Duels and Dice

Its art.

2011-08-08T16:32:00.000-07:00

Another year of me missing Gencon. And every year, I say that I'll make it next year. Its tough for me at home this time of year, with most of my friends either at the Pennsic War or Gencon.

My Castles and Crusades game made up for it a bit yesterday. I don't know that I can say that the slightly rules-light system has contributed to more character and story development at the table. Not to say that slightly more complex rules or more book-keeping has kept character or story development down (my Star Wars Saga game was built on personal character development and having the players take a strong hand in dictating how the story would progress). I can say, though, that it feels easier for me to design adventures and encounters, and it feels like less of a chore to run.

Really, this is what Castles and Crusades feels like to me:

Its the dirty notebooks filled with hand-sketched maps and notes jotted down in the margins. It feels like beat-poetry.

Persona in the SCA: re-evaluating re-enactment

2011-08-02T17:36:00.000-07:00

There's a romantic ideal that I look for, and its what I want to portray. In the same way the the idea of chivalry that we play with is more a construct of romantic-era literature, so is the notion of the Renaissance swordsman that I want to portray based on Cyrano deBergerac, The Three Musketeers, even as far as The Gray Mouser.

I want to portray someone who is in love with life because he knows how short it can be...someone who speaks too loudly, laughs too boisterously, and carries a mercenary attitude towards church, king and country. Someone who loves every gulp of wine and every bite of food because it could be his last. Someone quick to draw a sword in defense of his own honor, or the honor of a lady, or of whatever cause carries his attention that day.

Its an easy character to play when you consider that I can rush into a duel and leave with only minor injuries.

My life is comfortable. So is yours. What better way to step out of oneself than to be someone whose life is dependent on a twist of a knife or a draw of a sword.

That doesn't mean I wold want to abandon historical accuracy...I would like my kit to be a little more authentic for a Venetian stuck in London. I prefer to study historical swordsmanship (and teach it as well, when the opportunity is there). But that all helps take me away form the modern.

Vacation notes

2011-07-31T10:40:00.000-07:00

I just got back from camping in the NJ Pine Barrens for the weekend. Great fun. There were lots of moments where I felt like I was watching other people enjoying their vacation while I could do little more than sit in a chair watching the river. But I fished, I spent lots of time reading and writing. It was a good weekend.

My wife and I spent more time than I expected talking about Pennsic. We're working more and more to make labor-intensive camping-style vacations like Pennsic more fun, less chore-like. We've decided that when we make it beack to Pennsic, we're taking it easy, buying food when we get out there, cooking little, and enjoying more things together.

Which was what our weekend trip was like. I'm still nursing a ruptured Achilles tendon, so there wasn't much for me to do. But we had fun together. Neither my wife nor my kid are terribly interested in SCA activities, and I'm much more interested in having fun as a family than I am in experiencing more SCA stuff...we'd likely enjoy a relatively short Pennsic vacation in the future...a short week, where I'd fight and fence a little, shop a bit, and experience so much more together.

We all went out last week to be part of a western martial-arts class. The boy was bored, my wife ended up doing a little nature walk while I talked to the instructor and witnessed the class. It interesting when there's not a whole-geek household (or a household where we don't geek out about the same things...my wife loves the natural world and local history, I'm a gamer and history / literature buff, my kid has developed a strong appreciation for video-games, far beyond my interest). But we've learned to accommodation each other. This may not sound remarkable, but I know too many families that can't seem to do this. I'm glad we can.

We took a day trip to the Pennsylvania Renaissance Faire last year, and we all had a great day. My plan is to have another weekend-vacation out there, where we could all have fun at faire, then spend the rest of the weekend chilling out in a hotel. With a pool.

Lord of the Rings gaming coming back

2011-07-23T18:12:00.000-07:00

Have you seen pics from Cubicle 7 of the new Lord of the Rings role-playing game, The One Ring?

Well, take a look.

I'm a sucker for nice presentations, and the pics alone make me want to add this to the collection. The dice in the next-to-last picture are nice, though I think I would rather use Q Workshop "Elven" dice. The maps look nice, and I guess that's to be expected. You just can't have a Tolkien game and not have gorgeous cartography.

It reminds me of their Doctor Who - Adventures in Time and Space boxed set, which included some equipment cards, blue dice, and a sheet of "story points." I enjoy boxed sets with props and extra bits (anyone seen my small collection of 3rd edition Warhammer Fantasy Roleplay?). I can see myself getting The One Ring just for the cool bits.

Am I interested in playing in a Middle-Earth setting? The usual argument about playing in a setting like that is that all the cool stuff has already been done. I never quite got into LoTR gaming, but I blame the people who introduced me to LoTR gaming...rabid fanboys who forced their own love of the setting on the players, and punished any deviation from their image. I've had the same problem with Dragonlance, Star Wars, Serenity, Star Trek, Forgotten Realms, Call of Cthulhu...same as most gamers, I imagine.

If you love a piece of literature or fiction like that, enough to want to run a game in that setting, then you are going to want to spread that love to the rest of the layers. You want them to be as rabid about the things you love about the setting as you are. But then, you get folks who want to play quick-drawing space pirates in a Starfleet-based Star Trek game, or are playing Forgotten Realms just to kill Elminster*. Things just don't work, and you declare that they just don't get your artistic vision or some such thing.

I ran a Star Wars game for a few years. The players played it like they were CIA agents in the early 1980's. They spent a great deal of their time destabilizing planetary governments, making propaganda videos, assassinating heads of state, organizing military coups...nothing at all very Star Wars like. There were no heroic Jedi Knights fighting to restore the glory of the Old Republic. This was the kind of story we wanted to build together. And we spent a lot of time sitting, talking about what we all wanted to do with the story. And we built it all together. If I were more of a rabid Star Wars fanboy, I'd be upset. But they wanted to do what they wanted to do with the setting, and I had to be cool with that.**

So I hope that people have fun with The One Ring, and make their stories their own. Best way to make it succeed.

*And can you blame them?
** As said during one LARP: "The rest of us are playing Call of Cthulhu, and Tony's playing Kult."

News from DriveThruRPG.com

2011-07-21T09:31:00.000-07:00

Do you get the DriveThruRPG.com weekly newsletter? If not, you're missing out on some good gaming news.

The thing that got me today was a write-up for John Wick's new game: Wicked Heroes: Children of the Mirror. Here's a setting where a sorcerous mirror is the origin of superpowered people. But Wick put his spin on them:

Each born with one Blessing, one Curse. But if one kills the other, he
steals her Blessing, adding it to his own, replacing his Curse with hers.

They are faster than us. They are stronger than us. They are better than us.

This is the kind of superhero setting I want to know more about. These are the kinds of heroes I want to get to know.

Short update about being hopeful

2011-07-19T09:42:00.000-07:00

So, next month, I may know if I can fence again. I have some physical therapy ahead of me, I understand.

This is bugging me just a little, because I've been planning on buying a new sword and some new armor. I'll like to try out SCA cut-and-thrust fighting, and I've found another western martial arts group in the area.

So, for right now, I hope for the best.

Something else to look forward to: Castles and Crusades game this coming weekend.

Laziest post ever

2011-07-12T18:10:00.000-07:00

Have I mentioned how much I love Castles and Crusades?

Yeah, laziest blog post ever, but its been a while.

I'd go over and upload some maps to this, but I have a blown Achilles tendon, and can't walk to well.

I will say, though, that I'm very energized to get back to fencing once I'm healed. If I heal correctly. I miss my swords.

At my age, I have to pace myself

2011-06-13T16:34:00.001-07:00

Sometimes, I get really lucky.

A short time ago, I hit a nearby used bookstore. I found a bunch of treasures there, including an old Deities and Demigods (which ended up being the big find...more on that in another ost), as well as an old Avalon Hill war-game. Stuffed along the few gaming books and wargames, I found this little gem:

An old Tournaments Illuminated from 1983.

How awesome it that?!

The inside is full of typewritten pages and hand-done drawings. Articles range from, "What my Award of Arms Means to Me" to a history of kites. Its beautiful...a zine that represents the down-and-dirty, grass-roots feel of the earlier SCA. Its obviously a work of love and patience.

I love that do-it-yourself feeling that I get from this magazine. The cottage industries that are supported by the hobby certainly make any SCAdian's life easier...certainly, I wouldn't have half the gear or garb I have if I had to make it all myself and rely on my own craftiness. The feeling I get from seeing an old periodical like this, though, is more counter-culture, more small-community feeling.

At my first Kings and Queen's Rapier Tournament, there was talk about the Cording System's email group. This was the mid to late 90's; I was broke, and didn't own a computer yet. I asked how I'd keep in touch with the rest of the group if I didn't have access to email, and was told, "The 21st century is in a couple of years. Get with the times." The irony, of course, that the woman telling this to me was wearing an attempt at 16th century clothing and carrying a rapier. We all laughed. Now, I couldn't imagine an SCA without the web.

In 1983, how many days a week did you work on your hobby? How often did you communicate with other members? How important were your local buiness meetings or armoring nights or sewing gatherings? Today, I can be in constant contact with any number of members. If I want to, I could be on my local group's email list, the local region's email list, the local region's fencing email list, my kingdom award's email list, the kingdom fencing email list, etc. And I was...and more. And eventually burnt out.

It was hard for the SCA to feel special when I was being bombarded with news and info all day. It was hard to feel like I could devote any time t my other hobbies. Suddenly, if I wanted to paint, I felt like I should be making an effort to paint heraldry...that sort of thing. Of course, no one made me feel that way, but with the SCA always in my field of vision, it was hard to ignore any possible SCAdian use for anything I did. The SCA started feeling really...mundane.

Focus on any one really cool thing long enough and you're likely to tire of it. I know people in various fandoms who eventually burn out. I know die-hard convention goers, war-gamers, LARPers, board gamers...the list goes on...who get tired and need time away. Sometimes you need that time to make something feel special again.

I know people who felt that way about church, too, and other social activities. Hit the same nightclub week after week without stop, without breaking routine, and watch yourself loose the motivation to dance, to smile at the barmaid. We have enough free time on our hands that anything can eventually become boring...we grow apathetic, develop a sense of ennui that replaces our excitement and passion.

I'm a geek, and that isn't likely to change. I'm nearing 40, and I still play role-playing games, I play war-games, I'm a SCAdian, I might even LARP again if the opportunity presents itself. I've edited, playtested, and written for gaming products, and spent way too much time thinking about obscure rules from old, yellowing game products. I can't turn down a game of chess and I still read comic books. I love swordsmanship and find it difficult to pull myself away from old fencing manuals. And horror of horrors, my 10 year-old thinks its all cool. If I want to have the passion to get him interested in medieval costumes and gaming books and painting minis and chess, I have to learn to pace myself. I'm not getting any younger and, thankfully, it doesn't look like any of the things I love are going away anytime soon.

Mini-Reviews, Part 1

2011-04-22T05:20:00.001-07:00

The Dying Earth Role Playing Game

Encourages large vocabularies, cheating and verbal dueling. Its like "English Degree: The RPG."

Cthulhu Dice

Dreidel for the dead generation.

Two Castles and Crusades sessions down

2011-04-21T14:18:00.000-07:00

I don't update this nearly enough.

I'm still on my Castles and Crusades kick; it really satisfies my need for a Dungeons and Dragons fix. The rules are a welcome relief from the traditional D20 set. The SIEGE Engine is elegant. roll a D20. If the action your character is performing is based on a primary attribute, your target is 12. If the action is based on a secondary attribute, the target is 18. Modify the die roll based on the difficulty of the action, and the level of the character. Bang. Done. Combat: roll higher than the other guy's armor class. There are a few maneuvers that can give bonuses or penalties, but nothing as detailed as combat feats. We take a lot of liberty describing what we want to have happen, and apply bonuses or penalties based on the circumstances. Yes, its what we did we we played 1st edition AD&D in high-school. The inclusion of character special abilities and the removal of feats and special abilities makes the game run faster, with just enough "crunch" to keep the dice rolling interesting.

The campaign is supposed to have a very Arthurian, old-world fantasy feel. Everyone created characters that fit the setting. We have a traditional 4-class model (fighter, cleric, thief, and magic-user). Its a necessity for the setting and the rules. Some people might think of that as a negative point of the setting, but I like having a party with a cleric that uses a mace.

There were goblins and magical knights and cursed swords and a dungeon...they cleared one level of the dungeon already, and are starting work on the second. Its moving very smoothly, and it looks like everyone is enjoying it so far.

Castles and Crusades: Back to the days of hand-drawn maps.

2011-04-07T17:05:00.000-07:00

I haven't drawn a map for an RPG in years. I've been so impressed by some maps that my friend Christine has done; the made me want to try making one myself.

When I started making notes for my "Avignus" setting, I had the idea of a very Europe-like environment. I wanted to keep things as familiar as possible. When I started drawing things out, though, I saw how the distances between areas could influence how each kingdom or region would relate with each other. Suddenly I could see who would be the easiest targets for raiding by the Northern Reaches, or how easily the Young Kingdoms could separate themselves from the dying empire of Vitare.

My Castles and Crusades players added more when we sat around the table for the first time, and I got to describe the basic ideas behind each region. "Undead." "Barbarian Kingdoms." "Germany, but with demons and stuff." They added in things they thought would be cool. And now, its developing.

I know there are pieces of software out there to help with mapping. I'm just as comfortable sketching things out.

(Pencil sketch map in the first page of my Moleskine.)

More Castles and Crusades setting notes: religion and spirituality

2011-02-23T17:38:00.000-08:00

Religion and Spirituality in Avignus

Although the average subjects of the King of Avignus may never see a spell cast, they are still well-aware of the existence of magic. Spell-casting wizards, druids and clerics are all visible and practice their trades out in the open. The knowledge of magic's existence and the uncertainty and fear of living in a land under constant threat of orc attack (and other more mundane, but just as serious threats) creates a superstitious outlook among the lower, less-educated classes. Myths and stories are just as important to the spirituality of Avignus subjects as the spells cast by high-wizards and chief priests.

Stories about actions of the gods and the creation of the world are more than mere myths. Wizards and clerics commune directly with the supernatural world, and, as a result, relate creation stories more like epic tales or recordings of ancient histories. Despite the opportunities for direct communion with spiritual beings, not all wizards or clerics are able to adequately or fully accurately translate the messages from these divine entities. Their understandings and interpretations of spiritual messages are gathered together among ancient prophecies and other revelations to help build religions texts for the people of Avignus.

Prophets and sooth-sayers have a special, trusted place in the Young Kingdoms. Anyone with the ability to interpret signs or portents from the divine or nature are expected to give guidance or assistance to the lost or those in need. Clerics and wizards are often taken as advisors to royalty or even local leaders. The inspect the skies or summon spirits for warnings about the future. Farmers far from civilization trust the advice of local druids about planting and harvest times, or example. Unscrupulous spiritualists who try to spread false prophecy are harshly punished.

Divine instruction, such as spiritual laws which are supposed to aid the growth and prosperity of civilization, are tended by the clergy. Meanings of signs and prophecies are seriously debated, with their potential value to civilization seriously considered. Some sages take a literal approach to the messages; they are not seriously considered as academicians, and potentially ruled by emotion. In recent times, more paladins have come from the more literal-interpretation sects of the church.

Creation myths and other divine messages carry a heavy weight in Avignus and the other Young Kingdoms. The creation stories themselves are treated like epic history, and not merely allegory or speculation. Not all of the prophecies or messages were simple to interpret, and many sages had different translations or interpretations of the creation stories. The most trusted and accepted translation of the creation of the world, and the will of the gods, was collected by the Imperial Archivist 2000 years ago. The collection, titled Logos, was the first formal recording of the stories and instructions in the history of the civilized world. Although many of these stories weren't at all new and were already well-known, the Archivist's text was the first fully-compiled, complete, trusted volume.

“It has always been, and it will always be.”

This is the first line of Logos, revealed to the Imperial Archivist. Its most commonly accepted meaning is that all of creation is infinite, with no true beginning and no true end. The life and times of all creation has always existed, and will always exist...as will man, his troubles, and his way of life. Some scholars claim that the real translation should be, “She has always been, and She shall always be.” These scholars believe that “She” refers to the life-giving and nurturing earth, and that mankind and its troubles are no concern, when considering the whole of creation. Many sages consider that interpretation based on mere artistic license, a result of a play with ancient language. There are no other references to “She” in the text of Logos, and they point out the lack of matriarchal religions or cults throughout imperial history^¹. There is, though, a cult of scholars who believe “She” refers to the Conquorer Wurm, and ancient aspect and personification of cosmic, elemental Chaos.

Regardless of the phrase's meaning, most people take some comfort from it. Should everything they know pass away, some aspect of it will continue on.

That Which Endures

The creator-god is sometimes called Alef, or is represented in writing by the old runic first letter of the alphabet. Its also known as “That Which Endures.” Alef is thought to be without consciousness, but with a will. Alef is never personified; there are never icons or statues made to represent “his likeness.” Alef is that will which put order to chaos. The world was created by Alef imposing Will and Order.

Philosophers debate how it is possible to have Will without Consciousness or Self-Awareness. Some sages resign themselves to belief that order is a manifestation of the Will. Therefore, the Divine Will is simply one of the two natural conditions of the universe: Law and Chaos.

A very few fear that the Divine Will is merely a tool for a greater consciousness that cannot affect reality without some intermediary force. The Divine Will, then, is potentially a tool used by an entity that cannot have meaning in reality.

To some others, the Divine Will is a cosmic set of instructions, set in place by nature. Reality is woven in the nature of the Divine Will, and the universe cannot help but follow the path set forth in those instructions.

One thing scholars agree upon is that Alef does not answer prayer, does not have a conscius desire for worshipers or supplication. The desires and beliefs of the people of creation do not alter the course of the Divine Will. Alef is a spiritual monolith, respected but never supplicated.

The Innumerable Saints

Most people venerate, in some way, the saints of their ancestors. Some ancestors may be remembered for their crafting skills, their wisdom, their battle-prowess, or just for their personalities and influence. Living family members may venerate and celebrate their ancestral spirits for that aspect they remember and, by remembering, that spirit becomes associated as a type of household god representing that aspect. Ancestor worship is a very personal belief structure. A home is likely to have a shrine to their particular patron or patrons (an ancestor or ancestors the family remembers and has taken on as a symbol for their prosperity, strength, or courage). Small tokens representing the spirits would be carried, or left around the home. No temples or shrines would be built in public for these uniquely personal saints.

The spirits and divine entities that inhabit the world, who came as a result of the creation of Nature, are without number. Some answer to prayer, or to ritual. Some display godlike properties. They do not name themselves, or reveal their names (except in extraordinary circumstances), but take names from the people of the world. One entity may be known by a dozen names. Temples are built in their honor. Religious rites are perfected and designed to please them. Feast days are celebrated in their honor. The spirits answer prayers, grant powers, perform miracles, and are revered as gods.

No one has successfully counted the number of gods who are active in the world. So many take on different names and different aspects. A god known as a protector of travelers and roads to one tribe or culture may be known as a saint of thieves in another. The gods' mysterious natures keep their true natures somewhat secretive as well. The god a cleric reveres as a patron of growth and home may, as well, be a spirit of the harvest that a druid would revere. The god may be known by different names, even different aspects, and may well be the same spirit.

Religions in the Young Kingdoms also tend to have animistic tendencies. People acknowledge that there may be spirits of particular places or aspects. Though these lesser spirits may not be worshiped, they're acknowledged and revered, in the same manner as ancestral spirits.

This collection of saints, gods and magical spirits is collectively known as the Rolls Sable. The name is taken from a tradition held by the high priests of the empire, who attempted to collect the names and aspects of all the multitudinous gods and spirits. They were kept on a black scroll, penned with silver or gold ink. The scrolls were transported and stored at the Amber Tower, shortly after it was built.

1Neither the Anavaren of Avignus, nor the Witch Cult of Vinlund, nor the Sisterhood of Bretta of the Mistlands were ever acknowledged by churches nor the leadership of the empire. Imperial religious and social leaders expected such cults to simply die off quietly. They didn't.

Castles and Crusades: more setting design notes

2011-02-21T09:39:00.000-08:00

I've been jotting down some notes for a campaign setting for Castles and Crusades. I wanted to do a traditional western-European feel...something familiar and easy to recognize.

In the present day, the Western Kingdoms represent the flowers grown from a fertile ground fed by the receding waters of a dying empire. The kingdoms of the south, known as the Amber Kingdoms, were once the homeland of a world-dominating empire. The empire only fell back six-hundred years ago, leaving Vinlund and Avignus to build their own governments and rule for themselves. Those two kingdoms, which became known with some of the nearby lands as “The Young Kingdoms,” have grown and flourished in the last six centuries (despite threats from the north and east).

The Young Kingdoms have moved away from the nurture and the traditions of the old empire in the same way children grow away from their parents. Although their civil, cultural and religious traditions have their foundations in ancient imperial traditions, they've grown to serve the unique needs of each people. All of the Young Kingdoms share some traits, like long-separated family members. Their languages all share a common root, which serves as a noticeable and tangible link between the three lands. Their societies, much like their architecture, are built on the remains of the old empire.

The most successful of the Young Kingdoms is Avignus, a fertile land with temperate winters, moderate summers, a long growing season, and hearty people. The folk of the eastern portion of the kingdom are a hearty lot, who have developed a love of epic poetry and music. They are the more spiritual than their western brethren. The people of the western kingdom are renowned for their horsemanship and their skill with mounted combat.

Vinlund, to the south, is a kingdom dominated by wine and magic. Farmers raise some of the greatest vines in the world, and local wineries create the most memorable wines. People are well-fed, with expansive farms. Every town has its own vintage of wine, and each claims theirs is the best. Their wizard-kings have ruled since before the fall of the empire. A high academy of magic is hidden deep in their mountains. The king's ghostly advisors, legend has it, travel the kingdom looking for practitioners of The Science (the kingdom's name for arcane magic).

The empire survives now as the fragmented “Amber Kingdoms.” The ancestral great families of the empire, in an effort of self-preservation, each carved out their own city-states or protectorates. Some tried to wage war on each other, in attempts to gain more territory or more resources, or even just to answer old family rivalries. Some still try to live as if the empire never crumbled. Their guards may well still wear old imperial armor and weapons; some subjects may still wear the garb of the ancient empire. Citizens of the Amber Kingdoms still tell stories of their families' ancient greatness, and sill reside in centuries-old estates. Vitare, the northern-most of the Amber Kingdoms, is considered the most “progressive.” They trade with the Young Kingdoms, receive ambassadors into the Imperial Court (and sends out ambassadors to the Young Kingdoms, as well), and claims not to take part in the in-fighting participated in by the other old imperial families. The king of Vitare (who still uses the title of “Emperor”) claims leadership over all of the Amber Kingdoms, though has no ability to collect taxes, raise armies, or truly rule over the subjects of the former empire.

The northern lands of Ecrus and Titus have only recently been split. In the days of the old empire, the land was simply known as The Northern Reach. Ecrus was the name the local “barbarians” gave to their homeland. These barbarians raided their neighbors for livestock, crops, and more valuable treasures. The empire tried, unsuccessfully, to invade Ecrus several times. The barbarians continuously fought back the invaders. Eventually, Ecrus was damaged from inside threats.

Orc and goblin tribes emerged from deep in the mountains. The ravaged the people of Ecrus, destroying settlements, capturing people, stealing whatever resources the barbarians of Ecrus had stored away. The orc and goblin raids mirrored the barbarians' in severity and technique. The Ecrusians fought back, struggling to keep their culture and people from being destroyed by the orcish threat. After a century of fighting, the orcs were driven back across the mountains; they took over the eastern portion of the lands. Amazingly enough, some tribes of Ecrusian people followed along, either following the hoards as slaves, of because they found a kinship among the orcs themselves. The barbarians of Ecrus maintained the western portion. The eastern lands were named Titus by the dying empire, reflecting the name of one of the many lands of the dead from their myths.

The Mistlands are the northeastern part of the Great Western Isle. Their great accomplishment, according to some, was in building trading relations with the people of Ecrus (after successfully fighting off the barbarians after years of attempted raids). The northern, hilly region is the only civilized settlement on the island (as a matter of fact, the empire once had an outpost on its shores). The rest of the island is dominated by the will of an ancient dragon, and scores of magical creatures under his control. There are legends about lost tribes of elves and other fey creatures who live there, and of ancient magics that protect the island.

No one has ever returned from the island that is off the Mistlands north shore.

The strip of land connecting the Young Kingdoms and the Amber Kingdoms are called, simply, the Lost Lands. Since the fall of the empire, these lands fell to depravity, infighting, and invaders from the east and from the great rift. They lost all stability once the empire left. Some of the central lands, once called Tiranic, reverted to an almost barbaric state, ruled and controlled by tribal elders and fighting off other clans. In the southern province of Molloy, the dead rose and enslaved the living. The northern region, once called Deiteramund, has become dominated by the rift, which had begun spilling out Abyss-spawned creatures once the Amber Tower was erected in the heart of the empire.

None of those lands were particularly stable to begin with, truth be told. Tiranic was only ever stable because of the leadership and influence of the empire. Molloy's un-dead hid in their tombs, hills and forests for centuries, waiting for their time to strike. The rift had always existed in Deiteramund, and so had the portals deep in its depths. Without the empire's magic or governance, these lands were ultimately doomed.

East of the Lost Lands are vast mountain ranges, and a land dominated by desert. Its there that the King of Avignus leads a crusade against the Goblyn Queen. There is very little to report about the lands there, their people, or their cultures.

Beginning notes for a Castles and Crusades setting

2011-01-11T19:21:00.000-08:00

The Winter Crusade

A Campaign for Castles and Crusades

The King of Avignus takes his knights and barons on crusade against the Goblyn Queen, whose hordes terrorize the holy eastern lands. His kingdom is left under the stewardship of his only son, who is also the High Cleric of the Rolls Sable. The young prince struggles to protect Avignus from northern barbarians, orcs and goblins pouring down from the eastern mountains, and from upstart lords who see this time as an opportunity to expand their own territories.

Old knights refer to conflicts that are futile, or may have results whose costs are not worth the effort, as “Winter Crusades.” A Winter Crusade is a fool's fight, a battle that isn't worth fighting. In recent days, the prince's efforts to collect taxes and church tribute from returning knights' war chests are being called a Winter Crusade. Armed soldiers in the service of the church visit knights' castles and manors, collecting tithes from newly-returned lords. The knights, who have survived war against the Goblyn Queen, resent this additional tax on their hard-won war chests.

The Winter Crusade takes place in a kingdom that is struggling like a flower breaking through early-spring soil. When the empire receded and closed its borders, it left behind provinces and other lands that were forced to fend for themselves. Some, like Avignus and Vinlund, have grown and thrived into potent kingdoms. Others, like the mountainous Ghent, crumbled without the security and support of the empire. The empire itself has receded back to its homeland of Vitare. There, the ancient dynastic Imperial houses attempt to live as they did when the empire was at its highest. They reside in crumbling manors, overlooking vast estates that they've held for a millennium.

His first copy.

2010-12-25T17:44:00.000-08:00

He asked for it. I tried to talk him out of it...his mother tried to warn him. But he thinks its cool, and it looks like fun. I fear, my choice to give in to his wishes may have ultimately doomed him...

Merry Christmas.

From a trip to the museum this year

2010-12-05T20:11:00.000-08:00

I went to the Philadelphia Museum of Art this autumn. I spent some time in the armory, and found that they had a copy of Agrippa's manual on display.

"MANUSCRIPT FOR A FIGHTING BOOK c. 1553 Brown Ink & pen, brown wash on paper. France or Italy. This is an incomplete manuscript of Camillo Agrippa's Tratto di Scientia d'Arme con un Dialgo di Filosofia (published in Rome 1553), one of the most influential printed Renaissance treatises on personal armed combat."

Ideas from my drive

2010-08-11T18:38:00.000-07:00

I have a long drive to work. Some of the ideas I've come up with on my drive:

1: Burnt Stars: a Star Wars RPG set in the "far future" of the Star Wars universe. A mixture of sword-and-sorcery and Star Wars. Barbarians with lightsabers. Sith sorcerers.

2: Gutter Memory: a game of Wraith: the Oblivion. Spirits of the homeless overwhelm the streets of Newark, NJ in 1978.

3: Place of Forgetting: story for the 7th Sea RPG. Political enemies are held in a remote prison, on an island far from civilization. They fight to survive.

Good advice.

2010-07-31T20:40:00.000-07:00

"The period of the rapier was, in good truth, the most quarrelsome period in history; the "point of honour" was carried to such an extreme point that men would fight to the death for almost any trivial reason, and sometimes even without any at all, but from pure light-heartedness, for the mere fun of the thing and for nothing else."

Alfred Hutton. The Sword and the Centuries.

"Do not upon Every tryfle make an Action of revenge, or of Defyance."

George Silver. Brief Instructions Upon My Paradoxes of Defence.

"For we all acknowledge that it is with the sword that Kingdoms are protected, Religions are defended, injuries are avenged and Nations achieve peace and happiness."

Salvator Fabris. As taken from Tommaso Leoni's translation, Art of Dueling.

Warmachine!

2010-01-03T16:02:00.000-08:00

Here are a couple of shots from a Warmachine game at All Things Fun in Berlin, NJ:

Terror was this thing.

"C'mon, guys...lets sneak through the creepy cemetery!"

Best D&D game ever!

2010-01-03T15:33:00.001-08:00

My son and I often pull out my D&D or Star Wars minis and play a little game. We play a skirmish-style Star Wars game, where one of us gets clones, or stormtroopers, or droids, or Rebel troopers, plus a couple of heroes. The object of the game is to get to a particular door, or blow up a console, or destroy the attackers. If we pull out the D&D minis, we play a quick little dungeon-crawl, no more than 3 or four rooms, and my boy gets to beat on some goblins or skeletons, or whatever monsters strike his fancy at that moment.

Today, we tried something a little different. I pulled out the Microlite D20 rules, had him create a character, and we played a little more sincerely. The adventure began with an old wizard coming to the home of his character ("Knight Smith"), asking for help to recover a crystal ball from an old castle. What happened next was gaming gold.

I described the approach to an old, ruined castle; there was a drawbridge, a dry moat, and an open doorway to the castle. I described a gnoll ("dog-man") sitting just beyond the doorway, eating soup at a ramshackle table, with an axe at his feet. My son told me his character would talk to him, asking him if he knew where the crystal ball was. He and the gnoll talked for a little while and, once the gnoll was convinced that my son's character wouldn't try to fight him, led him to the door to the dungeon. The gonll even offered some useful advice..."The goblins downstairs aren't really bright." My son thanked him and moved on.

One trapped hallway later (my son's character got through it by going back up and asking the gnoll if he was good at tripping traps), he made his way to a door. He heard goblins beyond. His solution to the problem...style:italic;">go back to town and get help!

Smart kid, this one.

One hired-gun cleric added to the party, and they went back into the dungeon. My kid's plan...knock on the door to the goblin lair and tell them, "Hey, we're a couple of goblins looking to join up!"

Once the goblins let them in...my we put down the minis and drew the dungeon on the battle-map. Things went really smoothly...the kid took well to the Microlite rules :)

Later in the game, the boy's character and his cleric-helper encountered the Goblin Chieftan and his bodyguards. Nearby was the magical crystal ball. The boy's plan went flawlessly: knock out the chieftain, and then declare to the bodyguards: "Your chief has been defeated! Give us the crystal ball, and we spare the rest of you!" he also made a proposal to them: let him leave, and promise never to attack the village, the the goblins could live in the abandoned castle. On top of that, he would tell the cleric to heal all the goblins that had been defeated!

So, by the time we were finished, the boy's character had made allies of a gnoll, added a cleric to his adventuring party, recovered a magical artifact, and gave a home to a tribe of goblins.

Eight years old, this kid.

Microlite D20: http://microlite20.net/

Different definitions of victory

2009-10-25T18:37:00.000-07:00

Does studying an historically accurate fighting style in the SCA mean that you have to abandon winning tournaments?

Alot of people I talk to have a misconception about me when it comes to SCA combat...that I don't care about whether or not I win or loose. That's not entirely true. The Don I study with put it into my head that when you're on the tournament field, you're there to do a job. Do the job, maintain honor, treat your opponent with respect. This is basic sportsmanship, and its the core of how I feel about competition.

That being said, I think I take a slightly different approach to SCA tournament fighting than other people. I go into competition with a few objectives:

1: Keep perspective. Have fun. This is the obvious one, don't you think? These are friends we're fighting. The best prize is being told you gave a good fight, and knowing that everyone acted with honor. If everyone walked out feeling good about the fight, then its a win.

2: Have an additional objective than simple victory. I participated in a tournament in which we were expected to display historical technique. The participants were concerned with how they displayed their technique, much more than they were concerned with whether they won or lost. The question wasn't so much, "What could I have done to won," as much as it was, "Did I do this right?"

3: Use each victory and defeat to help with the details. How is your timing or your distance? What details of the technique that you're using helped? Its helpful having someone you study with watching from the sidelines. Ask them what they saw. Discuss it with them. Use every defeat to hone the technique.

Although some of us practice historical swordsmanship as an art form, it is still a martial activity. The ultimate objective of the period masters is victory. In the SCA, we have the opportunity to take our time to practice every detail with intensity and passion. We aren't fettered by a seasonal tournament schedule; we can take time to grow in our technique, using every fight as a learning exercise.

My handout for Known World Rapier Academy class: Intro to Studying Historical Swordfighting

2009-10-14T19:03:00.000-07:00

Introduction to Studying Historical Swordsmanship

My objective is to make studying historical sword-fighting accessible to everyone. Techniques from the period masters can be integrated into SCA rapier with a minimum of mutation. The purpose behind this class is to give you the tools so you can start studying historical technique.

Outside of the practice of sword-fighting, what are the advantages of studying the period masters?

1: Historical technique can be used as a tool for persona development and cultural research. Take the study of Italian and English masters for example. For example, George Silver wrote his manual as a response to the proliferation of Italian masters throughout London, and the popularity of rapier fighting. How does that impact you if your persona is from Elizabethan England?

2: The period masters have something to say about our martial culture. The manuals weren't written in a vacuum; they were written in response to specific needs of fighters of the time. Who were they written for? Were they written for a particular patron, or for the public? Who would have used this fighting style?

3: Studying historical sword-fighting helps preserve obscure arts and sciences that would die out, were it not for our practice. The recent renaissance (no pun intended) in western martial arts has created a need and interest in the publication of sword-fighting manuals. Western martial arts groups, as well as the SCA, are preserving these arts. We pass these techniques onto our students, and to the public via demos, scholas, academies, and other events.

How do we begin?

First, surround yourself with like-minded individuals. Find friends who share your interest. I can't stress the importance of having a supportive group that has your back. Excitement is infectious. Its important to have a circle of students to provide different opinions and outlooks on the text. In my opinion, you should have a minimum of three people, so two may practice the technique, and one can read the manual and offer opinions from the outside.

Second, choose a master you'd be interested in looking into. How to choose a manual or a particular master is beyond the scope of this class. Choosing what kind of manual, though, is based really on what you're interested in getting out of the manual. If you're interested specifically in using a rapier, as opposed to older forms or cutting-based forms, you may be interested more in Fabris or Capo Ferro, for example. If you're interested in a for that emphasizes the mechanical aspects of time and distance, consider a Spanish technique.

Once you decide on a manual, analyze it with your study group. Look into the historical context of the manual. Don't ignore the introduction to the manual; often, it will talk about the background of the master, who he's written for, and a little about the culture he's written in. Read as much of the manual as possible before practicing techniques from the manual. Don't just read the first paragraph, for example, and try the technique described. Most often, techniques in a single section of a manual build on other material described earlier. You'll understand more of what the master is trying to describe when you see techniques described earlier and later.

I should take a moment to say a few words about looking over the plates in the manual. Obviously, the plates are just snapshots, single moments in time. Mimicking the plates is not the same as learning the technique. Think of the plates as a guide to use along with the text. If you try to just recreate the stances and motions shown in the plates, then you're not really learning anything of the technique. Don't be afraid to play with what you see in the manual, though. If you see a plate that shows a final motion (such as a killing blow), don't be afraid to play with the motions that take you from guard position to the final plate.

What should we keep in mind when we practice?

Play. Don't be afraid to play. Don't be afraid to experiment. Have a great sense of humor about what you're doing. While you're trying something new, expect to loose a lot of bouts. You'll be learning new things about your stance, distance, timing, guards, etc. Get used to dealing with a new learning curve.

Like I'd said earlier, I find that working in groups of at least three works best. One person reads the manual, while the other two practice. The one observer serves the role as director. Rotate the roles among each other. Listen to each other, and share your observations.

Here are a few other tips:

Make sure that your study group stays focused. Its easy to drift off while studying a manual. There may be movements or terminology you may not be familiar with; resist the temptation to try to mutate the techniques in the manual to fit your personal style. The further away you take yourself from the intention of the master, the less effective the techniques you're trying to learn become.

That shouldn't keep you from playing with the techniques, though. There's a difference between playing with the form and drifting too far from the goal.

While reading through the manual, try to find the agenda that the master is trying to put forth. Most manuals follow a particular theme, technique, or even political agenda. If you're able to discover the “agenda,” then you have tool to help you get through roadblocks in the manual. For example, if you know that one particular master advocates attacks in single-time, then if you are at a roadblock in a particular part of a manual and it is ambiguous as to how an attack should be delivered, you'll at least know that it is likely that the attack should be delivered in single time. Its one more tool at your disposal to help you understand the manuals a little more deeply.

Consider your sword. Is the technique you're studying going to work with that weapon? Different masters advocate weapons of different styles or lengths. For example, Silver will not work with a long rapier, Capo Ferro will not work with a curved blade. I wouldn't use epees or foils for Italian rapier techniques (the techniques just don't work). Again, determining the correct weapon length for all different masters is beyond the scope of this class. In some cases, the master may assume you know the length or type of weapon to be used (that's where its helpful to know the historical context in which the manual was written). Others may specify the length by your height, the length of your lunge, etc.

Remember your fundamentals. Things like footwork, distance, accuracy, and timing are universal. Though some things may work differently, the basics of how to fight aren't necessarily going to change. Some masters may want slightly different stances, or recommend you move a particular way, but they won't likely be too different from what you first learned.

Drill. Stretch. Work out. I've found that reproducing some techniques straight from the plates is a little like yoga. There may not be a lot of impact, but its still a workout.

When you practice, practice with intent. The best way to determine if something works is to practice as if you are really fighting. For the longest time, I couldn't see any value in Capo Ferro's first guard. One day, we practiced cutting attacks against someone who is just first drawing his sword out of the scabbard. That was when we found its value. We could never really see how effective it was when doing slow-work., or just trying to reproduce moves from the plates and from other practitioners' pictures.

Practice everywhere. Take what you've learned into tournaments. Yeah, you may loose at first...a lot. But be okay with that. One way to stay encouraged is to look for different objectives when you enter tournaments. Instead of, “victory” as your ultimate objective, why not focus on insuring that your technique is as clean as possible. The more you perfect your style, the closer to victory you'll ultimately become. That may sound obvious, but you're likely to be moving out of a particular comfort zone. Its important to have something to hold onto, to help keep encouraged.

Fabris: the first guard, and posture

2009-08-29T10:11:00.000-07:00

We practiced the postures of the first guard. Fabris' postures are unusual; the head and the shoulders are forward, while the trunk of the body is tucked back. Balance is maintained partially because the posterior is stuck back. My first problem, honestly, stemmed from being fat. My balance is thrown off, and its difficult to put myself into the appropriate posture. I don't want to modify my stance too much, because I'm afraid of loosing the core of the style.

Does that make sense?

If I modify things from the beginning, then I'm not really doing the style properly. On the other hand, I have to modify things just slightly so I can compensate for my weight/balance.

We were told that most of your weight should be distributed to the back foot. So every time I'd take a step, I have to make sure that my weight is properly distributed. The trouble was that I ended up shifting my weight before settling. This would throw off my timing, and of course would throw off my balance.

So my practice now involves getting my stance correct, adjusting for balance and proper distribution of my weight.

Question about the first guard in Fabris

2009-08-22T12:55:00.000-07:00

Had our first question about how to approach some of the interpretations of the plates:

My partner asked:

ok, first question for you.

p. 35 (first paragraph) "in this manner your opponent will not be able to come in above your sword; and that part being the weakest, it should be the most strongly defended".....my question... why is this part the weakest.

I thought about it, and read over some of the manual:

Just looking at the formation of the sentence, "that part" seems to refer to the target area you'd be defending. If someone is attacking above your sword while you are in this guard, they're attacking the head, and possibly the arm (he mentions earlier the possibility of the arm being the target). Looking at the plates, where exactly is the forte really protecting? He mentions the guard helping protect the body more efficiently, too.

Check out page 25, where he talks about why to hold the sword extended: "If your opponent simply places his forte to your debole and goes for the attack, he will find it difficult to succeed by virtue of the small opening that is one of the properties of the manner of holding the sword." Also, check page 28, talking about posture: "If a person could make himself so small as to be able to cover his entire body with the forte of the sword, it would be ideal. But since this is not normally possible, you should at least make an effort to cover as much of it as you can, so you can enjoy more safety."

Does that make sense? I don't think he comes right out and says what the weak part is, but he's already said this is an effective guard against cuts, and it appears the primary cut someone would attempt would be from up to down, near the head or shoulder.

Universal truth at fencing practice

2009-08-20T17:34:00.000-07:00

My partner and I started talking at practice last night about how to start with studying Fabris' manual. We went through a good part of the first section of the book, going over what we took away from each section, and discovering what common theme ran underneath everything.

There were a few things that weren't necessarily surprises to either of us: the importance of performing motions in a single tempo, the basics of measure, and patience.

Throughout the book, a common theme is that one does not perform an aggressive action until the stars are right. Don't be the aggressor at the risk of loosing tempo. Be wary of moving into measure with someone who is in a static guard, waiting for your move.

Be patient. Wait. Back up.

Chill out.

Be still.

...

So next week, we'll begin working on the plates. The first, of course, being the first position.

Fabris: trusting the source

2009-08-17T17:07:00.000-07:00

"My advice is this: follow the book, and trust its contents blindly."

How many students ever want to hear that from an instructor? Haven't we all been taught to be critical thinkers, to test everything we read, everything we learn? Double check the sources. Consider the translator. Look back over the language. Confer with colleagues about potential other meanings.

But that runs counter to Leoni's advice in his introduction to The Art of Dueling. We're asked to trust the source. Consider Fabris' mastery. We're asked to invoke a type of papal infallibility when it comes to Fabris' teaching. He's the master, we are the students. If we want to know how to fight like Fabris wants us to, then trust Fabris.

To do this, we have to forget how to be 21st century students. We have to trust the source. For the sake of learning this technique, this style of fighting, then we have to work in a pure manner. Fully immerse ourselves in his technique, and trust his work implicitly.

So, for the sake of this technique, I'm willing to take the translator's advice and to trust the author completely. I think back to what I wrote yesterday, about wanting to put away old notions and start new.

On to the technique: Guards and measure.

My plan is to just jot down some notes on what I've read or practiced each day. I'd like to at least write out whatever I've taken away from the text that day.

The manual starts with the four guards, and the division of the sword. I'm familiar with the guards, but there are some strong reminders about the importance of the guards in technique. "It must be clear that nothing is done that does not proceed from the essence of one of these guards (emphasis mine)." There's a flexibility implied, because of the motion the hand goes through between guards. Motions may go from the transitional state between guards (what he calls "bastard" guards). Here, we're immediately hit with an important part of the foundation: your sword motions aren't going to be executed from static positions. Shortly, Fabris will describe the dangers of fighting in dui tempi.

The divisions of the sword are mentioned. He divides the sword into a defensive portion, nearer the hand (which he divides into two), and the debile (half closer to the tip) is divided into two portions, as well. Any fencing student is already familiar with the strong and the weak parts of the blade. Strong for defense, weak for attack.

When taking posture is discussed, it can't be discussed without discussing measure and tempo. The two measures, misura larga (where one may attack by moving a foot), and misura stretta (one may attack by just moving the body forward) are described.

Tomorrow, on "flinging the sword," and "on cuts."

Studying Fabris: Day 1

2009-08-16T17:56:00.000-07:00

This past Pennsic, I was inspired by a few classes on Italian fencing master, Salvator Fabris. Some of the stuff I'd learned was familiar to me (thanks to the work I've done on Capo Ferro for the last couple of years), while others were totally alien to me. The postures take a little work for me, but that's the simplest thing to get over for me, probably.

I'm working together with a friend on Fabris' manual. We're using the Tomasso Leoni translation, Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606 (available through Chivalry Bookshelf). We're taking time from our local fencing practice to work on the manual every week. I'm using this blog to keep track of my own work (and I may publish my journal for review, after a while).

I've gone into the manual today, looking to take out something to help focus. Even the preface and introductions have helped in that regard. Regarding this translation, Maestro Sean Hayes says in the preface, "It allows us to reconsider previous interpretations..." That's exactly what I need out of this kind of study: I want to reconsider what I've learned up to now. I want my previous notions of Italian swordfighting shaken up.

And away we go.

I sent this letter to the East Kingdom League of Rapier Academies mailing list

2009-03-03T16:22:00.001-08:00

Hi,

Here are my ideas, on how to start transition the League into a group encouraging historical swordsmanship.

I: Encourage members on how to focus their studies. Does the fighter want to study a particular master (such as Capo Ferro, Silver, or Di Grassi [not the show about Canadian high-school students])? Does the fighter want to study the swordfighting of a particular culture (like the English, Italians, Spanish or, maybe something more exotic or specific, like the Sea Dogs or the a military longsword style)? How about studying a particular time period, or clothing style, or mannerisms of a particular class of fighting, or a specific type of fighter (member of the London Masters, perhaps, or mercenary). How about studying other aspects of swordfighting culture, like dueling, or how masters made their livings in different places?

The idea here is to make the thought of transitioning into studying historical swordfighting less intimidating for those people who just don't have the interest into looking into manual work. There are plenty of ways of furthering the study of historical swordfighting than just studying manuals.

II: Encourage mentoring. If you've discovered something new and cool, then tell everyone . Use the Yahoo-group to spread information. Announce that you'd like to show off what you've learned at practice. We can use the League as a kind of storehouse for information. And pass it on to other members of the League. Post bibliographies, videos, pictures...whatever encourages and inspires further study and practice.

III: Demonstrate what you know. Show off at demonstrations. ENCOURAGE PRIZE-FIGHTS. Do prize-fights at demonstrations and big events. Invite local Barons and Baronesses to witness the displays. Encourage competitions with duels. Show off what you can do! demonstrate longsword vs. rapier! Demonstrate curved blades vs. some other stuff! Cut versus thrust! Italian vs. Spanish! Use our competitive natures to encourage inter-academy competition! This is high drama, people!

There are just a few thoughts that have been popping around in my mind since the weekend. More later.

Lorenzo Gorla. CSC. QHD. AOA. Silver Gauntlet (Iron Bog)
Bhakail Champion of Fence. Captain: LoRA.
Co-Founder: Hawkwood Academy of Arms
Scapegoat: Tadcaster Militia.

What we learn

2009-02-22T12:01:00.000-08:00

Lets talk about studying history for a minute or two.

I've picked up a book recently that makes me re-think why I enjoy studying history as a hobby. It's a biography of Sir Francis Drake by E.F. Benson (Harper & Brothers, 1927). Initially, I picked it up as part of my SCA research, but I've pulled a little more out of it.

The Drake biography is keeping me hooked. There's a portion of the book talking about Drake and Queen Elizabeth's involvement in the slave trade.

When did you learn about that in school?

Okay, to be honest, you probably didn't learn much about Drake in school. I didn't. I didn't take any interest in it until I started studying the Sea Dogs, and piracy in Elizabethan times. It never occurred to me to look at Elizabeth's involvement. But why not?

I remind myself that studying history is harsh and painful sometimes. Strip away the myth from your heroes, and see what's there.

New Year, new games

2009-01-18T14:15:00.000-08:00

I've never been a big fan of boardgames. I never really enjoyed that they just existed in one particular point-in-time. There was no backstory, and the game itself just seemed too much like like a futile distraction of dice-rolling, space-occupying, and time-killing. I'd based this opinion of games from my childhood...the types of things we've all played over and over (Monopoly and the like). I enjoyed tactical wargames much more, because they existed in some kind of world (like either the real-world of WW II, like my old Avalon Hill wargames, or fictional settings like Car Wars or Battletech). Those never felt like boargames. My friends and I were playing scenarios that could have been part of a larger experience. Our experiences could connect to something bigger, and it made us feel like what we did mattered a little more.

Recently, though, I've been spending more of my afternoons at Natural 20 in Westmont (my favorite game store...go there and check it out). I've been swept into a few different games that have gotten me to appreciate boardgames a little differently. There are better reviewers out there who can give better descriptions of how these games are supposed to be played, =but I want to give my personal opinions about a few of them.

Battlestar Galactica. If you haven't played this yet, get to a game store on their boardgame night and try it out. Players work to get humanity's fleet to Earth, but Cylon's hidden in the players' ranks try to sabotage the effort. Times I've played, most people spend alot of time yelling, "You're a fracking toaster!" at each other. Great fun.

Neuroshima Hex: A tactical game from Poland. I enjoy it, but am horrible at playing it. Last night, the owner of Natural 20 told me that he spent three days yelling about how horrible I play. His words: "Its a great game, unless Goodman's playing. Then you get angry."

A couple of recent acquisitions: Call of Cthulhu: The Card Game, and Red November (the game of a sinking gnomish submarine). I would absolutely love to play either of these much more. Also got Munchkin Quest as a Christmas present from my Don. I'm still waiting for a chance to break that open.

Roleplaying games: I'm surprised at how much I like all of the stuff coming out for Star Wars Saga Edition. The core rulebook was nothign special, but every suppliment that's come out has been spectacular. My favorites recently have been Scum & Villany (playing scoundrels, smugglers, and the like), The Force Unleashed companion book (which includes a great deal of information on how to run a Dark Times game, set between episodes 3 and 4), and Starships of the Galaxy (which include further information on playing pilots and more starship combat rules). More setting books are coming out soon (The Clone Wars, this Tuesday, and the rebellion Era, a few months from now). I'm eagerly anticipating both.

I've been collecting and reading material for the Dark Heresy RPG (the Warhammer 40K RPG). I enjoy it. Although I have no idea where or when I'll get the chance to use the material, I eagerly await whenever the next set of books will come out. There's a great deal of setting information in them, and I enjoy what I read more and more. Its inspiring me more and more to work on my Space Marine army, too.

40K last Saturday

2008-11-15T17:42:00.000-08:00

I had a nice little Warhammer 40K game last weekend at Natural 20. I brought out 1500 points of Space Marines, my opponent brought Guard. It was a nice way to spend an afternoon.

Game accessory round-up

2008-11-04T15:45:00.000-08:00

There are a couple of gaming accessories that I've discovered (that most people discovered a long time ago) that look like they can do a really good job of making my games a little cooler.

1: Dungeon Tiles (Wizards of the Coast)/Game Mastery Map Packs (Paizo): Most of my players are perfectly content with using a grid map with wet-erase markers. People have liked me pulling out the Dungeon Tiles recently. I don't think they pull away from the imaginative role-playing at all. They're not indispensable, but they definitely add to the minis experience.

The Dungeon Tiles are nice and affordable (about 10 bucks a pack). The sets mix-and-match pretty well, so I've had some nice dungeon layouts with them. Its nice using the outdoor tiles as well, instead of drawing out wooded areas on the battle-mat.

The map packs just look neat. I only have two sets: a tournament field, and a graveyard. They look nice, but have to fit together, puzzle-like, to set the entire scene (buildings are divided up between several tiles, for example). They're a little more specific than the dungeon tiles, and you end up spending more for less (compared to the Dungeon Tiles), but they look nice, and have very specific set-dressing.

2: Chronoscope miniatures (Reaper): I like subtle genre-mixing in my games. My sci-fi games have a little cyberpunk-feel to them. My fantasy incorporates horror. The Chronoscope minis are a collection of minis sculpted to resemble either specific time-period characters (like 19th century British soldiers or 20th century James Bond types) or genre-mixed characters (like, my favorite, a dwarfish dude with a sword, leather-cap and gatling gun). I haven't painted any up yet, but they'll be next on the list after my 40K army.

HEY EVERYONE, WAKE UP!

2008-09-15T20:04:00.000-07:00

Okay, everyone...don't panic. I've come to a decision.

Space Marines will be my first 40K army.

Okay, you can go back to sleep now.

Teaching historical swordsmanship classes at an SCA event this weekend

2008-09-08T14:45:00.000-07:00

I'm teaching 3 classes this upcoming weekend at the East Kingdom University in the Barony of Iron Bog:

Wards and Attacks for Italian Rapier

English Culture and Italian Fighting

Gentleman's Quarrel:Dueling Across Europe

Go to http://eastkingdom.org/event-detail.html?eid=1617 for more information on the event (such as directions, cost, etc.).

Weekend gaming thoughts

2008-09-07T05:16:00.000-07:00

Spent yesterday at my friendly local gaming store. I picked up the new Warhammer 40K boxed set (I'll be opening that sometime this week to start painting). I also got to play Dust, a board game that plays a little like a bastard child of Risk and Axis and Allies. Great fun.

I've been spending my Saturday's down at Natural 20 in Westmont. The nice thing has been that I've gotten to play games I'd never thought of playing before. Last week, I watched a game of AT-43(sci-fi minis combat), the week before, it was some other board game...great fun.

I've led a pretty insular life when it comes to gaming. I used to be very uptight about finding small groups to play with. Now, I really enjoy hanging out in a store, playing anything new that anyone recommends. I think that's why I enjoy playing Warhammer, too...I like the idea of just bringing an army to a store, and playing anyone who's up for a game.

I own so many games, its ridiculous. I recently had the revelation: if I'm not careful, I'll never actually get to play any of these. So now, I'm making an effort to play the stuff I have o9n my shelves. It may sound elementary, but with a collection like mine, you can kind of forget that they're supposed to be taken out and played and enjoyed.

The Last Prophecy of Porter the Grimm: some background for my Warhammer Fantasy Roleplay game

2008-08-31T20:49:00.001-07:00

Porter served most of his life as a monk in the Order of Sigmar, tending to the monastery’s herb garden, and living a simple, cloistered life. Things changed for him when the visions started. He began to foresee terrible events, such as attacks by Chaos into particular villages, murders of prominent nobles, and natural disasters. The clergy tolerated this for a time, until two things happened. One, the scribe at the monestary began to transcribe and illuminate his prophecies. Two, his last prophecy involved the Emperor himself. The Inquisition quickly and quietly tried Porter the Grimm and the scribe (known only as Colemann), and ordered them put to death, and the copies of the prophecies burnt. Colemann was taken from his cell late at night, and hung. Porter was nowhere to be found.

Porter escaped to the foothills of the Grey Mountains, and lived out the rest of his life as a hermit. He traded with a small household of dwarves on occasion, trading his visions and dreams for food and company. Orcs eventually killed Porter in the night, but the dwarves carried word about the Prophet of the Hills into the Empire.

In recent times, the Last Prophecy of Porter the Grimm has turned up again. A printed version of his prophecies about the last days of the Emperor has made its way around Altdorf. The Church is not pleased, and is doing everything in its power to find the underground printing-press that is making these, and destroying every copy they can find.

Warhammer Progress

2008-08-27T19:14:00.001-07:00

Progress on my Warhammer Fantasy Battles army:

Since last week:

I've assembled a unit of Bretonnian men-at-arms, painted them, and based them.

I've primed ten Bretonnian knights/mounted men-at-arms.

I've finished painting 3 Bretonnian knights.

I've painted my first piece of Warhammer terrain (a gatehouse that my son got me for my birthday).

I have a total of about a hundred and seven Bretonnian models. All but eight are fully painted. I'll start the trebuchet this weekend. I've yet to assemble the dwarves and night goblins I have in the box.

My wife is taking pictures of the collection now, as I write.

I also picked up the new 40K rulebook on Saturday, and am trying to decide between Tau, Imperial Guard, and Space Marines. Any suggestions?

The setting for my new Star Wars RPG

2008-07-16T18:10:00.000-07:00

Troius Sector: A Gazateer

Background

The Troius Sector is a collection of roughly a dozen star systems, located in a remote portion of the Tingel Arm, in the Outer Rim. Its nearest pathway to the civilization of the colonies and the core worlds is the Hydian Way, a trade route that connects the Corporate Sector to the core. It is still a long-distance run to make it to the Hydian Way, though, and there are few safe routes.

The sector has a long history, stretching back to the ancient days of the Old Republic. Its prosperity has crested and fallen a dozen times, and is now, in the time of the Empire, at a low point. Very few worlds in the sector support wealthy individuals and opulent lifestyles. A majority of the worlds support laborers, farmers, miners, and entire cultures of people trying to squeeze a living out of the earth or out of industry. It’s among the lower-classes that thoughts of Rebellion are strongest; for now, the Emperor takes good care of his ruling-classes.

This is a low-priority sector for the Empire. Since there is very little trouble reported by the local governors, the Emperor devotes relatively few resources there. Local militaries and police keep things safe and incidents of rebellion are quickly, and quietly, deterred.

There is very little commerce between the sector and the rest of the galaxy at large. Commerce is managed by a series of guilds (much as it is in the rest of the galaxy). Independent traders thrive; most people in economically depressed locations are more likely to buy their wares from small-time merchants who cannot afford to purchase their supplies and products through high-cost suppliers. Small independent traders support themselves by supplying small merchants on distant worlds with the goods they need, typically while avoiding Imperial tariffs and licenses.

Hyperspace Travel through the Sector

Hyperspace travel throughout the sector isn’t much different than travel throughout most of the rest of the galaxy. Ships’ crew must constantly update navicomputer data to take into account the constant motion and influence of stellar bodies. Miscalculation of navigation data can lead, at best, to a delayed trip or a mis-jump. At worst, a ship can get lost of the aether of hyperspace or be destroyed when its re-entry into realspace comes too close to a star or planet.

Like many other sectors, Troius Sector has a small combination of unique hazards to navigators and pilots must contend with. A nebula dominates the easiest access point between the Hydian Way and the Trois Trade Route (the most heavily used route into and out of the sector). Most pilots plot courses to the mouth of the Nebula Gates, and slowly re-calculate a route through the Opal Nebula Via (the path that feeds into the Hydian Way). This re-calculation point is used as an ambush point occasionally by pirates, hoping to catch a ship’s crew busy with new hyperspace calculations.

The Pearls are another unusual formation. An enormous asteroid belt circles a dying red star. The belt forms a type of ribbon of stone and ore, twisting around the central star. The Mining Guild has been given access by the Empire to mine the materials out of it; however, subspace travel is made somewhat difficult by the radiation emanating from the red sun. A single space station, known by local travelers as “The Spike,” is the sole “public” station. The Empire maintains a small garrison of soldiers there, to assist in keeping the peace and monitoring traffic.

In the days of the Old Republic, a combination of hyperspace beacons, aid from the Guild of Navigators, and the HoloNet kept hyperspace travel relatively safe and direct. The Empire, though, cannibalized the HoloNet strictly for military communication. The Navigators Guild was made illegal by Imperial edict, and had all of its data and resources seized. By the time of the campaign, most pilots and ships’ captains trade navigation data often when they meet. Some would-be navigators collect maps and data, hoping to sell it to travelers. A black market of navigation data has developed around communities of smugglers and pirates, trading cargo for reliable information.

Notable Locations

The Pearls: On the rimward side of the sector, there is a system that is comprised of one star, circled by a string of asteroids and smaller planetoids. Some satellites are claimed by the Mining Guild, though “independent” miners and smugglers make their way through their defenses, occasionally. Besides the small mining settlements on some of the planetoids, the only real significant man-made habitation is the Spike, a 5 kilometer long space station, which services most of the miners and travelers who use the nearest hyperspace route.

The Empire keeps a modest presence there. The occasional patrol ship stops by the Spike now and again, though the largest presence seen is usually a customs frigate.

Strife: Covered by thick clouds, and perpetually drenched by rain, Strife is the home of the Imperial War College. There is also a small garrison on-world. The planet only has two large land-masses; the rest of planet is covered in tumultuous oceans, which are impassable with conventional water-craft.

Eric’s Star: Eric’s Star is a pirate and smuggler haven. Three great domed cities dominate the Habitable Ring near the equator. One is ruled by the Hulma clan of Hutts, and seems to be the most lucrative for the local crime syndicate. One domed city has been re-named “Necropolis,” ever since a freak accident at the power plant unleashed a toxin that destroyed its population.

Argent One: The de-facto capitol of the system only recently rose to any state of prominence. The local sector governor rules from there, and the representative senators gather there to discuss local business. It is closest junction for most of the local hyperspace routes, and boasts two habitable planets, and a ship-building yard. Imperial Fleet Command decided that this location would be the perfect home for the center of Fleet Operations, as well as the seat for the Imperial Governor.

Argent One is perhaps the most cosmopolitan world in the sector.

The White Void: There is a portion of the sector that is dominated by a large nebula. Sensors do not operate well, hyperspace travel is difficult, and subspace travel becomes hindered. Sensor and computer screens go white when the ship is in contact with the nebula. The area is often used as a hiding place for pirates and raiders, though many of the ships that go there are lost.

The Guilds

It is impossible for the Empire to control all commerce in the sector. Therefore, they allow certain guilds to operate with a charter from the Empire. The guilds often operate like a combination of a business conglomerate and crime family.

The Mining Guild is permitted to petition the Empire to mine for ores and other precious materials on any planet in the sector. It isn’t unusual for them to claim lands already occupied by farmers or other types of tenants.

The Bounty Hunter Guild is an exclusive organization. Though it is relatively simple to obtain a bounty hunting permit (allowing one to apprehend criminals and obtain rewards), the Bounty Hunter Guild serves as a clearing house for potential bounties. One reason the Guild operates is so that individual bounty hunters do not wage war against each other and each have a fair “cut” of the action in the sector. They consider non-Guild hunters to be fair game, though.

The Shipping Guild still operates. The Empire offers licenses to carry cargo through the sector, and use the more popular hyperspace routes. Licenses are expensive, and not only allow shippers to carry licensed cargos, but also help in avoiding customs inspections.

The Assassins Guild was outlawed during the height of the Old republic. There are rumors that there are still members operating in secret, acting more like a cult or mystery religion than a guild.

The Navigator’s Guild hasn’t operated since the rise of the Emperor.

Historical sword-fighting class

2008-05-16T09:55:00.000-07:00

Don Justinian and I will be teaching our Beginners Class for Interpreting Historical Sword-fighting Manuals at Barren Sands War (check out eastkingdom.org for directions) at 1:00PM.

Please come out for it...it'll be a great class.

Taking it in

2008-05-11T17:35:00.000-07:00

I took a walk out with my wife today at a local park. There's a little nature trail that goes through some woods. I've never been on a nature walk with her, and thought it would be a nice way to spend part of Mother's Day. We were maybe twenty yards into the woods before I realized...I really have no idea what the woods are like.

As a GM, I describe a lot of nature scenes in different fantasy RPG's. They're probably the driest descriptions I do, which is a shame. I'm more of a City Mouse, honestly. I love the city. When I lived in Philadelphia, I loved that it was never really dark. I thrive in the environment, and, as silly as it sounds, it comes out when I run games.

I'm a huge fan of Fafhard and the Gray Mouser, "urban" fantasies about using cunning and guile, as well as magic and a sharp rapier. They talked to me more than epic fantasies about world-changing events.

So anyway, while I was walking through the woods with my wife, I looked down at the little stream that cut through the woods. I noticed the patterns of the mud and clay, and the muddy paths that once came off of the stream. There were makeshift bridges, logs and felled trees that kids threw across the water. My wife took pictures of pitcher plants and flowers; I took in the scenery.

The Siege

2008-05-11T17:06:00.000-07:00

Next Sunday is my last session of my current D&D campaign. We started about a year and a half ago (first level). Now, the group is 13th to 14th level. The PC's have tied up a lot of plot threads, and have done a solid job of potentially creating a new campaign (most of them took the Leadership feat, and have a batch of followers and cohorts). The next session is the big Final Fight with the Big Bad Guys. Everyone's psyched.

One session that stood out in my mind:

The Siege of That Room Over There: The PC's have trudged through a dungeon, defeating a dragon, a medusa, and a handful of traps. Suddenly, they encounter...

...a kobold.

If I remember its stats right, it had two hit-points.

And the PC's stopped in their tracks for half a second.

Then, the kobold ran. And the PC's ran after him. And then the fun began.

I don't remember who realized that kobolds never really travel alone. Well, there was a whole tribe of the little guys, all with spears, poison, burning pitch, traps, the Swarmfighting feat, and the desperate desire to save their little butts.

The siege was pretty damn awesome. The PC's barricaded themselves in one chamber. A long hallway led to the chamber housing the kobolds (who barricaded themselves within, as well). The PC's used disguise skills, spells, and other trickery to get a scout inside, and start disrupting the kobold guards. Then, the attack began.

I don't remember many of the details...I remember spears, one of the PC's damn near dying, and the entire thing ending with a kobold thrown down a pit with a warning tied around his neck.

Good times, good times.

Weekend gaming recap, and some upcoming plans

2008-05-05T16:44:00.000-07:00

Big gaming-filled weekend, so lets fill folks in on the highlights:

Friday:
Game: Dr. Who
System: D20 Modern
Have I mentioned how surprised I am that we've gotten D20 Modern to work for this game? The individual classes mean precious little to the players. The special abilities of some advanced classes do a nice job of giving the players the tools to do some high sci-fi wierdness (one PC built his own "K-9," while another jury-rigs high-technology with great results). I'm most impressed by how well the group works together, and how they interact with the setting.

I've thrown away some of the "modern" Dr. Who continuity, and focus on the settings and the characters. Every session is a mystery, with the players interacting as much with the setting as they do the NPC's. So far, they've visited a starship in the ultimately-distant future, a World War I battlefield, a U.N.I.T base in Montana, and a Dyson Sphere called, "New Skaro." They've encountered Cybermen, evil renegade Time-Lords, Daleks (the old William Hartnell-era Daleks that could only move on metal floors), and others. They totally immerse themselves with the setting, and bring alot to the table. Fast becoming one of my favorite experiences.

By the way, I've found a way to make the game progress nicely, and still make it "temporary" enough to give me the opportunity to run another game in the future: I don't award experience points. Every session or two (just about the end of every story, and each story really runs only a session or two), I tell them to just go up a level. Makes a good game.

Oh, and I told you I picked up Traveller, right?

Saturday: I spent most of the afternoon at Natural 20, one of my local gaming stores. I tried out games I've never gotten to try:

Wings of War: World War I bi-plane combat. Very fun, with a nice amoutn of strategy. reminded me a little of Robo Rally, to tell the truth. I'd be interested in playing again.

Formula De: Formula One racing. Absolutely a blast! Most fun time of the night. There's a nice amount of complexity which makes moving little plastic cars around a track engrossing. Stragtegy involves knowing when to shift gears up or down, to maintain a safe but winning speed. Problems or poor strategy can result in blown tires, busted engines, or blown brakes. Loved it, will definately play again. My only complaint is that it really seems like a game you need at least 4 players to do it justice.
Settlers of Cataan: Hated it the first time I played (a year or two ago), but enjoyed it much more this time. Not much more to say about it...time was really just a blur at that point.

Bought some Bretonnain Knights (and will start painting them this week, I think).

Sunday: My D&D game in Grayhawk: Wow.

One combat, and alot of role-playing. The combat: an infernal beholder.

The really big thing about that game is that its coming to an end. Its been going on for about a year and a half, and has been in "endgame" for the last couple of months. The PC's have gathered enough intelligence about the evil protagonist and his minions, and are ready to take him on. They are just one teleport spell away from their final conflict. They did a good amount of planning Sunday, and will make the Big Jump next session (in two weeks).

Oh, I have to show some shots from the game (especially since I got to use some of my Master Maze kits from Dwarven Forge):

The party makes their way to the door (note, the druid has performed his standard "turn into a bear when wandering around a dungeon" protocol):

You know, in most D&D games I've played in, the fighter is the one to open the door...not the druid. Then again, when you have a druid who is more comfortable walking around as a bear...

I have some mixed feelings about ending a campaign. I've really enjoyed writing for this game, and the players and I have invested alot of time and energy into it. But all stories have to end. Now, they've all gained a good amount of followers and cohorts, so there's always the option of coming back later to this campaign world (providing it survives the next session) with fresh, level 1 characters. I'd like to do that in the future. Right now, though, I'm a little burnt out with D&D, and am excited about what the group would like to do next.

The group and I talked, and it seems like they'd like to do a Star Wars campaign, set just at the beginning of the Galactic Civil War. They'll play as a small squadron of starfighter jocks (and their support) just starting their campaign against the Empire. I'll have more campaign notes about that later.

Tomorrow (or Wednesday): my review of the Traveller character creation system. Good stuff!

Traveller...out now!

2008-05-02T21:30:00.000-07:00

What did I pick up today from my favorite local game store, Natural 20?

A little bit of my youth.

A review once I've finished digesting it.

The X-Wing was among my favorites

2008-05-01T15:11:00.000-07:00

A few weeks ago I walked into an exhibit at the Franklin Institute in Philadelphia, and was greeted by this:

Yeah, I got to the Star Wars exhibit. Yeah, it was awesome. Yeah, my kid and I loved it.

A few notes on our historical swordfighting discussion last week

2008-04-30T16:58:00.000-07:00

Our historical swordfighting class turned out to be more of a round-table discussion about how to bring more historical swordfighting techniques into SCA rapier, and how to teach historical rapier. It was energizing for me, and helped remove some of the bitter taste of not being able to fence for the time being.

I feel energized by the possibility of teaching more, to tell the truth. I feel like I have more of a purpose in the SCA, you know?

My Don and I spent some time re-affirming how we're going to work together, too. We'll spend time doing swordwork, and time going through manuals. All very good stuff.

A few of the key points we touched on in our discussion last week:

1: How to use the manuals. Reminding ourselves that the manuals are there to aid in the teaching, and investigating the text without practical application just doesn't work. The manual may show us points "A" and "B", but we have to work on how to join those two points. We can do that, thanks to our practical experience with a sword.

2: The sword itself: The right tool for the right job. I talked about this before in this blog. I re-affirmed that I really don't feel comfortable teaching with an epee. If you're going to lean how to fight with a sword, then use a sword.

3: It starts from the beginning: Although we don't want to intimidate newer fencers with historical texts right out of the gate, it doesn't hurt to teach with those techniques in mind. Teach how the sword moves in concert with the body. Drill all of the moves that will eventually become necessary to know by rote. This isn't a new thought at all, but alot of teaching I see in the SCA is very compartmentalized.

4: With intent: Try to execute a move from a manual in a static environment, and you're doomed to fail. The techniques are best done at an appropriate fighting speed, in a fightign environment. Fight with intent. Historical technique isn't for a static environment.

There's much more, which I will put up soon. I'm going to sit down with Don J. and compile our thoughts together. We'll also start teaching at SCA events, once we have our schedule worked out.

Historical Swordfighting Class

2008-04-23T16:33:00.000-07:00

This Thursday, April 24, Don Justinian and I are teaching a class about what it helps to know to begin studying historical swordsmanship. It starts at 7:30PM, at J's house in Glassboro. For directions, e-mail me at mikewgoodman (at) gmail.com, or Justinian at justinian_t (at) verizon.net. Its a great class for people interested in starting to learn historical swordfighting.

Weekend gaming recap

2008-04-16T07:41:00.000-07:00

I was in three different games this past weekend: a Dr. Who RPG using D20 Modern, a Warhammer Fantasy Battles game, and my Warhammer RPG. They were a little different from your average series of games. The two RPG sessions were fairly short (about three hours), and the fantasy battles game went fairly quickly (about an hour of play time, I think, after around an hour of set-up). Each one had alot packed into the time, though.

The Dr. Who game is on a Friday night, and I think we started playing around 8:30 and ended around 11:30. There was alot of story and investigation stuffed into the time. The players took the time to unravel the mystery in the story, as well as soak up the atmosphere. By the end of the story, the group was going through a fortress inspired by one of the original episodes of the series...The Daleks.

The Fantasy Battles game was a great introduction to the hobby. My three units of Bretonnian calvary (with a little help from a few units of archers) carried the day against an army of Lizardmen. There was maybe an hour's worth of playtime, but it was great fun, and inspired me to really built a bigger army. We talked a little about how to augment units with different models, which helped me re-imagine how to design different units of men-at-arms and archers.

The Warhammer RPG Sunday had to be shortened, since one of the players had to leave early. The PC's started their trek to the Imperial capital of Altdorf, following a pack of mercenaries. There was some strong character building (with one player changing his career due to interactions in the adventure). There was one encounter with a pack of undead soldiers, and the survivors moved on.

Each gaming session was considerably shorter than what I'm used to. Everyone put alot into each session, though.

What kind of game you play changes with who you are

2008-04-11T15:23:00.001-07:00

When Vampire: the Masquerade hit the shelves in the early 90's, it immediately struck a chord. I was interested in creating characters that were designed to really just interact with the environment. I would be happy to just play a character who walked the streets, talked to people, and tried to figure out how to exist as the un-dead in a world not meant for him. I created settings and adventures designed, for the most part, along that idea. Did it work? Did the games fly? Sort of. Some went well, others didn't. Some players just wanted to play Immortals With Cool Powers, some engaged in some kind of revenge-fantasy, some wanted Dungeon Crawling With Fangs.

But here it is, around 16 years after the first edition of V:tM came out, and every now and again I get the itch to run that game again. I sit down, try to work on a setting, and then drop it. It just doesn't work; I'm not in that place anymore. My early 20's seemed to be the right time to play and run Vampire, you know? It was the time to feel disassociated from my peers, to feel like I didn't belong, and to express that in a game. A good number of people felt the same way, too, and some games built up from that were pure magic.

But im in my mid-to-late 30's now, and times are different. I still put some of my life into my games, but I'm trying to say something different now. I think about my home, my family, and how to carve out a victory from a life that keeps trying to hand out defeat. And you know what game speaks to me when I think of that?

Serenity.

Funny, huh? When I think of a game in that setting, I think of people building a better life for themselves, using their wits and their strengths. Characters for the setting just seem a little more real; they have dirt under their fingernails. They're working hard just to keep what's theirs.

Some of the best times roleplaying I've seen recently have come out of a couple of different Serenity games. Very little was drawn from Whedon's setting. Rather, characters seemed to be built from the players' frustrations with the working world, with their economic situations, from their desire to really be heroes in a world not meant for heroes. I've seen game sessions that were almost entirely about how to make the next couple of credits, how to keep enough fuel in the ship to make the next credit to get to the next job. That cycle of despiration is a hell of a motivator.

I'm going to try to re-create that kind of environment when the new edition of Traveller comes out. I want players who will create characters who are real, born out of their own fears, frustrations, and see what stories come out from them.

She's delivered an ultimatum

2008-04-01T20:17:00.000-07:00

Like I'd said before, I started painting my Warhammer army (pictures coming this weekend). I spent some time today checking out terrain.

And my wife has just alerted me, with a voice of authority, that I am not permitted to buy any terrain until I finish painting my army.

So, if anyone is interested in coming by for a painting night, leave me a comment here at my blogger page (not the LJ feed, please), or drop me a line at my gmail address.

Paizo Publishing's new Role Playing Game: keeping D&D 3.5 alive

2008-03-20T09:41:00.000-07:00

Have you picked up your copy of the Pathfinder Roleplaying Game off of Paizo's website yet?

Well, why not? The Aplha Playtest version is free! Download it, give it a look.

It looks really interesting, to tell the truth. Wizards and Rogues get a higher hit-die. Clerics get to cast orisons at will. There are some other neat ideas in there, as well.

I think its a fantastic way to keep edition 3.5 of D&D around, when 4th edition makes its way to the shelves.

My first Warhammer session

2008-03-19T18:41:00.000-07:00

We had our first Warhammer Fantasy Roleplaying Game session this past Sunday. It felt like it was a complete success! It was a new system for all of us. Only one player had a strong background in the Warhammer setting. One did some research beforehand, and jotted down a one-page character biography (something I didn't expect, but it gave her a good starting point).

I was most impressed that three of the four players opted to use the random generation method to choose careers. As such, we have an Apprentice Wizard, Fisherman, Pit Fighter, and Entertainer (that player chose her career). I discussed the setting, mood and rules. Within a couple of hours, we were ready for a short combat to try out the rules system.

An hour and six dead goblins later, we were ready to play. This was a surprise to me...I expected character creation and the trial combat to take the whole night.

I gave some background to the setting (see my previous post), and started the adventure. There was a riotous mob, accusations of witchcraft, dark magic, and a battle with a beastman.

I was actually left drained. The entire week before, I'd been eating, breathing and drinking Warhammer. I read the rulebook cover-to-cover, and received the Old World Armory and Sigmar's Heirs (the guide to the Empre) Saturday. I'm still coming down from the day. Its difficult to even prep for my D&D game this coming Sunday. This stuff just gets under your skin, you know?

Some basic notes for my Warhammer Fantasy Roleplay game

2008-03-14T20:36:00.000-07:00

Rossenstadt: A rivertown.

A setting for Warhammer Fantasy Roleplay.

The Empire: the year 2522 of the Imperial Calender. The province of Middenland.

Rosenstadt is a town built on the bones of a series of two-centuries-old fortress.

In 2210, a small fortress was constructed on a tributary leading to the Stir river to protect a bridge and road against beastmen and bandits. For fifty years, militia-men and soldiers would be stationed at the fortress, and were successful at defending the path through the woods. In 2264, a tribe of beastmen banded together and assaulted the fortress, razing it to the ground.
In 2408, a small band of road-wardens built a way-station at the site of the old fortress. Some travelers through the area erected a market for traveling merchants at the way-station, and a mill at the river. Before long, a village grew. By the present day, the site has grown to a small town, supporting itself by selling tanned goods and livestock. Some guides have made a living by selling their services to passers-through.

In recent times, the town more militia and mercenaries have made Rossenstadt their base of operations. Though there have been very few sightings of beastmen in the immediate area, men-at-arms have found more and more work in the region. Most of them have said the same thing, in hushed tones in the local tavern: do the townspeople comprehend the threats surrounding them?

Rumors:
Three decades ago, a handful of inquisitors hunted down a necromancer in the surrounding woods. The remains were tossed in a pit and marked with a stone bearing the hammer of Sigmar. Folk say that no animal will go near the area.

The remains of the original soldiers from the first fortress were never found. Maybe the beastmen devoured them. Maybe they raised themselves after their deaths, seeking revenge.

Outlaws and bandits have taken to the woods, attacking anyone still making their way through the woods.

An enclave of elves is hidden in the woods.

New lessons in working in historical swordsmanship

2008-02-19T09:31:00.000-08:00

We did more work on Capo Ferro last night; this time, we looked at one of the more unusual plates, and worked through the interpretation of the movements. I'll write more later, when I have the books in front of me.

Interpretation of Historical Swordfighting: Beyond the Practical (Part 1)

2008-02-12T16:22:00.000-08:00

Fencing practice last night: my Don and I took time to go over some questions I've had about some historical sword-fighting techniques.

1: Some people who practice an Italian style of fighting advocate a stance that modern fighters would consider unusual. The stance involves a stretched-out (some would consider it hyper-extended) front leg, with the knee seemingly locked in place. Some students look at plates in Capo Ferro's manual, and claim that as a guard stance. I've tried it, and I can see how it might be used that way, if the opponent is fighting the same way. The lunge you perform from that stance involved flexing the forward knee a great deal (until its in front of the foot, according to the plate), and and leaning forward. When I was first taught to do it, I was taught you can either take a short step into the lunge, or forgo the step, and lunge from the stationary position (and still gain considerable distance).

The plate in the manual shows a straight leg, with the body tilted back, so that you could practically draw a line up the direction of the leg, up the body (when Guy Windsor demonstrates the stance in The Duellist's Companion, he seems to have his front knee bent very slightly). Most of the weight should be on the back leg (70%, one teacher explained to me), until the lunge (at which point, the majority of the weight would be on the front leg, obviously).

My first weekend practicing this technique, my knees hurt to such a point, I could barely walk. Teachers usually respond to that criticism by reminding us students that swordfighters in the 1500's and 1600's were practicing this every day, and were likely much more flexible, and physically fit. That is absolutely true, but I still had some misgivings about the stance.

When Justinian and I went to see John Clements do a demonstration at the Philadelphia Museum, we started seeing things differently. Clements reminded the audience that the plates in the manuals aren't meant to be taken as gospel, necessarily. They are a point in time, a demonstration of the position you are likely to find yourself in when confronted with a particular situation. Very rarely do we see step-by-step movements (the way you may see with a modern instruction manual, for instance).

The plates and manuals are tools used to aid instruction, not meant to be used in place of an instructor. This seems obvious to us, but its an easy thing for hobbiest-historians to forget when we're caught up interpreting movements and texts for modern audiences. We may be afraid to wander out of a recordable jurisdiction, wanting to stay in a place where we can document every possible movement, so we can defend our thesis.

We saw clements do a demonstration of longsword fighting, and during the demonstration, he took a step back, avoiding an attack, and his stance was exactly that "guard" stance of Capo Ferro's. It was used as a void, just before making a counter-attack.

So, we move to our discussion last night. Justinian and I discuss that guard position. We go into stance, and he encourages me to attack. I lunge in quarte to his shoulder. He leans back, assuming that exact "guard" stance (leg stretched out forward, body back), voiding out of the way of my attack; he then counter-attacks in terza to my chest, avoiding the point of my blade.

So, we seem to have validated the use of that stance as a prelude to an attack, certainly...but not as a guard. He used it the same way Clements seemed to use it with the longsword: as a transitional stance (in this case, as a void), before a counter-attack.

We moved to the manual itself, Capo Ferro's Gran Simulacro. One interpretation of the instructions along with plate 7 seems to verify some of what we were discovering. The description of how an opponent ("C.") should avoid a lunge to the eye:

Yet I also say that if C. should be a wise person, when he cavo [moves the point of the blade in a disengaging-type motion] to finta [feint] with the vita [body] held back somewhat, and D. will surely proceed to strike C. C., having parried by falso [the "back" side of the sword] or by edge from outside of the enemy's sword, will give him a dritto to the face or an imbroccata in such an end he should retire in low quarta.

The above description matches, very closely, that guard/void position we'd been trying to interpret.

2: We expanded our discussion to how to make practical use of the plates. The descriptions with the plates assume very specific, but not uncommon, conditions. The introduction to this series of plates, for example, spells out a particular supposition: "always presupposing the stringere on the inside, and the cavar of your Adversary's point to strike."

Initially, this seems like an almost-useless set instructions. If the plates are only useful showing the particular defenses to a very specific set of conditions, then what use are the plates and instructions themselves? To answer this question, we consider the value of the instructional text as a whole.

Earlier in the essay, I mentioned the notion that instructional manuals are best used as tools, meant to augment instruction. If this is the case, what other attributes does the manual carry? Most instructors will remind students of historical sword-fighting to not fall into the trap of using just the plates for instruction; they are an incomplete set of instructions. Without a solid foundation of certain principals, attempts at instruction from plates are doomed to failure.

The Gran Simulacro is the Master's treatise about misura (measure), tempo (time), and how they relate into movement and striking. Without misura and tempo, none of the movements in the plates have any value. They are elements to which he constantly returns, whether talking about guards, movement, or striking. The plates, and their descriptions, are examples of how to best utilize tempo and measure. They aren't meant to stand on their own; rather, they exist as something of "laboratory testing" for the methodology in the text.

(For my notes on basics of misura and tempo, see my notes from "An Introduction to Italian Rapier," published on the Tadcaster Militia website: http://www.tadcastermilitia.com/publish.html

3: We move from the practical, to the philosophy behind the the technique and manual, to its practical application in the reenactment community.

Consider the Italian master, residing in London, in the late 1500's. The Italian style of sword-fighting is in fashion. The London Masters are not completely pleased by the emergence of so many Italian teachers in London. English masters argue that the Italians are not even teaching a true technique; rather, they are teaching young nobles how to murder each other (Silver writes, "neither the Italians, nor any of their best scholers do never fight, but they are most comonly sore hurt, or one or both of them slaine").

So, here is the equation: young nobles, wrapped up wanting to be in fashion, go to Italian sword-masters. Perhaps they are not there to learn the "true art" of rapier, but rather to learn technique and tricks useful in surviving an impending duel. The Italian, being paid handsomely for his knowledge, obliges. The Italian technique quickly develops a reputation as a series of tricks, as opposed to a true style (such as the more "nationalistic" English techniques of wrestling, staff-fighting, long-sword or halberd, all of which were taught by the London Masters of Defense).

So what does that mean for myself, portraying an Italian master in London? My persona may develop a sense of pride, something of a lower-class celebrity (despite being a rapier-man and an instructor, he is still Catholic...not a notion necessarily favored England at the time). I might participate with the London Masters (or the East Kingdom's loose equivalent, the League of Rapier Academies), merely for my own survival. I would certainly expound upon the mastery of the thrusting-form, as opposed to cutting. And I would demonstrate the mastery of the form by performing in expositions, and perhaps duels.

Practice last night was a full night of examples of historical technique, and how to interpret the technique for both practical rapier instruction and personal development. My hope is to build each lesson in the same manner: move from practical fighting applications to other ways technique can be applied to the reenactment community.

Lorenzo Gorla. CSC. AoA. QHD. Companion of the Silver Gauntlet (Iron Bog). Captain: League of Rapier Academies. Proctor and co-founder: Hawkwood Academy of Arms (an academy of the East Kingdom LoRA).

(c) W. Michael Goodman. 2008.

From the "I got one and you probably didn't," department...

2008-02-09T19:04:00.000-08:00

I spent part of the afternoon at Natural 20 in Collinswood, NJ. I wasn't planning on buying much of anything. I was hoping to find a set of Dungeon Tiles (they had the entire set; I picked up the first set), but while I was glancing at the shelves, I saw a copy of this:

That's the copy of the role-playing rules for Warhammer 40K, Dark Heresy.

Did I get it because I've been addicted to the setting for years? Because I'm a hard-core Warhammer 40K fan?

Nope. Played 40K once or twice. Don't know a whole heck of a lot about the setting.

It's just so darn pretty.

I mean, just look at it.

Buncha bad-asses on the cover, holding guns, and looking...um...bad...

...and stuff...

Okay, okay...the truth is, my collector's instinct hit me. All the RPG's published by Black Industries are being discontinued. I've heard nothing but good things about the book, and it sounds like a great read. Plus, I already have a copy of the Warhammer Fantasy Roleplaying Game, so it feels good to know I have its "sister" product.

So, I'm happy with the purchase. I'm excited to read it (its next on my list, after a collection of Kurt Vonnegut short stories I'm enjoying right now).

The Challenge of Higher Levels (a topic I'll probably return to again and again)

2008-02-04T09:15:00.001-08:00

I'm running a D&D game with some friends right now, and they've made it up to 12th/13th level. One player told me he doesn't care for higher-level games of D&D, and claimed that at those power levels, each encounter is either an absolute victory or an absolute failure; you're either well-prepared to handle that challenge rating of an encounter or you're not. I thought about that a little bit, and considered how I create encounters for my higher level games.

I don't believe that, at higher levels, an encounter is any more an absolute victory or absolute failure any more than at lower levels. But then again, many of my encoutners aren't the traditional D&D kick-in-the-door, deal-with-the-monster encounters. Here are a few things I do to mix up my encounters, to make even slightly lower-level creatures a higher-level threat:

1: I'll play with the battlefield. A dungeon encounter may include traps along with the monster, blockades, or nuisances that can slowly deplete characters' resources while in a combat. for outdoor encoutners, I'll use buildings, foliage, and geographical features to augment the creatures' abilities.

I had one encounter that spanned the interior and exterior of a run-down inn, which included, if I remember correctly, 2 ogres, a goblin sorceror. The sorceror hassled PC's left in the inn, used cover, and threw spells outside to PC's combatting the bigger guys. The ogres were steamrollers, destroying any cover the PC's were using.

2: Social combat always makes things interesting. Obvioulsy, not every encoutner has to be combat-oriented. We've had one session that was just the players negotiating with a dragon NPC, and making it out safely (with tons of information relating to storyline in the campaign). Some levels of social interaction tend to spice up encounters that are even 'destined" to become combat encounters. They keep all the players' attention, and still give the opportunity to use characters' skills and other resources.

3: The stakes get bigger. Lets face it: in D&D, fear of character death isn't a terribly huge motivation. There are too many opportunities for Raise Dead-style spells. Once the players begin to care abou the campaign world, though, any threats to the world itself become a bigger motivator for the game. The trick is, getting the players to care.

That's always the tricky part. I'm lucky that, as of right now, I have players that do have their characters care about their campaign world. When they don't, then its back to some old-school GM tricks: they probably care more about their treasure. So its time to undertake quests to remove curses from their magic items, etc.

None of this is new or revolutionary. Everybody who has played or GM'ed in a RPG has figured alot of these techniques out. I find it interesting, though, how much you have to remind yourself about them for D&D. Its like they're easy to forget, once you start mapping a dungeon or rolling on the treasure tables. The trick is to not let them go, I reckon.

If it was good enough for Napoleon, its good enough for me!

2008-02-03T19:47:00.001-08:00

I've never really been into miniatures. I appreciate them for their artistic value, and especially love old-school Grenadier and Ral Partha D&D minis for the nostalgic value. Although I used to enjoy war-games like Panzer Blitz, I never really got into minis-style wargaming. I've owned a starter-set of Warhammer 40K, and Mordheim, and played a couple of times, but the thought of painting minis was always overwhelming.

About a year ago, I found this thread on-line, of a minis battle based a little on the D&D module, Temple of Elemental Evil: http://www.dragonsfoot.org/forums/viewtopic.php?p=332091#332091.

Yeah, that's Gary Gygax in there.

Click the "Forward to Turn (x)" at the bottom of each series of pics. They're what I consider awe-inspiring.

Next, go look at one of the forums on Dwarven Forge's site: http://www.dwarvenforge.com/dwarvenforums/viewforum.php?id=3&p=1

People post pictures of all of the differetn minis-setups they make with their Dwarven Forge set-ups. I own a handful of Dwarven Forge's dungeon sets. I'd absolutely love more, but the expense is a bit much (though I'll likely pick up a couple of more sets over the spring).

(Check out anything done by invincibleoverloard...that guy's work is fantastic!)

Its work like this that makes me (1) want to use minis more in my own RPG's, and (2) kind of want to try more minis wargaming.

I have a nice-sized collection of Star Wars minis from Wizards of the Coast. Of course, I never saved any stat-cards (figuring I'd never play the minis game. This weekend, I went and dowloaded the rules off of the Wizards of the Coast website, and found a couple of sites that had all of the stats of all the different minis. So now, I think I'm going to try to organize a regular night for Star Wars minis-gaming.

I like the idea of it because it keeps me gaming, and obviously doesn't have the set-up time and creative investment of running a role-playing game. And we can play with just two people, so no worries about folks schedules getting messed up by gaming. People want to come to play, then they show up to play.

The game is played on flat mats, for the most part. I want to make some terrain, though, and likely mount it on boards that would suit a battle-mat. I think it would be a nice introduction to wargaming for me.

Sunday Swordfighting Notes

2008-02-03T08:09:00.000-08:00

Prologue

"The right tool for the right job."

When I started fencing in the SCA, I was confused. I'd done SCA rataan combat for a couple of years, which was nothing at all like any kinds of fighting I'd tried to study before (karate, boxing & wrestling). SCA fencing looked too much like strip-fencing, which I was an absolutely arcane mystery (what the hell is right-of-way, anyway?). Rataan combat was unique; my teachers were knowledgeable in SCA combat, and precious little of other fighting arts they studied bled in. Fencing, though, seemed to be an amalgamation of collegiate strip fencing and something that wanted to be historical reenactment. When I was taught to swing rataan, I was taught, by rote, how to execute a proper swing, or how to handle a heater-style shield, how to move my body in armor. It was all appropriate for our particular style of fighting, and although there may be stylistic differences from one teacher to another, the core always remained constant. With fencing, though, technique seemed fluid, depending upon the weapon and the teacher.

Some of my fencing instructors had strong backgrounds in foil, some epee, some sabre; they were practical, showing me how to hold a proper fencing-blade and throw precise attacks and tight parries. A few were students of historical sword-fighting, who had examples of stances and guards from 400 year-old plates. Some were fight choreographers, who modified showy stage-moves into a fighting technique. Every one of them told me, "this is the right way to do it."

It took me years to start to figure things out. My weapon wasn't anything like an olympic epee or foil, so trying to use it like one failed. I wasn't really using a rapier, so trying to treat my weapon like a rapier never worked. I had fun experimenting and fighting, but I got very little out of each fight. My learning curve was very shallow; I learned stronger technique from my friends, and I tried to pay attention to why I was hit where I was hit, and I drilled some of the basics (as well as I could), but things still seemed muddled.

A few years ago, I started learning from E.B. (SCA THL Justinian Timagens), and things clicked. We stripped my technique down to the bone. We eschewed other weapons forms like case-of-rapier and rapier-and-dagger, and concentrated on single rapier. We worked on foundations: distance, time, and measure. Since I could concentrate on the strictest foundations of fighting, my fighting improved. I saw myself improve. My attention was better. I saw openings in my opponents I hadn't seen before. I judged my distance and time better. I thought more clearly about how I fought, and why I fought the way I did.

Once I built a solid foundation, I could build myself as a better historical sword-fighter. I made a decision: concentrate on historical technique. I was a tough decision to put away my oval cross-section schlager and use something closer to a rapier. Hand and arm position had to change, I had to adjust my stance, re-learn elements of timing and distance to accommodate a slightly longer and heavier weapon. Parries were slightly different; movements to control a blade take precedence over beat-attacks. I was at step-one again.

If I wanted to do it, though, I had to make a commitment. No epees or foils, no plywood bucklers or cut-down foils to use as dagger blades. I'm certainly not making a commentary about other fighters who choose to fight with foils or the like; rather, I'm saying that if someone wants to do purely historical re-enactment, those tools don't work. I had to commit to using the right tool for the right job.

I don't recommend this for everyone. Its a style I enjoy playing with; my greatest joy when I'm using a sword comes when we discover how to properly execute a move described in a manual...that "a-ha!" moment when another student and I say, "they did it this way for this purpose!" Interpreting historical sword-fighting is, for me, an art...no different than other historians re-creating battles or trying to rebuild a medieval castle. I want to re-build what existed back then.

I'm no armchair-historian, who interprets battles without ever visiting a battlefield or meeting a soldier. I want to see how the weapon works. I do test-cuts when I can. I fight different people with different styles and philosophies, and talk about how the fight went. I fight with different weapons in different ways; I'm not afraid to experiment. If I couldn't experiment, there would be no fun, no room to grow, and ultimately, no point.

I'm moving into a era where I have to focus much more on scholarship. Neither my cardiologist nor my general physician think it is safe for me to participate in contact-sports, due to the volume of blood-thinners I'm taking (if I bleed internally, things can get very bad, very fast). So, with my coach's encouragement (thanks, Ed), I'm going to spend more time with the manuals open. I'll work with people interested in re-creating fights described in the manuals, movements described in the plates, and creating exhibitions for display and education. I'll still hold a sword, and I'll still work with other sword-fighters, but putting myself into competitive situations where I can get seriously hurt aren't options any longer (so, in terms of the SCA, no sidesword, no rataan, and precious little time in tournaments). Its a little disappointing to have some of what I'm doing limited by medical concerns, but I still get to participate in the hobby I genuinely love.

The purpose of this work is to chronicle my studies. Every week, I will write about whatever I've learned from the historical sword-fighting community. I will put down notes about how I teach, and I want to chronicle what I've learned. I want to be able to look back on my notes and see what kinds of progress I've made, or chart everything I need to correct. It can serve as an encouragement and a reminder.

What's the challenge rating for a Dalek?

2008-01-30T17:02:00.000-08:00

My Friday gaming group strives to try new games that are simple, fun, and help make the best of our limited time. By Friday night, most of us are burnt out from work; we want to play something that keeps our attention, but doesn't involve lots of detail. When we're a bit brain-fried, we play board games or card games. We've tried a few different role-playing games (we most recently played a short campaign of Star Wars SAGA Edition, which was alot of fun). I've been jonesing, though, to try a Dr. Who role playing game.

The FASA Dr. Who Role Playing Game was the first RPG I really owned. It was a complicated system, but very detailed. The best part about it, though, was the source material. The supplements on The Master, the Daleks, and the Cybermen were written with both gaming details and storytelling in mind. There are some lessons I learned from those books that I still use in my adventures today. I was so caught up in nostalgia that I had to buy a set off someone on eBay.

I decided I wanted to run a Doctor Who game, so I pulled out those old FASA rulebooks. After a good read-through, I decided that this wasn't the system for a quick, fun Friday night game. I considered a few other systems, like Spirit of the Century, and Savage Worlds (by the way, if you can find the Explorer's Edition of Savage Worlds, grab a copy. Its ten bucks, and contains a complete play system. Its one of the best gaming deals of the year). After a while, I decided on D20 Modern.

I was disappointed in myself for falling back on D20. The positives, though, outweighed the negatives. We are all familiar with the system, so we do not have a steep learning-curve. The rules are available free via the SRD, so there is no additional investment.

The setting required some specialized rules. I created a few rules for navigating time-machines and navigating through space and time. I created a couple of rules specific to Time Lords. I told players that no characters would have stat bonuses based on race, so any "alien" races are just window-dressing. I have a copy of the Mongoose pocket D20 Modern player's guide, which is fine for character and adventure creation. Set-up involved very little effort, compared to D&D.

Everyone created characters together, after sharing concepts. We played a short prelude session together, so all the players could meet. The preludes involved a burning building, a Dalek combat, a wedding, a volcano, and a guy wishing he could quit his job as a phone operator. Everyone had fun creating characters, and playing their first encounters.

We have one very unique style of character. This is the first time I've encountered this phenomenon. One player decided he wanted to create a character based on an NYPD fireman, trapped in Tower Two as it was falling on Sept. 11 '01. This was the first time I've seen anyone create a character directly influenced by Sept. 11. I hesitated a second or two when I first heard about the concept. I weighed taste vs. character development and storytelling. I decided that this particular player wouldn't do anything distasteful, and I was very curious to see how he would portray the character. So he created a jock/career NY firefighter, with an interesting history and motivation. The character injects an interesting dynamic into the game; he's the only one of these castaways-in-time who actually wants to go back home.

The game gives me a chance to go back to my childhood, when I was a fantastic Who-vian (never missing an episode on the New Jersey Network on Saturday nights, 9:30 PM 'till 11:00 PM). A few friends in the group remember the old series with fondness, so we enjoy reminiscing via roleplaying. Its an exciting experiment, and I look forward to every session.

Progress: game updates and a future for me as a swordfighter

2008-01-30T09:12:00.001-08:00

I absolutely promise an update this week.

Subjects I'm going to cover over the next few days:

1: (Gaming) Recent gaming experiments: Dr Who RPG using D20 Modern (what should be the DR of a Cyberman?).

2: (Gaming) Higher-level D&D: my challenge at keeping it fun, as well as having appropriate-powered challenges.

3: (SCA) Historical Swordsmanship: My first steps at designing a set of lessons based around Capo Ferro's rapier manual. Also, some news about my future in swordfigting.

I'll also post little bits and pieces about my game's development. My design work has been sliding a bit; work stresses are keeping me occupied, and unfortunately I haven't had the opportunity to sit down and just bang out all the work I need to right now. At this moment, I'm working on the skills mechanic. The core of the dice mechanic seems to work. I'm working on skill lists and groupings, bare-bones notes of skill descriptions and roles they'd have in the game, and how to integrate skill purchases into character creation.

I think one of my big problems, when it comes to doing game design or focusing on studying historical swrodsmanship, is my lack of focus. I still don't have a solid outline and timetable for my gaming project. My work interpreting swordfigting manuals seems to take a back-burner to other, less intense hobbies. I feel like if I want to make any significant progress in either one, I need to really work out a solid schedule. Right now, I work on both of these in my spare time. I need to treat the game design as a job (which, ultimately, it is...I'd like to see it successful enough to at least make a small profit).

So, I have something like a plan. Part of that plan is to use this blog to help chart my progress. I want to journal the creative process for both the game and swordfighting. It will also help encourage me; I've found that when I see things in print, and get feedback, I'm encouraged to do more. It wakes me up.

So, lets take the next step.

(By the way, I wanted to mention that my wife takes the best photos...the shot of the Cthulhu dice and my portrait were just sone by her...I think she's doing great. I might be able to talk her into taking some pictures of some fencers to post up here, soon).

Song...stuck...in...head!

2008-01-23T09:08:00.000-08:00

So, Still Alive, the song from the end of Portal, is stuck in my head. Its been there all night, and all morning. I've been humming it all morning.

Have you seen the video on YouTube of the cute chick singing it?

What, you think there's something wrong with a guy who chose a set of plastic over interaction and socializing with friends?

2008-01-20T16:24:00.000-08:00

My budget was a little tight, so I had the choice of either going to an SCA event this weekend, or buy a set of dice.

Guess which I did?

Just look at 'em. Ain't they gorgeous?

They're the Limited Edtition Call of Cthulhu dice from Q-Workshop.

You have to admit, they're darn pretty. I picked them up at Stormwatch Comics in Berlin, NJ. Hell of a great store. You a comics fan? Go there.

I really like the look of these. There's an elder sign on each die (except the D4), taking the place of the high-number.

My next step is to get one of Q-Workshop's dice-cups.

Fencing practice after-action report

2008-01-17T09:42:00.001-08:00

I had a fantastic fencing practice last night. I got a great deal out of two fights and an evening of discussion and looking through a manual. A good amount of the evening was devoted to working our way through a very small section of a Renaissance fencing manual (Duncan, Lissa...who was the author, again?). We took a close look at the way a particular maneuver was described, and tried different variations...the usual stuff you should be doing when working with the interpretation of a fencing manual. Very enjoyable.

I talked with a couple of people about how they fight, and it helped alot. Often, I don't completely see how some people execute some types of attacks, and I get stumped. I learned more about body movement and directions of attacks out of a small conversation.

The sitting and talking about how we fence helped me a great deal. This was exactly the night I needed to re-energize me to fence more.

Book Shopping Saturday

2008-01-15T18:40:00.000-08:00

It was a big weekend for gaming. On Saturday, I went down to Between Books in Delaware for a big book-shopping trip with a couple of friends. I haven't been there in five years or so, and was very much looking forward to the trip I usually find some hidden gems there. Last time I was there, I got some good books for historical weapons research. The time before that, I started my Traveler collection.

I picked up some beautiful books this time around. Here's a shot of most of my haul. I ended up with:

Chill. I haven't seen a copy of Chill in ages. Its a great horror RPG. Since I cut my teeth on Call of Cthulhu and Vampire: the Masquerade, I never really got a chance to experience Chill. I'm excited to crack this open and give it a try.
Move Under Ground was recommended by the store owner. It was pitched to me as "Keroac meets Cthulhu." I couldn't pass it up. Haven't gotten to open it yet.
The Tales of Inspector Legrasse: I got a copy autographed by the author. Its more tales of supernatural investigation. I've never been disappointed by C.J. Henderson, so I'm excited to get the chance to read this.
H.P. Lovecraft's Worlds of Cthulhu number 5. Its a magazine (kind of) devoted to CoC gaming. I have the previous four, and think they're fantastic. They're a great resource for Cthulhu gaming.
VS. Outlaws: This is just AWESOME. Its not even a gaming book; its just a fold-out pamphlet. Ronin Arts released it; they offer it on their website (and offer a discount if you buy multiple copies). Best three bucks I could spend.

And then, there were the dice. Just look at these babies.

Yeah, good book weekend.

I have this in a frame over my desk

2008-01-09T03:56:00.000-08:00

As a historical fencer and Renaissance martial artist, I can think of nothing more satisfying than to simply declare, "Yes, I am a swordsman."
John Clements

Its a small bit of inspiration, and it helps.

Game design inspired by my players

2008-01-07T17:48:00.000-08:00

I had a good game yesterday evening with my every-other-Sunday-its-kind-of-like-Star-Wars-RPG-but-not-really group. Better than half of the group requested I run Star Wars again (we'd just ended a really good year-long campaign), so I made some notes, threw together a custom setting, and decided how I wanted to run the game.

I asked the group what style they wanted to play. They aren't much for thrilling heroics, nor for a military-style game, but really enjoyed the underworld/criminal elements I put in the last campaign. They said they wanted the style to be a little more Bourne Identity and a little less swashbuckler-ly.

So, I cheated, They think they're playing Star Wars. They're really playing Cyberpunk.

I let them in on the secret when we sat down for our character creation session...that I was burned-out on Star Wars for the time being, and when I do SW, I really love running games in the Rebellion era. So, to spice things up a bit, I made the campaign setting a little grittier, a little tougher, and a little more remote.

The first thing I did, once I decided on the feel of the campaign, was write up a couple of pages of setting notes for the group. I mailed them out to everyone a week before the character creation session. The setting is very remote (compared to other locales in the Star Wars universe), and doesn't do much "business" with the Republic (I'm setting the game a couple of hundred years before Episode 1). To my surprise, everyone created characters from the remote setting, and didn't have them have much contact with the rest of the Republic. I took this as an approval of not only my setting, but an acknowledgment that this wasn't going to be your traditional Star Wars RPG.

I've discovered a few elements that really make my recent campaigns any type of success:

1: Character creation sessions happen before any dice hit the table. These are just plain necessary now. Everyone creates characters together, sharing ideas off one another, creating back-stories off one another, and sharing in kind of a story-creating process. I've found that people are much more willing to share roles and even be a little more revolutionary as to how different roles are portrayed when they get to create everything together.

2: Player input to the types of campaign we should run is necessary. There's nothing worse than when the group thinks the game is going to be run one way, and you're thinking something totally different. This has been my bane as a GM for two decades. I have my image as to what the campaign should feel like, but then so do the players. If everyone isn't on the same page, then the campaign is doomed to failure. I've played and run alot of mood-oriented games (Cyberpunk, Vampire: the Masquerade, for example) that suffered because my image of the campaign setting wasn't near the players' expectations.

So now, I make a point of sitting with the players and asking what kind of setting they're expecting. I share what I want to portray, they share what they want to interact with. The end result is a collaborative setting in which the players feel much more invested.

3: Campaign documents help the players and GM keep the focus of the campaign. Every game I run now has some type of documentation, even if its just a one-page handout. I give some notes about the setting, list some house rules, provide pictures, maps, or diagrams where necessary, mention notable NPC's, and usually describe anything notable about the character creation process. I've found that putting something of a "mission statement" in helps really solidify the campaign. If I'm having trouble focusing on what kind of adventures to create, the mission statement and campaign doc helps keep me in the right direction.

For example, I run a small D&D campaign. I decided, when first creating it, I wanted to have a retro, classic, 1st Edition D&D feel. When I find that the plot is getting too convoluted, or my dungeon design is getting too weird, I remember that I'd said from the beginning that the campaign was supposed to feel "classic." This keeps me designing things with that "classic" influence.

None of these things are really revolutionary. Some of them, though, had to be taught to me (thanks, Eldrich, for the suggestion of "themed parties," that inspired me to have character creation sessions). Some came because if I didn't evolve, I'd never really be happy running a game again.

I keep these elements in mind while I design my own new game system. I'd like to incorporate, into the rules, character creation as a group activity (Spirit of the Century does this remarkably well). I'm thinking about designing campaign creation checklists and documents to help shape groups and campaign settings. Part of the design philosophy behind the settng and rules is based on cooperative storytelling.

A practical application for right now, too: I have an old-west game coming up soon; I'll likely use the Aces and Eights system (its all different kinds of cool), but Deadlands is speaking to me, too. To help me decide, I'm going to throw together some notes, and present them to my potential players, and maybe we can decide together.

Am I content or am I in a slump? Teaching rapier in the SCA

2008-01-06T05:24:00.000-08:00

I got involved in fencing in the SCA completely by accident. I was running a Star Wars role-playing game at a friend's house on Sundays, and he had fencing practice on Sundays, as well. I went to his house early, and we all went to practice. I went just to kill some time and hang out.

One of the fencers there talked to me a little, and eventually dropped a sword into my hand. I expected some kind of French-grip epee, or a pistol-grip foil (I'd seen them in catalogs, and they totally destroyed any desire I had to pick up a fencing sword). Instead, it was a swept-hilted rapier (with a schlager blade, which I'd never seen before). He showed me how to stand, how to advance with it and retreat. It just felt right.

I was hooked.

I've fallen in and out of love with SCA fencing a hundred times. My enthusiasm right now is waning, partially because of medical issues and work stresses. My students really are the reason I make it to practice. My enthusiasm and passion will pick up again, I'm sure, once I spend more time on the lists, once I make it to a few more events.

So, most of my work nowadays is interpreting historical swordfighting manuals. When I teach rapier in the SCA, some of the principals I use come straight from the manuals. I focus on the practical application of those principals...they're a foundation to build from. I've found that to be a pretty strong and effective technique.

So right now, most of my attention is focused on teaching. Once I get some more energy, and feel better, I'll make it to more tournaments to compete. Right now, though, I'm content to teach. When I need to wake up out of my complacency, I just remember the first time I had a sword dropped into my hand, and how it felt just right.

Chinese Democracy

2008-01-05T16:43:00.000-08:00

Back in '94, recording supposedly started for the next Guns 'N Roses album, which would eventually be called Chinese Democracy. By 2008, a handful of songs that are supposedly on the album have been leaked to the public. There's been a Chinese Democracy tour (that was cancelled early, so the band could go back to the studio to finish the album). Axl freaked out when he heard that The Offspring were going to call one of their albums by the same name (with the subtitle, "You Snooze, You Loose"). The album has become a joke...whenever something is taking forever to come out, you might here someone say, "Its supposed to be coming out just before Chinese Democracy."

So, I've been working on this game...I've been designing elements of it for about four years. I can find notes on it scattered in notebooks all over my house. Every now and again, I can find some time to sit and work on it with another person. There's usually a big, groundbreaking moment where that person helps me over a huge hurdle, then the work goes to bed again. I keep saying, "(this part) should be ready to play-test by (February, April, whatever)..." Then life gets in the way, and the project falls into a notebook until I have time and energy to look at it again.

Its my own Chinese Democracy.

I'm not one for New Years resolutions, but this is as good a time as any to re-commit myself to the project. I had a great talk with someone over a week ago that helped me over a big design hurdle. It re-ignited my desire to see the project move ahead. It doesn't feel like its an overwhelming objective...it feels like it can be completed. This is, of course, sometimes the best motivation.

So, here's what I'm pledging for this new year:

At least one hour's work a day on the project. Either writing background material, fudging with the mechanics, talking over concepts...anything to keep the fire going.

A play-test version of the mechanics.

Samples of artwork: I want a few pieces done.

I'll have a solid business model done (regarding distribution, production, etc.).

I'll be posting info about my own personal Chinese Democracy. I won't (because of copyright issues) post actual examples of the mechanics up here. But I'll post information about the design process, maybe some samples of writing, that kind of thing.

I'm excited.

Innaugural post: gaming, SCA, and why not LiveJournal?

2008-01-05T10:40:00.000-08:00

So, I've moved here from LiveJournal...I wanted a place to jot down notes on gaming, SCA stuff, and the more fun parts of my life. The LJ is still out there, but most of my work will be here from here foreward.