Spins on Elemental Magic

Many months ago, when I first brought up the issue of magic in the land of Kimatarthi, I mentioned that I wanted there to be multiple means to the same end. I would like players to have significant narrative power to use magic however they want to, even though there are existing ways to cast spells. So while the players will be able to tinker with various casting methods, I needed a base to start from. Enter the Classical Elements.

There are a ton of settings that use the Classical Elements as a basis for magic from D&D to GURPS to Codex Alera (which is past due to be made into a role-playing game). The cool thing is that, just as in real ancient history, there are different ways of interpreting the elements.

Classical Greek
The system that most people are familiar with are the Greek elements: Fire, Earth, Water, and Air. There are derivations from that, but it all comes down to the four. You can find this throughout Dungeons and Dragons and all of its spin-offs.

Classical Indian
Interestingly, classical Hindu mythology came to a similar conclusion, but added one more: Fire, Earth, Water, Air, and Ether. It's not so far off from the classical Greek quintessence, but including ether as a basic element should appeal to many (particularly our gang of Ethernauts). I could totally see how  or folks that want to mix a steampunk or weird science or pseudo-Enlightenment kind of vibe into a campaign might be drawn to an Ether element. Can you imagine summoning an Ether Elemental? What would that do?

What about Consciousness as an Element? Here it's represented as a King.

Classical Chinese
Another system that identifies five elements is Chinese: Fire, Earth, Water, Wood, Metal. I guess air was dropped, as it is not a substance. Interestingly enough, Jim Butcher throws Air back into the mix in Codex Alera. This kicks much ass.

Classical Bhuddism
There is a concept of seven centers of vital energy (chakras) in Bhuddism and Hinduism that is similar to the elements. These are identified as Fire, Earth, Water, Air, Ether/Sound, Light/Dark, Time/Space. This is a really cool concept. I can totally picture a Tech Level 11 Mage slinging around hexes that twist space-time.

That also brings up the point that in all of these mythologies, the elements are tied to different emotions, temperaments, body parts, planets, etc. My basic point is that there are so many different ways to parse our reality, why can't elemental magic draw upon any of those categories? What about a mage that draws upon actual elements? You know... a Carbon Mage.

Well they can. Play my game.

The Bakdunis Family

Rise of the Bakdunis

Before the Goblin Wars, Family Bakdunis was one of the wealthy merchant families of Markaz. And, like all wealthy families, they were involved in politics and military affairs.While they had not been among the princes who ruled the city states, their wealth was able to buy them a certain amount of influence.

When the goblins appeared and swept across the land, Coron Bakdunis was Captain of the Markaz Guard. Unlike other cities, Markaz had time to consider its defense and prepare for the attack. It was not much time, but it was significant. Coron was known to be a man of action and of little patience. As stories and refugees rolled in from across the land, he saw the Prince and Governing Council dithering. Not only that, they offered no clear plan while they deliberated.

So, one afternoon, he made a decision and ended the deliberation with the assistance of a squad of his most loyal officers.

Coron Bakdunis comes to power. (or the Death of Nero - same difference.)

Coron put Markaz under martial law and prepared his force to meet the goblin horde. One of his key decisions--and one that had been blocked by the Council--was to retool several hundred of his finest fighters to be light, mobile infantry that could act as scouts and also waylay the goblins from behind the front line. He called these troops the Rangers.

He conscripted every man, woman, and child that could physically hold a weapon, training each to the best of their ability. As refugees arrived, only the sick and injured were allowed to rest. The others were put to work somehow. In the short period of time after taking over the city, Coron was able to establish a rag-tag force to meet the goblins at the city walls.

The city held, but not without massive casualties and widespread damage. Coron retained his position as both leader of the Guard and de facto leader of the city and began the long, slow process of rebuilding. He would not have much opportunity to be a builder, however, as he was taken by illness not two years after the end of the Goblin War. His brother, Kalan, succeeded him. Kalan would rule Markaz--and effectively most of the human population--for the next twenty years. He saw the people through the chaos of those early years, a famine, and the initial rebuilding of civilization. There have been a total of five Bakdunis rulers in the decades since the Goblin Wars.

In many ways, civilization is still being rebuilt, but the Bakdunis family proudly takes credit for both saving human society and reestablishing over the past decades. Many are prone to agree, but there are those who believe that the Bakdunis family has done little except enrich and empower themselves. They continue to rule, however, by way of their shrewd ability to build and maintain political alliances, to suppress the opposition, and to make sure that the right people get rich and the right people disappear. It's a robust system, but how long can it last?

Bestiary: Slive

Without a doubt, my favorite contemporary fantasy author is Jim Butcher. And if you've read his Codex Alera series, you're familiar with slives. For those who haven't read the books: Slives are nasty, poisonous lizards - and while the hero of the books, Tavi, only encounters them rarely (once, as I recall), they do serve as the standard insult of the series. Any detestable person is referred to as a slive, rather than a snake, jerk, a-hole, dingleberry, or douche-canoe.

What I like about slives, with regard to my Kimatarthi campaign, is that they are fantastic creatures, but not overtly magical. So I thought I'd give them some D6 stats and steal them for the game. I don't think Jim would mind, since I know he's an avid gamer himself, but I hope his publisher isn't a douche-canoe, and just sees it as free publicity. So what do we know about slives from the books?

• They have long, supple bodies covered in dark scales, and are nearly as long as an adolescent boy is tall. 
• They have fangs coated in "a thick yellow liquid" that is a slow-acting, sleep-inducing poison.
• Slives live in groups, and any creature bitten by one is likely to be devoured alive by a swarm. 
• Slives are not quick, but apparently they are determined hunters. A person may outrun one, but she had best keep running for a few days, just to make sure the slive has given up the chase.
• They can be found both in the wilderness and in urban areas, making dens in dead logs and garbage heaps.

I think the following stats would work.

Slive

Agility 1D: dodge 2D, fighting 2D
Coordination: 1D
Physique 6D: running 7D, stamina 8D
Intellect: 1D
Acumen 3D: search 4D, tracking 7D
Charisma 1D: intimidation 5D, mettle 3D

Strength Damage: 2D
Move: 7
Hit Points: 7

Natural abilities: cold-blooded (lethargic Aspect, or +7 to all actions until warmed up); bite +1D; venom (injected on successful bite, roll stamina to determine number of rounds before losing consciousness).

Land's End

Land’s End is just that – the end of the world. North, south, east, or west – whichever direction you travel, sooner or later you will reach Land’s End. Not many people in Kimartarthi have seen it, as there are few places near civilization where it is visible. And it’s not a destination, since, well, it’s the end of the world and there ain't much there.

Those who have seen it, though, say it is a strange and marvelous thing. The land simply ends and drops off into a sea of mist that stretches out beyond the horizon. There are strange tales about Land's End, too. Some tell stories of men who have strayed too close to the mist only to be seized by wraiths, pulled their deaths, and never heard of again. 

What terrible fate beyond the grave could await the poor soul who perishes beyond the borders of the world? Only those risking a TPK may ever find out!

Bestiary: Tamirac

The wilderness of Kimatarthi is made all the more dangerous by groups of prowling tamiracs. These clever and extremely adaptable animals can be found in any sort of terrain. They are just as likely to be found leaping among rocks and trees or scurrying across the open land. Some have even been seen scavenging in city garbage heaps. They are quick and can easily squeeze through such narrow openings, that it can seem as if they disappear into thin air.

The tamirac has a lean and hungry look about him. (ArthurWeasley)

A typical tamirac is the size of a medium-sized dog with a mouth full of tiny, needle-sharp teeth, and is not much of a threat. Unfortunately, one will rarely encounter a single tamirac. They hunt in packs and are known for their exceptional cunning. Stories abound of unassuming hunters tracking down their kill, only to find a pack of tamiracs laying in wait. Their ability to mimic the sound of wounded or lost animals, and even children is renowned. "As sly as a tamirac," is a common expression, though one rarely used in a flattering way. Their favored tactic is to cut an individual off from the group, surround their prey, and then attack from multiple directions. Any tamirac that comes under attack will spend that round distracting the victim, dodging while the others attack the flanks.

Number appearing: 2D6+2
Fighting: 3D+2
Dodge: 3D+2
Stealth: 4D
Damage: bite (2D+1), claws (1D+1)
Wounds:1

Bestiary: Abuca

 Since I need to populate Kimatarthi with things to kill PCs (or at least make things more interesting), I decided to run with some of the ideas I brought up in my previous post about artistic renderings of prehistoric animals. So, here's a first shot at attaching D6F stats and a description to a critter. I figured I might as well make it something that will ruin your night.

Abuca 

Few beasts in Kimatarthi strike as much fear into the hearts of travelers as the abuca. Also known as "Night Stalker" and "King of the Shadows," this fearsome beast hunts in the dead of night, and is rarely seen in the light. Silent and quick, the abuca has been known to snatch individuals from the midst of their camp, should they but stray too far into the shadows.

The Abuca: King of the Shadows (DiBgd)

The abuca shuns light and can usually be kept at bay by keeping a fire burning all night long. Unfortunately, hungry specimens have been known to overcome that fear without much difficulty. Indeed, few people can give an accurate description of one since nearly every encounter with an abuca is in darkness... and such encounters are usually as short as they are violent.

With its heavy paws and powerful jaws the abuca is a fearsome predator. An abuca will patiently stalk its prey, waiting for the right moment to strike. It will almost always strike at the back of its victim's neck in an effort to demobilize it and snap its neck with a violent shake. A victim that is successfully hit by this sneak attack will have to make a roll against the abuca's Fighting skill. Failure means that the beast has a solid hold on the victim's neck and will shake him until dead beginning the next round.

Number appearing: 1
Fighting: 5D+2
Dodge: 3D
Stealth: 7D
Wound levels: 3

Damage: Bite (5D+2); Claws (3D+1)
Special attack: Neck snap (6D) - automatic damage the round after a sneak attack, unless victim beats the abuca's Fighting roll. This damage will recur each round until the victim is dead or the abuca is compelled to release him.

The Western Desert

Between Land's End and the High Mountain range is the Western Desert. It is an inhospitable land, rocky, barren, and chapped by vicious winds that blow from beyond the end of the world. Life here is sparse, existing only where it can find refuge in the crevasses and cracks amid the hills, canyons, and badlands. There are no cities, no goblins, no wandering tribes - only a hard expanse to be crossed as safely and expeditiously as possible. The only people in the Western Desert are but passing through.

It is an unfortunate fact of geography that the only way to travel between Kimatarthi's two population centers is through the desert. The Great Rift makes east-west travel impossible. For over a thousand years, Markaz has served as a departure point for caravans heading to the distant southern city of Bryss, and as an arrival point for those coming north and east. The journey can take nearly two weeks, though it is said that daring drivers know secret paths that will cut that time in half.

Scattered across the desert is a chain of caravanserais that serve as way-points for travelers making the arduous journey. Most are ancient structures, built hundreds of years ago. Though they serve as places to replenish water and trade with other travelers, they are little more than rough shelter from the night. 

Though many have traveled its expanses, the Western Desert remains a mysterious and foreboding place. The best worn paths often run very close to Land's End, and it is said that the wraiths and spirits that live in the mists beyond sometimes abandon their sanctuary, seeking human flesh. Indeed it is not unheard of for entire caravans to go missing in the desert and never return. It takes a certain mettle to make the journey, but those who do are those that can profit from being the lifeblood of the world's commerce.

More Neigborhoods

Here are some more ideas for neighborhoods that I will use to flesh out the city of Markaz. These, along with the others, will provide a few areas to play around with in the beginning, with more to be added as needed.
 

Bakdunis Market

The biggest market in Markaz is (conveniently) named for the family that currently governs the city. The market is an enormous plaza paved with stones and crisscrossed by a network of market stands, and it sits at the foot of the cliffs, overlooked by the Citadel. Some parts of the market are more permanent structures of stone, wood, or mud, while others are clearly of the temporary canvas variety. At its heart is a huge fountain that is fed by one of the several springs that supplies Markaz. The fountain fills a cistern that spills into an aqueduct that flows down from the market to other neighborhoods. Every demographic in the city can be found here, as can anything that can be bought or sold - it's only a matter of price.

There's always a rug stand, isn't there? (Almosawi)

Gullytown
Gullytown is a slum that sits in a ravine between two wealthy, hilltop neighborhoods. An open sewer runs down the middle, fed by runoff and waste water from about half of the city. A large stone bridge flies high over the shanty, allowing more civilized folk to move between rich areas of town without having to mix with the poor. Many houses here seem to be little more than temporary shelters and they are piled nearly one on top of another. Walking from one end of Gullytown to another will often take you straight through someone's home. During the heavy rains that happen every year or two, the sewer is likely to overflow, killing lots of people. But usually, the high walls of the valley provide shelter from the sun and brutal heat of Kimatarthi.

Garden City
Home to many of the old merchants and elite families of Markaz, Garden City has been able to tap into the aquifers below the hill to provide water for old trees that line beautiful winding boulevards. Large estates and private homes are hidden behind high walls, and lush gardens and terraces provide the public shelter from the brutal heat of the day - unless you're not the right kind of public. It is one of the nice neighborhoods that hovers above Gullytown.


Landfill
For centuries, Markaz has dumped its garbage at the base of the cliff just west of the Citadel. This area is now a sizable hill where many of the city's poor make a living sorting out reusable scraps from other refuse. Many of the residents live in ramshackle homes built on the rubble. Some of the older, more established families (who constitute an "elite" of their own) live in homes that are built into the hillside itself - though no one is quite sure if these were carved into the earth, or if the original structures were swallowed up by decades upon decades of rubbish.

Neighborhoods of Markaz

One thing that has fascinated me about every city I've ever visited is the proximity of diversity. In old cities and in cities that have seen rapid change, the style, look, and feel of each block can be different. Often, the difference is as varied as the number of buildings.

But it's not just cosmetic differences. In a huge city, within just a few blocks you can have completely different communities, different people, different social norms. Cities always have areas that are "off-limits" to certain groups and the difference of a few meters can be the difference between strangers and family. Cities are inherently high-context environments, and as such, they offer enormous opportunity for gaming scenarios.

I see my main city of Markaz as a scratchpad for all the amazing, awful, wonderful, horrible things that have fascinated me about cities. Here are some concepts for a few key areas in Markaz. I think these can serve as interesting locales for the PCs--at least initially--and others can be made up as needed.

Citadel

The northernmost part of Markaz is the original settlement, which eventually grew into a fortress. It remains a walled town that overlooks the rest of the city. Citadel is home to the Palace, the townhouses and walled estates of the city's elite, and a number of fancy shopping and dining districts. Thought the original city walls and gates still stand, they are mainly used by the elites to make sure that no one too unsuitable is able to wander freely up the hill.

The Empty Quarters
Long ago, when the goblins laid siege to Markaz, they breached a portion the southernmost walls and laid waste to some parts of the city. Since that time, those areas have been taboo and even the poorest of the city are loathe to live there. That does not mean the area is devoid of activity, though. A great deal of nefarious activity takes place in the Empty Quarters, and goblins still live like vermin in burrows between the abandoned buildings. It has become a lawless area, convenient for those who want to avoid attention.

Barracks
This neighborhood is positioned between the city's Eastern Gate and the hill that leads up to the Citadel. Not surprisingly, Barracks gets its name because the City Guard barracks are here. With so many young soldiers running around, it should also come as no surprise that many of the cities finest boozing, gambling, and whoring establishments are also here.

Prehistoric Fauna

There’s an art to using prehistoric animals as templates for beasties in a campaign. Unless you’re actually running a “Lost World” style adventure, you run the risk of diluting the theme of your own campaign. I’m all in favor of dino campaigns, but sometimes that’s not what you want. All you really want is a cool looking animal that makes your campaign exotic and unique without using a xorn or some other ultra-fantastic critter.

I bring it up because Jeff of gameblog fame pulls this off perfectly in his recent Doom of the Jaredites campaign. In an epic move, he casts chalicothere as the Jaredites’ cureloms, which he re-envisions as a kind of pack-ape—and everything about that is pretty freakin’ awesome. His entire campaign concept is downright inspired, I might add.

I’ve also looked to prehistoric animals to populate the wilderness of my campaign. My challenge is that Kimatarthi is a world that is only slowly coming to realize that it is a high-fantasy world. So while there are some built-in fantastic elements—like the edge of the world that drops off into mist—I want these to be modest enough that they could be dismissed as mundane—in other words, the Perfectly Normal Beast phenomenon. I want variety beyond wolves, lions, honey badgers, etc., but I don’t want wyverns, either. So the kinds of imaginary beasts I’m leaning towards are stirges, slives (from Jim Butcher’s Codex Alera), large spiders, an occasional roc – fictional, but non-magical beasties.

Prehistoric animals fit this bill, too… as long as they don’t look too prehistoric. Lots of prehistoric animals have a look that just screams “Lost World,” but that's not what I want. No saber-toothed cats for me—they’re too iconic. Instead, I like these guys.

Pakicetus: ancient whale, wandering monster (ArthurWeasley)

The pakicetus (which will have a different name) fits the bill. It has a unique look without being too Lost World. Even though these were probably amphibious in real life, I’ll make them into very clever pack hunters. The pic is just a cool way to add flavor. For additional coolness, this thing’s decedents evolved into whales! How awesome is that?

Patriofelis: rock-climbing dire otter (DiBgd)

I also like patriofelis because it looks like some kind of rock-climbing dire otter. This works well with all of the rocky regions that define Kimatarthi. It’s catlike, but definitely not a cat. Again, it’s the look and the flavor that appear to me.

At some point in the future, I’ll flesh these out with stats and give them a run. I’ll do the same with the slives, which are pretty badass.

The City of Mudun

Real life is still a bit hectic with a new addition to the family. I've only just made it back to the gaming table after hiatus of two and a half months. (There's a good write-up of our session here.) Hopefully, I'll get in more game time and more blog time. I've been asked to do some more posts that describe my world of Kimatarthi and lay off the mechanics for a bit. ...ok, so it was my lovely (but non-gaming) wife who made the request, but I thought it a wise suggestion anyhow. Hey - I have at least one regular reader!

The City of Mudun

Like most cities, Mudun was destroyed in the Goblin War. Anyone who didn’t flee met an unspeakably brutal end. The city was sacked, and only a vacant, crumbling shell was left. It remained like that for several decades until an exodus known as the Great Rebuilding. The overcrowding, disease, and poor quality of life in Markaz eventually began to create agitation and instability in the city. Desperate, the rulers organized a military campaign to retake Mudun and reestablish a human presence east of the Lowlands. It was the last great Bakdunis campaign against the goblins. After clearing the city and the surrounding area, thousands of civilians were sent to reestablish Mudun.

The original city sat on either side of a river, but the goblin threat is still very real and Mudun is a frontier town. To bolster the defenses, the rebuilt Mudun exists only to the  north of the river, and all but one bridge connecting the banks were destroyed. On the south side of the river is the scarred and crumbling ruins of the old civilization… and the vast majority of the region’s wealth.

Mudun was chosen as the first city to rebuild because of its proximity to arable land, pastures, and mineral resources. Yet the sheer number of goblins continues to make access to these resources perilous. Each day just before dawn the Bridge Gate is opened, and people flood across to do their work in goblin territory. Each evening at dusk the gate is locked again. It makes work life difficult, but it is the only way to preserve the city from the ever-present goblin danger, as those unfortunate souls who are occasionally stranded on the wrong side of the river would attest if only they could be found.

On Points

As I discussed in my last post, I’ll be using an Open D6 + FATE rules combo (D6F) for my upcoming Kimatarthi campaign. One of the main points of convergence that I see is in the use of Character Points (or FATE points, as it were…). In both systems, points can be spent to gain bonuses, modify scenes, or otherwise moderately impact the game narrative.  As per the Open D6 rules, D6F will manifest the bonuses as an extra wild die added for each character point spent, and will also use Character Points for character development. As per FATE, spending a Character Point will be related to a character’s Aspects. Where D6 and FATE depart is in how the points are earned, so this gives me some room for tinkering.

In D6F, I see three ways to earn Character Points. The inclusion of Aspects, as per FATE, gives players the ability to earn character points when their Aspects are compelled or when they create in-game drama. Character Points will also be earned for successfully completing adventures and otherwise moving the story along. But the third way to earn points is ripped from a totally different source – Old School Hack.

Oh yes. In addition to normal rewards and compels, character points will also be distributed by the players, among the players like Awesome Points in OSH. Because who doesn’t love a bowlful of awesome? Our group loves OSH, and part of what makes the sessions so much fun is chucking candy rewards at each other for entertaining the rest of us.  Awesome points keep players engaged in the story, keep them striving to perform, and provide serious incentive for the players to work as a group. Too often in games, players tune out their comrades while planning out their next perfect, damage-dealing move – something that it impossible if you need to keep your teammates invested in your character to level up. Awesome Points are one of the crowning features of OSH, and I really think they will contribute to the fun factor of any campaign.

D6F - Playing to Disadvantages (and Advantages)

As noted in my previous post, I’ve decided to run my campaign with a base D6 rule set, but with some good stuff from FATE grafted on - a beast I like to call D6F. The main thing I’m taking from FATE is the use of Aspects, which describe what a character is like, and give bonuses for using them in relevant situations.

The D6 system does have a similar mechanic in its use of Advantages and Disadvantages, but I find it unsatisfying. There are a lot of systems that incorporate the idea of character flaws into the game, but do so for the purposes of character depth only. FATE, on the other hand, makes disadvantages a critical part of game play and players are rewarded with FATE points for making their lives more difficult. So there’s a payoff beyond plain game flavor.

Take, for example, my character in our GURPS Knights of the Astral Seas game. I took a handful of disadvantages in order to get a few more character creation points, but they basically mean nothing now. Honestly, I’m not even sure what they are off the top of my head because I don’t ever use them. There’s no penalty for not playing them, and when I have role-played to them, it has often felt like a forced non-sequitur.

To its credit, D6 does give the Advantages/Disadvantages rule set some real in game purpose, but at the end of the day, it's still just a matter of character depth. I’m a real believer that human behavior responds to incentives—both in the free market economy and in gaming.

So, by making the D6 Advantage/Disadvantages into FATE Aspects, the mechanic will become an active part of play. What does this mean? Well, FATE’s FATE Points easily become the D6 Character Points (note: don’t confuse FATE Points with the D6 system’s Fate Points – ugh.) Players in my D6F system will have to spend character points to invoke the advantage of an Aspect they have. Similarly, they will earn Character Points for invoking a disadvantage or by subjecting themselves to a compel.

But wait – there’s more! In the D6 system, Character Points are not only used for doing cool stuff during the game, they are the mechanism for character development. So by taking disadvantages and creating more trouble for themselves during play, the players will actually be earning points to build their skills and attributes.

So now, instead of simply having to play out a character’s “Misogynist” Aspect with periodic derisive comments, they can actually earn Character Points to buy new skills or do awesome stuff simply by reminding the GM that bartering with the lady shopkeep may not go as smoothly as anticipated.

I think this blend of the systems nicely captures the best mechanics of both. Naturally, there are a number of corollaries that follow from this marriage, so stay tuned!

And the System is...

One of the reasons I decided to start this blog was to give me an outlet to think critically about turning my imagined campaign setting into an actual campaign. One of the biggest matters I had to resolve was figuring out which system I wanted to use to play it. So I’ve been thinking about it for the past two months, and I think I’ve made up my mind.

The verdict is in: I plan to use D6 Fantasy, augmented with some narrative FATE rules. Since everyone who blogs has to make up terms and systems and stuff, I’m going to call this hybrid system of mine D6F (pretty clever, eh?).

D6 is pretty basic, but the main thing I added from the FATE system is the use of Aspects that will replace the Advantages and Disadvantages of D6, and be central to doing cool stuff and leveling up. I plan to expound on how it all will work in subsequent posts, but let me first explain why I’m keen on D6 Fantasy as my base system.

I’m familiar with it and it's easy

D6 is a super-easy, skill-based gaming system. Having played the old Star Wars D6 back in the day, I always found it to be straightforward and playable. We even recruited several non-gamers to play with us, which I attribute to both the accessibility of the system and our group’s general awesomeness (“Trust me, no one on Coruscant will be looking for a shaved Bothan!”). I also tried to adapt it to a fantasy setting a few years before West End Games published the D6 Fantasy rule set. It wasn’t nearly as good, but it also didn’t lose nearly as much money. (Sorry. Too soon?)

It’s cinematic, yet narrative

One of the great things about the D6 system is that it lends itself to quick-action, cinematic games. This is why I recently suggested it to Oddysey for her Summer ’11 Grimdark, Cyberpunk, Racing Campaign (HAWT!). While the system inherently leaves room to incorporate as much or as little narrative gaming as the group would like, I hope encourage more of this by grafting on the FATE rules.

…And flexible

Like many narrative games, there is ample space for players to develop the characters they want without being tightly bound by preset templates. Want to play a Fighter or Assassin? Sure. Want to play a Samurai Landscape Artist, a Mind-Flayer Graham Cracker Merchant, or Cthulhu’s Tech Support (so he can place that Call)? No problem! This will surely make people like Risus Monkey happy, but it also avoids the “Risus death spiral” that irks some folks I game with.

It's got plenty of dice rollin'

I like rolling dice. I like rolling eight dice at a time. I like exploding wild dice.  I like being able to cash in points to buy more exploding wild dice – even if they all only have six sides. Unlike some narrative games, there is still plenty of crunchiness in the D6 rules that means lots of dice to roll for skills and difficulty levels and stuff.

It has open-ended, skill-based rules for magic

Here’s the big one. D6 Fantasy outlines four basic magic skills that govern casting, and the players are given considerable leeway to determine how their spells manifest. However, the system is flexible enough that totally different casting skills can be used. This is important because magic in my world is a new and unknown phenomenon. It will be rare and uncertain at the beginning of the campaign, but I want to give the players enough freedom to explore and invent their own ways of tapping into the arcane. I think the simplicity and flexibility of this system will give my players considerable room for interesting and creative innovation.

D6 uses metric!

To hell with you and your 5’ squares! Who needs 25 square feet of personal space, anyhow? It’s all about meters and liters and grams, baby. It’s the only way to measure.

I’m pretty excited to give this a whirl, and I look forward to discussing how this will work in coming posts. In the meantime, if anyone has any suggestions, I’m happy to hear them!

Religion & Myth III: The Church of the Giving Cow

Back when I originally wrote these, I was reading a lot of Joseph Campbell, which I think that comes across a bit in the following tale of Myamber and Kojak. By the way, my favorite myth from The Hero with a Thousand Faces is that of Water Jar Boy, who wanted to go hunting with the rest of the men of his tribe, but couldn’t… because he was a water jar.

            The Church of the Giving Cow is a community that is primarily concerned with the social well being of all.  In the relatively simple myth of the religion, a man by the name of Myamber (later Myamber the Great) had grown to old age and, in accordance with the custom of the pre-Founding barbarians, was turned out into the wilderness to die.  Myamber wandered for days until he finally collapsed under the strength of the sun. He was on the threshold of death, when the generous spirit Kojak appeared to him in a vision.  Kojak revealed to Myamber both the beauty of the world to come and the suffering of this world, and left him with the choice.  Myamber remembered his family and friends kindly, and had pity for those that turned him out to die. He wanted to stay in this world and promised to make it more like the world to come, if only he could be given the chance.  Kojak admired Myamber’s forgiveness and dedication to his people and honored his desire by reviving the old man.  When he woke, Myamber found that Kojak had also provided him with a pure white cow that gave him the milk of life.  When Myamber returned to his tribe they said, “By what means does this old man come out of the wilderness?  What miracle is this? Surely this man is blessed.”  They made Myamber king and he ruled for many peaceful years.

Behold! The mythical Cow of Kojak (compliments of Myrabella)

In keeping with the tradition of the myth, the Church of the Giving Cow is dedicated to the care of the poor and the sick, especially those near death.  Priests and priestesses of Kojak vow poverty and are practiced in the art of healing. Notably, unlike the Zooloyoyo establishment, the Church of the Giving Cow has remained silent on the issue of magic. For many in society this borders on heresy, and some circles even spread spurious rumors that the Priests of Kojak have even healed injured goblins. Perhaps this openness is because they are accustomed to dealing with outcasts and the dregs of society.

However, despite its openness, it can be a difficult religion to follow because of the service that priests and priestesses must commit to. The main temple is in Bryss, but smaller ones exist in both Markaz and Mudun.  The symbols of the Church of the Giving Cow are, of course, a pure white cow that represents the gift of Kojak, and a cluster berries topped by leaves that signify the medicines and remedies that the priests of Kojak concoct for public use. I'm pretty sure that any characters will become familiar with the healing practices of the Church sooner or later.

Religion & Myth II: Zooloyoyo

Zooloyoyo is a religion that began as an extension of the Church of Keyera many years ago and is dedicated to Keyera’s husband, Zoli.  Zoli is a spirit believed to embody order, strength, and stoicism. He is credited with having given mankind the ability to build cities after Keyera taught them civilization. Zooloyoyo began as a formal and highly ritualized version of the Keyeran rights. Its rituals are extraordinarily complex, and it is notable for having an exclusive and dedicated clergy.

The complexity and exclusivity of the rituals implies that the followers of Zooloyoyo are a rather pious crowd. As a result, it tends to attract a class of people who want to be seen as exclusive and pious: merchant elites, up-and-coming nobles, and well-respected pillars of society. The ruling Bakdunis family all purport of practice Zooloyoyo, since this enhances their public image as good, pious folk, and lends to their credibility as rulers.  In truth, neither of these pretenses holds up under even the slightest scrutiny.

Zooloyoyo is second in following to Church of Keyera, and generally appeals to those who want more structure to their religion.  Every follower of Zooloyoyo must undergo a litany of morning and evening prayers in addition to lengthy weekly services and periodic holy days and auspicious occasions.  Zooloyoyo priests, who are all men, don elaborate garb and are easily recognizable by all.  Zooloyoyo is also a highly hierarchical system, which keeps numerous aspects of its practice secret to all except the most senior elders.  As a result, the religious organization is not effective for much except advancing the faith and collecting tithes from the faithful (much of which is rumored to go to family Bakdunis).

Religion & Myth: Church of Keyera

 In continuing the series on religion and myth in the land of Kimatarthi, I bring you the Church of Keyera.

Most people in Kimatarthi recognize Keyera to be the Mother Spirit, who gave birth to the world, bringing everything into existence. She is the one who provides, nurtures, and protects, and the worship of her is far and away the most popular throughout the land. Temples dedicated to her can be found throughout the cities, in the countryside (well, before the goblins destroyed everything), and even in private homes. She is worshiped as goddess of the harvest; she is the recipient of prayers for pregnancy and safe childbirth; she is the patron of artisans, the divine inspiration of artists, and gets credit for pretty much whatever else folks attribute to her. Generally, when some divine entity needs to be thanked, it is her, and “thank Keyera,” is just about the most common phrase in the local parlance.

Keyera is the central figure of Kimatarthi’s creation myth. In the beginning, she gave birth to the world and populated it with plants, animals, and people. Modern society believes that people wandered the land aimlessly until Keyera—in her wisdom and mercy—taught them how to plant crops and grow their own food.  With farming came civilization, knowledge, and learning, leaving all mankind forever in her debt. The centrality of “civilization” in this creation myth plays a large role in the mistrust and disdain of most people toward the nomadic peoples known as Wanderers.

Priests and priestesses of Keyera are very common, and can be readily identified by their distinctive green or brown robes. There is no hierarchy to the Church of Keyera, and junior clergy learn the rites much as an apprentice would learn any trade. They generally live a simple life, tending to one particular temple or making rounds, offering sacrifices at any number of locations. Keyeran clerics oversee various ceremonies, such as coming of age celebrations, weddings, deaths, and of course the harvest of crops each season. In return, they live off of the donations they receive. For this reason, many people become priests or priestesses of Keyara as an escape from abject poverty. 

Actually, it’s a pretty boring, but functional religion.

Religion and Myth

Since I’m still struggling to make time for most things that are not my kid, I’ve decided to go back through my old notes and publish some of what I’ve already written about Kimatarthi as posts. I’m going to start by doing a short series on myth and religion in my campaign setting.

Religion in Kimatarthi is based on the worship of spirits exist everywhere and inhabit all things. They are thought to bring good fortune and ill, and must be kept happy. While there are many common practices, such as leaving small offerings of food, there are just as many unique and bizarre practices that can be observed. Many people worship house gods, which are often ancestors or other deceased figures that people would like call to for blessings. Families, tribes, and cities often have totem spirits. Spirit shrines small and large are set up at places of business, public areas, auspicious locations, and anywhere else – like that oddly twisted log alongside the road.

What a good place for the superstitious to build a shrine!

But on top of this spirit worship, there are three figures that draw sizable organized followings, spirits named Keyera, Zoli, and Kojak. Keyera is believed to be the Mother Spirit, Creator of the world. The followers of the Church of Keyera are by far the most numerous throughout the land.

While Keyera birthed the world, her spouse Zoli gave it order. Worship of Zoli, the practice of Zooloyoyo, is highly formalized and usually particular to the elite classes.

Myths about Kojak vary—some say he is the son of Keyara and Zoli, others that he is their father, still others that he is their servant—but he is always seen as a great and beneficent figure. The Church of the Giving Cow places him at the center of their practices.

I’ve always enjoyed myth, and creating myths is one of my favorite parts of creating new worlds. The sort of myths that you create for the world says as much about your campaign as anything else, and if played right they can bring a lot of flavor and plot to the games. I’ve got several pages of notes about each of these practices, and (rather than write something completely from scratch) I’m going to use that as fodder for my next several posts. Stay tuned…

Markaz

More than likely, the campaign will center on the city of Markaz, the bustling urban heart of Kimatarthi. Centuries ago, the city burgeoned into an important trading hub, since it straddles a gap in Great Rift. As the easiest intersection between the east and west, Markaz served as the departure and arrival point for caravans making the long trek between Bryss and the cities and towns of the east. This central location turned it into a wealthy and populous metropolis where anything and everything was available for the right price.

The city’s position makes it naturally defensible, but over the years, the gap was further fortified – in order to dominate the trade routes as much as to defend the city. The road up from the eastern lowlands climbs from the Black River to the city walls. To the north, the old fortress of Markaz sits atop looming cliffs, looking down over the busy markets of the valley. The city sprawls south, rising into wealthier neighborhoods before descending once again into poor, dilapidated slums and the Empty Quarters.

Markaz was the stronghold that withstood the goblin onslaught. As the invading horde rolled across the land, the survivors poured north, seeking shelter beyond the gap. Refugees arrived by the thousands. Though the goblins did briefly breach the city walls, human kind rallied and drove them back. Today, many years after that fateful battle, Markaz remains a melting pot of all the families, tribes, and peoples of old Kimatarthi.

Although the general population of the city is a motley mix of humanity, the old elite of Markaz still runs the show. The city is governed by the Bakdunis family, who dominate the politics, trade, and many other aspects of life in Markaz. Obviously, not everyone is happy with the current arrangement, yet the Bakdunis are able to maintain control with through savvy politics, dirty tricks, and occasional brute force.

Also, I recently picked up the Vornheim kit by Zak S. and I really dig a lot of his ideas. His book offers a ton of tricks and tables and whatnot that I’ll probably use to facilitate adventures in Markaz. While my city has a totally different feel—it’s much more ‘brown mud walls’ than ‘towering grey stone,’ among other things—his approach is universally applicable and everything is easily tweaked. It also offers plenty of material to riff off of. I’m looking forward to taking it for a drive someday.

Let's Play Geography!

Let’s take minute to talk mechanics. Let’s face it: if you’re into creating worlds for gaming, you’re probably into the process as much as anything. I love geography and am fascinated by geology (I love those How the Earth Was Made documentaries – they’re like nerd crack!), which is part of the reason I enjoy creating worlds so much. So, as I’ve created this world I’ve given a great deal of attention to the physical structure of the land itself. These things require some thought.

It’s a few years old, but Rich Burlew (the Giant in the Playground himself) gives an interesting discussion of the logic of building the geography of a fantasy world. He emphasizes the inherent logic of how elevation, water, and civilization work together.

After I read this, I went back to my old maps of Kimatarthi, and I found that my treatment of the issue was very similar to his in that there is an underlying logic for how everything fits together. You can’t just slap together mountains and swamps and rivers and cities and expect it to be a coherent thing. Kimatarthi itself has been affected by plate tectonics, volcanism, and erosion. Its people are influenced by climate, terrain, economics, and natural disasters, such as ravenous goblin hordes.

So, when I made an initial sketch of the world, it was clear that the shape suggested two plateaus separated by a long valley. I decided that the heights would be rather dramatic and unlivable. Therefore, civilization has to exist at the lower elevations. Water also flows down, and it seems that if there’s just one main valley almost all of the smaller streams would eventually come together at a central river. I decided to make this river run south until it fans out into a marsh and goes over Land’s End.

The positions of the cities are defined by this geography as well. Down south, Bryss benefits from substantial glacial runoff, and is protected from the desert by mountains. Also, its higher elevation keeps it a bit cooler.

In the east, Mudun can also take advantage of water, elevation and arable land, but it’s vulnerable to attack. Everything in the east was destroyed during the Goblin War, and that whole region is still goblin territory.

Though everything west of the Great Rift is mostly desert, the gap all the way up north is the only passage to Bryss. Caravans making that long journey would have to outfit themselves, and so Markaz developed into a trade hub at the last inhabitable point beyond the Western Desert. These positions also suggest a relationship among the cities that feeds into the larger political environment… but that’s something I’ll explore later.

I have always enjoyed the mental exercise that comes with figuring out why things are the way they are – both in real life and in pretend. The nice thing about inventing a world, though, is that you can follow an interesting idea and see where it leads. When you run to a dead end, you can just think up another string that makes sense. I once read that Tolkien reported that he felt that he was exploring a world more than inventing one. And I can see how he’d feel that way.