Category: fantasy (Page 1 of 10)

What to do when you don’t know what to do (RPG edition)

In my monthly DCC RPG game recently, the players decided NOT to go to the Caverns of Thracia for their usual dungeon crawl of doom. Instead, they noticed a set of smaller ruins off the beaten path between their village and the Caverns (ruins that were created by Goodman Games for their Backerkit hexcrawl of the island of Thracia that I’ve been using as my overland map for the game).

Unfortunately, the entry in Goodman Games’s hexcrawl book doesn’t have much to say about these ruins: the villagers from the Hamlet avoid them, and there might be a tunnel/series of tunnels connecting this ruined village to another ruined village several miles to the west.

That’s it. That’s all I had to go on and use on the fly for this detour by my players.

I probably should have told the group that I wasn’t prepared for a trip to these little ruins and maybe we could just move on to exploring the Caverns, per usual.

But I didn’t want to take away player agency, so I figured I could improvise something using the details from the hexcrawl supplement. There are tunnels/a tunnel connecting two sets of ruins. Maybe something is in the tunnel(s)? Maybe they’ll find treasure in the other set of ruins?

My first mistake was trying to make all this up on the spot. I should have asked for a ten minute break to plan *something* instead of ad-libbing everything and ending up with a rather lame location and confusing encounter with a ghost.

I didn’t act prudently at all, and so what resulted was almost two hours of a weird, rather stupidly long tunnel that connected the two sets of ruins, a ghost with a missing hand who was full of hate but couldn’t actually do much damage to the players (DCC RPG’s ghost entry in the Monster section is pretty weak, and I didn’t know that before I decided to have a ghost be waiting in the tunnel… the ghost doesn’t do any damage just has these special abilities, and a lot of them didn’t make sense for what I had narrated already, so I ended up with a ghost who can show players a vision of their own deaths and not much else).

By the end of the encounter, the group had found the other set of ruins and I put a box with some treasure there so they didn’t feel it was a total waste of time, but honestly, it was a total waste of time. Not a very fun encounter, not a very interesting location, and all of it ended up confusing them instead of entertaining them.

Ugh.

Again, I should have simply asked them to go to the Caverns, promising to develop other locations and hexes for next time if they wanted to do more exploration.

But I didn’t, and we ended up with a weird and wasteful two hours of game time.

Instead of totally improvising and ending up with a mess, what if I had a ready-to-go toolkit for improvising locations and encounters on the fly? What if I could let the players explore things without asking them to wait until next session?

Hours after our game session ended, I realized I DO have a ready-to-go toolkit for improvising locations and encounters. I just didn’t bring it to the session. I didn’t even THINK to bring it the session, and that was a mistake.

I have Bob World-Builder’s Skrym zine, a toolkit for creating wilderness sites, encounters, and treasure (compatible with DCC RPG!) and I could have rolled up something in five minutes if I’d had it with me at the disastrous session.

There’s some ruins, eh? A ruined village, according to the Goodman Games supplement.

Okay, so roll for encounter in some ruins (2d6)… I got berserker.

I also rolled to see if maybe there was anything else near the ruins and I rolled again (2d6) and ended up with a cave. So maybe a little bit off the borders of the ruined village is a cave (and maybe this cave is where the tunnel is to the other ruined village miles away).

Random encounter for the cave… a giant spider.

Then I rolled four dice for a “small location” (the toolkit says roll 5d6, but I only had four dice at hand). Where those dice landed on my notebook page is where buildings are intact, ready to be explored. The number facing up on each die determines what’s in that location, so I ended up with a chest (6), two minion locations (4), and one hazard (3).

I decided the berserker was in one of the buildings with some minions. The berserker description in the toolkit mentions that its a dirty, cannibalistic human, so I figured the minions might be some giant rats he’s befriended.

I rolled for the hazard and ended up rolling “collapsing,” so that means maybe the wall of the building is unstable and will collapse if any rubble near it is moved, 1d6 damage or half if a Reflex save is successful.

Then I rolled for loot to see what was in the chest (maybe these were things the cannibal had collected after killing his victims?). Rolled up a hexarone handaxe (a kind of dwarven metal with special properties), a cask of mead, and a leg of turkey (maybe the players don’t know what kind of meat it is… fearing it may be human).

For the giant spider in the cave, I figured she had four victims in her web so I rolled up four more pieces of loot and ended up with a special longbow, special armor, 10 feet of chain, and some regular chainmail.

All of this random rolling took me roughly five minutes. I could have done it while the group was setting up their marching order and making some Sneak Silently rolls or whatever. I could have also done it as they went from room to room in the ruins. IF I’d had the Skrym zine with me.

Lesson learned. From now on, I bring this zine and if players ever go “off-book” into something I haven’t prepared for, all I need to do is spend a couple of minutes rolling on these tables and I’ll have a ready-to-go site and encounter for them to explore.

I feel stupid, of course, for having this awesome resource and not using it in my last session. And for someone else’s game, Skrym might not be the right tool. But I think it behooves any game master to have something like Skrym at the ready: a short, easy to use, on-the-fly toolkit for generating locations and encounters.

The Skrym zine is only about twenty-five pages; I printed it at home and stapled it, making a half-page booklet. Instead of trying to roll on random tables in a larger rulebook (like Shadowdark RPG or OSE) where some of this stuff is on different pages, Skrym has everything within a couple of pages; easy to flip through and fast to use. So whatever resource a GM uses, I would suggest it be short and sweet, something zine-like or even a single page maybe, that can be used quickly at the table without downtime or having to pause the action.

I feel foolish for my blunders in our last session, but going forward, I know I won’t make the same mistake again. And I won’t run a session of DCC RPG without bringing Skrym along to help me.

Lo, these many years, I have searched in vain…

…until now. At long last, I think I’ve found it. The book I read as a kid and could never remember its title.

At first I thought it was The Sleeping Dragon.

Then Quag Keep.

Then The Twilight Realm.

Then Demons Don’t Dream.

But none were right. I remembered the book was about a group of young people sucked into a role-playing game, but with each foray into these old 1970s/80s paperbacks, I grew less and less confident that I would find the right book, the one from my faded and unreliable memories.

I knew it had a blue cover.

I knew it had people from our world transported into a fantasy game.*

I knew it had to be from the late eighties or early nineties because I read it when I was roughly ten or eleven.

And I knew that it had seemed a bit too “old” for me at the time. Like, I remember the choices of the characters and the conflicts making me feel somewhat uncomfortable at times. I don’t know if it was relationship/sex-type stuff, or just moral grayness, but I remember keeping my reading on the QT. Or maybe I was embarrassed by the role-playing aspect, something I wasn’t sure my parents would approve of…

But over the years, as I’ve Googled what I could remember and crawled through message boards and blog posts, I simply couldn’t find the right book.

Honestly, I figured it must have been one of the aforementioned books and my memories were just faulty or making shit up.

And yet… the niggling feeling in the back of brain wouldn’t go away. I still wanted to know… still wanted to find the book…

Reader, I think I’ve found it.

I’m not sure why my morning scroll through Pinterest looking for old Dragon Magazine covers and fairy tale fantasy illustrations made me think of this book again, or my quest to find it, but I decided to do another round of Google searches and see what might come up.

The keywords were the usual: “portal fantasy,” “role-playing game,” “dice magic,” “1980s,” and yet, for whatever reason, this time, I lighted upon an rpg message board where someone had asked a similar question: Looking for a book… kids transported into a game… can’t remember the title… etc.

I scrolled through the thread. Same old, same old. Quag Keep. The Sleeping Dragon.

And then. Could it be this series by Kevin J. Anderson? Gamearth series? Gamearth, Game Play, Game’s End?

As soon as I saw the title, Game Play, it was like a little chink in my stone wall plunked out, and then the whole edifice crumbled.

Game Play.

I looked it up.

Blue cover.

An RPG that comes to life.

Kids from our world.

Came out in 1989. I would’ve been eight. Maybe nine when I encountered it.

And that cover. It gave me the shivers. Familiar and strange. Like deja vu or a memory or a dream.

*Apparently, my memory is a little faulty because I’m not sure the kids from our world go INTO the game, but instead, the game comes to life. But everything else from the book description sounds bang on. Even the names–Melanie, David, Hexworld–sound right.

A memory conjured from a darkened abyss. Hexworld. Game Play. The blue cover.

I have to find a copy now and read it. Anderson has republished the series but with revisions, so I don’t want to read the newer version. I want the old 1989 one. The one from my childhood.

I am almost 100% certain it will not live up to my memory of it. I don’t even think I liked it as a kid, only that it captivated and intrigued me. It felt weirdly forbidden when I was ten (eight? nine?). I know it will not seem so forbidden or “adult” now to the real-adult me, but I don’t care. I have to find a copy and read it.

I think, at long last, I have found the forgotten book. My quest is nearly complete.

Just goes to show what a fantasy novel, even a probably so-so fantasy novel, can mean to a kid.

Return to DCC RPG

I’m playing a solo Dolmenwood game right now, my kids and I are playing some adventures using Hero Kids, and I might be joining an open table for Shadowdark in the very near future, but I’ve also been cooking up another solo adventure/campaign using the Emirates of Ylaruam gazetteer from TSR, and I was thinking of using Cairn for my system, and yet now, I’m getting the itch to return to my first OSR love: Dungeon Crawl Classics RPG.

I’ve played several games using DCC, and I’ve loved each and every one, but I find that players don’t always love it as much as I do. Maybe I’m not a very good Judge, maybe the players have wanted a more typical 5e experience, I don’t know. But I’ve moved away from DCC RPG partly because there are so many new games I’m interested in (Dolmenwood!!), and partly because I’ve found it hard to get a regular game going.

But if I love it so much, and I’m planning a solo campaign, why not use DCC for my solo campaign? It’s an obvious choice!

One thing I’m interested in is using DCC for a homebrew. Although Goodman Games makes excellent adventure modules, I’m more and more curious to see how DCC works when using the core rules but adventuring in my own world (“my own” is a stretch… I am using the Ylaruam stuff from TSR… but I’m not using any pre-made modules; I’m making a sandbox and letting my PCs go wherever, no set story).

One of the things I love most about DCC RPG’s core rulebook is the way it encourages the judge and players to develop their own world: make your own patrons and deities and monsters and magic items and everything else in between. If dice rolls lead to wild results, play out those results and see what happens. A spell goes awry and transports the party to another dimension? Cool! Go explore that dimension. A PC dies and his friends want him back? Cool! Travel to the underworld and rescue him. The warrior wants to learn a new fighting style? Cool! Seek out the legendary sword master of the far-off mountains and convince him to train you.

The Goodman Games modules are fun, but one of the things that drew me to DCC RPG is the way it inspired my own adventuring and world-building ideas. I like the modules for one-shots, or even as locations/encounters within a hex crawl, and I might use a few as I solo-play, but I’m really in the mood for creating my own map of adventures, my own locations, my own quests. I’ve never really used DCC for that kind of play yet, and I want to try.

I’m inspired on some level by Bob the Worldbuilder’s excellent Skrym resource. By using the Ylaruam gazetteer and the Skrym random tables (as well as the tables in the DCC core book), I feel confident I can make a robust solo campaign.

In some ways, I wonder if Goodman Games’s success with its modules has hampered or undersold DCC’s ability to work as a homebrew game. The game itself has so many interesting quirks and tables that create stories simply by the effects of a spell roll or treasure table roll or patron roll. The modules are wonderfully weird and well-designed, offering the perfect DCC “flavor,” but as a system, I think the DCC core book gets overshadowed by this robust line of adventures. I’m genuinely curious to see how well the system holds up in a sandbox campaign that is not based on any DCC RPG modules or settings.

American Fantasy in a Box of Rain

Ross Douthat had an op-ed a few months ago where he posited that America needed its own quintessentially American fantasy novel/series, and while I immediately objected to the headline’s premise that we’ve never had one (ever heard of Oz, my dude? Or the John the Balladeer stories?), I understood that Douthat was arguing for a “Great American Fantasy,” a Lord of the Rings for our purple mountains’ majesty.

He also acknowledges the Oz books and others, and yes, he does say we can have a great American fantasy that is for children or that does something outside of epic fantasy.

In his opinion, no “American fantasy” has achieved greatness yet, and that’s what he’s challenging authors to do. “Make American Fantasy Great” (but not “again,” because, well).

Okay, cool, fine, whatever.

I’ll admit that I have a fantasy novel idea (that I first developed back in my early college days) that seeks to blend my love for psychedelic 1960s music with my love for fantasy, but I don’t know if it would meet Douthat’s idea of “great.” Too quirky, perhaps. Too niche.

In many ways, the Between Earth and Sky trilogy by Rebecca Roanhorse is what I would call an “American Epic Fantasy,” but I’m not sure it counts for Douthat’s vision, and I don’t think he’d call it “great.” For Douthat’s “American Fantasy,” America = United States, whereas Roanhorse is definitely America = non-European, indigenous America. She’s decidedly pre-Colombian.

My idea is of the “magic school,” magic-in-the-real-world variety. Think A Separate Peace set at a music school with magic and dragons and it’s the 1960s.

For me, psychedelic rock & roll has a lot of fantasy connections. It’s why hippies and college students were all saying “Frodo Lives” in the 1960s, making The Lord of the Rings into a huge American bestseller. We all know Led Zeppelin was putting Tolkien references into their lyrics. And the weirdness of an LSD trip can definitely feel like traveling into another world, a magical world (so I have heard).

In particular, the Grateful Dead’s music and Robert Hunter’s lyrics have always been a source of inspiration for my imagination and for my fantasy writing too. If there’s an “American Fantasy” soundtrack, I think it might be the Dead who plays most prominently on it. This is partly because of the free-form style of their music, the occasional weirdness. But it’s also because of Hunter’s lyrics, which blend Americana with mystical imagery; a very grounded, homespun sensibility with a dream-like lyricism:

“Walk into splintered sunlight

Inch your way through dead dreams

to another land

Maybe you’re tired and broken

Your tongue is twisted

with words half spoken

and thoughts unclear”

“Just a box of rain

wind and water

believe it if you need it

if you don’t just pass it on

Sun and shower, wind and rain

in and out the window

like a moth before the flame”

(“Box of Rain,” words by Robert Hunter)

“Box of Rain,” “Ripple,” “Dark Star,” “St. Stephen,” “Terrapin Station,” “Franklin’s Tower”: These are only a few of the Dead’s songs that carry me away to an Otherworld, to fantasy.

I think we tend to associate British bands like Zeppelin, or heavy metal and prog rock in general with fantasy — which makes sense. These genres and bands are often heavily influenced by fantasy literature. And fantasy literature has, to Douthat’s point, been generally associated with European culture for a lot of its history (though this has changed more recently).

But the Dead are also a band with a fantasy vibe, it’s just that their vibe isn’t always drawing FROM fantasy literature but instead from a different corpus that includes American history and folklore as well as classical literature, the Bible, the folk, blues, and country traditions, and, of course, the Ken Kesey Merry Prankster LSD stuff from their early years. The Dead are American Fantasy to me because of the way they bridge so many different influences, while also bringing their own original visions to bear on these source materials. It’s old and new, traditional and experimental. Earthy bluegrass and psychedelic flights of fancy.

One need only look at the album artwork and overall aesthetic of the band’s merchandise and promotional art: animated skeletons and dancing bears and all kinds of fantastical and sumptuous pastoral imagery. Crows and cats and harlequins. Banjo-playing turtles and skulls and starry skies.

(To be fair, lots of promo art from the psychedelic sixties and seventies fits this bill. But the Dead have kept it going beyond that particular period, making this aesthetic an integral part of their oeuvre.)

In some ways, the “Great American Fantasy Novel” isn’t even a novel at all. It’s the body of work done by the Grateful Dead. Maybe this isn’t what Douthat is looking for — this isn’t a Moby Dick but for “fantasy” — but as the man once said, “Believe it if you need it. If you don’t just pass it on.”

I believe it.

Let’s All Read Tanith Lee

If you had asked me about Neil Gaiman before recent horrific news broke about his abusiveness, I would have said I was a fan.

Not a huge fan, but a fan. I liked The Sandman comics, liked Neverwhere, liked the movie adaptation of Stardust, liked some of his children’s books, liked the movie adaptation of Coraline, liked Neverwhere.

But even more than being a fan of his work, I was inspired by him. His prolific career. His advocacy for libraries. His ability to write in several different mediums, from comics to film to novels and short stories. Probably because I myself am NOT prolific but aspire to be, I’m inspired by those artists who ARE prolific: Bradbury, Andre Norton, Brandon Sanderson, Gaiman. And Gaiman’s brand of dark fairy-tale-esque fantasy suits my sensibilities quite a bit. I’ve never loved anything he wrote, but I definitely liked a lot of it, and even more importantly, I was inspired by it.

I can’t deny my inspiration, as much as it sickens me that I was inspired by such a creep.

The accusations against him are absolutely horrible and sickening. I don’t really have anything to add other than I hope his crimes are punished and his victims find healing.

But the accusations of plagiarism that Kristine Kathryn Rusch mentioned in her latest Patreon post were total news to me, and now I see that perhaps even the ways in which Gaiman’s work inspired me were a lie.

I have heard of Tanith Lee, but I haven’t read anything by her. Now I see that this negligence needs to be remedied ASAP. If Gaiman was stealing her ideas and her style this whole time, then I was getting inspiration from the wrong person. I should be reading Tanith Lee. I WILL be reading Tanith Lee.

And because she too was prolific, I have a new writer to admire.

Let Gaiman fade into shadow and infamy. Let him face both human and cosmic justice.

But let’s the rest of us go read some Tanith Lee.

Goal: Finish Ysbaddaden and the Game of Chess

This one was always going to be a challenge. It’s a tortured history, and I might not be ready to confront it.

I wrote the first Merlin book in roughly 2014-2016 (exact dates are fuzzy because it was so long ago, which is exactly why my goal to finish Ysbaddaden is so fraught).

That was almost ten years ago, when I published The Thirteen Treasures of Britain. Not too long afterward, in January 2017, I wrote a Merlin prequel short story, and I started the second book of the trilogy, a book about the giant Ysbaddaden, a chess game between Merlin and his arch-nemesis, and the continued hunt for the treasures of Britain.

Yeah. It was gonna be great. It was gonna rock. I was gonna finish this book and get it out, then write the third one and have a complete trilogy and be awesome, yay, yay, yay.

Then, after I had completed the trilogy (so my plan was planned), I was gonna write more. So much more. Dozens more. Dozens upon dozens. Ideas for more books, more series, more stories. I had so much more I wanted to write.

So, while I was excited about the Merlin trilogy, I also had plans for more. I needed to get “through” the Merlin stuff to get to all the other stuff I wanted to write.

I was excited for Ysbaddaden, yes, but I was also nervous about it. It wasn’t something I had a clear idea about plot-wise. I knew roughly what I wanted to see happen, but I also wanted to discover new things as I wrote. This is my way. Discovery writing.

I started writing, started the journey roughly in 2017, but then life stuff happened. Another pregnancy happened. And the excitement of the Merlin trilogy began to chafe against my unclear idea of what would happen with Ysbaddaden. In those days, I didn’t have a good handle on how to deal with “stuckness” as a discovery writer. And I was stuck. Stuck physically (with the pregnancy), stuck emotionally (also with the pregnancy), and most especially stuck with the story.

I didn’t like the direction Ysbaddaden was going. And I couldn’t find time to write.

This went on for at least a couple of years. Honestly, I have a bad memory, so I’m not sure when things really started going off the rails, but off they went, and soon enough I realized I needed to scrap twenty-thousand words and redraft huge sections of the work-in-progress.

The redrafting was better, and I started to find a good footing with the story, but then two of my side projects started to become main projects. I finished Avalon Summer and Gates to Illvelion during the time when I was “supposed” to be finishing Ysbaddaden.

By 2023, I had published those two side project books, but I still had a half-completed manuscript for the second book in a trilogy I first started publishing in 2016. And instead of barreling ahead with Ysbaddaden, I decided to start ANOTHER book, Norse City Limits.

So, as I indicated above. Fraught.

This is probably a Critical Voice problem. Fear that the second book will be worse than the first. Fear that my ideas are stupid and I’ll ruin the series.

But even more than fear, I think what’s happened is that I’ve lost the momentum. I can already tell that momentum is starting to wane with NCL too. Turns out, I need to keep momentum going on a project or else risk losing interest. I’m like a kitten or puppy, distracted by every shiny thing that comes my way.

Going forward, with new projects, the key will be to keep the momentum going and not get too rolled by hiccups and life events.

But for these older projects, for the eternal project that is Ysbaddaden and the Game of Chess, I need to somehow regain the momentum. With NCL, I think I’ve managed it, but only time will tell. My goal is to finish it by March. Then, it’s on to Ysbaddaden, trying to finish it in the second quarter.

Regaining momentum on a long-delayed project is not easy. Frankly, I’m not sure how to do it. The best I can figure is the old stand-by for when I feel creatively stalled: More input.

If (for both NCL and Ysbaddaden) I can start reading and watching and listening to stuff that fuels my creative voice, then I might be able to rev the motor and restart. Reignite.

The NCL input list includes the aforementioned Myths and Symbols book by H. R. Ellis Davidson, as well as a long list of film noir (a list I might post on the blog in a soon-ish timeframe).

For Ysbaddaden, the list includes The Sandman comics, tons of medieval romances like Tristan and Isolde, the Lais of Marie de France, and Parzival. And, of course, the ur-text for all my Welsh Arthurian stuff: The Mabinogi. Throw in some Tennyson, some T. H. White, and maybe even some Susan Cooper, and add a dash of my favorite old fantasy films like Labyrinth and Excalibur, and I’ll be good to go.

This the hope, anyway. Maybe this time will be different.

I do know that I need to stay connected to the story once I start writing it again. I have to work on it a little bit every day so that the momentum never falters too much. And I have to keep the whole thing fun. Momentum and fun. I’m learning that these are MY key factors for finishing. Momentum and fun.

I think what hurt me way back in 2017 was that I was overwhelmed with life stuff and the writing was harder and harder to fit into my life. I made the book “important” and put myself under pressure to write it. The importance and the pressure and all the personal stuff just stalled me. And instead of being gentle with myself and going easy on the self-criticism, I went self-critical HARD. I beat myself up for my lack of progress, and that made progress all the harder to come by.

I’ve grown a lot as a writer since 2017. I know how to handle stuckness a little better, and I know that I’m really doing quite a lot, actually, so I don’t need to beat myself up about it. The most important thing is that I haven’t given up.

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