Sunday, July 21, 2024

Lessons Learned – Ending One Campaign and Thinking about the Next

Fritz Schwimbeck


Could it be? A post that’s actually about gaming?


A couple months ago, we finished a campaign that I had been DMing since summer of 2019. It lasted about four and a half years. During most of that time we met either weekly or biweekly, though there were a few pauses here and there that took a month or two, mostly when I was scrambling to get the next adventure finished enough to actually play. I’ve had a few campaigns that lasted a decently long time – a couple that went over a year – but I think this was the longest. I’m gearing up to start another campaign with the same group after a half year pause, and I’m looking forward to it. It will be another 5e campaign, this time beginning in the Underdark.

To be honest, I don’t really like 5e. But it’s what this group wants to do, and I’m ok enough with it to run the game even though I’m not a huge fan of the ruleset. Last time around I managed to convert a few OSR adventures into 5e – Deep Carbon Observatory and Maze of the Blue Medusa specifically and I think I managed to make them work ok. My players loved those, anyway. I also ran a number of adventures I created from whole cloth, like Facility Designate 339-19.

The premise this time will be that the PCs have just escaped enslavement by the Illithids, and are lost in the Underdark with nothing but their loincloths. Perhaps one or two of them might have some sort of tool they were given for work – a pick, maybe a hammer or a rope. That’s it.

I wanted to take a little time to reflect on the last campaign and what I learned from it.


Commitment is Important

This might seem self-evident, but in order to have a campaign, you need people who are bought in and committed to showing up. It is *difficult* to get a group of adults together on anything remotely resembling a regular basis. This means that people actually have to make the game a priority. Not priority one, of course, but they have to be willing to forego other things in order to make the game. Everyone is going to have one-off instances where they can’t make it for some reason, and that’s totally fine, but in general, you need people who will show up. I have that with this group, as evidenced by the length of time it lasted and the very regular sessions, and I’m hugely grateful that I do; it’s the main reason I’m willing to compromise on the ruleset.


Plot and Player Agency

I did have a loose “plot” in my last campaign – a trap I think DMs like me who also love fiction fall into very easily - and ultimately, that plot wound up taking over and driving player choice in a way that felt unsatisfying to me. I think this was my single biggest mistake, though I have done similar things in the past without the same results and I really didn’t intend for the PCs to get locked into the “story” the way they did. A weird thing – it felt almost like my players *wanted* to be railroaded a little? Though if asked, I don’t think they would say that I railroaded them at all. Several times, I tried HARD to open things up and let them do whatever their characters wished, but they seemed to kind of stall out when I did so. It really felt as though they were relying on me to provide the impetus for their actions, and wouldn’t do much of anything until I offered the next “plot point” at which time they would glom on to that, even if there were other, very obvious, adventure hooks that had been presented beforehand. And I think this is part of why having a “story” in a campaign is so insidious in the way it begins to supplant both player and DM agency.

I never thought much about DMing before honestly - it was just something I did. Certainly I've heard much more from other DM's previous to this upcoming campaign than any other I have in the past, and I took what they had to say seriously, even though, it is, at the end of the day, just a silly game.  After pondering all of that, I think there are ways to structure play and campaign such that it encourages - almost forces -  the players to drive. I am not going to provide any overarching “plot” or “story” to drive action at all. There will be no apocalypse to avert and there will be no “big bad,” though the PCs might have rivals. For starters at least, the “story” will be one of simple survival - they have to figure out how to get food, water, and shelter, and initially even getting a piece of gear should feel like a big achievement, or at least that is the intention.

But they will be free to decide what to do - they can decide to stay in the Underdark or they can decide they want to try to leave (though if they opt for the latter, the campaign is liable to become the “story” of their journey to the surface world). The problem of survival doesn’t go away, but it may get easier. To begin, I will have a general map of the immediate Underdark area out to maybe 50 miles in every direction, and will create sites of interest on that map. I’ll create the first few encounter areas for the sites of interest but won’t fully flesh those out until they engage with one of them (otherwise the work will be endless). The world will be built out enough that they will immediately have several options among points of interest to engage with, and they get to decide how they want to engage with those points of interest – attack, speak with, sneak by, back off and go elsewhere, etc. Rinse and repeat this as they move through the bowels of the earth. The upshot should be that at each point along the way, it will be a player decision as to broadly what happens next, not a DM decision, while also keeping the amount of prep I have to do to something I can manage.


XP for Gold

In the past I’ve done a straight XP for overcoming encounters system, and that’s what I did last time as well. The “encounter” wasn’t always monsters and my players didn’t necessarily have to overcome the encounter through combat – they simply had to figure out a way to overcome whatever challenge was stopping them from achieving their goals. On a philosophical level, I like this. It has always struck me as kind of realistic – people grow from difficulties and challenges, after all.

I think this time around I’m going to either hybridize that with an XP-for-gold system, or use a pure XP for gold system. Noisms has a number of excellent posts that point out why this system is effective – here’s one that explores a number of other ideas as well and that I think is great reading for anyone considering running a D&D game.


Rolling Dice in the Open

I’m more and more a fan of this, and again noisms has written a couple of posts on why doing this is a good thing. I have gotten very used to and comfortable with the “DM screen” over the course of my “career” as a ref/ DM, and I still think some rolls should be secret – things where the player was not meant to know exactly what the outcome was, like hiding, for example ("Yep, you're pretty sure no one can see you!"), but I will roll anything where the results are immediately relevant in the open where players can see the result.


Combat

I had one guy who was brand new to RPGs and two relative newbies last time, but even so, I was really forgiving in terms of letting the group discuss strategy and ask questions during combat. This wound up having two effects – one of which was that combat felt bogged down (in a game where it’s already rather slow, especially at higher levels) and it also made the PCs more effective than they really should have been. To simulate the stress of combat more effectively I am considering implementing a couple of rules. First, the only person allowed to talk during a PC’s turn is that PC. Second, if you can’t tell me what your PC is doing in ten seconds, I am moving on and will come back to you after whoever is next in initiative order has had their turn. If you can’t tell me what your dude is doing in ten seconds, they aren’t doing anything, they are just goggling at the violence that has exploded around them.

I will not be tailoring encounters to the party’s “power level” – rather, the creatures they encounter will be much more a product of the environment / ecosystem, and if that means they stumble into something incredibly nasty, so be it.


Wandering Monsters

I was also really, really forgiving about wandering monsters last time. Again, I had some really new players, but at this point they know the game pretty well and all of them know going into this campaign that the gloves will be off. Wandering monster rolls are one of the rolls that will be made in the open. Also, similar to the point above about combat, if the characters are not in a secure location and they are conducting an hour long strategy session, I am rolling for wandering monsters. If they are discussing killing the monster in the next room and that monster has a means of hearing or detecting them and getting to them, they will probably be interrupted. I didn’t do this nearly enough.


Character Creation

I’m restricting certain classes, though some of them might be available if they are acquired diegetically (warlock, maybe). Wizards and clerics will be hampered initially by the lack of a holy symbol or spellbook, but everyone will be hampered by lack of gear to begin with. It will be up to them to find and or make the things they need. I’m considering races right now, and I’ll probably restrict those to human, dwarf, elf, gnome, halfling; I might also allow certain underdark races or variants like duergar or grimlock – I haven’t made a final decision. I’m also still vacillating on how I want characters to roll attributes. I am really attracted to the idea of 3d6 in order in a lot of ways. I feel like clever players instinctively use low attribute scores to help create a PC’s personality, and that ultimately this winds up being a more enjoyable experience for them even though many of them resist it. Last, I am seriously considering implementing a character “tree” or stable, ala Dark Sun, as this campaign is likely to be quite deadly.


Other Stuff

Aside from my own ailing mind, I will probably use 3rd edition’s Underdark and Patrick Stuart’s Veins of the Earth as my main sources for monsters, encounter areas, and general weirdness.

From where they start, they will be near a forgotten duergar tomb, a giant web hanging over a bottomless chasm, a beholder lair, a grimlock outpost/village (might use Skychasm or at least parts of it for that – if you are not familiar with it, go have a look, it is seriously good), and a boiling subterranean lake and series of hot springs heated by a magma chamber (kind of a tribute to White Plume Mountain). Some of these could make a decently defensible base of operations, if they want to do that.

I might well implement the alignment-changing resource shortage rules from Dark Sun as well.

Speaking of… I’ll leave on this note I guess: while thinking about all this and thinking about the Dark Sun campaign setting, I had this weird vertiginous moment where it felt like Dark Sun was a through-a-mirror-darkly kind of reflection of our own world. Anyway, it feels weirdly prescient and relevant now in a way that it didn't when it was first released and most D&D settings never do.  I may have to explore this further in future posts.

Thursday, July 11, 2024

Sick Synopses or My Inner Kilgore Trout - Ideas for Short Fiction

The Torture Artist
An artist looks back at his career and is tormented by the idea that he hasn’t really been able to share his authentic self with those who interact with his art. He proceeds to commit a home invasion in a rural area, where he ties a couple up, rapes them repeatedly, and chews their fucking faces off while they still live.


The Sexual Experience
Various extremely graphic though dry and clinical descriptions of fractured bones.


A Drug Free Environment
A couple enjoys a night at the symphony and then goes home to kill their pet bird with a mallet.


The Night America Burned Down
An elderly woman does some gardening.


Wrapped In Plastic
Written advertisements for paramilitary and riot gear designed for the police: tactical shields, repeating shotguns, breaching vehicles, etc.


True
A sadomasochistic couple finds a stray dog and tortures it, finally cutting its head off. The head then begins speaking to them and ultimately bids them to cast runes from a mingled flow of bodily fluids so that it can deliver prophecy.


Hamburger Helper
A man with a botfly infestation becomes a prostitute in an attempt to obtain the money for treatment.


Women are from Venus
The President of the Federal Democratic Republic of Cydonia gives a televised State of the Union address during which he is wearing a stitched together “girl suit” of preserved human flesh ala Ed Gein or Buffalo Bill. The suit has three rows of jiggling tits and he wears it with his trademark red necktie draped between them. The state of the union, he says, is strong. He intersperses this address with anecdotes about the women whose skin make up the girl suit, such as the number of children they had or how they clenched their fists when he slit their throat. In a cutaway, a married couple discuss the speech and comment on the necktie, allowing that though the red is traditional Martian attire, the President really should have worn blue as it would make him look more dignified.


30 Minutes of Sicko
A brief history of Family Feud is followed with an example show’s polling answers being analyzed in minute detail. Among the categories polled in the example show: Something You Do After Masturbating and Things You See In an Automobile Accident.


Reality Assassin
Starting in her home, a woman walks through a series of doors and gates as she slowly comes to the realization that she absolutely fucking hates her husband and children. At the end she finds herself in a meadow surrounded by wildflowers.


The Magic of Ice
Purple butterflies follow a beautiful and gentle man everywhere he goes. A jealous husband tracks the butterflies to his home, where he catches his wife in bed with the man and proceeds to vent his rage in unusual ways.


The Rise of the Night
A would-be dictator is kidnapped by radicals and forced to undergo gender reassignment surgery in an effort to change his viewpoints. S/he maintains her fascist worldview even so. The real breakthrough comes after a fecal microbiota transplant.


Edgewater, Mon Amour
A man conducts a mass shooting at his office. Upon apprehension, he repeats the phrase “I don’t speak German,” over and over and seems unable to say anything else. A reporter who happened to be near the site of the incident has the scoop, but his editor turns him down on the basis that mass shootings have become passe and gauche and bore the public to tears at this point. So they concoct a story that involves a government coverup of a DARPA-funded experiment with hallucinogens and cutting edge time travel “Zeitsprung” technology.


The Goldfish
A middle aged couple’s life has become stale and routine. The wife takes up tennis and begins to become infatuated with the young tennis coach she is working with. She tries to flirt with him but he pretends not to notice, though she is uncertain if this is out of professionalism or if he genuinely isn't interested. One afternoon she returns home after a lesson and has an intense sexual fantasy about him. Her husband comes home from work a little early and sees her in the throes of passion, but she is so caught up in the ecstasy of the moment that she does not notice him. He quietly backs away and sits down in the living room, where they keep a goldfish, which he feeds and then watches for a time.


Furnishing
A woman must choose new drapes for the living room. She becomes paralyzed with indecision because there are so many choices and possibilities. This paralysis begins to bleed into other parts of her life and soon she cannot function at all.


Pure
An investigator begins looking into the rancid underworld where snuff films and child pornography intersect. He develops a cover identity in order to allow him to probe further. He soon loses himself and becomes complicit in the production of this material.


Babylon
A historian is cast from mainstream academia for holocaust denial and minimizing the atrocities of Nazi Germany. This is the last straw for his poor wife, who leaves him as a result of this loss of face and reputation. After she leaves, he mourns, and becomes intoxicated.  He proceeds to dress up in an authentic SS uniform, part of his personal collection. He does his best to achieve an erection by looking at a mixture of death camp footage and AI-generated pornography of famous Nazis, but it’s no use. As he passes out, sexually frustrated and covered in his own vomit, he vows to join the police.


Whitehouse
An extensive catalog of the various sexual proclivities of U.S. Presidents from Washington to present day. Gets really interesting after Roswell.


The Organ Grinder
A man tours the city with his pet mandril, who occasionally and for no discernable reason mauls some nearby person very, very badly.


Movement
A man looks out over his rice field and sees something white moving and wriggling, but he can’t tell what it is. He tells his neighbor, who also sees it, and becomes curious about it. The neighbor goes to take a closer look as the man heads inside to clean up for the day. He forgets all about the incident until the next day, when he catches a glimpse of his neighbor in the rice field. He goes to see his neighbor and the man has gone almost catatonic except for occasionally muttering about movement. Over the next few days several other people in the town are found in the same condition. The following week the man catches sight of the white thing again and goes himself to investigate it.


The Flesh of Heaven
A middle-aged detective who is sexually obsessed with his teenage niece works a school shooting and ruminates on the devastating effects of high powered rifle fire on the human body.


Sonic Consciousness
A struggling musician has a series of surgeries that slowly transform his body into a musical instrument.  His mind follows.


Babel
A man begins constructing a tower in a wing of his house.  The tower rises to nine stories and he keeps building it.  His obsession with it and total dedication to it cuts him off from his family.  Eventually the tower collapses and his obsession with it ends; he then reconnects with his wife and children.


They Float on the Surface
A woman has a calming mental routine of naming all the various capital cities of the countries in the world in a kind of mantra as she relaxes in the bath.  One day she cannot remember the capital of Macedonia, and this throws everything in her world off kilter.


Seller's Market
A catalog for a company specializing in paid intimacy, generally of a non-sexual nature.  You can have someone stroke your hair or put a cold washcloth on your forehead, or kiss your neck and shoulders.  You can talk to someone who will listen sympathetically and offer suggestions or condolences, a friendly hug, or will let you just cry and cry while they hold you and reassure you.


Thanatos Avenue
After an unnamed calamity causes global environmental and societal collapse, five drivers race across a desert where the walking dead roam.


Naptime for Scrunchie
A family cat wanders around a mansion, noting the incredibly dysfunctional behavior of its inhabitants; the dad is tuned out of everything except work, the mom continually makes not-so-subtle passes at her son, who is home from college, and the daughter dreams of one day leaving everything behind, perhaps to join the military.


Lord of This World
A day in the life of a group of nihilistic suburban teens.


The Anonymity Exhibition
A hotel worker finds a woman's corpse in a room that was supposed to be unoccupied.


The Coprophage
A man who lives alone wakes up, takes a shower, goes to his office job, has a routine day, goes to the gym, and comes home to make himself dinner before watching a little TV and going to bed.

Wednesday, July 3, 2024

Potato Lake

The lake is up in the north, in a land that is filled with lakes, and where there are forests of maples and oaks and pines where there are no lakes. It’s called Potato Lake and his father has a joke that it’s shaped like a fishhook but it’s right next to a lake called Fishhook Lake that’s shaped like a potato and someone switched the names around. They go there after his father finishes with work for the year and stay in a cabin for what feels to Faolán like forever even though he knows it is just the summer. A dirt path stretches along the lake at the top of a steep hillside of sandy soil, studded with trees and soft roots that Faolán can catch as he makes his way down. The lodge is at one end of the path, up at the highest point of the woods and there are cabins along it every so often. There are stairs made of packed sand and logs in the hillside but Faolán likes to climb down. At the bottom of the hillside is the beach, which is only about twenty feet wide before it hits the water. The lake has all kinds of things growing in it, and the water near the shoreline is cold, but Faolán, who is six this summer, doesn’t mind. He enjoys swimming in the cold clear part of the lake and seeing the alien landscape below as he swims over it, looking at all the different colored rocks and weird plants. The rocks are black and olive and white and red and there are even quartz crystals and he likes to watch the tiny minnows that form small schools and dart about in the shallow part of the lake near the beach. He uses a snorkel and a pair of goggles and feels like he can stay underwater all day.

He stays near the shore, though. The lake bottom drops off precipitously as one swims out into it. About twenty feet from the shore he can no longer keep his head above water if he stands. Another few yards past that the water is twice as deep as he is tall, and another few yards past that it gets dark, which he doesn’t like at all. Something about the dark, deep water frightens him. There’s a pontoon boat anchored out there that his older half-brother and half-sister sometimes swim to with the rest of the teenagers, but he never goes out to it, preferring to spy on the little silver fish and collect pretty rocks to stud his sand castles with and give to his mother as gifts, treasures he presents with utter solemnity as if they could somehow comfort her and make everything ok. He sees she is filled with fear and doubt even at the lake when they are supposed to be having a good time because she is not sure she wants to stay married to his father.

He doesn’t understand it but he knows it to be true. He knows they fight but he does not know why. The arguments don’t happen in front of him, but rather in his periphery and though he only ever gets little glimpses of them, he is watchfully aware of them. There is a seismic quality to them that makes him feel like the whole world might shift under his feet and slide away and leave him falling, spinning in a vast and distant night all alone, swirling like a burning cinder above one of the campfires they sometimes have on the beach, floating on the dark and heated air until he is pulled out past the pontoon boat and finally plunged into the deep black water to be dragged down to the bottom of the lake by the currents and doused for all time. He doesn’t understand why his mom wouldn’t want to stay with his dad. He thinks his dad is the most intelligent man who has ever lived, and he’s funny, and he doesn’t mind telling Faolán stories at night while he drinks beer and whiskey, and he sneaks Faolán a sip every now and then which makes him feel like they are part of a secret club together. He tries to be intelligent like his dad and thinks about the glowing campfires and the cinders and the dark and how the darkness always comes when and where there is no light. He wonders if that means the darkness is a kind of a default, always there and only kept away for short periods and if that means that things that “are-not” last forever like death but decides that can’t be right because god is forever and god is light and life.

Today his father is supposed to take him fishing.

Faolán likes to go out in the little motorboat, likes the way the prow climbs up out of the water and the fact that there’s no speed limit, which he finds amazing. He loves the feel of the wind on his face, almost blinding him as they shoot across the water, sometimes crossing another boater’s wake and skipping along the surface like a stone. He likes looking at the little sonar his dad sets up, baffled over the orange light on the screen and constantly asking his father what everything means. His father, patient, explaining it all to him, but it’s like Faolán can’t keep it all in his head, he can remember bits and pieces but in the end trying to understand the sonar is like trying to catch all the minnows in one of the little schools or trying to puzzle out how to make his mother and father stop fighting.

Faolán is wearing swim trunks and a pair of leather moccasins from the White Earth Reservation and he pads off the side of the path into the woods, pretending to be a Chippewa. It’s as if it’s always twilight in the woods no matter how bright the sun is, like it’s about to rain. He likes the cool, humid air and dim light here. He stalks from one trunk to another, slipping like a shadow between the trees, across the pine needles underfoot. He keeps his feet low to the ground, trying to be silent, but in spite of his efforts to be soundless, his foot slips and sticks into the loop of a rough root that protrudes from the soil and he stumbles to his knees where he sees the skull.

It’s half buried in the forest floor but even so he sees the ivory gleam of the bone and realizes he is looking into an eye socket. The skull lies on its side, and he understands at once that it is not human. It’s long, some kind of animal. Curious, he crawls across the earth and pushes his thick brown bangs up out of his face and begins to dig it out of the ground. The earth is soft and yielding even under his young fingers and it isn’t long before he is brushing the dirt and plant material from the skull. It is almost completely clean, without any remaining flesh on it whatsoever. The lower jawbone is missing and some of the back teeth in the upper jaw are gone as well. The remaining teeth are flat and Faolán remembers a book about dinosaurs he read and thinks that the animal must have been some kind of plant eater. Excited, he picks the skull up and carries it carefully back to the cabin. This is a real treasure, better than the feathers he finds from time to time and the rare quartz rocks from the lake. He’s never seen anything like it before. He holds it delicately, as if the whole thing might crumble in his hands if he isn’t careful. He’s so caught up in making sure the skull survives the journey back to the cabin and that he doesn’t trip over any of the roots that jut out of the dirt path that he doesn’t even see Cali standing outside the cabin next door until he almost bumps into her.

Cali is seven, older than Faolán. Her family is staying in a cabin just up the hill from the one Faolán and his family are in, closer to the lodge where the adults go sometimes to drink beer and where they have a bunch of old comic books that Faolán reads on rainy days and pictures of men holding large fish on walls that look like logs. There is an old timey cash register and sometimes his dad gives him quarters so he can have a soda or candy from the lodge or play the pinball machine.

She is a little taller than him, with skin kissed golden by the summer sun. Faolán doesn’t know what a cornflower is yet but a few years later he sees one and instantly recognizes that the papery blue flowers are the same color as her eyes were and the thin silver leaves remind him of her fine blonde hair. By that time he can no longer recall her name, but he can see her clearly in his mind’s eye when it is quiet for the rest of his life.

She asks him what do you have? and that’s when he finally notices her, and stops in his tracks. His care for the thing he is holding almost leads him to break it. The momentum keeps it moving forward when he stops short and it bounces from one of his small hands to the other as he nearly drops it in surprise, but finally he gets a grasp on it and sighs in relief. Then he turns to Cali.

It’s a skull! he answers, isn’t it neat?

She looks at it closely. Can I touch it? she asks.

Sure, he says, but let’s go inside, I want to put it in the cabin. Cali nods and they dash into Faolán’s cabin.

Inside, it’s dark and smells like beer-battered fried fish. His parents and his sister might be at the lake or up at the lodge, he’s not sure. He runs to his room and puts the skull down. Cali follows him in her flip flops and swimming suit.

We have to talk about something important, she says then.

Faolán is puzzled. What is it? he asks.

She answers I don’t have a boyfriend but you can be my boyfriend if you want. And then she pauses before she continues but it has to be a secret. You can’t tell anybody.

Faolán isn’t sure how to respond but his heart begins to beat a bit faster in his chest. He isn’t sure he wants a girlfriend but he’s curious. Finally he decides that he thinks it will make her happy if he is her boyfriend and so he says ok.

She smiles at him and spins around and then says that means you have to kiss me.

It does? asks Faolán. He would never admit it because kissing is gross but the idea of kissing Cali is exciting to him somehow. Her lips are pale pink and her cheeks are pink and she smells like suntan lotion, like sweet flowers and coconuts and something he can’t place and he realizes he really wants to kiss her. His heart is still beating a little faster than normal.

Yes she replies seriously.

Well, if I have to, he says, resigned to his fate, and then she kisses him. It’s wet and a little sticky and Faolán thinks it should be gross but it’s not and he doesn’t know why.

After the kiss she tells him you’re not doing it right.

What am I doing wrong? he asks.

You have to hug me while you kiss me she replies and I have to hug you. Isn’t it obvious?

Faolán doesn’t think it is obvious at all, but he hugs her and she hugs him back and they kiss again and to Faolán it seems like they should be finished but she won’t let go. Finally she does and then she says do you want to see what I look like and his heart keeps beating faster and he starts to feel like he’s got too much spit in his mouth so he swallows it and it’s hard to swallow and he feels embarrassed but yes, he does want to see, very much and she tells him ok but I have to see you too and he says ok and she asks do you promise and he says I promise and he knows they aren’t supposed to do this, he’s not supposed to be naked in front of other people especially not a girl it’s embarrassing but she takes her swimming suit off and looking at her his heart is like a triphammer in his chest and the blood is surging through him and his whole body is burning like when he had the bad fever but it doesn’t hurt and he takes his swimming suit off and she says now we kiss again so they do and she says you can touch me if you let me touch you and he is incapable of saying no to this. Faolán feels strange and wonderful almost like a headache but it’s down in his body and it feels good instead of bad, it feels so so good and it keeps increasing and increasing until his legs shake and feel weak and the pleasure is finally too much to bear and he cannot take any more of the feeling and he pushes her gently away.

His eye falls on the skull and for some reason he cannot look away from it and he stares at it, suddenly feeling different and lonely and distant and hypnotized and thinking about the darkness and she asks him do you love me now and Faolán replies yes, I do, but the words leave his mouth leaden and automatic as if he is in a trance. He feels so far away, farther than the moon or the sun which he knows are millions of miles away and mesmerized, as though someone else is controlling his actions and words, and the bone blurs as he stares spellbound at the skull for a few more moments and wonders about the darkness and things that are forever. She says something but he cannot make it out. Finally he shakes his head to clear it and the world comes back a little and he looks at her and asks what did you say? She looks so serious and pretty and she says I said I love you too and Faolán says I have to go to the beach now and Cali says oh, I have to go to the lodge and then they put their swimsuits on. And then she gives him a scared look that he doesn’t understand and she says you can’t tell anyone and he says ok and she says you have to promise and Faolán says I promise. It is a promise he keeps for many many years. Then they walk outside of the cool cabin and back into the hot summer day and she runs off up towards the lodge, and Faolán runs down to the beach, jumping in places over the irregular steps made from dirt and wooden beams and the roots that twist like gnarled arms across the pathway.

When he gets to the beach he sees his mother wading in the water and she is holding his sister, who is two, and his father is on the pier watching them and drinking beer with their dog Maudie-audie next to him, black fur gleaming in the light, the sun hitting her gentle brown eyes and making her pupils so small and the little white ruff at her neck rising and falling and her pink tongue lolling out as she pants.

Faolán runs on to the wooden pier, his feet in the moccasins drumming lightly on the gray weathered planks as he does and his father hears him and looks up and says where have you been?

And Faolán is about to tell him but then he remembers the promise and he says only I found a skull, dad. It’s so neat! But I don’t know what kind of skull it is, only that it’s a plant eater. Will you look at it later? Faolán is certain his father will know what kind of skull it is because he knows things like that. He feels a little guilty not saying anything about being a boyfriend but the promise hangs in his mind like a gateway filled with fire.

His father raises an eyebrow and then he laughs and says of course I will! Do you want to go fishing? And his voice is a little thick and slow and his laugh is a little loud and Faolán sees his mother look up sharply.

Yes! Let’s go!

So he takes Faolán’s hand and they walk a little further down the dock to the boat which makes small liquid toonk! sounds as it bounces gently against the pier and Maudie-audie jumps in, wagging her tail and his dad puts a cooler into the boat and then puts the sonar in there, and a net, and has started helping him get his lifejacket on when he sees his mother striding down the pier, and Faolán can tell she is angry and he hopes it’s not because she knows about him being Cali’s boyfriend.

Tad, she calls. His father’s name is Tadgh, but his mother always calls him Tad. She’s moving quickly across the weather-beaten boards of the dock and her eyes are flashing and there are high red spots on her cheeks.

Tad, do you really think it’s safe to take him out there now? she asks and her voice is as sharp as her movements.

Drika, his father replies slowly and with deliberate calm, his tone and tongue slurring a little and as languid as hers is sharp, it’ll be fine.

You’ve had a lot to drink, Tad.

It’ll be fine. His father’s tone hardens a little.

Faolán knows what’s coming and squirms in his lifejacket. His heart is beating faster and his stomach starts to turn over but it’s not like when he was with Cali earlier, it doesn’t feel good at all. He wonders if he can head the whole thing off and does his best.

Please mom. Please. We were going to go yesterday but we didn’t get to. Please let us, he says.

See, Drika? He wants to go.

You were supposed to take him yesterday but you didn’t because you couldn’t function. And you slept all day.

For christ’s sake, Drika. We're supposed to be relaxing. We're on vacation, let him have some fun. Let me have some fun. Faolán, get in the boat.

Faolán scrabbles into the boat and pets Maudie-audie and turns and gives his mother an exaggerated smile. His mother squares her shoulders at his father and seems about to say something else but Faolán interrupts.

It’ll be ok mom! he says, I’ll watch out! And I’m a good swimmer!

His mother flicks her head over to him, her chin raised, eyes blazing.

Don’t make a scene, Drika, says his dad.

She shakes her head and murmurs why the hell not but then she looks at Faolán and her shoulders sag and she says fine, then. But she sounds so sad to Faolán and he wishes he knew what to do so it wasn’t like this and he’s struck with an impulse to follow her as she stalks back up the dock, to help her not be sad any more but he doesn’t know how.

His dad steps into the boat humming a little and sits down at the back near the big black outboard motor and smiles at Faolán and waggles his eyebrows and says she’ll be alright. And Faolán believes him.

His father tells Faolán let’s get her unmoored and then he grabs the pull starter and rips the cord from the engine and it comes roaring to life in a fog of blue smoke and the smell of oil and gasoline.

Faolán loves all the weird words associated with boating, starboard port fore and aft cleat and outboard and prow and moored and he repeats these in a kind of calming song in his head as he helps his father untie the boat and soon they push away from the pier and begin whipping along through the water on the open lake and Faolán gives himself to the exhilaration and exultation of the wind rushing past them as the prow of the boat climbs up out of the water and he holds on for dear life laughing and Maudie-audie barks and he forgets the distant feeling and his mother’s glare and his dad’s fuzzy speech as they zoom along bouncing gently across the surface. He looks back only once to watch their wake fan out behind them like a long white apron of churned cream or like the white ruff of fur on Maudie’s chest.

First they go to a branch of the lake that looks like a river to Faolán, and they have to go under a bridge which Faolán loves and pretends is some massive gate to another world. The little river banks are lined by trees and their boughs almost touch overhead and in some places there are tree trunks with branches and leaves still on them fallen in the brown water. His father stops the boat and it rocks from side to side and turns slowly as its own wake catches up to it. Faolán tries to keep his balance in the boat and his father sees this and does an exaggerated pretend falling routine which makes Faolán laugh. Then his father opens the cooler and gets a beer and a covered Styrofoam cup. His father takes the lid off the cup and Faolán looks inside. It is filled with wet earth and worms that move through it like slinkies, bunching up and then extending impossibly and they remind him a little of how his body was when Cali touched him earlier that afternoon but he doesn’t talk about it because he promised. His dad fishes a worm out and offers it to Faolán. This is the only part of fishing he doesn’t like. He wishes they could use the bright plastic and rubber lures from his dad’s tackle box even though they smell funny but his dad says the worms are better bait. He takes the worm and waves it ineffectually at the hook dangling from his rod but he is afraid of the sharp barb on the fishhook and doesn’t want to get too near it. Jesus christ, his dad says, give me that, and he takes the worm and baits the hook with it for Faolán. You have to learn to do this yourself he says and Faolán says yes dad but secretly he doesn’t want to and he wonders if maybe someday that means they won’t be able to fish together any more. But for now the job is done and his dad gives him the ok to cast so he whips the rod back then forward and pushes the button down as he does so and the silver line goes singing out over the water and lands with a splash and sinks a little. His dad says that was a good cast! and then slings his own line out. Then he takes a long pull from the beer can and crushes it and drops the can in the bottom of the boat. He takes the throttle of the motor, which has been idling, grinding and spitting slowly and tweaks it slightly so it smooths out and the boat begins to move calmly through the water while their lines drag behind, which his dad calls trolling. Faolán reels his line in and his dad says go slow and Faolán nods and casts the line out again loving the zip of it as the momentum shifts forward and the line slides smoothly from the reel and lands far away.

On the second cast he tries to go slower as he reels the line in and his dad opens another beer. He casts again and again as they slide along the dappled water and the sun shines through the leaves above. Finally he feels the line catch on something and jerks the rod back, but his dad shakes his head and points to a deadfall in the water where the line is.

You’re hung up on a tree or something. Not a fish he says.

His father clips the line and then says well I was hoping to get some bluegill over here but maybe it won’t happen today. Let’s get out of this creek and back out on the lake some, whaddya say? They reel their lines in and his father opens the throttle a bit and they begin to move through the channel a little faster. As they clear the creek Faolán makes himself bait the new hook his dad has tied on his fishing line. With a grimace, he reaches into the Styrofoam cup and pulls out a worm. The feel of it expanding in his hand makes him feel slightly nauseous and his fingers start to shake a little but he swallows the spit in his mouth and stabs the worm with the new hook and is so relieved when it is over. His dad opens the throttle as they get out into clear waters and they go speeding across the surface once again.

This time his father pilots the boat out into the middle of the lake, as far from the shore as possible before cutting the engine. The clouds have begun to cover the sun and the wind has picked up and the boat sways in the water as waves chop the hull. Faolán looks over the side of the boat and the water looks dark and cold and rough and he can’t see anything moving in it. The clouds reflect in the water so everything looks like dull metal. It seems very quiet with the motor off except for the gray waves slapping the side of the boat and it makes him shudder a little and reminds him of the distant feeling earlier. He looks up to see if his dad notices but he is looking at the sonar screen.

Here’s good. Let’s try this, his father says.

Faolán casts as they drift in the middle of the lake. Faolán can see the shoreline but it is too distant for him to make out any details no matter what direction he looks in. He knows he couldn’t swim to it. Then he hears something that catches his ear, a long and low lonely cry from far away that swells and swells and finally breaks like a sob and echoes out over the water. Several moments later he hears it again from a different direction.

What’s that dad? he asks, awestruck.

Loons. That’s the call they make when they lose each other.

I hope they find each other says Faolán. And he does.

They coast along for what seems like a long time to Faolán and he throws cast after cast and his dad drinks beer. A pile of red-and-white cans builds in the bottom of the boat and the beer smell mixes with the fishy scent of the boat and the lake and the gasoline smell of the outboard motor to create a heady fug. The air is humid and Faolán is happy. He’s not paying much attention to anything, just sort of floating along and petting Maudie-audie and he doesn’t really even feel the first bump on the line. But it comes again, and then again, and then he does notice. There’s one more big bump and on instinct he pulls back on the rod which bends in a whiplike curve under the strain of whatever has the other end of the line and then, alarmed that it might snap he pushes the button and lets some of the line out.

His dad hears the zipping sound of the line and sits up, suddenly paying attention.

Is it another tree Faolán asks, preparing for disappointment.

I don’t think so, his dad says. Look at it. Something is taking the line.

Faolán looks up and sees that the line is moving irregularly through the water. It’s not jammed in one place. He pulls the rod up towards his shoulder and something pulls back so hard he almost falls into the lake.

His dad grabs his shoulder and then sits behind him. Faolán can smell the beer on his breath and feel it on his face as his dad wraps an arm affectionately around his stomach for a second and says I think you set the hook just right.

Then the old man orders give it more slack! and Faolán hits the button again and hears the line go whistling out. He holds down on the button until the line comes to a sudden halt and there’s another strong tug.

I don’t think there’s any more line dad! He says.

OK, his dad says, OK start reeling him in then.

Faolán starts to reel the line in. It comes in a ways and then there’s a jerk and he instinctively pulls back and up on the rod which bends again and his dad shouts no, he’ll break the line, let him have the slack you took in and Faolán pushes the button again. For what feels like a long time the thing fights and he reels some line in and then lets it back out, then reels it in and lets the line back out over and over and his arms get tired and start to shake with exhaustion as the wind clears the cloud cover and the sun returns to make the water glitter. Then, very suddenly, he doesn’t feel anything fighting him.

I think I lost him dad he says but his father shakes his head no and says I think you got him. Bring him in. And his father looks over the side of the boat while Faolán reels the line in and he can’t believe how long it takes, his armpits and shoulders and hands are aching but finally his dad grabs the net and scoops it into the water and lifts it out and the fish in the net looks massive to Faolán. It has dark olive scales on its back and in stripes along its golden sides and a white belly and it's a kind of pearly pale pink around the mouth and gills which makes him think about Cali for a moment. The fish is flashing in the sunlight, the scales dazzling with iridescence and shifting hues as it thrashes in the net.

His dad looks back at him beaming and laughing and says that is one of the biggest fish I have ever seen caught out of this lake. And the way he laughs and smiles makes Faolán laugh and smile too and he asks his dad what kind of fish it is.

It’s a walleye his dad says, I thought it might be a northern pike but it’s not.

Walleye are good for eating, right? asks Faolán.

They are, answers his dad, who does the work of putting the fish on the stringer and then ties the stringer to the boat before he lets the fish slide just over the hull into the water and dangle there. He looks at Faolán and says you did really well. Walleye are hard to catch. They turn their prey around so it goes in to their mouth headfirst. That way they know they won’t choke on anything. But it means they are hard to feel on the line when they bump it. You did well.

Faolán’s heart feels full and swollen. His father is proud of him and then he thinks his mom might be happy too, since she won’t have to worry about dinner now, and he thinks that this means there is a good chance that there will be no fighting from now on and that makes him feel as if his heart may burst, he is so happy.

They don’t stay out on the lake for much longer. His dad is satisfied with the catch and Faolán feels too tired to do much more fishing, and besides he doesn’t think he will catch anything else nearly as good, maybe never in his whole life. His dad hauls the stringer out of the water and his fish flops about in the bottom of the boat and he lets Faolán take the throttle and Faolán opens it up as much as he can and they soar towards the shore. They fly frictionless across the surface until he sights the dock and then he slows way down and gives the tiller back to his dad, who takes them in until the boat bumps the dock and Faolán leaps out with Maudie-audie while his dad ties the boat up. Beth who owns the lodge is there and his dad shows her Faolán’s fish and all the adults seem surprised and impressed and say things like that fish is as big as he is and Faolán feels pretty pleased with himself. One of the adults has run off and comes back with a camera and a scale and a measuring tape. They measure the fish and the man declares it is twenty nine inches and ten pounds and eight ounces. He says we have to get a picture of this and his dad brings the stringer over to him with the fish on it and says hold this up for the camera and Faolán takes hold of the stringer and the fish is almost as long as he is tall and much heavier than he realized it would be. The man fiddles with the camera and Faolán’s arm gets so tired but he keeps holding the fish up because if he lets it drop then the tail touches the ground and the man with the camera says hike her high son and takes a picture finally, and Faolán is relieved when he finishes because his hand is sore from the stringer and his arm is sore from the weight of the fish.

Before they leave for the year Beth who owns the lodge has the picture framed and puts it up in the middle of the wall in the lodge behind the bar where the old timey cash register is and where everyone will be sure to see it.

Let’s go clean her, his dad says and they hike up the steep hill to the path that runs along the lake, and they go almost all the way to the lodge but then just before they turn off and there’s a little shack there, wooden slats on the bottom and screens about halfway up the walls. Faolán has been dreading this. This is the cleaning house. His dad opens the door and Faolán is hit with a stench that makes him want to throw up and stops. And his dad is holding the door open and says come on then, we don’t want to let the insects in and Faolán starts to breathe through his mouth but it doesn’t help very much because he can taste the smell and it feels like it sticks to his throat. But he makes himself go into the little hut.

His dad puts the fish on a table as a few flies buzz around inside the cleaning house and especially over a reeking garbage can where the odor is the strongest. His dad takes a long knife in a light brown leather sheath out and says to Faolán do you want to do it? And Faolán isn’t entirely sure about what’s involved, but he is certain he does not.

His dad shrugs and lays the fish out on a high workbench and it gives Faolán a lidless stare with the patient expression of underwater things and then his father takes out the knife and runs it through the walleye’s white belly, and the blood pours out red and Faolán feels his mouth fill with saliva like he’s going to throw up, and he thinks again of Cali and the place she has that is like the cut in the fish’s belly. His dad reaches into the slit and pulls the intestines out, and throws them into the reeking garbage can and the flies buzz around like insane things. Then his father runs the knife through the fish again and splits it in half, everything except for the head. And there is so much blood, much more than Faolán realized there would be and it makes him feel lightheaded and a little woozy. Now he’s sure he’s going to throw up and he tells his dad who says not in here, go out into the woods then.

So he pushes the screen door open and staggers out and he hears it slam shut behind him as the spring pulls it back. And he walks a little into the woods and spits a few times. He starts to feel a little better since there’s no smell. The wind shifts and carries the stench of the cleaning house to him and Faolán quickly moves so he’s not downwind any more. As he waits outside he looks up and sees that the sun has started to sink in the sky. He wanders around the area and his father finally comes out and they walk back to the cabin.

His mom and his little sister are in the cabin and his dad tells her all about the fish that Faolán caught and she seems delighted and she starts to make beer batter while Faolán goes into his room and gets the skull to show to his dad who tells him it is a deer skull.

The sun sets and the fish is served, but Faolán keeps thinking about the cleaning house, the flies and the slit in the fish’s belly, and then thinking about the worms crawling through the rich black loam in the white cup and he finds he cannot eat very much fish without feeling ill. So he drinks a lot of water and eats as many potato chips as he can and sort of pushes the fish around on his plate and asks to be excused every few minutes until both his parents are a little tired of him and let him leave.

Faolán goes outside and he sees that the woods are lit by fireflies. He catches one, cupping it between his hands and then opening them so he can see it glow, winking on and then off. He tries to release the firefly but for some reason it doesn’t fly away. It stays on his hand and waves its antenna and glows until Faolán finally brushes it tenderly away and watches it lift off into the quiet and gentle night. Then he hears his sister begin to cry in the cabin and then he can hear his parents talking and their voices begin to rise and sound sharp and he wonders what he did wrong. He felt so certain that the fish would make things ok, he had hoped forever but at least for a while. He thinks about the skull and Cali and the fish and he wanders away from the cabin and out of range of the argument and listens instead to the lake lap the shore far below the wooded path he is on, down the sandy hill with all the roots that he likes to climb, and he listens to the loons call lonely and long out over the water as they look for the ones that have gone. The sound strikes him as sad in a way he has no words for and he has that sense again of a kind of hypnotic distance, of being impossibly far away. He sits in the dark feeling very small and lost, like he is a cinder floating and spinning in the darkness over a campfire, first soaring on the hot air over the flames and then plunging, falling forever down deeper and deeper. He waits there in the night and he wonders if perhaps the darkness isn’t forever after all.

Sunday, May 12, 2024

The Basquiat Tarot v1.3

A few weeks ago, the Satrap of Saturn mentioned seeing a couple of stickers of Basquiat paintings and thinking for a moment that they were Tarot cards.  I started looking through some of his paintings online, and soon found that many of his images actually matched up pretty nicely to the Major Arcana.  I put together a deck and shared it with a bunch of friends and acquaintances, and they seemed to get a kick out of it.  I've always liked Basquiat's work, though it's been a while since I looked at it.  It struck me that there were stylistic similarities to the work of one of my favorite OSR artists, Scrap Princess.

Anyway, I've been messing with it and trying to improve it a bit for the last few weeks and I thought I would put it up here.  If anyone can figure out how to edit Boy and Dog in a Johnnypump so it fits a card without excising major parts of it, it would make a near-perfect Fool, so let me know! In any case, feel free to use the cards as an Artpunk Deck of Many Things if you have a campaign you need to end in a hurry.

























Here is a PDF of all the images if you prefer that.

Saturday, May 11, 2024

RIP Steve Albini 1962 - 2024


The most destructive thing a musician can do is start worrying about whether or not other people will like the music. Fuck other people. They're not in the band. Just make music that stimulates you and don't second-guess yourself. 
- Steve Albini

Saturday, April 13, 2024

The Moon is a Sorcerer - Effects of Lunar Light or Lack Thereof



"At the end of the lunar cycle there are two or three nights of complete darkness, called the kamwonag’anga “the one seen by the practitioner.”  Only those with a ken extended through the knowledge and use of magical medicines can see the moon then; it is “there” but “invisible” to ordinary folk.  The moon is a “sorcerer” at this time, using its own remarkable powers to effect passage from the eastern horizon where its last sliver was observed to the western where the new moon will appear.  Fish and game may be seen in extraordinary numbers during these days of tenebrous nights, but as one man said, “the moon is a great sorcerer, he is bad, he closes the game and fish and prevents us people from catching them.”  What is more, lions and other dangerous beasts “wander about excessively” then.  Moonlight is auspicious and the personified moon “beneficent,” showing man his path through the woods.  For a few days, however, the moon is a “sorcerer” and denies man “his” light and the fish and game so tantalizingly, so tauntingly placed before him." - Perfect Lions, Perfect Leaders by Allen F. Roberts

 

The moon is a sorcerer ... when I first read the passage above, this phrase captured my imagination.  What does the moon do when he is a sorcerer?  What does he want?  Many cultures seem to have associations with moonlight and madness, but what about the lack of moonlight?  The time when the moon is invisible, when he is teleporting.  What is it like to be a practitioner of the art, one who is attuned to the moonlight and what it shows?  Roll a d8 or chose one of the effects below depending on the phase of the moon.


Full

  1. The moon becomes a giant eye that stares incessantly at the party no matter where they go. Practitioners of sorcery are aware of this. Before announcing this effect, have all players who can use magic give you a taboo of some kind. Then reveal that the moon is watching them and they know they will be severely punished if they break these taboos or allow anyone they associate with to do so.  Follow through if needs be.
  2. Invisible beings are sometimes caught in a moonbeam; they are easier for a mage to see.
  3. One magic-using PC becomes maniacally obsessed with silver. They will go to great lengths to obtain silver that they see and take risks to acquire it – consider temporarily changing their alignment with regards to silver to Chaotic Evil (perhaps borrowing from Dark Sun’s water rules). They may steal from NPCs and even PCs if they think they can do it without being caught. If they have a silver weapon they will use this over all others; if they don’t have one, they will try to acquire one, etc.
  4. The full moon descends to the planet and chases those who use magic.  If they are caught they are utterly destroyed.  The specifics of this (how big the moon is when it comes to the planet, how fast, if there is a way to defeat it and how, etc) are left to the ref.
  5. The party becomes lost. Somehow they wind up in an area they cannot recall getting to – a place that is disconnected from the area they have explored. They recall walking along feeling slightly hypnotized, just putting one foot in front of another and following the person in front of them, not paying attention, lost in their own thoughts as they plod along, but suddenly all of them realize they are somewhere they have not been before, and they stop and look at each other – “I was following you.” “But I was following you!” In truth whoever was first in the marching order was following the moon.
  6. The moon takes a piece of gear from all magic using characters in trade for its light. This piece of gear simply vanishes.
  7. This moonlight, which is only visible to practitioners of sorcery, is attracted to particular people and “sticks” to them, so that they are illuminated with a soft glow for the duration of the night. They are easier to hit with missile weapons (+2 on rolls to hit) but shed light as the spell in a 30 foot radius. This is not dispel-able and is not affected by anti-magic etc. Roll some percentage for party members as well as those the party encounters to determine if the light is attracted to them in this way (or just determine it arbitrarily).
  8. Sorcerers are able to see future events; one party member is selected and can ask the ref for the likely effects of a particular action once in the time from sunset to sunrise.

Gibbous

  1. Under the strange light of the gibbous moon, the PCs look, sound, and act …. Different. Players swap charisma scores in some randomly determined way.
  2. Sorcerers can see the strange marks which appear on a PCs skin when it is viewed under the moonlight. This could be a message of some kind, or it could be Aklo or written Theolal or a map or it could be nothing at all, just a strange patten caused by the PC resting their flesh against something. The marks may or may not be permanent.
  3. The moonlight makes an object “come to life” – it becomes animate, conscious and able to speak, have opinions, etc. The animating force dissipates when the sun rises. This object is only animate to those with the power to see.
  4. Sorcerers are more conscious of ambushes and the light makes them easier to see. The party is surprised half as much as is usual, and, if an enemy party has a magic user, the party surprises them half as much as usual.
  5. A single time during the gaming session, a single PC sorcerer is able to detect ALL of the traps and tricks within sight range as they are revealed in the gibbous light (note the moonlight must shine upon these things in order to reveal them). If this ability is not used, it fades with the sunrise.
  6. A ghost follows the party around for the night, visible to those with the power to use magic; it isn’t a “monster” as such, and can only impact the material world with much mental effort, and even then the effects are subtle. It might be able to whisper a word in a PC’s ear, or distract them at an inopportune moment. It has very limited poltergeist abilities – it cannot move anything heavier than a pound / half a kilogram. But it could potentially latch or unlatch a lock, or otherwise help or interfere with the PCs. The Ref can determine if this ghost is from someone the PCs encountered in the past – but it does not have to be.
  7. Animals are inexplicably friendly towards the party, even those who might otherwise attack them or run from them.
  8. If they concentrate, sorcerers are able to see through barriers such as walls if they are thin enough. “Thin enough” is whatever the ref says it is.

Half

  1. The moon affects the value of coins. Roll a d4 – on a 1 or 2, they are worth only 50% as much as normal; on a 3 or 4, they are worth 150%. The value of the coins goes back to normal at sunrise, and the change is not obvious to the PCs; it only comes into play if they decide to buy something that evening.
  2. At precisely midnight, time stops for everything and one except one random magic using PCs. This lasts for ten minutes, then time resumes its normal flow.
  3. PCs feel hypnotized and possessed, as though an intrusive alien presence is influencing their actions. Players swap character sheets and play a different character until sunrise.
  4. All written material becomes unintelligible to sorcerers under the light of the half moon.
  5. Magic-using PCs become two dimensional for the night and are thus able to fit into the thinnest of cracks – they can thus slide under doors, into cave crevices, etc. However, they are incredibly ineffective combatants when two dimensional, since they have to adjust the angle of their attack in ways not at all familiar to them, and completely whiff three quarters of the time or more.
  6. Spells fail a quarter of the time, and another quarter of the time they are twice as potent (in terms of effect, duration, etc).
  7. There is an unusual and colorful indicator of the party’s route for the night. For example, butterflies that glow with moonlight follow the party wherever they go, or small black flowers sprout where they have stepped.
  8. A mage can see the true nature of the world under the light of this moon. Such a reality is crippling, throwing the PC into an existential crisis. They are either paralyzed with the utter meaninglessness of it all (50%) or they suddenly see no sense in the survival instinct and will hurl themselves into danger no matter how foolhardy (50%).

Crescent

  1. This light rubs against blades borne by obeah-men and practitioners and sharpens them until they will cut light.  Up to the ref if they implement this as a damage bonus or in a more narrative way.
  2. Normally docile animals become aggressive towards mages, who are attacked by possums, or racoons, or deer, or domestic cats, etc.
  3. The radiance of the moon makes one randomly chosen PC magic user recognized and adored by nearly all NPCs. They are famous and largely admired, though no one they speak with can tell them exactly why. A few NPCs might loathe the character and party, again for undiscernible reasons. In any event, they will be recognized, and an NPC might start conversing with them by saying, “oh my god, it’s YOU!” or “oh, it’s you.”
  4. The light reveals vulnerabilities to the mage. The threat range of their critical hits is doubled.
  5. The thin light of the crescent moon is surprisingly heavy – sorcerers are unable to stand, and may only crawl about on all fours until the sun rises.
  6. Sorcerers are unable to heal while exposed to direct moonlight.
  7. Invisible creatures are fully visible to mages. Visible creatures are invisible.
  8. Any magic user who is under the effects of extreme stress (including combat) has a ten percent chance to begin randomly teleporting once per round (DM could use blink spell or something else as they prefer).

New

  1. This moonlight is nonexistent and thus mages no longer need to use their muscles to hold up the light of the moon. They can use this muscle power for other purposes – refs could give a small bonus to overall STR for the night or allow a PC to complete some feat of str successfully once, even if it seems unlikely.
  2. Sorcerers in the party are unable to see attackers. These are not invisible. It is just that the PCs cannot see them; they are hidden by the sorcerer moon.
  3. A mage is able to see lies under the dark clouds of the new moon.  What these look like (and what they might be able to do) is up to the ref.
  4. Dead sorcerers left under the empty night sky from dusk until dawn are resurrected at sunrise.
  5. An important mage (PC or NPC) disappears and is nowhere to be found until a sliver of the moon is visible again.
  6. The Gods are paying attention. Calls for divine intervention are twice as likely to be successful, and sometimes a god may be called even inadvertently by using their name.
  7. From dusk until dawn, sorcerers are able to speak fluently with the dead.
  8. Sorcerers can see secrets. Magic using PCs pick another player and state something general their character suspects of that player’s character. This turns out to be true in some way, though it may not be in an obvious or expected way. For example, Player A may say “Character A suspects that Character B is not who he seems to be.” It is then up to Player B to make that true through play; perhaps player B’s character is secretly in league with forces opposed to the party, or perhaps they are a permanently shapechanged animal in human form, or are, unwittingly, the prince or king of some obscure principality even though they are currently a pauper and vagabond.


Sunday, March 31, 2024

The Death Guard - All Hail the NEW LIFE!

The Day of Resurrection is upon us!  The smallest and meekest among us, the humble single cell organisms, the bacteria and the virus, they are the INHERITORS!  Let them rise and multiply!  WOE unto he who interferes with them!  WOE!

I have been working on a 40k Death Guard army.  Given the wide range of models and opportunities for kit bashing, I wanted to try to do an army where each model was unique.  I haven't quite managed it in terms of sculpts - some of the Poxwalkers and chaos cultists are duplicate sculpts - but where there have been dupe sculpts I've done my best to ensure the paintjob distinguishes them from each other.

I am not a great painter and I am absolute SHIT at sculpting.  But much of mini painting is more about learning technique rather than being a talented artist.  I am always amazed when I see truly good work, and it makes me wish I was that good - but I will also say that knowing a few simple techniques like washing, drybrushing, and highlighting can go a long way towards making models look passable, and the more you do something, the better you get at it, even if you don't have a ton of natural talent (which, clearly, I don't).  I think it's enough to just enjoy the process.  Mini painting is one of those things that induces flow state in me - the world just drops away, I forget how anxious everything makes me when I think about things at the macro level, and all I am focused on is this one little model, right here and right now.  That alone makes the practice worthwhile for me.

RISE FROM YOUR GRAVE

First up, the Poxwalkers.  Dark Imperium came with two sprues of 15 that are duped, so I had to distinguish them with paint.  I also grabbed a box of the old Warhammer fantasy battle Zombies and did my best to convert some of those for a total of 40 walkers.










YE SHALL KNOW THEM BY THE BUZZING OF THEIR WINGS ... 

Two Foetid Bloat-drones.  I'll probably do one more of these and a Greater Blight Drone before I am done.



A Mephitic Blighthauler - I want three of these guys.  There is only a single sculpt, so I am going to do some conversion work, replacing the circles and tri-arrow design with a different Nurgle symbol from the Blightkings kit on one of them, and using a faceplate from the Bloat-drones for another.



SEETHING WITH LIFE, TEEMING WITH DEATH

A Daemon Prince.  It's hard to get this guy to look anything except goofy.  I think he turned out OK.


HULK SMASH

A Helbrute, the first of at least a pair.



HEAVY METAL

A Plagueburst Crawler, hopefully I'll do one more of these and then a Land Raider or a Spartan.



ASK NOT FOR WHOM THE BELL TOLLS...

Two Noxious Blightbringers, another conversion using the Blightkings and some Chaos Space Marine bits if I remember right.


LORDS OF THE UNDEAD

Leaders - a Lord of Contagion and below him, Typhus, Captain of the Terminus Est



DEATH COMES IN MANY FORMS

Various support units.  From top to bottom: Malignant Plaguecaster, Plague Surgeon, Tallyman, Foul Blightspawn, Biologis Putrifier






THE CRAWLING HORDE

Many, many Plague Marines.  Each one of these guys is a unique sculpt.  I did a lot of conversion using the Putrid Blightkings set - the Death Guard armor is so unique that you can get away with more medieval looking plate mail as power armor.





The dude below with the fly head and flanked by the two icon bearers is definitely Chosen of Nurgle.  Maybe at some point he will be elevated by Grandfather Ruin to Daemon Princehood and challenge the current master of the warband for supremacy.




I am in love with the cheeky Nurgling wearing a helmet below.



WARDENS OF THE GRAVE

Deathshroud Terminators



Blightlord Terminators



THE UNMADE

Works in progress - some additional Blightlord Terminators and a converted Lord of Virulence (the dude with the fly head).  A second Mephitic Blighthauler - I have a couple of Nurgle symbols from various kits and I am planning on scraping off the one that is on him and replacing it with a shield from the Putrid Blightkings set to make it unique.  Last, a humble Rhino that is in the painting stage.





The chaos cultists are not pictured - I also have a Mortarion to build (or possibly cannibalize for a converted Daemon Prince using Vashtorr - an idea I rather like) and a few other models that don't quite qualify for even WIP photos, but the rest of the army is captured in photos below.

That's it for now - I'll post more of these guys once I finish the second wave, whenever that is!