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Hey there!

Just wanted to pass along that there’s some new content over at Game Knight Reviews. My review of Tales of the Old Margreve from Open Design went live Monday and my video interview with Cameron Crawford of Petrie’s Family Games went live today.

Tales of the Old Margreve offers all the charm of Tolkien‘s Mirkwood with the awareness of a living, breathing organism. Within the Margreve it offers its own rules for what is and what isn’t possible and woe be to those who get on its bad side…

And in my video interview with Cameron at Petrie’s Family Games, we discuss his store, current events, and his perspective on his customers. If you’re ever in Colorado Springs, be sure to drop by for a unique family-friendly game store with a little bit for everybody!

Check out these articles and much more over at Game Knight Reviews!

Have a great weekend!
–Fitz

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Hi all…

In case you missed it on my reviews blog, I wrote about Brother Ptolemy and the Hidden Kingdom over at Game Knight Reviews. Nevermet Press has put together a heck of a setting and adventure that would fit nicely into most of the D&D-based campaigns (4e or 3.5e really, though the book is tailored for 4e) I’ve played in in recent years.

Jonathan Jacobs and the rest of the gang at Nevermet have created a worthwhile villain in Brother Ptolemy. He really thinks he’s doing the right thing, which just amps up the creep factor for me. It’s these morally wrong people who feel they’re helping their fellow man that always make the best villains!

Check out the review here at GKR!

–Fitz

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Hi all…

I’m on the verge of starting a new project (yay!) and wanted to put out there the broad description for the little area I’ll be focusing on first. This will involve using and extending the rules from WR&M as well as using my setting for Immortals’ Wake. I’m hopeful that by breaking the setting down and focusing on using the simple, yet versatile rules of WR&M, I can release a number of small projects using the Gamer Lifestyle approach.

Anyway… Here’s Rivergate. I’d love feedback. Yes, I know it’s very high-level right now, but it’s supposed to be. I want to avoid going to the Nth degree with a setting description that doesn’t allow GMs the flexibility to put it where they want it or use it at all.

–Fitz

Welcome to Rivergate!

Welcome to Rivergate, a backwater port on the edge of civilization where the authorities may be a little more lax than most. This port town is a known stop for travelers seeking a less crowded entryway into the Kingdoms. Most ships loading and unloading here are more interested in discretion than creature comforts, which is good since the town provides little more than food, drink, and flea-infested flophouses.

Port City (Clipart.com)The town is divided into two major sections – Docktown and Uptown. Between them is a retaining wall standing 20 feet high that provides protection from stormy seas. The Open Market rests at the top of the wall where the two halves meet, and inhabitants have found many ways to transport goods over the years that manage to bypass the Kingdoms customs agents keeping a lazy but watchful eye over merchandise entering Uptown.

The dockmaster and undisputed ruler of Docktown, old Dyn, is rumored to have been a smuggler in his glory days, but now seems satisfied providing services for negotiable fees. Shrewd, but fair, he and his goons on the docks are much less prone to following the letter of the law if there may be a few gold in it. But there are rumors of lines even Dyn won’t cross, so people tread lightly when transporting certain goods.

Meanwhile, in Uptown the Mayor, Madam Cyan is concerned with one thing… making sure her people and customers are safe. Her Reeve – Lelas – operates a police force concerned with keeping the peace. As such, the Uptown jail seems to have a revolving door for some characters in town.

Dockmaster Dyn and the Reeve Lelas have been known to conduct thorough joint investigations from time to time if a merchant or ship captain gets too greedy or if good people are hurt through their transgressions, but for the most part each polices their own areas. Outside the town wall there is a small outpost of guards from the Kingdoms that inspects caravans and travelers traveling in and out of the city, but any illegal contraband is usually shipped via different routes.

The Magus and the Church of the Mother both can be found in Uptown, though they do not work together well. Too many philosophical differences between them hamper any collaborations they may have. However, both provide services to locals and travelers alike, and can often be seen coming and going with trade ships following the tides.

Though thieves have attempted to get a foothold in the city, Dyn has an agreement with the Reeve to manage any and all illegal activities. Dyn and his thugs do a fine job of keeping general crime to a minimum in favor of buying and selling contraband from the docks and running a number of gambling games in taverns throughout the town. That said, a thief known as Rebus has recently been named in a rash of burglaries. One of the dock enforcers is working with the Reeve to root out this new threat before Rebus or his men do more damage.

The population of the city varies depending on how many ships are in port, but it holds between 800 and 1000 people on a fairly regular basis. The exception is the annual Harbor Lights festival held to celebrate the birthday of the current ruler of the Kingdoms, though in truth the festival is merely an excuse for a big party and merchants and craftsmen to show off their best wares.

True artists are rare in town, though a shipwright/carpenter, rope maker, and a blacksmith do a brisk business in town. Most other goods are brought in from outside and traveling talent for particular tasks arrives and departs on a regular basis.

Rivergate presents opportunities for folks from all walks of life and occasional dangers for those seeking trouble.

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For a couple of years now I’ve been whining and moaning about how I’m not a system guy. I’m not. I’ve accepted that. My attempts at system often end up muddled messes that don’t scale well. And that has stymied me a bit as far as Moebius stuff goes.

Well, today I ran across a blog post today from John Payne over at Nevermet Press about Old School gaming. And he mentioned a game called Warrior, Rogue, and Mage that’s evidently been getting quite a bit of press since it’s debut a few months ago. Evidently I’m oblivious, but that’s nothing new. :)

Warrior, Rogue, and Mage (or WR&M) is a light rules system for fantasy roleplaying that’s been released under Creative Commons by Michael Wolf (Stargazer from Stargazer’s World and Stargazer Games). But beyond the free aspects, it is damn straightforward. And it embraces many of the ideas I was trying to implement in the revamped Moebius system. However, unlike my failed attempt at rules-light, WR&M provides a simple combat system that just… works!

So I think that with a little massaging I can easily migrate the Immortals’ Wake and Age of Phaedrus fantasy settings to use Stargazer’s system. And Covert Directives, which is more of a near-future cyberpunk setting, might be able to take advantage of some of the work started a few months ago by Mark Meredith at Dice Monkey for Pointman, Hacker & Thief – a modern spy adaptation of WR&M.

That leaves me with a bit of a conundrum however regarding the Creative Commons (CC) license of WR&M. The main game guide is licensed under the Attribution (cc-by), Non-Commercial (cc-nc), and Share-Alike (cc-sa) conditions.

Though “cc-by” seems to allow me the freedom to create a commercial product based on WR&M, the “cc-nc” and “cc-sa” conditions would seem to override that and not allow me to create a commercial product. I’m good with CC’ing any system tweaks (i.e. a “Moebius”-themed set of races, skills, and talents), but would like to release products for a small fee on RPGNow.com or in other venues.

Can anybody clarify how that would work? I *love* the system and am happy to extend it and allow folks to use my extensions as long as they attribute the extensions to me and the base game back to Stargazer – but I don’t want to make my setting details completely free… Seems like a catch-22.

Anyway… Minor quibbles… Back to devouring WR&M to better understand the ins/outs of the system…

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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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In the Immortals’ Wake world, there is a character simply known as The Nameless One. For more than 2,000 years, he has roamed through populated and unpopulated areas, leaving a wake of destruction and bewilderment behind him. His is an extreme case of what I will call the “Road to Redemption.” Unfortunately for him, it’s a very long road along the lines of Groundhog Day.

monk_bwHowever, his story is not unique. There are others in our own histories and myths. The story of the doomed sinner wandering the Earth until the end of days is repeated throughout Christian legends. Cursed to live an eternity to pay for a single evil or thoughtless deed.

So what did this poor soul do? He was among the first to be Changed. The records from that age were long ago destroyed, but some pieces of the past remain. Scholars suspect that in the Time Before, there were many such beings – some of whom were truly Immortal and able to perform miracles both great and terrible. During the Time Between, a great war raged between Mortals and Immortals.

Not all of the Immortals were without conscience and wondered at the cost of such a rift between factions. Elle T’aibi began a movement to help the poor mortals caught in the middle. Jost, another Immortal, was tired of the war and among those swept up in this new movement. Together they, and others, wandered the lands, doing what they could to soothe fears and calm nerves, guiding people to start rebuilding their lives.

It was then she gained the nickname “Young Mother” for the way she handled people as delicately as children, speaking kind words and harsh for the best effect. She would coddle only so long and then those who came ot her for help would have to learn to live on their own again.

“All around were the distressed and mad, scared senseless by the thunder of the unholy Storm. The Young Mother, in the face of the Storm’s fury, aided those around her with a touch and soothing words. Witnesses who later became the first of her followers claim she glowed with a soft, divine light to lead them from the darkness.”

– Taken from the Book of the Beginning

T’aibi was a simple woman at heart, raised doing hard work on a farm and loving the family around her. She and others were swept up in the Storm of Change that led to the war. But even as her peace movement was just beginning, those around her seemed to gain insight and balance. The path she and her followers took often led into places of darkness. Without regard for her own safety, she took it upon herslef to enlighten these dark leaders to “The Way” – her philosophy of love, peace, and brotherhood.

“Adal’s lair, littered with the remains of his enemies, lay open to the Mother. With confident strides, she began to clear away the pieces until there was room to sit before his throne. For days, she said nothing and remained motionless. As though in a trance, Adal matched her for five days before descending. He embraced her and began repeating ‘I see! I truly see!’ over and over again…”

– Taken from the Book Between

Though immortal, she chose to pass into the beyond a hundred years after she had begun. Her body had become frail over time, and rather than construct a new body, a new vessel for her Spirit, she chose to take her place in the Maker’s House. For months, her followers mourned. But eventually they built her tomb, stone by stone. When it was completed, Pidae spoke the words that changed the world.

“We return you, Great Mother, to accept your place beside the Maker. While here, you opened our eyes to the love in the world and so we embrace our fellow man. In your memory, we shall continue to persevere with peace and faith. From this day on, we will spread your teachings to the ends of the earth, over seas, mountains, and plains…”

– Taken from the Book of the End

And so the church began. The 100 or so members of her flock spread the word far and wide. The first cathedrals were build soon after in her memory. Over time, many of the people accepted the word of the Mother’s Disciples and Priests as divinely blessed by the Mother herself.

Among those first Disciples was Jost, and he grieved for nearly one hundred after she died, wandering the places mankind still hadn’t discovered yet. When he returned to the world, only a few generations removed from The Mother’s message of brotherhood and peace, he was distraught to find her message twisted. Instead of a brotherhood of all mankind – Changed or not – those who were different, like the Changed, were cast out.

To stop the madness, he began a counter-culture, preaching the true words of the Young Mother as they were meant to be heard. But he was hunted again and again by those in power. Instead of stopping the madness, he fanned the fire, eventually causing an incident near the Mother’s tomb that he couldn’t forgive himself for. On that ill fated day, he slaughtered more than a thousand soldiers until he was the only one still standing.

As a result, he lost his mind. He wanders the world in a 50 year cycle, bringing death, pain, destruction, and change in his wake. He returns to the site where the cycle began – where his mentor and mother figure gave her life for a cause few if any remember, where he sacrificed his own mind so he would no longer be forced to remember what he had done for the person and ideal he held so dear.

What could end the infinite path of this immortal? What might shake him out of the cycle? Only time or The Mother will tell.

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As the dominant feature in the city of Belos, the Grand Basilica rises majestically above all other construction. Only two of the castle’s highest towers reaches the 150 foot height of the Basilica’s golden dome. From dawn to dusk, the dome catches the rays of the sun, lighting a beacon for the Church faithful.

The dome itself serves as the main hall of the Basilica, hosting as many as 10,000 of the Mother’s flock beneath its roof. Surrounding the dome at the four corners of the supporting structure are four massive towers also topping out at 150 feet. The towers are home to many of the different priestly orders.

Located beneath the Basilica, the underchapel is rumored to be nearly as expansive as the above-ground portions of the Basilica, but is only for the use of certain key personnel. In recent years the militant Order of St. Greggor has been seen entering and leaving the underchapel regularly, but they are far from the only secretive order of the church.

Monks in ChurchRinging the exterior of the Basilica is a series of statues of those known of what is the Second Tier of the Mother’s initial disciples. Each statue personifies one quality that the Mother embodied – such as compassion, kindness, and dedication. Each statue faces the center of the dome.

As you approach the huge double doors to the Basilica you quickly realize that it must take several priests a great deal of effort to move them. In the last 15 years they have never been closed and there are always priests on hand to help any who would choose to enter. Upon the doors themselves there are two gigantic loops that, when the doors are closed, form the infinity symbol (a figure eight laid on its side) which is part of the Church’s symbology.

Once inside the church, directly below the center of the dome, is what looks like an ornately carved birdbath. This is a collecting plate for the Mother’s Tears. Any who may enter is encouraged to use this water as they would wish. Since the building of the Basilica more than 1000 years ago, the bath has never been empty. It is believed that once the Mother’s portrait was painted ascending to take her place next to the Maker that actual tears formed and dripped soundlessly into the pool. Even in times of drought, the pool has never gone dry.

To the left and right of the main causeway to the altar lie one hundred rows of pews broken into sections that form a gentle curve to follow the outline of the dome. During the High Masses held once a month in the Basilica, the flock fills the pews and there is little room for those standing on the edges.

The altar itself is broken into three areas. On the left- and right-most sides facing the congregation is a lectern. In the center is a broad marble table of the same composition as the Mother’s Fold bridge just down the road from the Basilica across the river. Many of the faithful come to simply stare and meditate on the slowly changing and calming pattern within the stone. Here is where the Deacons and priests give the masses to the flock each sunrise and sunset.

In the four corners of the building supporting the dome are doors leading to the towers. Directly behind the altar, hidden behind a tapestry on the wall, is a door to the underchapel. In the last ten years, a guard from the Order of St. Greggor in full armor has stood watch at the door letting few beyond.

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