Inspiration

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Hittite Cuneiform Tablet
Image by voyageAnatolia.blogspot.com via Flickr

Long title, I know…

But basically I am wondering how we might take the small things, such as the method of writing, and use that in a game. And by “method” in this case, I’m thinking of the tools used to create the work. For example, were the letters painted onto wood or stone? If so, how old are they? What remains?

Let’s think about a few different tools… brush, stylus, chisel, and pen – just for a representative sample.

If you look at the cave paintings in Lascaux, they’re estimated to be around 17,000 years old. That’s a lot of years. That could come into play in numerous different genres of games. The paint used, colors chosen, or even the brush strokes can tell a lot about the artist and how fast a particular piece was finished. The prehistoric artists at Lascaux took their time and it shows. Some gang banger simply marking gang signs on an underpass probably won’t use a brush and will instead opt for a can of spray paint…

Another example would be the good old cuneiform tablet. Clay tablets and a sharpened stylus worked pretty well to document lists of payments or property somewhere around 3500 BC. It may not be the most expressive language in the world, but it works. Consider for a moment some priest documenting the steps for interment of a royal family member and warning anyone not to disturb the dead or face the consequences. Scratches on the wall are probably going to be ignored by most game parties I’ve been in – so who knows what might be behind that cuneiform-labeled door?

Why not use a simple chisel? It beats having to find some wet clay and where you put your stylus down… Some chiseled petroglyphs may be 800,000 years old. More recent ones, for example from Pompeii or Rome, are probably a bit easier to understand if your Latin is up to snuff. (Mine isn’t.) Chiseled stone is kind of like the permanent record for many civilizations we still don’t know much about.

Pen and paper don’t last nearly as long as paint, clay, or stone, but they can be much more expressive and perhaps in a more modern language a PC might understand without too much research. Paper and papyrus have been around for nearly 6000 years. But unless your paper and pen is stored somewhere the paper won’t mold, mildew, or wear away with sun and sand, it’s not going to last very long. Crayons don’t last nearly as long, but can leave a brief reminder on a sanitarium wall that someone did in fact live there for a time.

Cuneiform sign
Image via Wikipedia

So how might you use these different tools?

Take for example a Cthulhu campaign or any other setting that relies on the “previous civilization” model. Can you imagine a scientist from our era stumbling upon the ruins of a temple to the Old Ones and finding 10,000-, 20,000, 100,000-year old markings that get translated (correctly or not) to form the basis of a summoning spell? Or perhaps the previous arrival of aliens or monsters from other worlds or dimensions? Lastly, consider how much you could play with your players heads if it turned out to be graffiti from some punk with a paintbrush in the last 10 years who wanted to spark a hoax…

And then keep in mind the effects of time on a particular piece of art. Has some of the paint disappeared, leaving a message that may be misinterpreted? Or were large portions of a chiseled stone destroyed, leaving only a partial text that may not include the stringent warning about letting whatever was locked deep inside the tomb free?

Endless possibilities.

From fantasy to modern and beyond (computers anyone?), the tools of the trade have a lot to offer as far as inspiration. So don’t forget the little things…

I’ll leave you with some of the sacred text of Monty Python and the Holy Grail

Chapman as King Arthur in Holy Grail

Image via Wikipedia

  KNIGHT:  There!  Look!
  LAUNCELOT:  What does it say?
  GALAHAD:  What language is that?
  ARTHUR:  Brother Maynard, you're our scholar!
  MAYNARD:  It's Aramaic!
  GALAHAD:  Of course!  Joseph of Aramathea!
  LAUNCELOT:  Course!
  KNIGHT:  What does it say?
  MAYNARD:  It reads, 'Here may be found the last words of Joseph of
      Aramathea.  He who is valiant and pure of spirit may find the Holy Grail
      in the Castle of uuggggggh'.
  ARTHUR:  What?
  MAYNARD: '... the Castle of uuggggggh'.
  BEDEMIR:  What is that?
  MAYNARD:  He must have died while carving it.
  LAUNCELOT:  Oh, come on!
  MAYNARD:  Well, that's what it says.
  ARTHUR:  Look, if he was dying, he wouldn't bother to carve 'aaggggh'.
      He'd just say it!
  MAYNARD:  Well, that's what's carved in the rock!
  GALAHAD:  Perhaps he was dictating.
(quoted from Sacred-Texts.com)

(Funny enough, this article was inspired by something programmer-related at Design for Hackers and not Monty Python – but hey. You take inspiration where you can get it!)

–Fitz

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Hi there!

Sure, we all love books and maps for inspiration… (BTW, check here and here for some great maps!)

But did you ever think of book plates as inspirational for a game? I sure as heck didn’t. And yet, there’s this great post that does just that – covering bookplates from late 1400s to the late 1800s through the 1900s. Amazing artwork simply declaring that a particular book belongs to a particular person.

Take for example, the beautiful scroll work of Sir Arthur Conan Doyle – basically a coat of arms worked into a book plate. I have to wonder if an enterprising GM could work a book plate into a book found as part of a treasure as a clue… Or if some strange magic might work its way to lure a reader to another dimension…

Anyway… I’d encourage you to peruse the collection on the linked page – the book plates are amazing, as are the maps at the other links. True inspiration!

–Fitz

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The elder Futhark, oldest Germanic writing system.
Image via Wikipedia

Have you ever noticed that advertising people are totally in love with fonts to express their messages? Have you ever wondered why? Ok, me either. I typically tune out commercials and skim past ads in magazines and on web pages… But I recently saw a couple of posts about typography that made me do some thinking…

Where do fonts come in handy in gaming? It’s a simple thing in most modern word processors or drawing packages to select one of the typically hundreds of installed fonts on a system. And if you’re like me, you’ve probably collected even more over the years. Then again, maybe not – I’m kind of weird.

Just off the top of my head, I came up with a few ideas for where to use fonts:

  • Though developing entire languages is often impractical, sometimes a font can be a cheap substitute… and if you’re consistent, you can use the same font for any pages/notes/letters your PCs find in a particular language so they KNOW – “oh! this is in Draconic and I don’t read it, so I’ll have to give it to Bob, our scholar…”
  • Wingdings is a simple enough way to encode a message so it takes some enterprising player a while to decrypt a particular encryption, but not so difficult that it becomes tedious. A little homework for your players is sometimes a good thing.
  • I’ve seen runes (Viking, Gothic, Celtic, hieroglyphs, cuneiform, etc.) that can make VERY cool ancient scripts if you’re in a hurry.
  • And if you combine the font/language idea with the runic idea, you can end up with a Rosetta Stone of your own that allows a scribe among the party to know how to translate from a particular long dead language of runes to one of the languages they know and then translate from that to common…

Really the ideas are endless. And of course fonts make printed documents look better too. [grin]

So back to those web articles that prompted this… they’re on the Smashing Magazine website in a couple of parts – “The Beauty of Typography: Writing Systems and Calligraphy of the World” and “The Beauty of Typography: Writing Systems and Calligraphy, Part 2“. Though Smashing Magazine deals with the art and technique of website design, these two articles provide amazing insight into the art behind a particular typography system that transcends the web.

If you’re interested in fonts, typography, or want to tackle the daunting task of creating your own writing system for a game – I’d encourage you to take a look at those two articles for inspiration. They have amazing details on Asian, European, Hebrew, and other forms of writing. Definitely worth taking a look anyway.

How do YOU use fonts or typography in your games? Leave a comment and share your ideas!

–Fitz

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Yes, I’m probably going out on a limb here by asking you to talk to a fictional character – which can be further construed as asking you to talk to yourself. (Though recent articles say that talking to yourself isn’t necessarily a bad thing – see here.)

Characters are rarely just numbers and words on a page. There’s more to them than that more often than not.

So why not ask your character, on paper or out loud, a bit about themselves? Consider it an interview. I’ve done it for characters in my pale attempts at writing fiction (had a long talk with a serial killer once that unnerved me a bit). But what do you ask?

There’s the usual stuff psychobabble stuff like:

  • What was your mother like?
  • Where did you grow up?
  • Who were your friends? Your enemies?
  • How was your relationship with your father?
  • When did you realize you wanted more for yourself than an average life? (Most characters lead extraordinary lives.)
  • Why are you here?

But how about some not so obvious questions… A recent article by Alicia Rasley at WritersDigest.com brought up 9 interesting questions to ask… Here’s a few from that article…

  • When you walk into a party, what do you notice first? The mood? The people? The decorations? The things that need to be fixed? The background music? The food on the buffet table? Whether or not you fit in?
  • Do you usually notice problems around you? What is your response? Do you write an angry letter to the editor? Shrug and move on? Analyze what’s wrong and how to fix it? Take it as evidence that the world is falling apart? What about problems within yourself?
  • Are you more interested in the past, the future or living in the now?Are you one to keep holiday traditions? If you had to move tomorrow, how long would it take you to make new friends?
  • How do you decide if you can trust someone? By experience with this person? First impressions? Intuition? Do you test the person somehow? Or are you just generally disposed to trust or not to trust?
  • Are you a deliberate, careful speaker, or do you talk without thinking first? Do you use slang, or do you use diction your old English teacher would approve?

I think these are interesting questions to ponder on a quiet evening or afternoon. Any extra tidbits you learn about your character makes it more interesting to play in my book. It’s those little things that sometimes make a huge difference.

Where does all this lead? Hard to say. You might write up a small biography for your character that you can pass along to your GM. You might simply compile a list of adjectives to remind yourself about your character’s personality and quirks. This could even be useful for a GM trying to further define the party’s arch nemesis or discover the motivations behind a local lord who thinks the PCs should be tossed out of town on their rumps…

What do you think? Have you spoken with your characters recently?

–Fitz

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Hey all…

In my career as a gamer, at least since college, I’ve had a thing for playing insane characters. I thought I’d share some of those characters and how I dealt with their crazy behaviors.

The first time it happened, my character in a Call of Cthulhu game went crazy with a Tommy Gun and managed to murder all but one member of his team because he thought they were monsters. And it felt good. Not the killing part – just cutting loose of all rational thought for a brief moment. He just snapped and went insane based on the rules of the game (aka “missed his save”) and I went with it.

That moment led to my playing of a Malkavian in a Vampire: The Masquerade campaign who was more than a little loopy. He liked having rules for everything. So if, in the course of an adventure, he encountered a situation that lent itself to a new rule, he’d add it to the list. Suffice it to say that living by those rules was a bit of a challenge at times, but a welcome one. The simplicity of the insanity was the key.

And more recently I played a rogue in a campaign that shifted rules a couple of times (from the freeform Hero to a thief in D&D 3.5e). The game was set in a world much like our own during the time of the Roman Empire. Didius (or “DC” as he came to be known – short for Didius Cato) was an escaped slave. And he had a bit of a thing about slavery.

If DC encountered a situation where a slave was being treated unfairly… For instance, on the auction block in a crowded marketplace… There was a chance he’d go a bit nuts and do what he could to change the situation. I’d roll a die and basically decide if he would (even number) or wouldn’t (odd) flip out based on the result. During one session, he basically slaughtered a number of guards as he worked to free a line of slaves being sold.

Somehow he managed to survive. But again, the simplicity of the insanity is what made it fun. He had a trigger (seeing slavery) and no willpower to speak of (thus rolling to determine his action). Sometimes he managed to contain himself. Then there was the rest of the time…

So if you haven’t played a crazy character, I’d encourage you to try it at least once in a campaign. As a GM, it’s easy to slip in a NPC teetering on the edge of rational thought. As a player, sometimes it’s less easy – but talk to your GM and give it a go.

If you have played crazy characters, I’d love to hear about them. What were they like? How did they come about? What guidelines did you use for bounding their nutty behavior? Leave me a comment below or drop me an e-mail at fitz(at)moebiusadventures(dot)com.

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Hopefully you’ve enjoyed the two short samples of life in the world of Immortals’ Wakepart 1 and part 2 – culminating in the demon trial of the merchant Evani Georgia.

This world has a little bit of everything…

  • Coat of arms of {{ #if: Villejust (Essonne, Fr...

    Image via Wikipedia

    Controversial religious-based persecution? Check.

  • Traditional wizards and people with the ability to control raw elemental energy? Check.
  • Hired swords, thieves, knights for various causes, and nobility struggling with court intrigue? Check.
  • A combination of oral and written history viewed through the eyes of the people of the present day? Check.
  • Immortals seeking… peace, revenge, an end to their eternal suffering? Check.
  • A broad world waiting to be explored and filled in by GMs and players alike? Check.

As was discussed in a prior post, I’m seeking input on how to make settings such as those created for Immortals’ Wake accessible to gamers in such a way that it would benefit GMs and players as source material and yet provide enough flexibility that it’s not stifling.

Tourq and Adaen brought up some great things to consider, including:

  • Fear of the Unknown
  • Room for Conflict
  • Ease of Immersion
  • Hooks
  • Open Space

I think all of these are represented in some way or another in this setting.

As far as “Fear of the Unknown” goes… The impending arrival in the city of Belan’si of “The Nameless One” will introduce the players and GM to the raw power of the Immortals of Immortals’ Wake. In every campaign and session I have run where the players encountered these beings, there has been awe, fear, and change left in their wake – followed by the fear of knowing that a character has changed in some fundamental way and is now hunted by the very society they were living in.

For “Room for Conflict,” there’s plenty of that in the world. The mages are at odds with the church. The church is at odds with the “Changed” and even a bit in conflict with itself. The people are caught in the middle, with little safe ground to stand on when the crisis hits. And beyond that, there’s the typical thief vs. guard interplay, the tenuous balance of power among the nobles and their knightly agents… even a rival guild of thieves trying to make headway in the city.

“Ease of Immersion…” This one is tough. The only benefit here would be that many of the groups are loosely based on those in our own history. The history of the Church of the Mother is loosely aligned with that of the Catholic Church, with its militant push towards converting the infidels and seeking to control the hearts and minds of its people through the Inquisition. Nobility and knights are much like those encountered during the middle ages, with different families, power bases and ideals clashing regularly. Magic? Well, magic would be foreign to any setting…

There are many “Hooks” scattered throughout the setting – from strange artifacts left over from ancient wars to rumors of improprieties among noble families, from hidden agents of change within the Church to wizards seeking to control the demons themselves… There are many points that would serve to hook players and GMs into the world.

And “Open Space…” I have a crude map of the world that offers island kingdoms to explore, mysteries to investigate, and huge open spaces yearning to gain histories and inhabitants.

So I think all of these are covered in some way or another.

If you were a player or a GM wanting to know more about the world of Immortals’ Wake what would you look for first?

–Fitz

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What follows is a continuation of the first vignette of Immortals’ Wake here. What would Maria do with the knowledge of a possibly demon-touched individual in the bazaar?

That night, all Maria could think about was the merchant’s magical bowl and the words of the deacon. Should she mention it to the guards just in case? She certainly didn’t want her inability to act to hurt someone, even indirectly.

After a restless night, she decided she would speak to a priest at the basilica before she went to work at the O’mani trading stall in the bazaar. Once inside, her worry seemed to attract one of the Sisters cleaning after the morning service. She introduced herself as Sister Wyland and asked Maria to sit.

“Tell me of your troubles my child,” she said gently. “We are always here to help.”

Maria spoke of the events in the bazaar, careful to leave out the merchant’s name until she was sure of a course of action. “Sister, what should I do? I don’t want to bring pain and suffering on his house, but neither do I wish for anyone else to be harmed should he turn out to be one of the… the… the demons…”

After a moment, the Sister spoke. “My child, ultimately is not everything in the hands of the Mother and the Maker? As vessels for their love and generosity, we cannot let our emotions cloud our judgment. Though you may not want this merchant to be harmed unnecessarily, would it not feel even worse if he was a demon sympathizer and brought destruction to the many innocents who travel to the bazaar every day?”

“I see your point Sister Wyland. Who do you recommend I speak to about this matter?”

“I can pass such information along to the guards for you my dear, so your involvement is further lessened. But you will know that this information will immediately get to those who can test this merchant properly and ascertain how he got this bowl of which you speak… So what is his name?” asked the Sister.

Maria rose, mentioned Eveni Georgia and where his booth was in the bazaar, thanked Sister Wyland, and headed to work for the day with the spring back in her step.

Later in the day, she heard and saw a group of heavily armed and armored men running through the bazaar in the direction of the market center. Her heart pounded in her chest in time to their marching steps. Maria knew where they were going.

Though the knights didn’t come past her booth, she heard descriptions of the two men they apprehended. One was the merchant Georgia, but she didn’t recognize the other one. If the authorities held to tradition, there would be a public trial and sentencing tomorrow at noon. She didn’t want to go, but knew she’d be there with everyone else.

Up to a few years ago, demon trials were just another story told to scare children. But in the last year alone there had been eight trials. And though they had yet to see any demons, eight men and women had been found not guilty after they died during the proceedings. Rumors explained that the families of the innocent would be repaid for the loss and heartache in gold.

Maria didn’t know any of the families to confirm such stories, but she and many others wondered about the truth.

Before the marketplace closed, A’Bas found her at her stall. “Did you hear what happened?” he asked, wide-eyed.

She nodded. “I caught glimpses of them as they ran down the next path. What do you think they’ll do to him?”

He shook his head. “I don’t really want to think about it Maria. Who do you think turned him into the guards?”

All Maria could do was look away and shake her head… “I don’t know, ” she muttered under her breath.

The next morning, as predicted, an edict was posted about the pending trial at Noon. Eveni Georgia was to be tried as a demon. If he lived, he would be proven to be a demon. If he died, he would be cleared of all charges.

The bazaar was deathly still all morning except for whispered questions and murmurs about the merchant and the trial. Maria had not slept a wink, her own betrayal eating away at her from within. Even the nightly sermon hadn’t helped, as the Deacon spoke of the captured demon and its possible meanings for the faithful.

She and A’Bas made sure to find space in the crowd witnessing the proceedings, but Maria cautioned against being where they might be seen by the merchant. Maria didn’t want him to be able to point them out in the crowd.

The knight in charge of the knights of the Order of St. Greggor presided over the trial – Lady Dagor. She looked strong and proud in her practical mix of plate and chain armor. Her knowledge of Church law sounded official to everyone in the crowd, including Maria.

Eventually she asked some simple questions of Georgia.

“Where did you get the bowl?” “Why would you carry such demon-touched merchandise in your stall?” “What contact had you had with the demons?”

The crowd was unable to hear any responses from the merchant, as he was locked in a small metal box suspended by chains above a small pool of water. However, what they saw made everyone back up a few steps.

The box began to dissolve around the man inside. And the merchant looked ready to spring at his accusers wearing simple metal armor and carrying a large sword, both of which appeared out of nowhere.

The lady knight did not seem alarmed by this at all. Making a small gesture, the box suddenly plunged down into the water and a group of knights secured a large wooden lid atop the pool, locking the man and what was left of the box inside.

The wooden walls of the pool expanded slightly as though the prisoner within was pounding on them with great strength, but they held fast. And after a few moments, all grew still again.

Now addressing the crowd, Lady Dagor spoke loudly enough to quiet the cries and shouts of alarm rippling through the people. “You see, that is why we must remain ever vigilant. That was an Earth Demon living hidden among us. He could have brought destruction on us all…” She paused. “But one among you spoke up and shared a concern with us so we could deal with him before anything bad happened. One person made a difference. Don’t ever forget that.”

“Thank the Mother and the Maker that we were prepared for this. We should all give thanks and ponder what we have seen today.” At that, she turned on her heel and went back to her knights who were dealing with ensuring that the demon would not escape his watery grave.

Maria was in shock, as were many in the audience. How could such a thing have come to pass? Why didn’t anyone know he was a demon? But she feared that many may suffer such trials in the future if the paranoia spread too far and fast through the people…

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So when’s a door not a door? Obviously when it’s a window… But you don’t find too many windows in traditional dungeon crawls. Perhaps in the dungeons of a huge castle there may be a few high-class rooms with windows – but that’s about it. :)

Doors and doorways. We’re guaranteed to find at least one in almost every building. (Have to have some way in and out, right?) In the modern world, we’ve settled on a standard size for most of them, but there are still many variations on a theme — wooden doors, metal doors, glass doors…

But do they all look the same? Not usually. In some cases, the door itself is decorated for a particular style or color. In other cases, the door is the central focus of a larger entryway and the entire wall or wall section provides a larger area for visual effect. For some futuristic settings, we might see the standard spaceship door being the same everywhere as well.

Let’s consider how many doors in the modern world and potential futuristic settings are manufactured. For the most part, doors today are made in automated factories that eliminate the potential imperfections created by human artist. Some doors may be created by hand, but the majority are factory-made.

Now let’s go back to a gaming environment. Why do so many dungeon doors look the same in the typical fantasy or medieval setting? In the fantasy case, there may be an assembly line approach with multiple artisans in some places, but usually variations creep in from the tools used, the artists or skilled labor doing the work, materials used, etc.

So when designing a dungeon, we have to look at the big details and the little. Not every door has to have custom details, but it’s nice to sprinkle these details here and there to add a bit of flavor.

First, we’ll consider the materials used for the doorway. Even if your dungeon is a traditional one carved deep into the mountains like those of Tolkien’s books, you’re not likely to find everything to be made of stone. Doorways may be rough-hewn from the surrounding rocks or built of brick or small stones with the skills of a mason, but the doors themselves do not have to be the same as their surroundings.

For instance, let’s take a traditional wooden door. Many different questions may provide some interesting color to an otherwise unremarkable, everyday portal closing…

  • What type of wood is it made of? Oak? Teak? Mahogany? Redwood? Olive? Elm? Cedar? Pine?
  • Is the type of wood used the same as may be found in wooded areas nearby the dungeon entrance? Or was the wood brought in from a different locale and environment?
  • What type of construction was used for the door itself? Is it a heavy, fortress-style door, with vertical planks of solid wood joined by iron nails and hinges? Or is was it done with more of a paneled approach, indicating a more artistic eye of the architect, artist, or owner?
  • Does the door have an eye-hole or window through which someone on the inside could peer at any visitors?
  • Is it a single door? Double doors? Do the doors fold? Do they pivot or slide?
  • Does the door open outward (towards the visitor)? Inward (towards the inhabitant)?
  • Are the hinges on the left or right? Does it slide to the left or to the right?
  • What style of doorway is the door in? Is it a square door? Are the doors rounded at the top? Is the entire door an odd shape such as a circle, diamond, cross, etc?
  • What color has the wood been stained? Or has it been discolored by smoke, water, or fire?
  • Have any carvings been made into the door by the artisans? Or by the inhabitants? Were the carvings artistic, practical, accident, or idle hands?

What about a metal door? Stone door? Glass door?

  • Is the door merely a series of bars like a jail door? What metal was used? Iron? Bronze? Steel?
  • Has the metal for the door been plated in copper, silver, gold, or something else?
  • Is the door on hinges or hung in some other manner to allow it to open and close?
  • If made of stone, what type of stone? The same as the surrounding corridor or something different? Granite? Obsidian? Basalt? Marble?
  • If made of glass, is it truly glass or some type of transparent gem? What color is the glass? Is it transparent, semi-transparent, or opaque?

What type of hardware is on or around the door?

  • Does the door lock? Is it a traditional lock with a traditional key? Can it be picked? Is the lock broken? Is it a non-traditional key? What mechanism is used?
  • What type of hinges were used? Metal? Stone? Do the hinges work? Do they only swing the door open so far? Can they be fixed?
  • Can the door be closed again once open? Or is it stuck open?
  • Does the door have a handle? Has it fallen off? Is it functional?
  • How hard is the door to open? Can it open at all? Is it stuck in a particular position?

How old is the door?

  • Is the door as old as the surrounding dungeon? Or is it newer? Were there multiple waves of construction and reconstruction?
  • Has the material of the door degraded to the point where it is no longer usable? Has it been eaten away by rust, water damage, or vermin?
  • Is there evidence of other damage such as fire, weapons, claws, teeth in the door itself?

Who made the door?

  • Was the door hastily created by unskilled, entry-level, or slave labor? How about skilled labor or a true artist?
  • What types of tools were used to create it?
  • Did the creator mark the door with some sort of signature?

Obviously this isn’t an exhaustive list of questions! It’s just here to spark your imagination a bit. (Please let me know if you have any other questions you think of regarding dungeon doors and construction!)

When I asked a couple of folks to review this article for me, they (rightly) suggested that there had to be some way to make this information a) quick and easy to relate to a player at the right moment and b) something more functional than a long list of questions.

To answer these concerns, I present a two-part mechanic.

Part 1 concerns the PC and player. If neither is interested in the fact that a particular door on one side of a room is ornately decorated with beautiful, yet deteriorating wood moulding and some sort of an ancient story in pictographic form on the door itself… then why go to all the trouble of creating it?

The simplest way to determine if the PC might find something interesting about the door is to ask. What serves as the character’s Modus Operandi for checking out each door? Does the rogue in the party physically examine each square inch of the door top to bottom or simply do a scan for anything out of the ordinary? If the former, you can use Part 2 to create as many or as few details as you would like to share before they go insane. If the latter, you can focus on one or two details as necessary and move on.

Part 2 becomes a simple matter of creating a random table of descriptions. Use some common sense and random rolls to create a few doors. Place them where they make sense or create a table to randomly use when needed.

For example, you might have a set of four or five different descriptive elements…

Door Material (can vary based on location of dungeon/building) – roll a d20:

  1. Oak
  2. Teak
  3. Mahogany
  4. Redwood
  5. Olive
  6. Elm
  7. Cedar
  8. Pine
  9. Copper Plating (Bars or solid)
  10. Silver Plating (Bars or solid)
  11. Gold Plating (Bars or solid)
  12. Glass
  13. Granite
  14. Obsidian
  15. Basalt
  16. Marble
  17. Diamond
  18. Emerald
  19. Ruby
  20. No door (missing)

Construction Type – roll a d6:

  1. Single Pane
  2. Paneled
  3. Double Door
  4. Bars
  5. Folding
  6. Bricked-up entrance

Lock/Closure Type – roll a d4:

  1. Slide
  2. Barred
  3. Lock and Key
  4. Hidden switch or button

Door Condition – roll a d6:

  1. Rusted
  2. Rotted
  3. Burned
  4. Melted/Broken/Cracked
  5. In perfect condition
  6. Stained

Door State – roll a d4:

  1. Open
  2. Closed
  3. Locked
  4. Stuck (may be fully or partially stuck)

By using a combination of these tables (or others more suited to your own dungeon design), you could create a simple random table to spice up door descriptions a bit as the party works through the dungeon… Roll a d10:

  1. A once bricked-up entrance lies before you, a small pile of bricks on the floor. Beyond the bricks is an open heavy stone (basalt) door.
  2. In the doorway lay two massive mahogany doors, previously broken by someone else passing this way. A thorough rogue might notice the switch in the doorframe that once opened the double doors.
  3. A light pine folding door blocks the hallway before you. Barred on your side of the door with a rotten oak board, you wonder why anyone would try to stop anyone from anyone getting out from the other side…
  4. Diamond bars block this doorway. A pressure plate on the opposite side appears to be stuck with a rusty dagger, holding the door locked securely.
  5. A sliding elm door has been closed across the doorway.
  6. An enormous granite block blocks the doorway. Though locked, the large keyhole seems straightforward enough to pick…
  7. The oak double doors before you appear to be stained in blood. You suspect a crossbar has been used to lock the door on the other side.
  8. A huge, black obsidian door lies open in front of you, with half the door broken into pieces on the corridor beyond.
  9. Crude steel bars, their copper plating now green with age, block your way. In the center of the bars, you can see that someone must have bent them in an attempt to get through. A slender person may slip through or someone handy with lockpicks may pick the lock holding the door shut.
  10. You see a doorway, but no door. It may have been removed by the original tenants of this dungeon or later in its history.

Obviously no single table will work for all buildings or dungeons. But it’s nice to scatter a few doors that aren’t so ordinary as your usual heavy oak door burned by torches over the years…

Next time we’ll talk about corridors and see if they all really lead to Rome… (Wait, that may be roads…)

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When you see the term “Dungeon” – what comes to mind? I typically think of a few different things…

  1. The great TSR gaming magazine published for from 1986 to 2007.
  2. A board game published in 1975 by TSR to simulate some aspects of Dungeons & Dragons.
  3. A place where people were imprisoned or tortured.
  4. A series of connected rooms containing possible encounters or combat opportunities.
  5. A power metal/thrash band from Sydney, Australia from 1989 to 2005.

Though I still have a few issues of Dungeon magazine squirreled away in boxes and a copy of Dungeon! the board game, I can truthfully say I’ve never heard any music from Dungeon the thrash band. That said, let’s focus on #4 because we can kind of roll #3 into it.

We often encounter dungeons when we play roleplaying games. Adventures like the Temple of Elemental Evil come to mind when I think of dungeons and dungeon crawls where you enter with your friends and try to survive as many levels and encounters as possible to escape with your loot.

But if you look at the general description, a dungeon in gaming terms is just a bunch of rooms connected by corridors. That could describe just about anything, couldn’t it?

A while back, Johnn Four raised the concept of “5 Room Dungeons”, which are awesome. Just enough space to create a unique situation for a group of players. But what I loved was that they weren’t all underground in medieval settings. Sure, some were. But mixed in were temples, swamps, islands, and other locations that didn’t have to be underground. What a concept! (You can download many of the 5 Room Dungeons at Johnn’s Roleplaying Tips site.)

So we know about dungeons in the medieval sense. Usually these were sets of rooms that existed under existing castles, keeps, or other buildings to house criminals, political prisoners, torture devices, and so on.

What about other places? Why can’t a modern building be a dungeon? Think about a modern hospital. Aren’t the floors in a hospital designed in a manner similar to different dungeon levels?

What about…

  • Spaceships or naval vessels?
  • Laboratories?
  • Office buildings?
  • Cave systems used by freedom fighters or terrorists?

Aren’t they all dungeons of a sort? Multiple rooms connected by corridors. Each room may or may not have “stuff” in it. Each room may or may not have guardians or traps.

So as we go through some other topics in this series, keep in mind that dungeons don’t have to be in fantasy settings or historically-based adventures. A dungeon can be any set of rooms connected by corridors.

Think about that the next time you walk through your house, your school, or your office building.

Next time we’ll talk about doors and what you can do with them in various settings.

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This post was inspired by a post at the KORE rpg blog about the topic. And it got me thinking, which is sometimes not a good thing…

monk_bwReligion is definitely one of those hot buttons in the real world, like sex, money, politics, and many other hot buttons. As soon as you breach the subject however, some people want to either convert you or condemn you – and neither option really appeals to me.

I’m an atheistic-leaning agnostic… or an agnostic-leaning atheist. Just depends on the day. From my point of view, religion is a good thing for a lot of people, so I don’t make a fuss about it. If you want to talk to me about religion, that’s fine – but I don’t like being preached to. Just a personal thing. The door-to-door folks concerned with saving my soul should just move along. (I’m nice about it, but don’t want to waste their time or mine.)

What’s funny is that it’s also not one of the things I typically think about in my roleplaying. I’m more likely to play a cleric or priest as an NPC than a PC, which goes along with my leaning towards creating worlds with conflict these days.

My Immortals’ Wake setting has a church – the Church of the Mother – that has been twisted in the last thousand years to preach a message of no tolerance. History in the real world shows that many faiths have had issues with tolerating views other than their own. And I wanted to bring that aspect into my setting.

And, as with all things, there are those people within the Church who are more liberal in their views of brotherhood than others. A militant arm has sworn to destroy a group of so-called “demons” simply because they are an affront to what they believe. Other groups within the Church are more tolerant of the “demons” and even helps them from time to time.

However, priests in my games tend to be focused on the personal aspects of the mortal condition – helping the sick and poor, aiding those seeking sanctuary, providing spiritual guidance, and so on – not just the traditional D&D cleric point of view as far as mobile MASH and holy smash unit. As mentioned, there are militants in the Church of the Mother who certainly focus on what they think of as fighting the good fight. But most priests would rather tend to their flocks than fight I think.

As such, my priest NPCs tend to be more philosophers and scholars than weapon-wielding crusaders of faith. They’re more likely to talk you to death than beat you with a blessed club. These folks are also just as likely to be warped by greed or lust as any other mortal, so they may not be the paragons of virtue they’re made out to be. They’re simply men and women doing a job they believe in (or want you to believe in).

This is not to say that they don’t apply their healing abilities to those who need them. Nor do they stray away from praying regularly to the focus of their devotion. And miracles do happen. But these are mortal representatives of their faith who only rarely become vessels to the divine power of their gods.

When you bring in the whole wizard vs. cleric debate and wonder whether a priest might directly oppose a wizard and try to have them lynched. Many priests would decry that wizardry is evil and therefore should be destroyed. But many others would state that if their divine hosts could work miracles through the faithful, why would they allow magicians of other types not to exist? What’s to say that the wizard isn’t working divine miracles of his or her own and simply doesn’t appreciate the divine side of the equation?

A priest whose power base is threatened might turn his flock against a rival wizard, but that would erode his power base. The wizard would most likely fall to greater numbers eventually, but how many members of the priest’s flock would die first? Wouldn’t that give them pause?

So there is definitely room for religion in my games. I’ve only had one player ever convincingly play a priest in a campaign I ran. But I’m always hoping for another!

How do you use religion in your fantasy games? Is it a force to be reckoned with?

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