Arthur’s Progress

So. At present the second Apocrypha manuscript, which includes the Arthurian setting, has about 6,000 words in it, which means that it is, I think, more than the main Essence rules. There is more hand-written to add to the manuscript, but I wonder if it will go the way of Rocket Jocks, where I was aiming for 16 pages, then 32 pages and then it ended up about 128 or so.

Of course, the elephant in the room with Arthurian RPGs is Pendragon from Chaosium. There I am lucky. Despite loving RuneQuest, Call of Cthulhu and Stormbringer, I don’t know Pendragon at all. I created a character for it once. That’s it. So I can proceed in ignorance.

I’m getting to recycle some research in this project, and also Borderlands. Borderlands has been part written as two RPGs, a wargame and the start of a couple of novels, so it’s good to see it feed into my vision of Arthur’s Britain.

It want it be a mix if history, traditional Arthurian legend and faerie tales, so I think I ave something worthwhile to aim for, and I hope I can pull it off (ooh, Missus)

What to to next.
Character generation
Equipment
Maps (and hope I can persuade Andy to do a decent map)
More magic
Finish the included adventure
More on religion

Strewth

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Highs and Lows

Believe it or not I have enough thoughts for a couple of different strands of thoughts, so rather than have one long post with different themes, I’ll split it into a couple.

I’ll start off with the low. There’s been a wee struggle going on for a few years between Steve Turner (MD of Brittannia Game Designs Ltd, publishers of C&S and C&SE) and some individuals who are chopping and changing C&S1 and putting it on the web tie after time.

Now I love C&S1. It showed me there was more to Role-playing than just dungeon bashing. I am aware, however that there are issues. E.G. At that time the Tolkien Estate hadn’t woken up to the fact that people might want to role-play in Middle-Earth, later they did and you couldn’t include that in an RPG without paying Tolkien Enterprises for the privilege.

There’s other problems, but I’ll leave them be.

So. You have these persons unknown doing these retreads. What’s the result?

Steve and Sue, as Company Officers of BGD have to defend the investment they have made in C&S. They have no choice. It is the law. Nasty things will happen.

So they have spent, time and effort defending that investment. I imagine quite a lot of stress too. Not only that, the profits of C&S Rebirth ad to go on legal fees.

Yet the guys causing this hassle claim to be fans.

Moreover there are other people who claim not to be involved, but are cheerleading from the sides. Even if you believe they are not involved they are constantly posting links. The problem as been explained to them, but they do not care. That saddens me, that they want to add to the stress I’d Steve and Sue.

Moreover, see the time and effort that is required to do all this takes away from producing new material. I’ve had stuff delayed because of things like this. Seriously not the behaviour of a mensch.

Now the bit of a high. C&S Essence as been nominated for an award at the up and coming UK Expo. I didn’t have much of a hope for winning, but hearing the competition, The One Ring, Abney Park’s AirShip Pirates and a Steampunk game from Wiggy, who is a creative genius, I wouldn’t vote for me. Unless the the judges go for a cheap and occasionally sarky text.

It’s not really a low though. The One Ring I like and have bought. I have some of the music of Abney Park and like what I’ve seen of the game, and Wiggy is Wiggy. So, go me!

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The Matter of Britain

The “Matter of Britain” is a name given to the collection of stories about King Arthur and his Knights. When one reviewer wrote about C&S Essence not having the “High Fantasy” feel, though I would disagree with him on what constitutes “High Fantasy”, it was Arthur & his Knights I thought of.

Of course which Arthur to portray. Not the Oliver Tobias “Arthur of the Britons” or any attempt at a “real” Arthur, as I’m trying to avoid gritty, and the Mallory Arthur has quite a well known RPG framed round it, though it’s hard to escape Mallory.

So. What to do. I have decided on trying to frame it around a “semi-plausible” Celtic High-Kingship in the Post-Roman state. There will, however, be plate armour and lances, though at the moment I’m tempted to make that Cataphract (scale and bar) armour rather than Excalibur shiny.

I had thought it would be a simple pickup, this was when I was still thinking of the Apocrypha as light freebies, but as I get into it, if I want to a good job, then It’ll be a bit of work.

Everything I think of just adds more work. Changes to Magic, Fabulous Beasts, the Otherworld etc. it all needs a good, hard think, and not a bit of research.

Oh well, this isn’t setting things down, back to the reading

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And now C&S Apocrypha is available for free download

The first set of extra writings is now available here C&S Apocrypha

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It’s been a bit slow, but the first C&S E update is with the editors

Hey there

The 1st set of C&S Apocrypha has just has some final tweaks and additions of the main text, including one rule genuinely left out of the main rule book by an oversight. D’Oh

Mainly this contains some clarifications, the Queen’s Falconeer’s intro to the Serpent of Pont-t-Tawe, some additions to combat and other skill uses, some notes on balance and designer’s notes. I’ll blog when it is out.

Now onto the second Apocrypha. I imagine that, even if the first is free, the second might have a small charge for the work.

In the meantime, here is a small Trebuchet in action or, here the same film redone using effects to make it look like an older B&W film.

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O wad some Power the giftie gie us, To see oursels as ithers see us!

I often do. Sort of. Peer review when writing can seem quite harsh. You think you’ve crafted some bit of perfect rules then somebody breaks it apart doing ridiculous things that no one in their right mind would ever do. It breaks your heart.

Of course the reviewers are right, still hurts though.

The reviews of the finished product often, in me, at least, bring our regrets. As in, I wish I had added more there explaining my thinking. I still agree with what I have done for the same reasons, but at least the reviewer could take that into consideration. Still makes it more my problem, of course. If I didn’t do it then I didn’t do it.

I’ve written review myself of course, but something happened last week that was different. I was given a scenario to look at with the possibility of it being published as a C&S Essence adventure.

I found fault in it. Some because it was obviously a D&D adventure so some of the housekeeping stuff was flat wrong. Easily fixed but it makes me worry about how much the author read the original rules. The other part is to do with flavour and suitability, with a fair section on writing style. All fixable though the “inner circle” could argue about who does the fixing.

However the thing that is telling is the other side of the peer review process. This one is different. I don’t know the author (I think) and I haven’t been involved in an early stage. Ostensibly this was a finished piece of writing, bar editing and some graphics, but my conclusion was that it needed a rewrite, to recast the writing style, and I say this as a writer who veers from ‘Civil Service pedantic’ to ‘too far conversational’. I would also change a few details of some of the participants to suit what I think of as “proper C&S”.

Here I often argue with Steve, because I have a pretty high-faluting idea of what proper C&S is and, of course, I’m right and he’s wrong. Stands to reason.

The thing that occurs to me is that this is because, in a peer review rather than a magazine type review, we concentrate on the negative so as to get it fixed,rather than the positive,so the whole lot can sound a bit like an attack. So, I think peer review feedback should include both! So the person knows what we think works and can do more of it!

In this case, if actually concentrate on the scenario, It’s not half bad. It suits my own type of plots just fine. It’s the presentation and a few details I found issue with, and I’m only glad that the author wasn’t there when I came to them, because I know, from personal experience, even if you think you are relaxed about criticism, you’re not, not really. My initial comments and the way I expressed them, being short notes so remind me what I had thought so I could discuss them with to others would have come across as bitterly harsh.

So, in the end, when I get to put my comments back. I’ll remember how galling it is to have some know nothing idiot declaim on your magnum opus, without revealing any glimmer of understanding, and try to assert the areas that I think need changing, without coming down with my size 10 steel toecaps in full flame war mode.

It’s not big, and it’s not clever

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It’s all about the style

I was reading this blog post (thanks to the RPG Blogger twitter feed) and it struck a chord. I think he’s not being totally accurate. I remember E. Gary Gygax being very proscriptive, his way or else, but in general the things are as described.

I did play a little D&D 3 over the internet with a pal, and my character had one trait that meant, if he caught an opponent unawares or off guard, he got lots of extra attacks. THe system seemed set up to let the powergamers run rip.

However in the old days, because there was less, people got a chance to adapt and have fun, home-brewing answers to questions as they came up, and that inspired others to create their own RPGs.

I was talking to day with Steve Turner, second in command at BGD who publish my C&S Essence RPG, and he was feeding back questions about things they players he was with would like to know about, in this case what difference reach of weapons made.

Now in this instance they have access to the publisher and through him the writer (and the inner circle he relies on to give his ideas their first sanity check) but it was nice to think that the group were prepared to do something about it if they felt they had to.

If you’ve read the other articles, you’ll know I had reasons for limiting the combat options, as I’d like a system that isn’t horrendously slower than the action it is supposed to simulate, so any addition is optional, but so far I have prepared different attacks, hit locations with a slightly different armour set up and now rules for reach in combat, which means mapping fights.

I think the next things to tackle are prayers and mass. After that I have the High Fantasy setting to complete, though that may go into the same piece of work. Illustrations are required so the graphics tablet will see some use.

The question is though, has WoTC converted RPGers to expect all the answers and to not adapt the game to suit themselves. Some responses I have had to my writing over the last few years suggests that a lot of players don’t like gaps. When you’re writing a light, cheap RPG that is potentially a problem.

If you’re writing an expensive, comprehensive RPG it’s even worse I suspect, the gaps will be resented even more. So. In addition to trying to tighten everything up with as few rules and special cases as possible, I think I may have to try and arrange some sort of feedback method, to answer the inevitable questions, which would be good, because at least it would mean people are reading and playing the game.

One place where you can add feedback or ask questions, in an informal way, is Shane DeVries’s forum

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Do the dice fall where they may, or it’s time to Insta-kill

There are different way people run their games. Some see themselves as impartial umpires. The dice are the will of Fate, and the dice fall where the dice fall.

Some are interventionist to a great degree, although not always to a fair degree, favouring some players over others, or making things either too tough or too easy for players.

I try to be a wee bit of an interventionist. Generally I let the dice do their job, but if there is a run of bad luck or something particularly undeserved occurs, I might allow a chance to escape, or perhaps the
situation, while dire, can be escaped, if the people involved think on their feet fast enough.

E.g. the group are crossing an ice bridge high in the mountains, they are taking precautions, tying themselves together, using poles with pikes to try and increase grip, but still there is a roll to see if the slippery bridge is crossed.

Martin rolls a 20, a fail, and a dangerous fail, he has to roll again to avoid a critical failure, but he rolls a 20 again, he slips and falls. The next two in the line must roll to avoid being pulled in as well, but
they fail also.

A Umpire style GM would follow that line, the characters are in danger of plunging to their deaths, soon to be forgotten.

An kindly interventionist GM might create a Deus ex Machina that resolves the situation, or even just allow the dice to be re-rolled. A slightly less kind interventionist GM (Me for example) might put another partial ice bridge under the first Martin falls onto. Martin is injured, the others have slipped and the partial bridge is cracking. What will the players do. I might even say “You have a count of 20 to try something”

It depends on the situation.

I don’t try and kill player characters or have them suffer meaningless deaths, but somethimes these things happen, but I try and let REAL bad luck or wilful stupidity be the driving force behind that. Let me repeat
that, it has to be WILFUL, stupidity.

An example.
I had adapted the old TSR “Tomb of Horrors” to my GURPS “Archworld Campaign”. Archworld is a setting for an old FGU Wargame where there are a number of cultures in Central and South America ranging from 17th Century Musket users to nomadic tribesmen. The iconography has a Meso-American feel and to the far north, in the Ice-lands are evil hordes ruled by seven wizards.

So I placed the Tomb as a Labyrinth to get into the base of a forgotten Aztec style pyramid in an overgrown city where the ghosts of the dead, not knowing they are no longer alive, keep reliving the assault that killed them ages in the past. Finally the group get to the centre. Placed in the centre of the chamber, under where a hole happened to be at the top platform where sacrifices were made, is a glowing gem on a pillar, an opalescent sphere, covered in age old dried blood, radiating an almost tangible aura of evil.

This was the God of these forgotten people, the driving force behind the dangers that the group had already fought through. It was Ancient, intelligent and thoroughly unpleasant. So one of the group decides he is going to seize it with both hands and wrench it off the pedestal.

So what does kindly old interventionist me do then? I raised my eyebrows and said “Really?”. When he confirmed the other players said “We’ll stop him.” The chap was unconcerned “I’ll resist. I’m doing this”

I have to assume that he thought nice old me would prevent anything truly nasty being a consequence of this. I let the group roll to try and prevent this, but they failed. The character seized this blood soaked artifact and raised it high.

“Even if you wanted to you could not now put down the sphere. You feel your flesh sublimating away to leave only your skeleton left behind, that dissolves until only your ghost remains, you have just enough substance left to place the sphere back, and you are left, a ghost that does not truly believe it is dead”

In that instance the move to stop was the saving throw, but the stupidity was wilful, the act deliberate so the consequences, I felt and still feel, had to be taken.

I have said elsewhere that I regard GMing as an art. Not in some high-minded “I am a story-teller” sense, if for no other reason that it is the job of all the players, GM included to create the story, but just in the prosaic sense that hard and fast rules don’t work, because people are incredibly imaginative. If you think you have anticipated every possible response to a situation, you are probably wrong, so GMing is not a straightforward job of umpiring. Not that I hold with the GM as enemy theory either.

Given that, if you intervene sometimes to help the characters, you have to be prepared to do the other thing, to let the characters suffer the consequences of the player’s hubris. There are no save-points, even resurrections have their price and you are not there to be taken for granted.

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Your place in the story

This follows on from my previous post, and is basically me ranting on the same subject after criticisms I got in reviews of C&S Essence for the scenario that was included was my idea that the player characters might not, ever, get to know what was going on. I don’t do that all the time but it is something I do on occasion.

I know why I do that, but it’s never ever been something I took the time to explain, however an article I read recently about the difficulty of early D&D adventures got me thinking. The article is here and the Clark Ashton Smith story is speaks of can be found here. The thesis of those early D&D adventures seems to be the world is a harsh and uncaring place, sudden death, without meaning, purpose or honour is around every corner, whether it is being trampled by runaway horses or choking on your soup.

That wasn’t my reason for not involving my characters in everything, but it did prod me towards actually setting it down for once. In the D&D philosophy the story is the world, individuals don’t matter.

I prefer that the characters are heroes, so what they do does matter.  However my inspiration is from Tolkien. I have nothing against Clark Ashton Smith, the setting of my one published story is inspired by his Averoigne stories. In Tolkien the story can continue with characters entering and leaving like players on a stage.

However the story can intersect with other stories and plotlines. The characters from one meet the protagonists and antagonists of the other briefly but they do not necessarily know the beginning and the end of the others’ story. Merry meets and travels with Eowyn, they share part of the story of the Ring, but when Eowyn meets and falls in love with Faramir a story that started before she met Merry continues while he has gone his own path.

By keeping this in mind while there may be some frustration to the players in the short term, not knowing what is going on, it means that later pieces of news and actions might tie into the events they took part in. This gives some depth to a campaign and allows mew to pick up on seemingly inconsequential things and work them into something of more significance. I know that if I don’t do that, my players will, which makes the idea of trying to plan everything out in advance into a waste of time.

E.g. While accompanying a merchant they have to deal with the City guards who take a value of 1/20th of the incoming goods as the King’s Tax. In a later adventure the city they are going into has a different tax, 1/16. I decide to work in what was originally bad memory on my part into the local lord skimming from the taxes to hire mercenaries and brigands in preparation for a rebellion.They defend an outlying village (that has not being paying the taxes) from some of those brigands but do not, at that time, know about the rebellion.

They didn’t know about the rebellion at that stage, but later on they got involved in thwarting it, and earlier elements started to tie together as part of that, but little of it had been planned at the start, my original idea had been an expedition to a mysterious land, but that got lost in court intrigue.

If all is known, if all is wrapped up neatly at the end then that limits the scope for surprise, for inspiration and spontaneity by the GM, who can enjoy the way things develop by the way players interact with the World much more than if he or she is desperately trying to hold things onto the rails

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Why do I have a loose approach to scenarios?

I know I shouldn’t read reviews, but I do, mostly to get ideas for things I should add or improve or try and plug the holes in.

However an attitude I’ve seen in a couple of places didn’t concern the rules, but the scenario, for it not being specific enough. This puzzled me a small amount, because I used to try and set out THE THINGS THAT ARE GOING TO HAPPEN! only to find they never did.

Unless you are going to force your players along the rails, I’ve always found players will do their own thing. They will pick up on a small detail you just put in for flavour, assign it significance, and ignore the clue you thought might be too obvious, they will have their own expectations of the game, and play accordingly, in some cases to extreme. The obvious example I remember was me trying to run a Star Wars game with the characters Rebel Agents in the Corporate Sector, only to have them turn pirate and slaver. Why? Because they worked hard and wanted to blow off steam.

They wanted a game that let them indulge their sense of mischief (which probably included the fun in watching my face turn red as I tried to adapt to circumstances on the hoof) and I would have been better not being so serious and whipping up an old fashioned Dungeon Bash rather than a serious game grounded in politics and a “realistic” view of society.

The game going off the rails is not always a bad thing, if you can cope (big if there). I’ve had my imagination stimulated and been involved in fun games as the characters forged their own path, and I still had the original scenario just in case. Though the situation might change because of the choices, e.g. if supposedly meant to try and forestall an invasion, the invasion has occurred, and, by the time the characters return to the path, the characters now need to seize the opportunity to throw the invaders out.

So my experience has been rigid scenario definition doesn’t work, moreover my own practice has been to convert any scenario to my own campaign, and that is part of what I see as the “GM’s art”. Maybe I’m learning that not everyone sees it that way.

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