Thursday, 12 July 2018

I Interview Ben L of Mazirians Garden

I found this one really interesting.


The game with Sebastian - the Dreamlands and I story https://maziriansgarden.blogspot.com/... D&D, Escapism and our Hobby https://maziriansgarden.blogspot.com/... Ben on the City http://maziriansgarden.blogspot.com/2... http://maziriansgarden.blogspot.com/2... Bens Old School Manifesto http://maziriansgarden.blogspot.com/2... Playing Online http://maziriansgarden.blogspot.com/2...

Some of Bens after-interview comments from the original Hangouts thread;

Hey, I realized after the interview was over that you were asking me for recommendations for current OSR artists that maybe people didn't know. I talked about Tumblr instead.

Here's some stuff I'm currently digging:
Definitely Dirk Detweiler Leichty whom you mentioned, he's just amazing.

Also Jonathan Newell's illustrations of his mad city are very cool.

Thomas Novasel was also doing neat city stuff not too long ago, in the kind of John Blanche mode. A lot of crazy towers.

Evlyn M is well known but does wonderful things utterly in her own style.

Probably the one person who people don't know, because he's not on G+ and may or may not speak English, is Huargo whom you can find on Facebook under "Huargo Illustrador". He did absolutely amazing illustrations for the Japanese version of Tunnels & Trolls.




These are all Huargo

AND...



I like Hot Springs Island, Rey & Kiel are good people, I listen to Jason Hobb's podcast and Fear of a Black Dragon. If you read or played or listened to anything on here and you liked it then vote for it.

Tuesday, 10 July 2018

The Wodlands 8 - The Necropolis of Glass

1. The Plains of Aesthetic Fire.
2. The Antigoblin Empire.
3. The Whetstone Ridge
4 The Painted Plane
5 The Vermillion Sea
6 The Large Goblin Collider
7 The Wodlands



North of the Wodlands, between the Drops of Ink and the Whetstone Ridge, is a city of silent tombs, glass pyramids and sheer mountains of artificial crystal. The streets are clear, clean boulevards of pure white sand and smooth glass grains. Dawn rises each day on a city swept precisely neat. Hidden in the crystal hills are mirrored labyrinths, antiseptic mazes full of reflected shadows wrapped around the hidden Krystaphagi of the Illusory Lords whose tombs these are.

In daylight, from mid-day to eve, a Grand Goblin Market fills the streets. The enormous, perhaps incalculable danger of the Illusory Lords makes the Necropolis a near crime-free and neutral trading place. The horror and certainly terminal death of leaving as much as a handprint or stain on the surface of a Pyramid, equalises all. The stalls are set well back from the glass walls, narrowing the walkable space between. No-one litters, out of fear. Trading opens at noon (on bright days) and as the evening begins to fall, stalls shutter, traders flee and the Necropolis empties once more. By night the place is dead.


THE GREAT GOBLIN MARKET

From the Wodlands come criminal Goblins trading sticks, tricks and lockpicks. From the Ridge come pigs and uncomfortable Pig Knights. AntiGoblins from their Empire, in glass howdahs or containment chairs. Bedouin from the Anaesthetic Plains. From the Vermilion Sea come Invisibeetles, PenumBeetles from the Umber Woods, Painted People from the Painted Plane and others from the Reach and the Imaginary City. And of course, more Goblins. Goblins everywhere.



  1. Sticks, tricks and lockpicks - a common Goblin Stall.
  2. Goblin offering to Swap Crimes (with a Goblin Handshake).
  3. Goblin Lie Exchange.
  4. Goblin selling rusty knives & broken daggers, claims all are murder weapons.
  5. Goblin selling Goblin Weed.
  6. Goblin selling Poisons.
  7. Whetstone Ridge Pig Merchant keeping small Bristly Pigs under control.
  8. Uncomfortable Pig Knight.
  9. Manticore Bard claims to have trapped Manticore in inner song & has access to powers.
  10. Cryomaniacal Mercenary offers Cold Fusion trade.
  11. Secretive Apple dealer.
  12. Proud Waxer.
  13. Spy for a Crazed Theign on cryptic mission which can be neither explained or fulfilled.
  14. AntiGoblin in glass containment chair, guarded by firm mercenaries, hawking anti-gravity juice.
  15. AntiGoblin hawking strange equations.
  16. AntiGoblin selling topiary art.
  17. Masked Bedouin, armed with Goblin Gun, leads Xanthic Clinkerskipper laden with eggs.
  18. Sketchy Goblins claim to have boxed Anaesthetic fire - but say its too dangerous to open and check.
  19. Goblins trade red-sun opium from Vermillion Sea poppies.
  20. Vermillion Sea Goblins trade wild blue sugar cane.
  21. Goblins trading Dolphin meat.
  22. Goblin offers baby Technicolour hippo in trade.
  23. Disgraced but still proud Invisibeetle offers services as a duellist or bodyguard.
  24. Goblins trade copper scrap from old submarines.
  25. Goblin Scientists trade amber batteries full of P.I.G.G.Y energy.
  26. Illegal Peach Merchants.
  27. Wasp Egg sellers - highly perverse.
  28. Clam-Asbestos sellers from the Eastern Reach - sought by Bedouin. 
  29. Goblin Gun merchants.
  30. Magnesium merchant.
  31. Dealer in Amphetamine Cat glands.
  32. Painted People sell painted tools and weapons, foldable houses and small scenes.
  33. Painted Inquisitor seeking political radicals.
  34. Goblins trade Pigment itself, from the Pigment river.
  35. Hunters offer Captured Digital Effects.
  36. The Meta Fox.



THE ILLUSORY LORDS

Who lies within the mirror'd tombs and fills the Krystaphagi? Who requires such monuments and provokes such fear.

The Imaginary City, far to the south, past the Wodlands, can be governed only by Illusory Lords. Pinned in place by feigned constructed tyrants, unreal kings. Also named, in common parlance, the Conspiracy Kings.

Exact details of the Imaginary City are for a later record. Know that it is a place where nothing is ever happening *now*. Politically, there is no now. Things have happened, they will happen, are expected to happen, but there is no moment where they *are* happening.

Things begin as the forces of the old regime begin to spiral out of control. Denunciations, corruption, beheadings and tabloid journalism proliferate. Slowly things become intolerable.

The concept of the revolutionary leader must emerge, and be emergent. It cannot be centralised or planned, must come from the people, from rumour and myth.

At first, actions and qualities are assigned to them. They are intelligent, reclusive, with radical new  ideas. They are fearless, neurasthenic, perhaps they like oranges. They are a revolutionary, or a counter-revolutionary. They head a minority faction, they act from the shadows, they have a plan. But at first, nothing is found. Then, evidence come to light. They are placeless. The forces of the old regime seek them, but they cannot be found. No-one has seen them directly but there are distant reports. Then third-hand accounts -  a friend of a friend saw them in a public place. They were here yesterday. They are in the next street, in the next building. You hear them moving in the next room. The door moves.

But now, a now that is no now, it is already too late, the revolution took place yesterday, or the day before. There was chaos in the street There is a new regime now, they make laws, their face is on coins, stamps and post-boxes. The old regime must be deposed of, secured, kept safely away. Taken to the necropolis and buried, non-existent, but alive.

The old Illusory lords are very difficult to kill (being unreal), Tyrannical, powerful, and  hard to keep dead. In fact you need to build a giant glass pyramid full of mirror mazes and light, shining cubist reflections wreathed in diamonds, chained in diadems of diadems just to keep them slumberous and sleeping through the days they don't exist in. Then when it's dark & shadowy, or just very overcast - they can get wakeful again and wander around.

Meanwhile, in the Imaginary City, slowly, the new Illusory Lord goes insane, making ever more incoherent demands, acting as a tyrant. And in the shadows, whispers come of a new king who will depose them for their crimes.

All the Illusory Lords are revolutionaries from conspiracies of 1.

Some names of recent, now-entombed, rulers;


  1. Madame Lottery
  2. The Tribune of Reason
  3. The Unspeakable Crown
  4. The Restorer of Rights
  5. Breaks Twenty-Two
  6. The Avenging Applicant
  7. Scalpel of the Horde
  8. Judge Fragmentation Round
  9. South-barking Dog
  10. Prince of Knives
  11. Dark Arcturus
  12. Emergent One
  13. Thin-Skin-Hidden
  14. Lord Unlikely
  15. Prior of the Choir
  16. Queen Sigma Pi
  17. Dame Pain
  18. First Cuttlefish
  19. The Prime Remover
  20. The Optimising Eye




WHY GO IN?

Diamonds usually, legends say some floors are carpeted with them. There are also rare resins, sunstones, fragments of eternal and un-meltable Ice, glass fountains spewing bubbling pools of clear magical water, rare jellyfish, cellophane, calcite crystals, occult lenses, bountiful hordes of magical mirrors of every kind and the regalia of the illusory lord in life.

There are also legal documents, seals and manifestos. Adventurers might be asked to risk the tomb simply to confirm a will or bequest, end a long-running court case, clear an inheritance or even free someone from prison.

Many of these quest-givers are thieves trapped in well-guarded mirrors. Over time the crime lords of the Imaginary city have come to be made up almost entirely of these trapped adventurers.

All of them were trapped in the mirrors after failed expeditions into the Necropolis. (Of course entering a Pyramid is insanely illegal in every place, especially the Imaginary City.)  They were carried out by friends or allies and snuck back into the Wodlands or the Imaginary City itself.

They say it is pretty freaky in the mirror verse and they want out. Things are ok near the event surface but increasingly weird and troubling the further from it you get (like a boring but distressing parallel world).

Finding themselves in a precarious, delicate position, and unable to turn to the law, these resourceful individuals always end up turning to crime. Eventually, over time, their alienation from three-dimensional mankind, and their enormous vulnerability to being shattered, turns them into wrathful and dangerous killers, exterminating any even slightly potential threat before it has a chance to harm their mirror.

One of the only ways to escape the mirror might be to have someone attempt the same expedition that trapped them, avoid the traps, survive the pyramid, discover the secret to releasing them from the mirror-verse, and return it to them.

But few would willingly undertake such a mission, and so manipulations are engaged in. The mirror-men are not always behind every attempt to penetrate a Pyramid, but if one is organised, they will soon infiltrate it.




DANGEROUS SHIT IN THERE

Silhouette Machines - These can tear an individual apart or make their existence dependant on a strong light and  flat nearby surface.

Shattertraps - The commonest trap in the Pyramids. These stick you in a mirror which then tips over and breaks apart. Many individuals are caught by the trap, but the mirror saved from breaking by their friends. Whether this is a mercy on their part can be debated.

Saline Golems - Huge, smooth, slow, salty and non-infectious, the Saline Golems may be what carefully clean the streets of the Necropolis in the night. Their shape is tubular, humanoid and whacky, but difficult to spot, except for their fingers which are blunt trapezoid blocks which flash like prisms. Moderate contact with a Saline Golem can help cleanse wounds. On extended contact they fill the bodies ventricles and blow them open like bad pneumatics.

The Spritzenmann - Maybe the most awful and frightening creatures who guard the pyramids. These are silver needle automata, whose limbs and bodies are needles as fine as a hair. They stride, plinking along and jab frantically at anyone who breaks the rules.

Fighting them is terrifying as they can hardly be seen and extremely deep, microscopically narrow puncture wounds appear on the body with startling rapidity. The Spritzenmann themselves little but a hard to define blur of lines in the air. Grabbing them is like grabbing a long steel needle that hates you and lives. Their mass is so slight that blows only knock them away. If bent they scream and freak out.

They seem to both hate and fear living things and the staccato, spastic flailing of their raging and frightened needle limbs only adds to the terror.

Snakes in the Glass - Simply large glass snakes, that live in glass as if it were grass. Some of these may not even be aggressive but since they are almost impossible to see, one can step upon their hiding place and disturb them without realising. Then a huge anaconda like a mad chandelier bursts out of the smooth wall as if it were water and takes you down.

Guillotine Guys - Men made of eternally falling heavy glass blades. Like doorways torn into a dimension of transparent cleavers. Whether they mean to harm is not known. Touching one is disaster, embracing one is certain death.

Drowning Rooms - Tall rooms with invisible ceilings, or false ones, filled with utterly clear, utterly still water. The walls and door are glass. If the door is opened, the clear water flows out into the clear glass corridor and drowns anyone there. Trying to work out if an unopened room is actually huge and full of clear, still water, is a serious challenge in the Pyramids. The Sprtizenmann love these rooms.

Wednesday, 4 July 2018

Review of Amber Diceless



Amber Diceless is one of the most interesting games I've read. It has a highly original and distinct self and a powerful, coherent and forcefully presented point of view on what a game is and should be.

I had an equally powerful reaction to it. I was deeply impressed by large parts and almost revolted by others.

It is a very primal game. I'm not deeply read enough in RPG history to say this with absolute conviction, but, based on what I do know, Amber seems unlike anything that came before it and seems to have had a huge influence on many strands of thinking that came afterwards.

A big fat game from the 90's golden age of big fat original ideas, it stumbles into our Age of Rust like a charismatic megafauna into a rotting theme park.



COMPLEXITY

Nothing is ever simple.

Amber has 4 stats, 3 kinds of universal magic power, no dice and it takes 250+ pages of US Letter Size to tell you what to do with them.

One of interesting the ways it does this is with an extensive range of typed 'actual play' dialogue segments. I have never seen them used with such frequency in anything else. Few pages go by without a living example of the rules in the text. I think some elements of the rules might show up *only* in these actual plays. This this continual flow of imagined social interaction becomes something like a rules-chourus textual system. Like a proto-Youtube, text mimicking neo-orality.

(Like almost all examples of this kind, these sections are not actual actual play, but imagined actual play. Though likely based on situations the creator encountered in playtesting.)

There are few diagrams, simple layout, some images, but usually general idea-pool intensifiers, rarely examples.

The playtest and development environment for Amber (from what I can infer) also comes from that misty golden age of no internet, stable social networks, long, looooong persistent play groups and educated people having plenty of free time.

Development seems to have taken about 5 years (!), with Wujicik saying he read the full Amber series about 40 times, and ran multi-hour sessions weekly with a stable coterie of players for all of that time.

I'll start by talking about two of the harder elements, the opening Auction and the Combat, and how they interrelate with and express the games general conception.



THE AUCTION

So far as I know no-one has used the attribute auction system before Amber and no-one has used it since. (Corrections in the comments as usual please.)

There are four Attributes which decide conflicts between players and between players and NPC's;

Psyche - Brain Stuff and SUPER MAGIC.
Strength - Strength.
Endurance - Keeping going.
Warfare - All Fights Ever.

Each player starts with a character concept, which the rules tell them to work out in detail and picture clearly before starting, and 100 points to fulfil it.

Points can be spent on various powers, objects and pocket realities, but the main thing they buy are those four Attributes.

If two players come into conflict with each other, depending on its nature the conflict will be based on one of those attributes. Whoever has the higher attribute wins.

(It's more complex than that but we will get into that in the combat system below.)

So Attributes, particularly having a higher attribute than another player, particularly having the highest attribute of all players, is vitally important. To a large degree it lets you decide how the game goes.

Players can get more than 100 points by 'selling down' Attributes below zero, but I think once you do that spending those points in the same attribute you just sold down is pointless so its effectively a transfer system of a kind.

The Auction starts with a written bid from each player. Then open bidding. Then finally it closes.

Notable things about the Auction in play;

- It creates PvP conflict right from character generation. Everyone has a character concept which they are meant to have worked out in advance, and which is VERY IMPORTANT since, as the game repeats many, many times, your Character is more important than the rules.

So probably no-one will get exactly their desired character and probably this will be because they got into a conflict with another player.

- The bitterness of this is deepened as points can't be taken back. So if you get into a bidding war with someone and both of you break away from the herd, and the other person wins, that makes you permanent Second Best at that particular thing and you arguably 'wasted' all those points.

- A BEST PERSON is always produced and whoever is best at a particular attribute is clear, known to all and cannot be subverted by any means. So everyone knows who is the strongest or the best fighter or whatever. This sets up known unbeatable situations.

- The hierarchy below this is occluded. Everyone can see what everyone else bid, but after the bidding is done players can use remaining points to secretly buy their way up the ladder. The only rule is that a player can't become the BEST via this process.

So everyone *thinks* they know where they are relative to everyone else but no-one can be absolutely sure, other than they know for certain who is the best.

- Those who are willing to take risks in bidding and *roll deep* show up right away, conversely so are those who plan carefully and delegate resources conservatively. (Patricks and Brendans)

- The main SUPERMAGICS that PCs use to navigate around the multiverse which makes up the play space are very powerful, available from the start and cost a LOT. Pattern Imprint is the standard power and costs 50 points. Logrus is a secondary power and can't be used without Shape Shifting, together these cost 80 points.

And Wujcik turns up, in a special little box, to say this -



So you can have any character you want but in fact the system is carefully weighted towards a certain kind of character.

- Wujcik also advises the DM to tell first time players that each power they bid on is the most important, without reference to the others. I have no idea if this is intended to be taken seriously but if it is its Gygaxian Riddlemaster bullshit to a high degree.

- You can get points for doing session reports in character (I bribe my players with XP for this).

- You can also get points for taking 'Bad Stuff', which is luck, or fortune, or randomness. The results of potentially random situations are essentially a resource in the game, which you can pay for. 'Good Stuff' makes you perennially perma-lucky.

The DM is advised that the amount of Bad or Good stuff directly effects the way in which the world is described to the *player*. It effects the emotional tonality of what they see, the general heuristics of what they expect to happen or intuit from NPC's, it puts the DM in a slightly, but fundamentally different relation with the player.

This is only one of a wide range of ways that Wujcik puts the DM in a *very* complex relationship with the player and PC. Many of the other elements of the game are based around the DM carefully allowing and expressing some things while almost hiding others, and this shifts according to circumstance and event.

All this while also telling them - page 229, Rules of Engagement, Rule *1* - "Senses and memory must be truthful."

- There is also a bunch of other crap you can get, most of it relatively cheap compared to other games. A basic Amberite with Pattern but with no bids on any Attribute is essentially a god or demigod compared to any normal human.

..............

There are some powerful polarities or paradoxes here that show up throughout the book. It is in some ways a very 'soft' game. Its about Character and expression and the char gen is literally an adversarial competition.

Two Wujciks collaborated to make this game. Original Wujcick was kinda crafty and dirty and into numbers and systems and being clever, and he did a lot of the original work on the bones of the game and put in a lot of the cheeky, slightly nasty and manipulative stuff. Ascended Wujcik, after he has played for several years, is way past anything to do with competition and will directly tell you through the book that Amber isn't a game, its a tool for producing story and embodying Characters, which is the real, most important thing about it, the 'game' part of RPG can just be thrown out. They made Amber together, collaborating across time, and neither of them could have made it alone.



An aside - PvP

The characters are expected to be much more powerful than the worlds in which they adventure. Only a handful of super special NPCs can really threaten their lives. And family members and, of course, other PCs.

Is Amber, in some way descended from a PvP mindset? Like a dark distant ancestor whose bones are in the attic that no-one talks about directly?





COMBAT

Few things could be more elegant than Ambers combat system, but it only works because it is a vehicle for defeat rather than death, and for story rather than.. whatever the 'other' or opposite to story is. It is entirely a matter of description and 'fictional positioning' (not a fan of that phrase) mediated by the DM.

Victory is certain from the first contact, if things proceed, and the DM knows at all times who will win in any particular circumstance

So what is fighting in Amber?

- An experiment or game, or bluff, to find out how good someone really is.
- A trick, a PC intends to set up the use of some other element, either prepared or improvised.
- A Drama engine - all deaths have consequence, usually social consequence.
- Possibly a contest of thought and invention - if both have a complex mixture of close qualities.
- A testing of the wills of the PC (are they willing to get hurt?) and the players (are they willing to get their PC hurt?)

This means each duel or fight is like a complex game of exchanged description in which people likely approach each other slowly, aiming to find out as much as they can before they put themselves in danger, and usually pretending that they are more or less powerful, are another identity, have other motives or something else. Paradoxically, it has a *sense* of lethality and real danger. If someone has a higher attribute than you, they can simply kill you.

This is compared to D&D's actual, real unpredictable danger where a Goblin can maybe knife you at level one but which often feels like knockabout fun.

So people in Amber duels, which are often non-lethal, act a lot like people in real duels, feinting, shifting, being conservative, while people in D&D, which can kill you, act like mad tank people (sometimes).

And again, this puts the GM in a highly complex perceptual and moral position in relation to both the players and the PC's. The GM could be trying to accurately represent someone who is very effectively lying and bending the PCs perception based in their levels of Good or Bad stuff and doing all of this while trying to make sure that senses and memory are accurate and true.

So everything is thrown onto description and 'fictional positioning', in this its a lot like some OSR-esque rulesets like Into the Odd where much of the complexity is meant to come from placing yourself in the world.

The combat rules are 20 pages long, describing likely manoeuvres, tactics, common fencing or duelling ploys, as well as contextual elements like the meaning and results of any combat in the wider game. I would recommend that any game designer read it.

And all this delicate, precise fluidity is born of the absence of death.

Well, you *can* die, it's hard to. Even though Amber doesn't have hit points it does effectively have a wound system - being of a certain kind gives you what are essentially chances not to die

Amber rank is 3
Chaos Rank is 2
Human is 1, or zero

So the scum still die just not the reals. Should a Goblin have a chance to kill you? - is a question we all have to answer in our own way.

But in Amber I think you can push so much of the context for what happens in a fight onto the DM because it is not a field of lethal competition. D&D has hard, obvious rules because you can die.

".. there is a drawback to a purely just game. It tends to kill characters.

...

"That kind of mortality, where Amberites rarely die, should be true in role-playing Amber as well. The players investment in their Amber characters is just too great for them to die easily. It just doesn't make any sense for someone to put in two or three (or eight, or eighty) hours into a character, and have it wasted on a whim.

....

"As a Game Master you will sometimes be faced with a choice. Whether to run things justly, or whether to warp things to allow players to survive. Stick on the side of mercy, and, just to keep things "fair" give the same mercy to the non-player characters."

Combat as war.

Combat as sport.

Combat as story.



NO.

While I think that Amber is absolutely a brilliantly made and groundbreaking work, fully deserving of being included in the RPG hall of fame (despite not being a 'game'), I also dislike large parts of it.

I'll start with the first, most reasonable dislikes and then move onto to the formless Reaction.



GYGAXIAN DICKERY

Wujcik has a bad habit of manipulating people through play, this comes out worst in page 230 "Create Good Role-Players".

The way you 'create' them is to put them in holodeck episodes that teach handy little moral lessons.

Monster Bashers are to be tricked into killing innocents through limiting description of the event.

Rules Lawyers - "its important to side-step their rules and concerns", and in the example given, this isn't done through an out of game conversation but by literally shifting the reality of the game away from a testy but reasonable rules question.

"Why didn't my psychic cat notice this threat?"

Honest answer - "That's actually my fault, I forgot about the cat, we can rewind if you like or I can improv something from this point."

Wujciks answer -"It did! You just didn't *notice* it noticing!

Indifferent Players - Let them role play through ordinary shit to form an emotional connection and then the rush of power helps them get attached?

Ok, that might not be terrible but it is odd.

There is also one element of the book where Wujcik comes up with a bit of time-bending player dickery to nerf the power of the Trump deck because it makes players too powerful. Yes, an unstated in-world piece of manipulation to limit the power of a rule he himself created.

I think I can argue robustly that this is Bad Stuff regardless of where you stand on role playing.

We will now move on to...


FORMLESS REACTION

This is stuff I just strongly dislike but I don't have a deep intellectual reason I can give for hating it so stop reading now if you like.


CHARACTER OBSESSION

Stuff about playing in Character, i.e. not 'hearing' stuff if your PC hasn't heard it is ok. Stuff about 'Live your character' - "Don't be afraid of your characters emotions" - ok, not my cup of tea but I can deal.

"Love Your Character

...

Loving your character is really the main point of Amber, both the books and the role-playing.

Making a character come alive is an act of faith..

Waling down Baker Street in London with a thirteen year-old, we noticed a memorial placard. Like thousands of others scattered all over the historical city, it announced the famous former resident of the building. "Sherlock Holmes, Private Investigator," it said.

"Sherlock Holmes isn't real!" said my thriteen-year-old friend, "is he?"

"He's real to me," I said. "I believe he's real."

We had quite an argument my friend and I." - END QUOTE

You didn't need to bother, the kid was right.

There is also stuff after this about stuff that modern storygamers would call 'bleed', which I also generally don't like.


STORY

Yes the purpose of Amber is to MAKE A STORY.

Did you know that stories have beginnings, middles and ends? That the end of a story should be foreshadowed by its beginning? Why not retrofit world elements to make a better story?


CHARACTER INVESTMENT MIXED WITH CHARACTER SUFFERING

So you are meant to REALLY INVEST in your dude in Amber. And killing them would be unpleasant. So instead they suffer. Recommendations are Imprisoment & Torture, Destruction of Trust, Death of Comrades and Friends, Hatred, Fear and Loathing and Guilt.

All for this person where you are meant to be really FEELING what they FEEL.

I don't like this, it seems decadent and wrong to me.


WHY NOT THROW OUT THE RULES ENTIRELY!!!

"Ultimately. I hope you can toss this book.

The best kind of role-playing is pure role-playing. No rules, no points, and no mechanics.

If there is such a thing as an 'improved' version of Amber, its something that goes straight for the story-telling."

This is the later Ascended Wujcik speaking at the back of the book. What follows are suggestions for dumping, respectively, the Character Generation, the Points, the Magic System, the Rule and the Games Master.

So at this point you are larping, except larps actually have rules.


..............



Alright, that's all I got and its getting dark. Despite me kicking off on it at the end its still something you should read if you are deep into RPG's. It's an excellent book despite it being essentially the Liber Chaotica of all the things I hate about storygames.

Tuesday, 3 July 2018

I interview Bryce Lynch

I promise I will get back to writing stuff on here, just gotta paint this Space Marine assault squad first.


This is the Unbalanced Dice page http://www.drivethrurpg.com/browse/pu... Who are they? We don't yet know. Shams Grog n' Blog http://shamsgrog.blogspot.com/ referred to in the video. If anyone can find the mapping post that Bryce is talking about then let me know and I will put it in here. The original Bryce Interview http://falsemachine.blogspot.com/2016... (I can never interview anyone but Bryce.)

Monday, 25 June 2018

Nightmares in Syr Darya

The rulers of the strange city of Syr Darya, in Sughud, in distant Yoon-Suin, are experiencing incursions of the predatory and corruptive para-reality known as 'Nightmare'.

They appeal to the Caliph of the Kingdom of Dreams, a mysterious and inaccessible land to the far west, for aid. The Caliph can't be bothered and dumps the request on a subordinate, who dumps it on someone else. Eventually, a group of freshly-released prisoners, debtors, political radicals and general weirdos are on their way to the Castle of the Sleeping Eye, where they are instructed to take the ancient route under the Mountains of the Moon to Yoon-Suin, and, of they survive that, to go to Syr Darya, report to its rulers and offer any assistance necessary with their nightmare situation.

And also to write down everything they see and send the information home. To which end, they have been gifted magical paper which, when burnt, returns to the brazier of an official functionary in the Caliphs service.

(I bribed my players with XP to make them write session reports.)

These, are those reports.


Zouaf the horrible dwarf is Scrap Princess

Firouz the pornographer bard is Ian Reilly

Ibny the drug addicted surgeon is Zedeck Siew

Golshan the Nightmare cultist is Sam Zeitlin

Banu the wizard is Richie Cyngler

Ashtar the lotus cultist is  FM Geist



FIROUZ

"Your Holiness,

May your reign continue and justice be upheld. May the journey I go upon may quickly resolve the rumors of my guilt.

Our group includes:

Zuaf, short in stature but not lacking in authority. I am not sure of his intentions but sometimes the Law works in mysterious ways. He has bold, and I fear cruel, but has led us ably as someone of his status should.

Ipni, a learned man. He is a pleasant fellow though he seems to love substance much.

Golshan, a strange worshipper. I wish I could say he was the strangest traveller, but alas we walk a curious road and there are others, curiouser, upon it.

Banu, a wizard of sorts. He has a serious air, and does us a service despite his lower status.

(There are others with us, but as you know, the nature of the great Kingdom of Dreams means people may drift in and out of reality without sign or warning and so our number might be quite different next time I write to your Holiness)

Lastly I, Firouz, a humble and much-maligned Artist and servant of the Law.

(I really must protest the accusations of indecency, lawless perversion and keyhole-peeping that are even now being levelled upon my name by anonymous cowards and soulless fools! They know nothing of Art! They misunderstand and misrepresent the holy Law! They are malicious; lunatics and tyrants all! They fear the human form -- the pure Love contained within!  They wish a plague upon my house and a fire to consume my Work!

By the five prophets I swear my return will have me vindicated and those charlatans exposed-

[This continues for another page or so.])

We came at last by caravan to the Castle of the Sleeping Eye. It is a strange place, for it is by strangeness the men there survive their delves into the Vertical World. They grudgingly accepted us, seeing as your sign the Silver Bird and Red Scrolls, upon which even now I am writing, and they took Zuaf to survey the canoes and supplies with which we were to be equipped.

Golshan, Banu and I went to interview our potential guides, but quickly muddled things as Golshan quite offended the logical Sato Nogal with his queries about nightmares. Banu made a deal with the blind salamander Glamoko, and we spoke with a scheming man named Charkniz, but did not take his deal.

Finally, I met a wonderful woman who knew me by name! She spoke of this world of forms and illusions within which we live and called to me as an equal - I knew at once we must follow her into the depths! Jaskina, my friend!

We set out

[The text here is obscured by multiple hand drawn illustrations of a pale, naked and eyeless humanoid in multiple poses, many of a compromising nature. It is later joined by a few different humans - one is recognizable as Marduk, captain of the castle. Everyone appears to be enjoying themselves. A final picture includes an older woman with mismatched eyes]

Continuing on, we came to a difficult place - between a wall of skulls and bones, and one pitted and worn by pale rivulets. Our guide warned us to be quick and quiet as we passed the lair of a horrible beast, but nevertheless our attempts were in vain as there came a seed, milk-white and airy as down, floating toward us across the water. It came close to the other canoe and seemed about to land on our diminutive leader.

Despite none of us seeing such a thing of great device before, Zuaf seemed to intuit something about the skull and attempted to use is as a trap for the floating seed (Indeed, it was almost as if the mind of Zuaf had both seen the thing and its creators and had perhaps even illustrated them extensively). This backfired, as the seed stuck fast to his sour flesh and as it took root we all heard a terrible roaring and gnashing in the outer dark. Acting quickly, he did burn his own hand with the fire within that strange tracery and howled even as did the beast. What artifice did such a thing to my dear friend Jaskina? Such darkness hides in the deep!

Though it continued to follow for some time, after a period Glamoko told us we were beyond its reach and we were approaching his village. Safe for a time, we now relax - though as I entertained our hosts with my Poetry I did see some of my companions speaking with an old man who might be quite mad.

...............................

ASHTAR

I continue my noble undertaking of abandoning my Earthly vessel in order to contemplate the many perfections of the soul upon my arrival in the land of lotuses, the land without hardship or death to secure you passage; preserving your reign for all eternity.

The companions I am to travel with leave much to be desired in their breeding, demeanor, carriage and religious observance—yet vastly surpass your negligent servants in the Castle of the Sleeping Eye. The Castle is staffed by heretical, coarse, obscene men. Their hostility towards the divine mission you have entrusted us with screams for correction. I humbly suggest that their children be boiled in order to promote greater reflection upon your inspired divinity rather than indulging in the low cunning of rutting rats.

My companions are as so:

Feruz (a scholar, gentleman and appreciator of the arts although his hands are of such appearance to challenge belief in beneficence. He is well learned in song and anatomy).

Ipny (a self styled surgeon who seems lax in his bodily glorification for your holiness and is offensive to your sight)

Banu and Golshan distinguish themselves with the meanness of their upbringing and the slackness of their jaws. Under my tutelage they will become worthy of offering their lives for your glory.

I caught up with your dogs in the settlement of (complex to translate to English: the things that grope blindly in the darkness of hunger). In the party’s employ are Glamoko (a mean specimen of the breed) and Hotep (a gentleman and conissiour whose presence has greatly improved our chances of survival far from your benevolent gaze). Resentment between our mongrel servants was resolved and we traveled downriver where we were set upon by the flash of razored fish. Hopelessly surrounded, Golshan and Banu feebly struggled with the creatures—armed with their intellects—as Feruz had the good sense to recite the wisdom of those who came before—we took the advice of Byztbzky, another mongrel in the menagerie of my baggage routine and held out our arms and like the miraculous Lotus Saint who first informed us of the land beyond death and work where none hold dominion: we were whisked away to another place.

The gnom-on have a city of stark and gemstric singularity. Their practices are fascinating especially the becalming of the mind which seemed to benefit Ipny; I will ask him for the secret to effectively performing the surprisingly adroit techniques of these misshapen men in their limbo like existence away from your beautific gaze but equally distant from Arcadia. Making our exit, we resumed traversing the domain of Angra Mainyu and his snares in the darkness.

Banu, having been vastly improved by the becalming practice and came upon a diplomatic and massive creature combining the sacred aspect of Sobek. The creature was, despite its misshapen form; complex, wise, accommodating and aware of you and your power. He mentioned some untouchable creatures formerly of your domain who had fallen out of favor in your sight and sent to linger here in the Stygian darkness as punishment for their transgressions and offered to assist us in bypassing contact with something so singularly unclean. Santonolas art Nogal is a scholarly creature whose appreciation for the fine and luxurious is masked by his hideous form; however, Banu, Ipny, and our porters has too little faith in your benevolence.

They have arrived shaken but still whole enough to serve you diligently.

Your Humble Servant,
Ashtar


ASHTAR (After some cannibalism and moderate insanity.)

"For the Caliph, Whose Power Extends Across the Surface and All Below, THERE ARE POWERS THAT LURK IN THE CORNERS THERE ARE POWERS ARRAYED AGAINST US the disobedient members of our party came rushing past pursued by the meager remains of humans aboard boats. They spoke against you and they died, screaming, our magics rendered us invulnerable. DROWNED MEAT WAS WASTED IT COULD HAVE BEEN MEALS THE REST LOOK FAT AND SUCCULENT LIKE PIGS MY CLUB COULD CRUSH THEIR SKULLS LIKE EGGSHELLS. Baneful magicks afflicted us from the servants of the demiurge in the dark. We harvested bodies and made warmth, we harvested flesh, it was as cold bacon DO I ADMIT I LIKED THE TASTE, I WISH TO PARTAKE AGAIN, I DREAMED OF A LOTUS UNFOLDING AND COPULATING SKELETONS FELL INTO MY MOUTH. I had a conflict over my wish to preserve the skull as evidence of how falling away from your influence causes malformation. THE SKULL WAS MINE I HAD CLAIMED IT IT WAS MINE IT WAS MINE AND HE WAS CHASTISED. We continued, our enemies did not. I WILL EAT EVERYTHING THAT DWELLS IN THE DARK, THE LIVING WORLD SHALL PUPATE IN MY MOUTH. We saw a great gate and abandoned the river, to continue our pursuit of the land without work or death. We encountered an oily and malevolent bird THERE ARE THINGS IN THE DARK AND THEY PUT THINGS INSIDE ME AND I WISH FOR THEM TO STOP we feasted upon it and it did not feast upon us. we came to a small entrance in the rock and i crawled ahead. we had the advantage of a map in flesh. THE ROCKS HUG AS EMBRACE OF DARK. We moved through silence and darkness, hunger, rocks, noises lead by the true map until our guide snapped and rushed up a vertical shaft. EVERYONE WILL SNAP THE DARK IS ABSOLUTE BUT I WILL NOT FORGET THEM THEY WILL DWELL IN MY BELLY FOREVER. He was cornered by some crystaline bleaters. i caved  one in and we were rewarded with another map I AM A KILLER OF ALL DULL EYED SHEEP Hotep I LOVE HIM NONE BUT I SHALL EAT HIM, NOT BUT I SHALL POSSESS HIM accounted well for himself. THE SHEEP ARE MACHINES ARE SHEEP ARE GLASS ARE SERVANTS OF THE MACHINE INSIDE ME.

I remain optimistic that we shall soon pass into the land of fragrant blossoming lotuses where there is no death, no work.

I SHALL DWELL IN DARKNESS ETERNAL

Your Humble Servant,
Ashtar"

.................................


IBNY

(this was exclaimed to Acolyte Jungne, who was in the middle of cleaning the room where things are sacrificed in the Temple of Chandra Khanevala, Goddess of the Risen Moon in the foothills of the Mountains of the Moon in Sughud in Yoon-Suin, when the Iron Portal to Doom opened and the PC's, almost all of them naked, starved, greasy and electrocuted (one mind-wiped, others insane) emerged. Jugne ran away.

" ... so after Ashtar smashed the electric crystal sheep creatures she winked out of existence which beggared belief but by then I'd gotten used to such impossibilities happening the Vertical World is terrible but thankfully we found Zouaf Bey, oh praise be to god, he seemed unhurt, and with our salamander guide we traversed more tunnels, expertly guided, and while there were these clam turtles that knocked their shells like crockery and pursued us we scrambled up the tunnels, and even the paraplegic Golshan made good speed, and with oil and cunning Zouaf foiled those turtle creatures, surely out to eat us as all do within that place, but afterwards Zouaf's wisdom failed him, mayhaps he was possessed by some madness, for when we came upon a cavern filled with mummies and treasures - I believe these mummies were your folk, as their writings are in your alphabets - he went up to a mummy and stabbed, wherefore many things happened, and I put on this girdle to hide my shames, and the mummies exercised foreign sorceries upon us, bewitching Golshan and Zouaf and one of the salamandermen, and I threw my belongings in a panic, and cast a twin of myself, hoping to confuse those malefactors, and praise be to god for Ferouz had the presence of mean to marshal us all away to safety, but here Golshan's leg failed him, as we scaled another tunnel to safety, and his girth made retreat impossible, thankfully Ferouz stood with me, and held the creatures off until I could clamber to safety - by this point Zouaf Bey had gone on ahead, seemingly unfazed by the touch of the undead, praise be to god - and afterwards starving, scarring, half mad, hearing the machines in the walls, in our blood, finally we arrived at this gate here, is it the Eaten Moon, I cannot read your pictograms very well - but regardless we are all thankful, though you are clearly heathens, your guise is familiar nonetheless, and there is sunlight here, oh praise be to god, praise be to god, we are saved, you have saved us."

says Ibni, hugging the monk."


...........................

ASHTAR

Hotep is gone, I am isolated, desolate. I know not where I was but I vanished and the divine mandate preserving him as my consort wavered. Sacrificing him may have been the cost for me to enter paradise, but what a cost. What is a land without death or work with no one to share it with. This is a lie, but a comforting one. The priestess expounded upon her heresy. Her order holds a vigil watching the vertical world to avoid lunar incursion. Their patron (a corruption of the true lotus form of the godhead) ate a moon ziggurat and spat it below the earth. This is a passable understanding of the exodus to the second kingdom overseen by you, the all powerful caliph; i serve as your instrument.

[AFTER TAKING A BUNCH OF OPIUM]

Everything is perfect, everything is fine, this is paradise! There are no lotus blooms but this opium they give away freely is among the finest things I have ever tasted. The omnipresent vomiting is merely a distraction from my crystalline perfect mind like a steel trap and clearly immortal form. [Hazy scrawls and spatters of vomit]

[IN A SOMEWHAT LUCID OPIUM MANIA]

We are trapped in this monastery fed with the bodies of yaks and the nourishing powder of opium. We are ringed by yakmen and ice demons. I have realized this is not true paradise but an illusion. the way out is BACK into the Vertical World. I will retrieve my consort and should he be dead I will eat him, as we once shared the face of a mongrel posing as a human. I will taste flesh again. I will be in the long cold dark of this world. I will make the ingrates understand the importance. The lady priest with knives and opium is most intrigued by the proposition; I believe the minstrel can be converted to our enterprise. He has the mind of a scholar. His scabrous hands are hidden better in the dark.

[Final scrawl before burning the paper to send to the caliph]

IN HEAVEN EVERYTHING IS FINE

Yours,
Ashtar Illuminated Seeker of Wisdom

P.S. Please, tell my miserable father that I have found the paradise that is promised and someday he will dwell in the dark beneath the earth hunted for sport as a fleshy failure reborn endlessly to experience the cruelty of strength.


..................................................................................................................

Also...

All this random maze-related stuff is still for sale. For just under two more days....

My copy of Maze of the Blue Medusa



This fabric map by All Rolled Up

Maze Dice Tray by All Rolled Up



This Zak Smith Artwork 



This, honestly, pretty odd, one of a kind Maze bathroom/wall tile 



Friday, 22 June 2018

Natural Language and Gross Positioning

'Natural Language' is a term I yanked from programmers. Reasonably self-explanatory, it means getting a programme to the point where you can tell it what to do in normal everyday human language.

'Gross Positioning' is something I made up to describe a particular way that we imagine space in D&D.

The situation I'm describing and imagining here is one where you run a game, either via hangout or online, using absolutely minimal notes and no visual representations of anything.

It's actually easier to imagine this happening online as the cognitive and time cost of sharing something like a sketch map is relatively high. But even online its relatively common to intuitively use a range of hand forms that describe relative spaces on the screen.

So this idea of running a game with NO visual representations at all is actually unrealistic and probably hyper-rare, and unreal environment stripped of its common methods and accompaniment in order to highlight some of the ways we construct our unreal environments.



NATURAL LANGUAGE

Some things are hard to describe. Most things probably. Music, complex shapes, complex colours, highly detailed and specific arrangements of things, like the bones in a body, things with a very high volume of highly specific and non-naturalistic data like phone numbers and account numbers.

Reality in our descriptions is not like real reality. So, for instance, almost no-one has brown hair. Not if you look at it directly and try to count the sub-colours and all the patterns of shade and gleam. In the same way, the sea is almost never green, or blue, but a shifting matrix of many related colours and moving light effects, all changing all the time.

And yes maybe an artist or someone trained in colour theory could pick out all, or many of the sub colours or lighting effects in somebodies hair. Just like a Doctor could probably name all the veins and arteries in a pretend surgery or a designer or tailor could name all the specifics of clothes.

And if your DM is one of those things then they can use that knowledge to be a kind of teacher/challenger, introducing terms and educating you about them piecemeal while also challenging you in the game. And possibly the ability of an hierarchical old-school DM to do this is something that separates it from group-effort storygames. It's hard for there to be a position of highly specialised knowledge without hierarchy.

So what I'm talking about with 'Natural Language' is conversational language. The kind you could use with a wide range of people from different social circumstances and with differing cognitive styles where you could reasonably expect them all to understand you.

This language massively limits and strongly highlights very particular kids of things. Its pattern is more like oral poetry, ballads and hero stories than it is like anything else.

If you go out and look at nature you see a whole shitload of colours all blended together and mixed up pretty much all of the time

In natural language, using description only, its much simpler if things are either one of the basic describable colours, blue, green, red, purple etc, or, and this is better, as it is in poetry, if they are coloured like a known natural object or process;

"The Queen has eyes the colour of the sea."

There are certain numbers that work well in natural language, just as they do in ballads and just as they do in fairytales. The linking factor is orality. Idea and concept clusters developed for an oral culture are, in a way, conservative. They are 'evolved' or developed over many iterations to be very strong memory signatures. Stuff that sticks in the memory usually makes the strongest possible use of the minds natural heuristics for working things out and then develops complexity by combining a re-combining these simple elements.

That's very different to the way a computer, a business report or a spectrograph show you detail and complexity.

So for numbers, three, five, seven and pair are good numbers. Ten and Twelve aren't bad, but once you get above those the progression gets patchy.

So the queen with the sea coloured eyes and the red dress wearing three green gems is very different from the queen with amber eyes and the flame coloured dress wearing seven leaf green gems.

But what's the difference between wearing 42 gems and 52 gems? Or between 121 gems and 1692 gems? Or 12,398 tiny gems?

One army has a thousand men. What if it has 997 men? The opposing force has 1,991 Orcs. What if it just has 'twice as many'?

A table in D&D will only have a certain number of things on it, that is, a certain number of specific things you can interact with. The rest will simply be abstract elements you search through to find the named, specific things.

And of course NPC's in D&D will almost never have long, specific, highly detailed conversations with each other without them finding a way to involve the PC's in that conversation. Though I think that is not to do with natural language as much as it is to do with the nature of the simulator (the DM being a human).

There are a limited number of spaces and shapes as well, especially and particularly shapes you can put characters and people inside of. As with the numbers, a shape can have certain canonical platonic forms and a certain number of edges and corners, but highly irregular multi-edged or organic shapes simply 'fade out' to similes or non-specific generalisations.

Its with shapes, and especially movement through shapes that we get to what I call 'Gross Positioning'.



GROSS POSITIONING

So you are describing a room or a cave or a tower or somewhere else as an adventure site, and you are doing it only with words. No images no maps no sketching, nothing.

What usually happens (to me) is that the space gets blurry and fudgy. After a few rounds of combat or other actions its not quite clear exactly where people are in relation to each other.

The question is not simply one of describing a space as if to one other person over however much time you need, but of describing it into the minds of multiple other people, who are all interpreting it differently and all trying to manipulate and re-interpret it within the context of the game.

A few elements seem to work to stick positioning in peoples minds. Going through these might be helpful both in running imaginary spaces in and in constructing them in your game.



Inside/Outside

People know if they have gone in the room yet, and who has gone in the room. If there is a sub-room, like a box or wardrobe or the curtains of a four-poster bed, or something then they know who is and is not in that. Specifically, its easy for that player to remember and they will remind others, and you, in play, and so form part of the construction of the spatial order.


Closer to the Danger Thing/Treasure

People know if they are closer to fire or a monster or a big scary drop than someone else. That is the thing they don't want. They also know if they are closer to the Treasure or the Way Out than someone else. In a way the 'Closer Than' element is a kind of situational 'micro line' - see 'in a line' below.



Up the Tree/On the Ceiling

People know if they are up the tree, especially if they are hidden in its branches, and they know if they are climbing on the ceiling. They know if they are "strongly above" the standard assumed plane of action for that space.



Climbing Up

"There are only three positions in climing up to somewhere;

- Still in reach of someone/something below.
- Fall and will live.
- Fall and will be hurt.
- There (this is 'Up the Tree', so it's still only three positions)
- (Ok there's also 'fall and die', so its four. But that changes relative to circumstances like player level and magic access.)



Hanging from the Thing

It's usually a chandelier. It's possible this is just a sub-category of 'Up the Tree' but a major difference is the PC's ability to swing and place themselves in a variety of places within the space. We could also classify this as "Access to the Flyn Machine", I did that post about held kinetic energy in old-school battle spaces, which was about how stuff you would see in old swashbuckling movies was very useful in Old School play. So any scenario where there is a rope with a weight, a tippable object or something that can fall or rise, players will known and strongly recall whether they have access to manipulate that.



Down the Pit.

People know if they have fallen down the ten foot hole. Once down the hole there are two main distances;

- Can be reached. This is the best position for a game and probably the reason most holes are 10 feet deep. At this depth you can maybe climb out by yourself, but its slow, but if someone reaches down for you you can almost certainly be pulled out very quickly. The 10 foot hole is a team-building machine

The person in the hole is both seperate from and part of what is going on in the room in a very specific and directly intuitive way. They are vulnerable to some things, saved from other things (like arrow fire and breath weapons) and can be brought back into full play with a simple non-specific action with an easily-comprehensible action cost. They can also be spoken to and communicated with easily.

- Cannot be reached/needs something special. This is sometimes bad design. It takes a PC out of the game space but doesn't put them into their own new game space. All they can do is sit there, watch, listen and think of ways for someone to get the special thing that will get them out. But, like all 'hard', 'bad' or 'boring' things in D&D, it can be very good because it forces the players to really genuinely thing hard and if they can think of something then they get a huge boost of self actualisation and mutual solidarity.




Hidden Behind/Hidden Below.

Usually curtains, wall hangings, treasure, screens, a suit of armour. It's a quality of 'hidden behind' that there is something that could become aware of the PC if they were not hidden, that the hiddeness cannot extend through the whole space but 'locks' them in a small range of positions, that it places restrictions on their behaviour so they don't end the hidden effect.

It doesn't have to be visual. You could be hidden from the Predator vision by ArnoldMud, hidden from the Echolocation by spiky things, hidden from the magic by other specific magical elements.




Tied to the Thing.

People know if they are attached to a thing, or if it is attached to them. If it lets them more or act and how far. They are immediately very invested in finding ways to not be Tied. In that way its a lot like 'Down the Pit'. Tied to the thing is different to Grabbed as its just an object. You can't negotiate with a lock or rope and its usually not going to do new stuff with you.



Grabbed.

The Monster has got you. Tentacles, hands, a rope with a loop. This is often only para-spatial as it only locks people in position relative to the monster. Much has been written on grabby monsters so I will leave that.



In a Line

If there is any situation where PC's have to line up to fit somewhere or do something then they will usually remember where they are in this sequence. The way people do this is interesting. No player needs to remember the whole sequence, all they need to know is who is in front of them and who is behind them.

It's actually a really elegant piece of emergence watching a bunch of people who have forgotten where everyone's imaginary character is, remind each other of where they are in the order of march and essentially re-construct that order even though no particular person had the whole thing in their head.



Swept Away

Someone has fallen in the river and while everyone else fights the Dragon you run a simultaneous scene where they meet Gollum. This is only tangentially related to Gross Positioning since its now a different area. There is a distinct pleasure though in uniting the two areas through some active or living element (an Orc gets knocked out and washed downstream to the cave, the Dragon punches through the wall between the places, Gollum shows you a secret route to the lair where the fight is happening).



So those are some basic elements of Gross Positioning. No doubt more could be said. You can probably work out from that and from natural language something about the kinds of spaces you want your game to peak and arrive in, and especially, if you are running a high-agency, high-improv game, the kinds of spaces and situations you can easily pull out of your ass and which should hopefully work well anyway.


  • Rooms within rooms - curtains, panels.
  • A main plane of action - if there are levels, keep them to maybe three.
  • Downward Verticality - pits, dips, traps, stairs. You are below the main plane.
  • Upward verticallity - ceiling beams, roof tiles, tree branches, balconies.
  • Swingy things.
  • Held Kinetic Energy - have gone over this, the Errol Flyn shit.
  • Hidy Places - piles, pillars, inner walls, things to be under or behind.
  • Grabby Objects - traps but also anything to be tangled in or trapped by.
  • SweepAway Elements - Things that can move you unexpectedly out of the area, and into another, linked or thematic area. You fall through the floor into the Duchesses room, a portal to a nearby hidden room, thrown into a boat, knocked into the Seraligo of blind eunachs etc.