A Local Con and an Ongoing Campaign

50B4CEB9-2B6A-4F01-9FF2-D9A99E832FFAMy games are submitted for Coulee Con, an annual gaming convention in my area.

A month ago I had been telling folks that I was going to be running Monolith’s Conan board game, all day, every day. This was because time constraints made most offerings—even rpg offerings—smaller, tactical scenarios, and Monolith Conan is 100% this kind of experience anyway. I also was going to run it because I just really like the game, and, since I privilege long rpg campaigns in my Monday night home game, I never get a chance to play it.

But when it came right down to submitting events, I realized that I feel more comfortable offering what grows directly out of what has been occupying me creatively lately, and so here is what I submitted to TableTop:

Middle-Earth Role Playing: Shadows Under Amon Muina
Long before The One Ring, there was Middle-Earth Role Playing (MERP). This adventure, using Iron Crown Enterprises’s original 1986 game, is based on Tolkien’s aborted sequel “The New Shadow” and involves PCs investigating a Fourth Age secret cult within the suburbs of Minas Tirith.

Rolemaster: Grendel’s Lair
Play out the first part of the epic Old English poem Beowulf using Iron Crown Enterprises’s Rolemaster system. This scenario was offered last Coulee Con but with a different rpg system.

Rolemaster: The Green Wight
Explore the Green Howe for a deadly date with the Green Wight! This scenario uses Iron Crown Enterprises’s Rolemaster system to reimagine and retell the ultimate events of the epic Middle English poem Sir Gawain and the Green Knight.

(If you wish to see any of these adventures in detail, please visit my Middle-Earth Role Playing/Rolemaster page on this site. Home gamers, this does not mean you!)

A lot of Rolemaster there, yep. I think, if things continue along these lines, I might have to join the Order of the Iron Crown.

The “Rolemaster” I’m offering is sort of an interesting experiment for con play, too. I have devised my own character sheets for both MERP and RM2 that use the NPC tables for quick generation of the only stats that should matter for con play. I will allow players to customize their characters, however, by using Background Points to increase adventuring skills, buy Secondary Skills, or roll on item tables. I’m also innovating an additional resource that allows players to reroll one or more of the percentile dice by spending Power Points (a resource usually reserved solely for spell-casting). If this “con rule” works out, I might consider offering it at home.

The Weeping Lady Barcorodon

Last session was a “beard party,” as a gamer who wasn’t able to attend called it. This meant that the only ones present were myself and two other gamers, those of us who have sizable enough beards.

For being just a party of two, these two gamers did quite well. They were rolling fantastically and so quite easily dispatching a number of Walking Dead, mostly by allowing them out of their niches (the poor things had been scratching and pushing at their cupboard doors for some time) and hacking at them or burning them as they tried to get out.

This session was the first “evolution” to the full RM2 attack and critical tables, and since I had them all “cut out” (the previous owner had done a lot of that cutting for me), put into plastic and affixed with easily identifiable tabs in a binder, it went pretty smoothly. I think the one thing I forgot was that critical effects are supposed to be one step lower on Walking Dead, and I’m still forgetting to consult all relevant weapon stats while rolling on the attack tables. I heard someone on a podcast recently refer to what, back in the day, he and his friends began to call “Volo’s Law.” As many know, Volo is an unreliable researcher, a fictional character developed for one of D&D’s properties — Forgotten Realms, I think. Whenever this player’s group realized, belatedly, that they had forgotten something in the game, they simply said, “Oh, well, that’s Volo’s Law,” which was to mean that sometimes things just don’t go the way they are “supposed to,” an accurate enough reflection of reality itself, I believe, and so I’m using this sentiment also to shrug away seeming inconsistencies in my simulationist game, as well.

This last session got most interesting when the players encountered the statue of the Weeping Lady of Barcorodon. Now, I had no idea this was her name until the Hobbit Scout character, with the Lore Secondary Skill that he uses a lot, rolled really quite well on a Static Maneuver. I allowed that he hadn’t come across anything in Dunadan records, but he did remember, from somewhere in his subconscious, a Shire song called “The Ballad of Berry Salt-Tears.” In the midst of the adventure I was able to improv the basic sketch of the folk tale, and I since then I have written the ballad itself.

The Ballad of Berry Salt-Tears
A Shire Song

Berry Salt-tears wept beside
The ocean’s splashing strand.
Her lover, sailing on, had gone
From out the warded land.

For many years he had been lost
In Ulmo’s crashing seas,
Not one long night in all that time
Had Berry’s weeping ceased.

Her tears fell from the ocean’s edge
Into the churning waves,
And, mingled with Uinen’s blood,
Flowed through abyssal caves.

Until it reached yon lover’s soul
Where long he had abode
In mansions built of glowing coral
Where deepest waters flowed.

And so his soul was called across
The fathoms to his love,
And from the surf he told his tale
To where she wept above.

He had been wrecked at stormy sea
So many years ago;
Two porpoises his lifeless corse
Bore fathoms deep below.

To Ulmo’s land beneath the sea
Where elves eternal dwell,
And given form of watery mien
Maintain a ceaseless revel.

And Berry Salt-tear too may go
And live beneath the sea
If love for him she had enough,
Her home to ever flee.

But Berry Salt-tear balked a beat
At that uncanny offer,
And in that time the moon broke free
From wispy gray cloud cover.

No more within the sucking tide
Against the sea-spray rocks
Did suitor float with loving gaze
And seafoam streaming locks.

And Berry Salt-tear rose from where
She’d wept for her lost man,
And ever since that day, they say,
She never cried again.

Whence this Barcorodon/Berry Salt-tears? Well, it’s origin, much like the statue of Kardakion (feet on the backs of two porpoises, at the entrance to the crypt) comes from the box text of the adventure Crypts of Kardak from Creation’s Edge Games (though the box text statue is two twining snakes and nothing at all like I devised), this one, much more directly, comes from a description of what the adventure calls the “Weeping Maiden.” Again, as with some of the dungeon elements that I described last post, there is magical light and non-natural “explanations” for things, so I happily reskinned the statue here. There was supernal light, though mine came from the shallow basin in her hands into which the statue wept. The adventure descibes the tears falling into a basin at her feet. And the tears themselves? I made them natural cave-flow formations that dripped down from the ceiling, becoming one with her hair and trailing down around her shoulders. There was some magic here — undoubtedly MERP’s “Channeling” magic — but only in the tears that collected in the basin. The rest formed more rock flows, like candle wax, that dripped down over the sides of this shallow glowing bowl.

The session was a success. The Hobbit Scout had much more difficulty with a Crypt Rat than either he or the Dunadan Ranger had had with the Walking Dead. He was reduced below 0 hp but brought back with a Ring of Healing. They are ready to recommence exploring the Crypt next session, hopefully with some new recruits (other gamers).

I also have struck on a great idea for campaign xp. Every session, PCs gain 1,000 xp in addition to the regular calculated xp per the tables in MERP and in RM. Should these characters die, new characters can be created with xp equal to 1,000 per session in which the gamer has participated. All other xp, specific to those particular deceased characters, are lost though.



Too Much Material for Just Twice a Month!

IMG_0049I offered four tables at Coulee Con, and three “fired” (as I learned one says about a game that has enough people show up to actually run). Attendance at my first two Swords & Wizardry games was pretty good. I especially enjoyed the second one. This probably was because, after running so much Yggdrasill in my home game, a first session had got me back into the rhythm of refereeing an OSR game. This also was because the second game was attended by two brand new players who seemed really receptive to the experience.

Yggdrasill went very well. Only one gamer showed, precisely. But I also count another attendee who arrived an hour late, just in time for the actual game. It had taken this long to get to the session because the early player was interested in simply hearing about the game system. The actual session, because of time, involved only the Grendel encounter. The players tried some innovative tactics. Not all of them worked. I had fun using Grendel to throw characters across the hall. The gamers enjoyed the system well enough that when the second player learned I was scheduled for more Swords & Wizardry the following day, he asked if I would run Yggdrasill instead!

Therefore I’m emboldened to offer a full schedule of Yggdrasill next year. I had offered Swords & Wizardry for the newbies and families, but with the exception of the couple that I already mentioned, those who played my Swords & Wizardry games were playing just because they were looking for Dungeons & Dragons. And so it was: nothing really new or interesting, just low-level characters encountering your usual orcs or goblins in a mini-dungeon. Let me re-approach my point: most of my gamers regularly played D&D. They were playing my game not for the experience of the system or for the particular adventure I was offering but because they were most interested in playing D&D at the moment, and, at a small con with a limited number of rpg offerings, I happened to be offering it then.

So I’m back from Coulee Con and intent in my purpose. It should be interesting to see what content I manage to generate over the upcoming year. As I’ve already said, I intend to run the Yggdrasill Official Campaign. But judging by my players’ gaming styles, it’s unlikely they’ll cleave that tightly to the “plan.” I also have amassed a wealth of Norse-themed gaming material over the years (and all sorts of gaming accessories not necessarily Norse-themed, as well, but more of that in a moment), both rpg systems and accessories and adventures. Being such a Swords & Wizardry supporter, I had purchased the big book The Northlands Saga Complete from the Frog God Games booth at Gamehole Con last year. I’ve been steadily reading through it. I likewise have The Nine Worlds Saga from Troll Lord Games, designed to be played with its Codex Nordica accessory to Norse-themed gaming with a traditional game set. I just read through “Beyond the Ice-Fall” from Raven God Games, an adventure I should be able to slip in just about anywhere, and there are two full scenarios that I need to read in Chaosium’s Mythic Iceland. I intend to read through and adapt all of this to Yggdrasill, and playing through it should be an epic undertaking spanning multiple years.

As readers have heard from me before, at the same time, though, I have all these other games and accessories. There are three, maybe four, game systems that I really would like time to explore. These are Yggdrasill (obviously), Modiphius’s Conan, The One Ring, and Astonishing Swordsmen & Sorcerers of Hyperborea.

And here’s what else: I own SO MUCH material for high fantasy and OSR games, all of which should fit neatly into Hyperborea, that I would love, also, in addition to Yggdrasill and its “unity of Norse vision,” to run an epic OSR campaign as a huge sandbox containing all of my materials. Hyperborea could be a good campaign world, the chassis for all the other supplements.

And here’s a most ambitious idea: what if my Yggdrasill PCs undertake a long adventure in Alfheim? When they reenter Midgard, time naturally has sped far into the future (or am I getting that backwards?). Talanian’s world of Hyperborea is set in the far future. What if I ran a crazy OSR sandbox using the Yggdrasill game system? No one would know what to expect!

And if it’s going to take years to get through all my proper Norse material…

Beowulf Playtest Complete!

IMG_0037Well, I completed my playtest for the Beowulf game using the Yggdrasill system. A quick note: since Cubicle 7 has let go of the license on this game, and since the game now is officially out of print, I see the price of the hardcover has been gouged on Amazon from around $50 to $250. I hope those sellers don’t get what they’re asking! I hope that Le 7eme Cercle republishes the game, perhaps with a new translation, and that those who missed out on it this time around are able to enjoy yet a better edition. One unfortunate gamer reported on the Cubicle 7 forums that his/her Yggdrasill record in his/her DriveThruRPG wishlist suddenly vanished. Now this person would be willing to purchase the entire line if only given the chance. I myself have wished that I hadn’t bought the entire line at full price but had been lucky enough to find this game while the Humble Bundle drive was going on! Argh! Oh, well. I guess I was able to directly support the game while it lasted.

Not unexpectedly, the Beowulf playtest was a bit wonky, but overall I think it worked out alright. This “wonkiness” was the reason why I initially had given up using Yggdrasill to make a con game and instead had devised my own Old Norse Old School Roleplaying system. It was much easier to grasp the power structures of the simulation using the lingua franca of the gaming community. But as you might recall, being perfectly satisfied with a D&D game being run by a friend of mine, I didn’t want to run yet more D&D with my home group, so instead went back to Yggdrasill when it came time to retell Beowulf. (Aside: my group has interest in playing Astonishing Swordsmen & Sorcerers of Hyperborea when I get the hardcopy of the second edition expected to ship this October; perhaps that game is sufficiently different enough from D&D — at least in setting — to justify two of those games being run.)

In regards to the wonkiness of Yggdrasill, one of my players summed up the issues with Yggdrasill perfectly. At first glance, the core mechanic of the game is quite simple. Roll pools of d10s attributed to your Characteristics for any kind of skill test, add any relevant Skill if applicable, beat a Difficulty threshold. But, once you start manipulating this core mechanic in any appreciable way, as the game does, very quickly you are dealing with large numbers and math problems complex enough to slow down the simulation. Are you performing a Feat? Well, you have to take a negative modifier to your Test based on the level of the Feat — and, while you’re at it, are you sure the Feat’s effect is worth the penalty that otherwise might be just straight damage to your target resulting from an excess value required to make your test? And some Feats and specific attacks require you subtract or add your Characteristic value. And dice explode on tens, so sometimes the rolls are wildly (and lethally) successful, and sometimes they are pathetic. And sometimes, for some game applications, tens just don’t explode. And there are plenty of gaps and openings for interpretation for this rules set, either by design, by overlooked omission, or through ambiguities in the language translation to make this game (as I have described it in a different place) “old school” in flavor (as long as we focus on a definition of the old school that few groups of gamers played the same game the same way).

Anyway, thanks to this playtest I think I have the Beowulf game reduced to manageable parameters. Contrary to what I told Gaming and BS, I have generated pregens. The pregens might be a bit statistically powerful, whereas the characters in my homegame had a number of toys to aid them (i.e., buckets of healing unguents). When I initially drafted the adventure, I included a number of encounters and possibilities that simply have to be cut for a time allotment of 4-6 hours, and I believe this benefits the game, because it reduces the action and story down to (just about) the central elements in the poem. I think the session will be good fun, should anyone sign up, even if it might not make more game adherents–an ideal one-shot experience for a con. And potential consumers no longer are able to buy the game anyway (for anything less than $250, that is!).

Epilogue to a TPK: What Happens to the Hireling?

For the third time that night, still standing upright, Dollen jerked awake. The donkey again was stamping its hooves and emitting that low, unearthly whine. That sound made Dollen’s beard stand out like a weather rod. The night had grown yet colder, and now flurries were melting on Dollen’s cheeks. “There there,” the dwarf said, placing an attempt at a soothing hand on the donkey’s flank. “Your owners will be back soon, and then we’ll be out for a mite to drink.”

Yes, a drink. At this time on any other night Dollen would be in Rok’s Tavern hoping for beer charity from the more prosperous denizens of Black Rock. He had hoped tonight to be paying back his friends and making new ones with the fifteen gold this odd band of adventurers had promised him for one night’s service — yes, the onerous service of watching the cart and donkey. Cart Watcher, they had called him, and left him here with a new mace that they had purchased for no other reason than that he had said he wanted it and because he was expected to die while protecting the cart and donkey. But now the work wasn’t feeling as posh as it first had seemed. The valley below him was dark, so dark he believed he could see heat traces in whatever forest animals might now be hunting within those branches. It seemed unlikely, now, that the band would be making the trip back to Black Rock this night, once his employers came out of that hole.

Grunting, he went back into the old ruined Guild Hall, temporarily sheltered from the biting wind. If his employers’ absence kept up, he supposed, he should untether the animal and lead it in here. But he didn’t want to make too many decisions on his own. An odd group, they were. Scattering gold in their wakes as if they were kings. He stood at the top of the stairway again and peered down into its inky depths. Nothing. The pitch smell of his employers’ torches, by this time, had faded to the smell of a cold forge. He strained his ears. Did he hear something? Perhaps a distant cry? No, just the donkey again emitting its terror to the night. This was not how Dollen had expected to spend his night. Perhaps he should have been more specific in the terms of his agreement. It occurred to him now that he didn’t even have a contract.

He stepped back outside. “There now, Jasper. We’ll get ourselves out of this wind.” But the donkey couldn’t be settled. It seemed to want to bolt, and that would be bad with it still tethered to the cart.

The cart. He thought he heard a sound come from within it, something like the exhalation of great nostrils. They had seen a great cat earlier that day, during their climb. It made sense that cold wooden cart walls would occlude the heat signature from Dollen’s darkvision.

Poor Dollen. As his grip tightened on his brand new mace, glowing green eyes rose up from within the cart and looked down at him from behind a wide mouth of sharp, feline teeth. The donkey tried to run, the great cat leapt into the air.

Just Say Yes? GM Improv in Campaign Play vs. One-Shot Play

IMG_0033Some background before this post: Coulee Con is coming up, and I recklessly took the plunge and submitted two games to GM at the end of August. The first submission is Beowulf using the Yggdrasill system. The second is a Conan game called “Blood in Their Wakes” using the brand new 2d20 Modiphius system for Robert E. Howard’s Conan: Adventures in an Age Undreamed Of.

I call these submissions “reckless” because the last time I submitted a game, “The Boon of Barrow-Isle” for the Yggdrasill system at Gamehole Con 2016, I belatedly realized that I was nowhere near prepared enough to run it. Therefore it was a mixture of disappointment and relief when absolutely no one signed up to play. Now, for Coulee Con, I feel prepared enough to run an Yggdrasill game, having run a campaign of it off and on now for almost a year. But Conan puts me in a situation similar to where I was last year with Yggdrasill. I am enamoured with the material and the system and really want to be an ambassador for it. Therefore I committed myself to it by submitting a game, and with my home group I’m fairly anxious to familiarize myself with the crunchy 2d20 system.

So I have to get to the “Beowulf” content in my Yggdrasill campaign to provide myself with plenty of time for the Conan rules set. And this haste and anxiety led to the thoughts that I have for this post. Last session I made good on my resolution to resort more to the runes as a game mechanic, but I did something else that, during post-game analysis, I regretted. If I could go back to our last session I would act differently in response to a player’s question. This falls under the topic of “Just say yes” during improv play.

Some time ago I listened to a recorded seminar from Paizo Con. One of the panelists was a noted GM and practitioner of improv theatre. He had two major pieces of advice for GMs: 1. Let the players shine and 2. Just say yes. Really, he was teaching the improv rule of “yes and.” An example of this:

GM: So the oaf has you down with your back on the table. His massive mitts are around your throat, slowly squeezing the life out of you. What do you do?

Player: I look around. Is there something nearby that I can grab and hit him with?

GM: Yes, in your periphery there appears to be a kettle. Made out of iron, maybe, and you sense heat emanating from it. Perhaps it is full of hot water?

I have presented the “Yes and” principle here at the microcosmic level, and this would be perfectly acceptable in one-shot convention play. Giving the player something to hit her antagonist with, and adding to the request the detail that it is full of hot — maybe even boiling — water isn’t going to drastically derail the track the GM has prepared for a satisfying arc that hopefully fits neatly into four hours of play (unless it’s going to, but that’s up to the judgment of the GM).

But the “Yes and” moment I encountered last session had greater implications. Instead of saying yes, I said no, and I know why I did at the time. After thinking about it, though, I wish I had said yes, and the answer is because of this: I said no because I was impatient to get to the microcosmic “one-shot” aspect of my campaign. But I should have recognized that I wasn’t playing a one-shot but a campaign. As such, I should have said yes.

I’m doing something potentially problematic with my regular group. I designed a Beowulf campaign for convention play, and I want to playtest it with my group in the midst of an ongoing campaign. As a result, some edges of Beowulf need to be rounded and trimmed and sharpened. There are many campaigns, I know, that operate this way. That’s why people buy published adventures, after all! But not everything is a full adventure path. The GM has to determine how to incorporate his “second-party” material into his wider campaign arc — and the campaign arc, I’m convinced, should be a collaborative experience between the GM and her players. This is why in general I have such difficulty with published adventure materials. Often I have to modify them to the point where it would be much more efficient for me to just build my own content from the ground up. Also, when running a game like Yggdrasill (in contradistinction to OSR games), my “sandbox” style of play is less a hexmap of “hidden encounters” that the PCs uncover or reveal as they explore… Okay, to follow the “sandbox” analogy further, it’s less of a series of sand castles that somehow are hidden from the players, but more of a wide expanse of unshaped sand that the players and I together will form into a story.

I am to be forgiven, and I know my players will forgive me, for being impatient to get to the actual “Beowulf” component of our Yggdrasill campaign so that I can test it and move on to the Conan game “Blood in Their Wakes”, but what I want to remind myself here is that my players are not first and foremost my playtesters but instead first and foremost my regular group of campaign players. This has been preamble enough to what exactly went down.

A few posts ago I introduced Yggdrasill to Matt Finch’s Tome of Adventure Design. I generated a table of possible adventure hooks for if the PCs decided to go snooping about the shoreline during their trip to Hleidra. For whatever reason, I entirely ignored that table last session. Instead, I drew runes and improvised on the spot, which also is entirely acceptable. But drawing the runes perhaps would have been more effective if I had coupled them with my table. Nonetheless, I had plenty going on: despite the warnings of the PC Lydia, who is a Volva, the Sjaellings had looted the Barrow-Isle of cursed gold. As such, they were becoming paranoid Smeagol-ish people, thinking everyone else was after their shares of the loot. This quickly became a problem when the Sjaellings began to mingle in the fishing village of Klepp which was crowded with three longships of trading Geats! After some antics ensued, Lydia asked me if there were any Volva nearby. I consulted a rune and determined no, there were not, being unable to connect the rune directly to Lydia’s request.

But lets look at the table I devised and chose, in the moment, not to consult at all:

Beneath a field of clover is a massive bee hive, tended by Volva who brew from it mead that augments skills of prophecy and poetry. The local jarl wants to export it, and there is increasing tension between the jarl and the Volva.


It is said that a Volva harvests the webs from a thousand spiders that visit her garden each night. From them she spins garments of supple but strong fiber.

Really, the rune I consulted should have determined which of these Volva were nearby, not whether there were Volva at all. During gameplay I was happy to skip this information and a possible time-eating excursion, thereby forestalling yet again the playtest. But the detour would have been richer overall for the campaign. And it would have rewarded a player for excellent gameplay. And it also potentially could have better prepared the Volva for what is going to be no easy encounter with Grendel!

So really my point here is that there are two types of games: campaigns and one-shots. There are two types of players: campaigners and dabblers. There therefore are two types of ways to say “Yes and”: yes, there is this possibility of an adventure that we will build right now out of the amorphous sand and yes, there is that particular item for sale right now in this fletcher’s hut. In campaign play, a GM’s first responsibility is for his campaigners, and she never should lose sight of that larger narrative structure in deference for the smaller. The campaign is an epic, the one-shot is a tightly-driven short story.