the time they remember you. As it’s said, it came to pass.”
She didn’t know what to say. “This is my stop,” she said, glancing out the window to the colored lights.
“Best hurry. The door won’t wait for you.”
Giving him a hesitant smile, she hastened to the front, edging to the sidewalk past the three girls giggling about the presents they had gotten for their boyfriends.
Kaylin’s mood went soft as she took in the familiar street gray with twilight. The curb was jammed with cars. A noisy, joyful reunion on her front steps had the dogs barking. Excitement tingling to her toes, Kaylin waited on the walk, following the last of the children inside.
Her shoulders eased as she stood in the entryway, basking in the cheerful clutter and the too-noisy greetings. She waved as she spotted her grandmother in a corner, deep in the thick of it. The old woman’s eyes sparkled as they met hers. Her fingertips again had a rosy glow, and the blue tint Kaylin remembered was gone.
“Jasmine is in the kitchen!” her grandmother called over the noise. “Go on. We’ll talk later.”
Relieved her grandmother understood, Kaylin followed the smell of heated punch into the kitchen. She stopped in the open doorway as her heart clenched.
Jasmine stood on a chair before the counter, stirring a cup of green frosting. “I can’t do it, Daddy,” she complained, her high voice clear over the excited babble of relatives. “It’s too hard.”
Kaylin’s hands reached out, but she stood unmoving, forcing back the unexpected tears as her husband set aside his dishcloth and went to their daughter.
“Mommy always helped me, Daddy,” the child said around a sniff as his hand covered hers atop the spoon and they stirred together. “I want Mommy. I miss her.”
“Hush,” he said, the pain in his voice causing Kaylin’s throat to tighten. “I miss her too, sweetheart, but look. She’s everywhere, especially tonight.” Eyes bright, the man pointed to the dusty Christmas candles Kaylin had refused to burn, sitting on the kitchen windowsill. “There are her candles, right where she always put them. And the mistletoe above the doorway? She made that just last year. And the bow? Remember her spending an hour on that to get it to look just like the one in the store window? And you can smell her touch in the gingerbread men and taste it in the fruit punch. She’s everywhere.”
“No, Daddy,” the small girl protested. “It’s not the same. I can’t see her at all.”
“But I can,” he said, giving her a hug. “I can see her in you when you cut out your star cookies, I watched her hand move yours when you hung the ornaments on the tree, and I can see her eyes when I look at you. So, Jasmine, she is here.”
“I can’t see her,” Jasmine said, sniffing as she licked the frosting from a finger.
Kaylin ached. The Boss had warned her it would be hard, and she thought she could handle it. But this? This tore at her. Kaylin came close to stand behind her daughter and nudged a cookie, as if she could make the star any less lopsided. Perhaps . . . . Perhaps she could pretend.
And so she was a silent participant, each moment harder than the previous, a bittersweet mix of memories. She hovered in the kitchen while dinner was prepared, blowing on the gravy to keep it from boiling over until someone remembered it. She watched the rolls brown through the oven window with Jasmine, admonishing the child they weren’t done yet when Jasmine pronounced them finished. She stood in the archway to the living room and worried about the carpet as paper plates overflowing with food were balanced on knees. She sat at the kitchen table while the dishes were washed, catching up on the women’s gossip with her fingers curved around a forgotten cup until it was whisked away.
And then it was done. Kaylin knew the signs: the last swallows of coffee, the slowing conversation, the children collapsing in their mother’s arms. Kaylin sighed. She didn’t want it to be over.
Jasmine was slumped in her frills and white stockings in her father’s arms, too sleepy to be anything but content. Kaylin sat on the arm of the couch beside them, running her fingers unfelt over her daughter’s hair. There was one final tradition as yet undone, her most cherished part of the evening, and Kaylin’s heart fell when the first of the coats appeared. They had forgotten.
“Wait, Daddy.” Jasmine stirred as her father rose to say his good-byes. “We didn’t sing yet. Mommy always sings. Please?”
Kaylin waited, hoping.
“Of course, Jasmine,” her father said, giving her a hug. “You’re such a clever girl for remembering.”
Coats were dropped to the couch in the sliding sound of nylon. Her grandmother beckoned, and Kaylin joyfully edged closer to the piano. Jasmine wiggled down to sit on the long bench before the battered keys, her father standing behind her with his hands on her shoulders. Kaylin could see a glimmer of tears in her mother’s eyes as she took Kaylin’s usual spot before the piano and began to play.
“Silent night, holy night.
All is calm, all is bright.
Tears pricked at Kaylin’s eyes. Her favorite. Voice quavering, she joined her voice to her family’s.
“Round yon virgin, mother and child.
Holy infant, so tender and mild.”
“Daddy,” Jasmine whispered, her face upturned as she pulled on his sleeve. “I can hear Mommy singing.”
Kaylin’s throat nearly closed, and tears slipped down her cheeks. Angels could sing. And on Christmas Eve, they could be heard by those who listened.
Her husband knelt and gave Jasmine a tight, fierce hug. “So can I, sweetheart,” he whispered, rocking her. “So can I.”
“Sleep in heavenly peace.
Sleep in heavenly peace.”
 |
| after map by Dave Sutherland |
You are Spock
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John Ronald Reuel Tolkien (1892-1973) didn’t live long enough to witness modern video games, or play Dungeons & Dragons, or even to see his works turned into movies. But as The Hobbit proved popular, and Lord of the Rings (published in 1954 and 1955) later became underground hits in the 1960s, it was clear his vision of Middle-earth had struck a chord. “Frodo Lives” and “Gandalf for President” slogans began to appear on bumper stickers, T-shirts, and buttons. Fan clubs sprang up. As readers began writing him, pestering him for details, noting discrepancies in his universe, and wondering when he’d write the next installment, he began to see how fans could get sucked into his world.
While Tolkien was said to be secretly pleased by how devoted his audience had become, the attention also made him uneasy. He named his readership “my deplorable cultus.” He knew fantasy could be dangerous — a “vast game,” he once wrote to his publisher about his writings, which could be “fatally attractive.” Even to himself.
The reclusive British scholar, lexicographer, and Oxford don was, in a way, the original geek. He specialized in the rather mundane field of philology (the history of languages). Most authors of the early twentieth century were busy smashing Victorian conventions and reassembling the pieces into irony-laden Modernism.
Not Tolkien.
An amateur writer, he didn’t even read contemporary fiction. He eschewed the modern world. He had founded literary clubs with archaic names: the TCBS (Tea Club and Barrovian Society), the Kolbitars society (so named because they sat so close to the fire they virtually bit the coals), and the Inklings. C. S. Lewis, author of the Narnia series, was also an Inklings member. Tolkien hung out with these fellow egghead, Middle Ages-minded pals in pubs, where they drank ale, smoked pipes, and made up stories by firelight.
To Tolkien the medievalist, Icelandic sagas and thousand-year-old poems like Beowulf were the finest literature ever written. Domineering dragons and world-weary wizards seemed perfectly legitimate characters for twentieth-century fiction. That’s why The Hobbit made sense. And why it worked. Tolkien wasn’t bowing to literary fashion, he was geeking out on his own passion. He didn’t worry whether his novels were seen as high art or bedtime story; in fact, he was doubtful his creations would have any appeal beyond his children and Oxford colleagues like C. S. “Jack” Lewis. Surrounded by those who didn’t get it, Tolkien was ridiculed. “How is your hobbit?” his colleagues mocked. Despite peer pressure, Tolkien remained undaunted.The Hobbit was published 75 years ago today, on September 21, 1937.
The Professor felt compelled to invent legends because, he believed, Britain lacked its own, true, homegrown mythology. With The Hobbit and Rings, all Tolkien wanted, he once said, was to “open the door on Other Time” and “stand . . . outside time itself.” He succeeded.
Because the fantasy genre is well established today, and so lucrative for entertainment, we forget there was a time when the heroic fantasy was not pop culture’s go-to genre.
In retrospect, what Tolkien accomplished seemed minor. One book. But he was a trailblazer. He wrote fantasy when few others did. Most of his stories were epic in length and told in a lofty language. (The Hobbit was one of his few works not aimed for an adult audience.) Their plots unfolded over a span of many years and often put ordinary characters — like Bilbo and Frodo — in extraordinary circumstances that involved magic, battles, strange creatures, and evil forces. Their quests restored some primal balance to the world.
Of course, with The Hobbit, Tolkien did not invent the genre. But, reviving its rules for the 20th century, he hit the literary jackpot. Right author, right time. No one could have predicted how well his heroic, romantic, high fantasy would catch on.
As +Moe Tousignant has already mentioned over on Google+ the Advanced Dungeons & Dragons 1ed module Temple of Elemental Evil
is free for the next week and a half. This module is an all time classic. Granted there are lots of typos and errors within the module itself, it still remains one of the iconic mega-modules. I'm running it for a group right now that hasn't had the pleasure of exploring it yet. So grab a copy and relive the glory days, or better yet make some new ones.Napoleon’s Invasion of Russia
Published April 30, 2008 Charles Joseph Minard , History , War & Security 50 Comments
Napoleon Bonaparte began his ill-fated 1812 invasion of the Russian Empire with 422,000 men. With each step further into Russian territory, more and more soldiers died or deserted. By the time it reached Moscow, Napoleon’s army had dwindled to 100,000 men–already less than a quarter the size it had been at the start. During their disastrous retreat out of Russia, temperatures plunged to −37.5 °C. Nearly half the remaining survivors of the invasion were killed during the botched crossing of the Berezina River. Of the 422,000 men who set out on the invasion, barely 10,000 of them returned alive.
All this information is readily visible in the chart above, created by the French civil engineer Charles Joseph Minard, which ingeniously combined both a map of the campaign and a visual representation of the number of men remaining in Napoleon’s doomed army. The thickness of the line is proportional to the number of men in the army (one millimeter equalling 10,000 men), with the beige section representing the offensive toward Moscow, and the black line the retreat. Below, Minard also included a second chart showing the temperature on various days during the retreat (Minard used the Réaumur scale for his temperatures, as was commonplace at the time. Converted to Celsius, this makes the coldest part of the retreat a whopping −37.5 °C). For a large view of the chart, click on the picture above.
Although Minard includes a description above his chart, it is almost completely unnecessary; all the pertinent information is readily apparent from a close examination of the chart itself. Minard was a master at the production of maps such as these that combined tremendous amounts of data with geographic representations. Edward Tufte, an expert in the visual display of quantitative information, has called this chart “probably the best statistical graphic ever drawn.” More of Minard’s works will undoubtedly be featured here in time.
It’s also important to note why, on a blog about maps, the first post is in actuality more of a chart. Although the most striking feature of the chart is the thinning line of soldiers, the map in the background plays an important role, showing the cities and rivers the army traversed on its way into and out of Russia. This chart demonstrates how, with good planning a design, maps can operate in concert with many other types of information to create stunning displays of information.
I've been getting back into some Appendix N type reading lately and wanted to do a purely useful post for anyone who wants to get into "Appendix N" fantasy. I found this list tremendously useful when I was in high school as it pointed me to a lot of great stories that I still love.
Entries where volumes are in (parentheses) are individual books I've added to general names and/or series titles. Where possible I've pointed to in-print books and collections.
I claim no responsibility for any shopping binges you may go on after reading this post.
Anderson, Poul: THREE HEARTS AND THREE LIONS; THE HIGH CRUSADE; THE BROKEN SWORD
Bellairs, John: THE FACE IN THE FROST
Brackett, Leigh (The Sword of Rhiannon, The Ginger Star, The Hounds of Skaith, The Reavers of Skaith)
Brown, Frederic (Martians, Go Home, What Mad Universe)
Burroughs, Edgar Rice: "Pellucidar" series (At the Earth's Core, Pellucidar, Tanar of Pellucidar, Tarzan at the Earth's Core, Back to the Stone Age, Land of Terror, Savage Pellucidar); Mars series (Princess/Gods/Warlord of Mars, Thuvia/Chessmen/Master Mind/Fighting Man of Mars, Swords/Synthetic Men of Mars, Llana of Gathol, John Carter of Mars, Skeleton Men of Jupiter); Venus series (Pirates of Venus, Lost on Venus, Carson of Venus, Escape on Venus, The Wizard of Venus)
Carter, Lin: "World's End" series (The Warrior of World's End, The Enchantress of World's End, The Immortal of World's End, The Barbarian of World's End, The Pirate of World's End, Giant of World's End)
de Camp, L. Sprague: LEST DARKNESS FALL; THE FALLIBLE FIEND; et al
de Camp & Pratt: "Harold Shea" series; THE CARNELIAN CUBE
Derleth, August (The Cthulhu Mythos)
Dunsany, Lord (In the Land of Time And Other Fantasy Tales (includes Gods of Pegana), The King of Elfland's Daughter)
Farmer, P. J.: "The World of the Tiers" series (Volume 1, Volume 2); et al
Fox, Gardner: "Kothar" series (Kothar, Barbarian Swordsman, Kothar of the Magic Sword, Kothar and the Demon Queen, Kothar and the Conjurer's Curse, Kothar and the Wizard Slayer); "Kyrik" series (Kyrik: Warlock Warrior, Kyrik Fights the Demon World, Kyrik and the Wizard's Sword, Kyrik and the Lost Queen) ; et al
Howard, R. E.: "Conan" series (The Coming of Conan the Cimmerian, The Bloody Crown of Conan, The Conquering Sword of Conan) (Gygax neglected it, but Del Rey has his other work - The Savage Tales of Solomon Kane, Kull Exile of Atlantis, Bran Mak Morn: the Last King, El Borak and Other Desert Adventures, Sword Woman and Other Historical Adventures, The Horror Stories of Robert E. Howard)
Lanier, Sterling: HIERO'S JOURNEY (The Unforsaken Hiero)
Leiber, Fritz: "Fafhrd & Gray Mouser" series (Swords and Deviltry, Swords Against Death, Swords in the Mist, Swords Against Wizardry, The Swords of Lankhmar, Swords and Ice Magic, The Knight and Knave of Swords); et al
Lovecraft, H. P. (The Dreams in the Witch House and Other Weird Stories, The Thing on the Doorstep and Other Weird Stories, The Call of Cthulhu and Other Weird Stories - these are the Penguin editions with S.T. Joshi's introductions and notes; they are complete and superior versions to the scattered Del Rey books.)
Merritt, A.: CREEP, SHADOW, CREEP; MOON POOL; DWELLERS IN THE MIRAGE; et al (The Ship of Ishtar)
Moorcock, Michael: STORMBRINGER; STEALER OF SOULS (link is to recent Del Rey compilation of the original stires; also To Rescue Tanelorn, The Sleeping Sorceress, Duke Elric, Swords and Roses); "Hawkmoon" series (esp. the first three books) (The Jewel in the Skull, The Mad God's Amulet, The Sword of the Dawn, The Runestaff)
Norton, Andre (Witch World and many others)
Offutt, Andrew J.: editor of SWORDS AGAINST DARKNESS III
Pratt, Fletcher: BLUE STAR; et al
Saberhagen, Fred: CHANGELING EARTH; et al (Book of Swords)
St. Clair, Margaret: THE SHADOW PEOPLE; SIGN OF THE LABRYS
Tolkien, J. R. R.: THE HOBBIT; "Ring trilogy" (The Fellowship of the Ring, The Two Towers, The Return of the King) (also The Silmarillion)
Vance, Jack: THE EYES OF THE OVERWORLD; THE DYING EARTH; et al (Tales of the Dying Earth omnibus)
Weinbaum, Stanley (The Black Flame, The Lotus Eaters, A Martian Odyssey)
Wellman, Manley Wade (Who Fears the Devil?, Battle in the Dawn)
Williamson, Jack (Darker Than You Think, The Humanoids)
Zelazny, Roger: JACK OF SHADOWS; "Amber" series (The Great Book of Amber); et al (The Lord of Light, Creatures of Light and Darkness)
- MASSIVE ARTICLE ABOUT TABLETOP ROLEPLAYING ALERT -I have read a LOT of articles online about how to be a good Gamesmaster. It’s something that fascinates me. I get a really good buzz off a game gone well that’s hard to replicate without sex or drugs, and getting hold of those both often involves more effort than I’m willing to put in. I want to get better at running games; I strive towards it. It is a passion. I have read more books on Gamesmastery than I have on, say, the subject of my degree.
But it’s incredibly rare to find an article that teaches you how to play, and surely that’s more common? Surely for every GM there are, on average, four players? There’s this weird disconnect, that the responsibility to entertain lies squarely with the person behind the screen, and that the players just turn up and absorb it. And that’s bollocks, clearly.
So this is a thing I have written, because there is not enough of it online. It is a handful of tips on becoming a better player. I have absorbed and stolen it from a few sources, such as this thread that I started on Reddit and from my friends on Facebook, this video on Improv and Graham Walmsley’s book Playing Unsafe. Thanks to everyone for your wisdom.
A note: I am not perfect! Obviously. Looking at my face would tell you that. But I cannot pretend that I embody all of these things all at once all the time; they’re just advice, I guess, extrapolated from more than my fair share of time spent playing RPGs on both sides of the screen, and looking at players and seeing what I like and what I dislike. Hopefully you can get something useful out of it, if you play a lot of games.
ONE. Do stuff.
Job One for you as a player is to do stuff; you should be thinking, at all times – “What are my goals? And what can I do to achieve them?” You are the stars of a very personal universe, and you are not going to get anywhere by sitting on your arse and waiting for adventure to come and knock on your door.
Investigate stuff. Ask questions. Follow leads. No-one needs you to point out that this is an obvious plot thread while you do it. Mix up scenes, talk to people, get up in their grill. If you’re not playing the sort of character that would do such a thing, find something you can affect, and affect it.
If you keep finding yourself pushed to the back of scenes and twiddling your thumbs – why is such a boring character hanging around with the sort of people that Get Shit Done?
Be active, not passive. If you learn nothing else from this article, bloody learn this.
TWO. Realise that your character does not exist outside of the things you have said.
You can write as many pages of backstory as you like, mate, but they don’t factor in one bit to the game unless you show them happening. Are you a shrewd businessman? Cool. Do some business, shrewdly, in front of everyone else. Are you a hot jazz saxophonist? Play the saxophone. Are you a wild elf struggling through social interactions with civilised people? Struggle through those interactions! Don’t go off and sit in a tree, you prick!
This ties back into the first point, really; you only exist through your actions. It is not the responsibility of other players to read your backstory, and their characters cannot read minds. Well. Some of them can, but you know what I mean. They shouldn’t have to.
So display your talents, your traits, your weaknesses, your connections. Take every opportunity to show, and not tell, the other people at the table what your character is about.
THREE. Don’t try to stop things.
Negating another player’s actions is fairly useless play; it takes two possible story-changing elements and whacks them against each other so hard that neither of them works. For example, your fighter wants to punch some jerk, but your monk’s against it, so he grabs the fighter’s hand. In game terms, nothing’s happened. All you’ve done is waste time, and we don’t have infinite supplies of that.
Instead, go with the flow. Build. If the fighter wants to break someone’s nose, what happens after that? Does your monk rush to help the jerk up? To admonish the fighter? To apologise to the jerk’s friends, before shit really kicks off? To save the fighter in the big brawl that ensues, even though he was going against your will? Or to throw the biggest guy in the tavern right at him, to really teach him a lesson? Those are all examples of interesting stories. Stopping him from doing anything whatsoever isn’t.
Don’t negate, extrapolate. (See, that rhymes, so it’s easier to remember)
FOUR. Take full control of your character.
“My character wouldn’t do that” is a boring excuse, a massive NO to the game’s story on a fundamental level. It’s a point-blank refusal to participate.
Instead of being bound by pre-conceived notions of what your character would and would not do, embrace complications and do it, but try to work out why. Why is your Rogue doing this mission for the church? Does he have ulterior motives? Is it out of a sense of companionship with the rest of the party? Characters in uncomfortable situations are the meat and drink of drama.
(Do you remember that great story about that hobbit who told Gandalf to fuck off, and sat at home picking his hairy toes all day before his entire village was swallowed up by the armies of darkness? No. No you bloody don’t. So put on your backpack and get out there, Frodo)
If you keep finding yourself having to explain your actions, or not wanting to go along with group decisions because of your character’s motives… well, sweetheart, maybe your character’s motives are wrong. They’re not written in stone. The group’s the thing, not your snowflake character, and if they’re not working, drop them off at the next village and maybe try playing someone more open to new ideas. Maybe work with the group to build a character that fits in.
Your character is part of the story; this is not your character’s story.
FIVE. Don’t harm other players.
Oh ho, here’s a jolly thief that nicks stuff from the other party members! And their Sleight of Hand roll is so high that no-one will ever notice! Gosh, what a jape.
Fuck that guy. No-one likes that guy. (That guy generally plays Kender, and I am fully of the opinion that Kender should be promptly genocided out of all RPGs. I don’t think genocide is a crime if we’re talking about Kender.) If you steal from other players, you are exerting power over them in a really messy, underhanded sort of way. If they find out, what are they going to do? Are you going to force them to escalate? Is it fair if they kill you for it? Is that fun for them?
Similarly, attacking other players is awful, too. I’m okay with this where systems fully support and encourage this, of course – something like Paranoia or Dogs in the Vineyard – but, Christ guys, give it a rest. I am hard-pressed to think of a way where such a thing improves the game; if your group is fine with it, discuss it beforehand. But keep me out of it.
There are a whole load of things out there to steal from and beat up and kill that won’t get offended when you do it to them, so go bother them first.
SIX. Know the system, don’t be a dick about it.
If you know a system, you are easier to GM for, because you know your character’s limitations. You can calculate the rough odds of a particular action succeeding or failing, just like in real life. You can make prompt assessments of situations and act accordingly, because you understand the rules of the world.
(New players, of course, get a free pass on this one. But do make an effort to learn the rules, obviously, if you’re keen on sticking around in the hobby.)
But for the love of God, don’t rules-lawyer. Do not do that. It is not hard to work out, because here is a simple guide – if you are arguing over a rule for more than twenty seconds, you are a rules lawyer. You are the Health and Safety Inspector of roleplaying games, and you need to stop talking, because you are sucking the fun out of the game.
There are times when the rules are wrong, and that’s fine, but I’m hard-pressed to think of that time the guy remembered the rule and we all laughed and had a great time because he made the GM change it.
SEVEN. Give the game your attention. If you can’t give your full attention, step away from the table.
Hey! What’s that you’re playing, on your phone there? Oh, is it Candy Crush Saga? That’s funny, all these dice and character sheets gave me the impression that we were playing Dungeons and Fucking Dragons, I must be terribly mistaken.
It is hard to think of a way to be more dismissive of someone’s game than playing a different game during it. If you find yourself getting so bored by what’s going on you’re resorting to playing a game on your phone, or reading a book, or checking Facebook, then step away from the game. You are draining the group with your very presence. I would rather have an empty chair than someone who wasn’t paying attention, because I don’t have to entertain an empty chair.
And of course, it’s up to the GM to offer an entertaining game. This is not one-sided. But going back to point one, act whenever you can. Give them something to work with. Unless you’re paying them money to do this, they are under no obligation to dance like a monkey for you just because they’re behind the screen.
EIGHT. If you make someone uncomfortable, apologise and talk to them about it.
I have a rule in my games, and that rule is: “Nothing fucks anything else.” Simple. Clean. Elegant. No sexual conduct; it’s weird, often. I’ve had seduction attempts, obviously, and that’s fine. I’ve had characters deeply affected by rape. I’ve even had someone negotiate time with a skin-thief alien to reanimate a cat for the purposes of sexual pleasure as part of a heist. But, and this is the crucial thing here, nothing fucked anything else “onscreen.” And if you’re thinking, “Ha ha, okay then, but is fisting all right?” then fuck off out my game, sunshine.
And that’s the point; in situations like the ones we find ourselves in on a weekly basis, it’s easy to make people feel uncomfortable. Maybe it’s as blatant as discussing dead babies or bestiality; maybe it’s something much more benign, like being rude or chatting them up in-character.
If you think you might have upset someone, then ask ‘em, quietly. And if you have, apologise, and stop talking about that particular thing. It’s not rocket science; that’s how existing as a functioning social human being works, and somehow because we’re pretending to be a halfling for a bit, we often forget how to do it.
So, you know, be nice. Be extra nice. No-one’s going to think any less of you for it.
NINE. Be a Storyteller.
The World of Darkness books call their GM a Storyteller, because they are very obviously unable to call a spade a spade. But they have a point; a GM is telling stories. It’s easy to forget that the players are doing that too.
So put some effort in, eh? Say some words. Develop a character voice and stance. Describe your actions. Work out a level of agency with the GM so you can chip into wider descriptions, or just make assumptions and describe it and see if it sticks. A good GM should go with what you’re saying, anyway, unless it really goes against their plan.
Similarly, brevity = soul of wit, and all that. A good GM doesn’t monologue, or have their NPCs have long discussions, or make players sit back and watch while their world plays out. So know when to shut up, and to keep your descriptions short – unless you’re an incredible storyteller, of course. But short and punchy is always better than long and flowery.
God, this is an awesome picture. Credit to jubjubjedi on Deviantart
TEN. Embrace failure.
Failure can be embarrassing. I know that I get pretty het up when the dice don’t favour me – when I’ve spent ages waiting to have my turn in a large game, say, or when I’m using some special power, or when I’ve been talking a big talk for a while or described some fancy action – and I use some pretty bad language, too. And not “fun” bad language, like we all do when we’re gaming. Like threatening “is this guy okay” bad.
And that’s not cool. I need to learn to treat failure as a story branch, not a block. Why did I miss? Why didn’t my intimidation roll work? Why didn’t I pick the lock? Why was I seen? Who worked out that I’m the traitor? What other options can I explore?
Some systems build this in by default – Apocalypse World, for example – and they give you the ability to somehow affect the world whenever you roll the dice, not just fail to affect someone’s Hit Points. That’s great! We need to get ourselves into that mindset by default. We need to view failures as setbacks and explain why our character didn’t achieve their goal, and we need to understand that failure is not the end of the world.
ELEVEN. Play the game.
This is a game. This is not a challenge that exists solely in the head of your GM. This is not your character’s personal story arc. This is not your blog. This is not an excuse to chat up one of the other players. This is not a table to sit at in silence. This is a game.
We have signed up to play a game together. We are all telling a story with each other, to each other, and the story comes first. Step back from the heat of combat; step back from your character’s difficult relationship with their half-Drow mother; step back from the way that the Paladin’s player keeps stealing your dice.
This is a game. Respect the other players. Respect the story, and act in service of it. Respect that you will not always get your way, and that not getting your way can be interesting.
Do what is best for the game. Do what is best for the story. Be active! Be positive! Be interesting! Change things! If you can’t walk away at the end of the night with a good memory, with something that you could talk about in the pub in years to come, then everyone at the table has failed.
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| IM3 final from ColliderVideos on Vimeo. Spoiler free |
Dungeons of Dread is the reprint of the classic S series modules
(S1 - S4). This is a nicely put together package of some killer
modules, that I never had the good luck of actually playing all the way through.
