Zine Review: Black Pudding: Heavy Helping Vol. 2

Author: James V. West & Various Contributors

Publisher: Random Order Creations

System: Labyrinth Lord, OSR Compatible

Marketplace: DriveThruRPG 

 I have been looking forward to reading, using, and reviewing Black Pudding Heavy Helping vol. 2 for a very long time. That I somehow missed its publication is mark of shame upon my standing as an OSR nerd. Especially as Black Pudding: Heavy Helping Vol. 1 was everything I loved about the Old School Renaissance in one place. And doubly so as Heavy Helping vol. 2 is more of the same only better.

Black Pudding HHv2 is the collected material from issues 5-8 of James V. West's Black Pudding Zine  rearranged for easy navigation. BPHHv2 includes character sheets, character  classes, magic items, NPC hirelings and villains, monsters, adventures, a pantheon of gods, a sizable campaign setting, and a set of house rules that can be used in almost any OSR system. 

The mechanics are mostly written with Labyrinth Lord in mind, with occasional references as well to Swords & Wizardry and DCC RPG. As usual, conversion is pretty easy with the exception of the problem that Black Pudding assumes race as class as the default. Even then, extracting the racial traits from the class traits in order to convert racial classes into PC races is incredibly easy.

And as before, the art, tone, and ideas presented in Black Pudding are my kind of off-the-wall gonzo, comic-bookish, and very Punk.

What I Loved

Character Sheets

I first learned about James v West's work through his character sheets, which are frequently circulated around the internet. His intense, cartoony, Payo-influenced work really spoke to me. Whenever I play games with my family I print off some of his wild and wonderful character sheets.

Art

And the Art really does deserve some additional attention: I love James West's art style. It draws a lot from 80s skate-punk aesthetic mixed with French comics and cartoons. It is frenetic, weird, and unique. And it appears on pretty much every page of the 'zines. I don't think there is a bad piece anywhere in the book. It is brimming with chainmail bikinis, muscle-bound barbarians, eyeball monsters, serpents, slime, and cool swords.

Classes

BPHHv2 has a sizable collection of classes designed to be played in a B/X based OSR game.

Alien: a strange martian with the ability to cause potion effects with their mysterious psychic powers. 

Beastfriend: hey character with a supernatural ability to call, calm, and befriend creatures in Wild places. 

Boola: a feminine being who raises, nurtures, and is in turn protected by monsters. 

Death Witch: A Very metal magic user with reduced spellcasting ability and a chance to die every time they learn a new spell. However, they have the ability to speak to the dead and undead, command the undead like an evil cleric, and place a curse on beings that deals damage equal to their current hit points. I also have a chance of coming back from the dead every time they are killed. 

Demodyn: a tiny minor demon with the ability to conjure and manipulate fire, and who exudes a corrupting aura. 

Eyeball: a giant eyeball with arms and legs that has thief abilities and sharp perception but can be blinded by bright lights. 

The fat lady: a heavily armored female opera singer who can enhance her strength, boost her allies, or deaf and her enemies with the power of her voice. 

Feral Knight: a penitent night who has given up armor and weapons after becoming a hermit to repent for some misdeed. As the character advances they gain some clerical and paladin-like abilities, and slowly regain their ability to use the armor and weapons they shed when they became a hermit. 

Fighting wombat: a tough anthropomorphic wombat who has a higher Armor class from behind and the ability to dig at High speeds. 

Flamer: a pyrokinetic character that takes its inspiration from Johnny blaze/the Human torch of the fantastic four. 

Goon Royale: a shaggy humanoid thug with a razor sharp bite that can latch on to his foes and keep gnawing and who climbs like a thief.

Iggy: Iggy pop as a D&D class: a hyperactive bare-knuckle-brawling, shirtless lunatic that never sleeps, is almost never surprised, and gains bonuses when doing things that are stupidly dangerous.

Ninja: a slow-leveling variant of a thief with the ability to use smoke bombs, a high chance of surprising enemies, enhanced ranged attack abilities, and a chance of instant death blows on a backstab.

Norg: A lesser giant with resistance to cold and the ability to communicate with polar bears.

Orbii: tiny, round smurf-like creatures who were once created by a moon goddess to protect her daughters, their holy purpose is long concluded. At first level they get one ability such as a single spell-like power or thief skill. Once per day they can pray for the moon goddess to show her affection and gain a random blessing.

Rat Bastard: a thieving lesser were-rat.

We've already included some Orbii and Death Witches in home games to a lot of laughs. They do a great job of classy setting design to create an off-the-wall gonzo D&D world. 

NPCs 

Like the previous Black Pudding: Heavy Helping collection, this volume includes a section called "Meatsheilds of the Bleeding Ox" with a collection of 33 potential hirelings or henchmen using the classes and abilities published in Black Pudding. A few of these NPCs use classes from the previous volume and may be difficult to use if you don't have the other volume.

This isn't just a showcase of characters that use the new classes, it also includes a few standard OSR-compatible NPCs from classic B/X classes and some truly unique and quirky NPCs, like a damaged alien robot and a haggard level-0 commoner who has an infestation of invisible imps tasked with protecting him no matter what.

The characters here are strange, quirky, and fun. The way they are presented with "turn-ons", "turn-offs" and a 1-3 sentence backstory gives you a lot of material for characterizing them. I've already included several of them in a home campaign.

Magic Items 

BPHHv2 includes 3 unique spellbooks with unusual spells and rituals built around a unique theme and NPC wizard that creates a lot of flavor for the purposes of magic. It also includes 14 named unique magical weapons that are replete with bizarre powers, fun backstories, and an excessive number of puns. They are a prime example of how a magic item can be used to create incredible depth to your game.

Adventures

BPHHv2 has a selection of location-based adventures in a variety of formats including:

• a full-sized dungeon: "The Rat-Queen Dies Tonight" 
• a five-room dungeon style game: "Ghilki's Hole"
• a one-page dungeon: "Climb the Ice Stairs to Discover your Fate" 
• A detailed and well-designed single encounters: "A Trolling We Will go" 
• and an outdoor hex crawl: "The Standing Stones of Marigold Hill" 

All of which have tie-ins to material (classes, monsters, or magic items) presented elsewhere in the compendium, and have the uniquely manic, comic-book energy that makes Black Pudding unique. You can see the full range of popular adventure structures common in the OSR all in one place.

Settings

Beyond the single adventures, BPHHv2 includes a pair of extremely large evironments that are better thought of as campaign settings filled with smaller adventure sites.

"Underground Down Below" is a massive underdark "mapcrawl" style adventure that reminds me a lot of "Into the Depths of the Earth", a labyrinth with numerous small caverns and wondrous locations that have their own factions and ways of interacting to make it dynamic.

"Adventures in the North" is a massive hex-crawl in a barbaric frozen frostfell style environment complete with encounter tables, unique monsters, settlements with complex NPCs, rumor tables, and a handful of faction conflicts. It is bare-bones because of limited space, but would be more than enough to start a campaign and keep it rolling until the mid-levels.

It also has a Black Pudding Gazetteer detailing a world that fits the wild, gonzo material in the magazine thus far. The world of Yria is presented in a large world map with various regions given 1-2 paragraph details, while major city-states are given their own page with a number of random tables with encounters, sights, sound, and weather designed to do a lot of heavy lifting on world building.

Yria also has a fairly sizable pantheon of a dozen gods and a mythos that describes how the interrelate and how the gods relate to the world and each other, along with a creation myth in brief.

Random Tables and Rules Hacks

I love the random tables in Black Pudding; they are often very case specific, odd, and many of them would rarely be useful except for brainstorming, but they are great for mining for inspiration in much the same way Jason Sholtis' The Dungeon Dozen books are.

Tables with titles like "The goblin touched your stuff and now it...", "Then a robot walks in...", "The Wizard is Pissed Of and You are a Target of...", "Overheard Drunken Conversations", or "The PCs Run Across an Island of Hot Amazons..." can lighten up even the most taxing prep session and immediately lighten the tone of any adventure design.

Layout

The Black Pudding zine is hand-drawn and hand written with frenetic energy and fun art. It may not always be the best organized, but every page is fun to look at and brimming with creativity.

Growth Points 

I want a Tank in D&D Now...

One of the villains presented in the bestiary in Black Pudding Heavy Helping volume 2 is Zasto Fillistan, a viscious, ill-tempered wizard with an appetite for destruction, and a wide range of strange objects stolen from other planes of reality. Among his extraplanar curiosities is a "Wand of rapid fire" (an assault rifle) and "Shar-Man, the Rolling Fortress" (a Sherman tank enchanted to burn wine for fuel). While Earthly objects are far from unusual in D&D, that one is a pretty wild choice; and I know for a fact that my players would stop at nothing to get their hands on it, and woe betide the foolish GM who lets it fall into a PC's hands. But seeing it has made me desperately and irrationally want to include tank warfare in my current DCC campaign. 

Reliant on Content from BPHHv1

Okay, now for a serious complaint. There is a lot of material here that refers back to material in earlier issues of Black Budding. You will not be able to use about 10% of the book without either earlier volumes of Black Pudding or a copy of Black Pudding Heavy Helping volume 1. This is to be expected when you are buying a compendium of magazines, so I suppose it is to be expected, but it is something that one should be aware of before buying, and is worth mentioning on the sales page.

Consistency

Black Pudding does not really stick to one set of conventions for OSR gaming. Some classes and monsters are clearly built for Swords & Wizardry, others for Labyrinth Lord or Old School Essentials, and yet others include elements for DCC RPG or OSRIC. With a 'zine that is definitely a raw, creative endeavor I am not really surprised that it includes material that is for whatever takes the contributor at the moment, but I would love for it to be a tiny bit more consistent so that there is less conversion work to do.

Definitely Not for Serious Campaigns 

While some of the magic items and monsters could be dropped into a campaign world, Black Pudding in general is focused on weird, gonzo, and decidedly silly game play. Add almost anything from it is going to definitely make you game sillier. That's not a bad thing, but it is something that people need to be aware of.

The Underdark Map

The map for "Underground Down Below" is really dense and can be hard to read. It desperately needs to be put on a two-page spread to make it easier to process. There's just too much going on to be contained on one page and still be easily interpreted.

Nothing for Gozr?

Black Pudding's early issues had a myriad of rules hacks and suggestions that accumulated in a very tightly-presented "Black Pudding RPG", a light, fast-playing B/XD&D based game. Eventually this was separately published by James V. West as GOZR. I am truly surprised we hear practically nothing about GOZR anywhere in BPHHv2 at all, it seems like it would make a lot of sense to point players to GOZR for reference to material that had also appeared in early issues of Black Pudding, and it seems like a lost opportunity not to draw attention to it and use Black Pudding as a platform for expanding GOZR specifically.

Conclusions 

I have come to really look forward to new installations of Black Pudding. It is  frenetic, silly, gonzo, Punk AF D&D that isn't afraid of a little edgy humor. In fact, I deeply appreciate that Black Pudding knows exactly who its audience is: it is rich with spicy humor, chainmail bikinis, naked sorceresses, and goofball 'metal references. It doesn't apologize once for being very much for 80s kids who have no time for politically correct, family friendly D&D. It is happy to say "Look, we're all adults here... adults who want to take a break and be a bit childish and a little stupid" and I love it.

Channeling My Inner 10-Year-Old

My last two articles (pt. 1, pt. 2) covered the creating of a cozy campaign I had intended for my family for slow and rainy days. It was a response to the spell that the game Stardew Valley seemed to have over my wife and kids.

Personally I am quite proud of the creation, and thought it could be a lot of fun. But, sadly, its reception was, at best, lukewarm. Serves me right for jumping into a project before getting the buy in, I suppose.

So I asked my kids what they wanted in a role-playing game, and the best answer I got was "I want to do awesome stuff!"

"What kind of awesome stuff?" I asked.

"You know! Awesome!" was sadly as far as the answers got. 

So, I sat down and thought about what my kids seem to think is "awesome."

The Journal of Agatha Fizzyflask -- My Cozy Campaign Experiment (pt.2)

Created using HiDream I1 fast

In my last post I described how I created a tool that let me create a series of magical maladies, their cures, and adventure locations where the important ingredients to those cures would be found.

(I decided to skip the poisons in the end, because the material I already had was more than enough for what I needed.)

The next step was to put it all together! I envisioned a campaign where a few strangers to the Dommar valley would be stopping as their caravan waits for a rock-slide to be cleared from one of the passes through the mountains, and find themselves suddenly called to action to help on the basis that they are bored strangers, intelligent, and literate. The local witch, a she-gnome named Agatha is missing, and one of the villagers has come down with a perilous case of Frostbite Fever. They can't wait for Agatha any longer, so they beg the PCs to read Agatha's book and help them make the cure.

And this would be the core basis for the campaign. The PCs encounter some peril in the village that one of Agatha's cures or potions could resolve, and so the PCs find themselves replacing Agatha as the village herbalist, alchemist, and witch... at least until they can learn of her fate.

The Journal of Agatha Fizzyflask -- My Cozy Campaign Experiment (pt.1)

Stardew Valley is © Concerned Ape Games

My wife has been playing Stardew Valley a lot this summer; a game where you play a young person who has just inherited a farm in a fantastical world that sits at something like 1980s technology. It's what the video game industry, and more recently the TTRPG industry refer to as a "Cozy Game." Meaning it is focused on a small area, the stakes for success are failure are small: you might save a community, but the world is in no danger, and the relationships you build with the characters in the community is very much the focus.

Cozy games are not my cup of tea at all, but the game has sort of cast a spell over the rest of my family. My boys are excited to hear what has gone on in the farm and see the strange new fantasy farm animals and the useful item that my wife's avatar brings up from the dungeon. 

Well, if you want to run a good scenario the key is to figure out what your audience likes, and I got the feeling that something like Stardew Valley might make an appealing draw for a few weeks as we ease back into the school year.

So I sat down and asked myself "How can I make this interesting for me, so that I can get myself into the game enough to make it interesting to them?" 

 As I sat and pondered, my mind drifted to a concept that I have been spending a lot of time considering lately: the idea of prep as play.

My Summer was Full of Games

 I realize I haven't posted on here in a hell of a long time! My Summer was a glorious mix of in-real-life and in-game adventures.

Brier Island North lighhouse,
taken from the deck of the Mega Nova

IRL I took a family roadtrip that put nearly 3,000km on the Mazda, and along the way I attended art festivals, live concerts, joyous family functions, long days on the beach, and a whale watching tour where I got to see nine individual humpback whales and a few minke whales.

I also produced a pile of episodes of my solo RPG podcast Swords Against Madness, following my heroes getting themselves in pretty deep in their gonzo sword-and-planet weirdness, played in Swords & Wizardry.

It wasn't my only solo-gaming time spent. I took a couple of days of lazy relaxing to play through a massive chunk of Jason Sholtis' Operation Unfathomable and Odious Uplands, and had an absolute blast! 

These modules are the best example of making 1st level awesome that I have ever had the pleasure to experience. I have both a review upcoming and possible a few bonus episodes of Swords Against Madness summarizing my playthrough... with all of the running and screaming involved.

The Far Horizon: A Setting Doodle

 I've been toying with a new way of writing campaign ideas down that is fun and idiosyncratic.

Start with the name of a god or faction, and describe its members. Then name how they are troubled by another group in a way that lets you flow into the next paragraph.

So, for example:

The Faction, who are a shifty group of people that terrible at coming up with names. They are insanely jealous of ...

The Appellomancers, wizards who have the power to rename things and transform the thing at a fundamental level. They are in an intellectual feud with...

...and so on. if you have a neat quirk or characteristic that didn't fit this format, add it as a footnote to your document.

I did an extended brainstorming session in this fashion, and found that it does a great job of getting you into a creative flow, and forces the creation of a more cohesive world.

My first experimental setting created in this manner I call The Far Horizon: an arctic tundra and mountain range that has recently been flooded by settlers and refugees. 

Here's what I came up with on my first attempt at using this method:

Artful Vaguness in Setting Design

 Earlier this month, I started a campaign of Death in Space with a few friends. Life and scheduling conflicts have forced me to put playing Undeadwood on hold. 

After my solo game last Christmas, I've been itching to play more Death in Space. I love flavour of dark science fiction that DiS brings. 

More importantly, The Tenebris System is an amazing starting point for a campaign setting. It has plenty of the ideas to get you rolling, but vague enough that you can put your stamp on it without too much difficulty. In fact, The Tenebris System is a brilliant case study of the technique of Artful Vagueness. 

Artful Vaguness:

Artful Vagueness is the skill of using suggestive or open language to elicit a response in a way that encourages the other party to use their creativity in answering.

An Atari-inspired Campaign for Traveller/ Cepheus Engine

I have been tinkering with a new campaign to play at home with friends and family inspired by my current binge of old Atari games and retro sci-fi. I wrote it specifically for Cepheus Deluxe: Enhanced Edition from Stellagama Publishing, but it should run with almost any form of Traveller with a few tweaks.

8 want something lighthearted that captures the kind of fantastical popcorn Space opera that you see in the premise of 80s SF movies like The Last Starfighter or in the manuals and comics that came with early console games.

The bad guys are vile, the good guys fly cool ships, and the stakes are very high. It is definitely not like the Third Imperium... although I decided to keep some of the best ideas of that setting.

Here's my pitch:

Cepheus: IRATA

Atari Philosophy - Yars Revenge and Cairn 2e

I have been dealing with general chaos, sick family, family functions, friends in need, and an endless series of stressful diversions this month. While I get by fairly well on meditation, art, prayer, exercise, and reading, some times a guy just needs a diversion to help you blow off steam.

I am also trying to further disconnect from Social Media, because I don't see the point in just making myself angry for no profit. And what else does social media do these days? It sure as hell doesn't inform you of anything. So I have been looking for a habit to build to replace the habit* of popping on to X on my phone.

And I have found a great activity for both!

I recently picked myself up an Atari Pocket Player Pro, a little handheld device that was released for Atari's 50th anniversary by My Arcade.

Any time I need to take a quick brain break, instead of checking my feeds, I grab the gadget, and I play round of an old favourite like Asteroids, Warlords, Solaris, Yar's Revenge, or Missile Command. It takes me only a few minutes to have a satisfying round of Yar's Revenge, unlike a modern game it is easy to put down, and I will come out of it feeling happy and satisfied, rather than grouchy.

This is not a review of the particular device, but if you want some quick observations I will leave some as a comment. Why I'm bringing it up here is that I had a revelation about why I still love and enjoy these games so much, and why, even given the incredible limitations of the technology of the time, they were so darned good.

A World-Building Experiment: Heroes & Homelands (pt. 3)

 Over the past two weeks I have created a simple D&D retro-clone called Heroes & Homelands that is intended to be easily copy/pasted and edited to make new bespoke games as I need them. You can get the current version of it in .PDF here, or in .PDF, .html, .odt, and .docx formats in a PWYW bundle on itch.io.

Then I sat down and brainstormed a campaign I called "Into the Mistlands", a surreal magical adventure into something like a weird psychocosm. Here is the pich:

A World-Building Experiment: Heroes & Homelands (pt. 2)

 So, now that I have a mechanical framework, let me share with you what I have so far in terms of the campaign design.

(Unless you are someone invited into this campaign, in which case, there are going to be spoilers of a sort.)

I will be using the campaign planning techniques I described in the article Game System Hacking 101.

The Vision Statement

I want to provide PCs with a setting that is a journey into places of wonder and weirdness. The further they journey the more ethereal, strange, and magical the setting becomes; a movement from the Mundane to pure psychocosm.

The setting will have dark moments, but overall be more focused on the strange and inexplicable. Monsters are not there to torment, enslave and devour, so much as they are just so alien that their natures and human understanding just don't fit well together. The PCs will be rewarded for pushing farther from a place of stable reality ("The Homelands") and into a farther realm.

I intend to take a lot of inspiration from The Ultraviolet Grasslands and Black City.

I also intend to use existing modules and materials such as my collection of DCC modules and the Hill Cantons collection when I need quick material.

Here's my Poster Pitch:

Heroes of the Mistlands

A Mystical and Psychedelic Saga Through a World Warped by Magic for Heroes & Homelands.

200 years ago the Great Assembly, an academy of magicians in the East of the continent of Eraskas were on the cusp of bringing Man into a new golden age. Their experiments in magic had held back a terrible plague, and cleared the Eastern Marches of many of the monsters that lurked in the hinterlands. And then some grand experiment went wrong. All of the lowlands of Eraskas were covered in swirling, brightly colored mists that brought with them strange phenomena, fey creatures, and warped everything it touched. Only a few Northern kingdoms, protected by the Raski Mountian range and the Great Shelf were spared. They are called the Homelands. They have survived in an uneasy peace, ruled over by an emerging group of Plutocrats who work hard to control every aspect of life in the Homelands.

You are a villager of Tollun, a small silver-mining town on cliffs that overlook the mists. With the vein exhausted and trouble on the roads, the town is starting to become desperate for new ways to support itself. The temptation of plunder form the ruined cities of the mists is strong. And somewhere far off on the Eastern Horizon, a voice is calling those blessed with the ears to hear...

Inspired By

Movies: The Winds of Change, Oblivion, Jack the Giant Killer, Stardust, Mirrormask, Fantastic Planet

Video Games: Legend of Mana, Final Fantasy IX, Elden Ring, Divinity: Original Sin II, Starbound, Majesty

Music: Vol IV - Black Sabbath, Solar Hits - Glitter Wizard, Le Roi est Mort, Vive le Roi - Enigma

For this game, I will be customizing Heroes & Homelands.

Books: Eyes of the Overworld by Jack Vance, The Hand of Oberon by Roger Zelazny, Magic's Price by Mercedes Lackey, A Spell for Chameleon by Piers Anthony, Stealing Magic by Tanya Huff, The Light Fantastic by Terry Pratchett

Other Role-Playing Games: Numenera, Lamentations of the Flame Princess, Ultraviolet Grasslands and the Black City, The Hill Cantons, Overlight, Cha'alt

Next Steps

So this tells me a few things that I want both in the world and in the mechanics.

In the World

• A home base where the PCs feel pressed to risk the mists, either for the well-being of the community or for a higher cause.
• A place that feels familiar and Earthly (or perhaps middle-earthly) as a starting place, but that allows rapid travel into an otherworldly place.
• NPCs who care about the PCs and show them support, and who are suffering from hard times.
• A world where magic was once wondrous and made a better world, but is now constrained out of fear.
• Mysterious lands where the old and familiar has been transformed into something new. 
• Regions where the magic takes on different character.
• A stifling element to the culture that might encourage misfits to leave: an oppressive old money-driven Plutocracy, combined with a failing, power-grasping aristocracy, and a cultural climate with a touch of Janteloven might be just right.
• (I suspect an early-modern Nordic theme might be just right.)
• I don't want to make the religion oppressive: the characters will want a strong moral guiding light and a sense that there is something worth protecting and rebuilding. But perhaps a culture that abuses the religion might work.
• A divine being or place to encourage PCs to begin a pilgrimage at some point.
• Leads on lost arcane power that might make life easier in the Homelands that requires deeper journeys into the Other.
• A small fragment of a once-larger pantheon, so that PCs might discover lost ways that make their homeland make more sense.
• Some hints of the lost wonders. 
• Some lost Kingdoms the PCs will know something about from History that were destroyed by the Mists.
  

In the Mechanics

• A system for PCs and things to be warped by the magic of the mist.
• Tables for encounters and wonders that are coded by themed regions, like "illusory", "dark", "sensual", "wild", "primordial", "mechanical" and "holy." (I might be able to draw some ideas by revisiting my old Magic: The Gathering decks.) 
• Tables for encounters that get more strange and dangerous the farther from the "Homelands" the players go.
• Tables for discoveries to become more powerful and wondrous as the PCs head Outwards.
• The Homelands can have familiar fantasy races like Dwarves and Halflings, but once out into the wilds, I want new creatures... perhaps a people transformed to match their theme in each region.
• A pantheon based on an existing one, but fragmented and reduced in its scope.
• A custom class based on survival in a world where the knowledge of a standard ranger will be initially troubled. And a custom class based on dealing with the Mists. 
• I may consider removing druids and switching rangers to AD&D style Divine / Arcane casters.
• Barbarians don't fit for a starting homelands character, nor does it fit the more fantastical theme. This is a place for Kugel the Clever moreso than Conan the Cimmerian
• Dual-class rules that let wanderers change (dual-class?) to custom classes based on survival in a magical world.
• Abstracted supply mechanics to help facilitate long journeys. I might hack some further material out of Deathtrap Lite for it.
• For the sake of familiarity, a world that feels more Early Modern that Medieval. So muskets, renaissance-era muskets. Perhaps a higher base AC for PCs so that they can be more flexible in combat without. (All stuff that can be pillaged from Lamentations of the Flame Princess.)

In the next article, I will create a version 0.1 of the new RPG based on these notes.

Thematically, after thinking about people living in high, rugged mountains, mention of Janteloven, and Plutocracy, I think I will use elements of Swiss and Danish culture as a template for creating my setting. 

A World-Building Experiment: Heroes & Homelands (pt. 1)

 

So I am starting a new campaign this weekend, and I have an idea for the world that I want to develop.

I've decided that, in order to get me producing more content for this blog I am going to do my campaign planning here on the blog.using tools I have presented in a number of my game hacking and experience design articles. I am going to discuss my world ideas first, then consider how they are going to be reflected in the game, and in the end, I will have what should amount to a pretty solid custom TTRPG.

But to do that I needed a starting place.

Defining a Campaign by its PCs

Setting map created with
Campaign Cartographer 3

 I'm doing things a bit out of order here. I have quite a few articles planned, and finally a good rhythm in which to get them done, but I wanted to share an example of world-building done backwards that I attempted last month.

Quick Context

My wife and I have had constant interruptions from family emergencies to illness to extreme levels of stress that have prevented us from getting a role-playing campaign off the ground since late August. We were getting to the point where she was feeling frustrated, un-creative, and had no idea what she wanted to play.

In the past when we have had this kind of creative logjam I have simply made up a short scenario and handed her a character for it I thought she'd find compelling. We'd play a one-shot (IRL, usually a three-shot with the meandering way we like to play) and  that would be enough to get us grounded in the game, which suddenly got us a better sense of what we actually wanted to do.

A few weeks ago I decided to do both that, but also give her choices and try an experiment in world-building at the same time. I wrote up eight characters, each with a one-page backstory and statistics for Low Fantasy Gaming, one of my favourites for a good swashbuckling, high-action adventure. Each backstory had common elements, bits of history, common contacts, and small samplings of lore to play with. I figured one of them would sing to her, and I could mash up the plots to Torchlight II's act III and Diablo III's acts I & II with a touch of Warhammer: Vermintide II  and a copious amount of Legend of the Bones to have a good gothic fantasy.

I made it specifically a point to ensure that each PC had a family member who could be a useful PC, connections to some interesting cultural institution that would need some history, and would find themselves poised to get involved with one faction or another.

I've put the characters behind a spoiler if you don't want to sift through the specific content and want to just get to the conclusions I have come to.

Campaign Reports and PWYW Preview of Undeadwood WWRPG

I really enjoyed creating podcasts for my players to summzarize our last play sessions and build up lore for Xen this past Spring. I've decided to do that and take it up to 11 for my current campaign Undeadwood Weird West RPG, especially as I have been building a game for scratch that has turned out to be pretty darned good.

And so, with two episodes now live online that are a mix of developer's blog, world building, and play reports, I wanted to share that podcast with you here. It will be live on major podcasting platforms over the next month or so.

Sharing Your World Enhances it

One of the great things about sharing a world that you're creating with others is that the way others interact with it, the characters they want to be in it, and the kind of things they suggest putting in (either directly or by way of asking questions,) it can really help energize your creative process.

The World I Am Currently Building

In my game Undeadwood the player characters start as people who have been transported on a mysterious Phantom train crewed by demonic entities to a pocket dimension called Wonkatonkwa.

The characters arrive in 1869 with no memory of anything that's happened since 1867. To them, the Civil War is over and the grudges were starting to smooth over, a new host of opportunities were opening, and Manifest Destiny is at its high point in American Consciousness.

During character generation, they can find themselves in possession of strange objects. One of the Pin my test group started the game with $16, and a photograph of a recently assassinated politician from the north with an X-drawn across it. 

Wonkatonkwa is a haunted country. Hoodoo magic, Santeria, Alchemy, and Pow-wow rites all work. At night, the spectral forms of people who have died in the desert rise up to drain the life out of the living so that they can once again experience the pleasures of being a living being themselves. The Devil himself hangs out had a crossroad in the eastern part of the county. And creatures from American folklore like hodags, the wampus, and the snallygaster plague the people who have no choice but to make a life there. 

World-Building: Transporting Yourself into Your Home-Made World

World-Building as a Hobby

World-Building is a fairly old hobby. There's a form of make believe that as we come formalized over the last two centuries, and dovetails with a number of other hobbies such as fantasy role-playing games, computer games, creative writing, and Wargames.

Despite it being formalized, it doesn't generally have a community of its own. There are no great historians purely of World-Building. Few World-Building forums with large numbers of members exist. Instead, it tends to be a secondary or tertiary focus of other hobby communities. For example, creative writers often talk about taking notes as they designed the world in which their stories take place, role playing game forums discuss designing campaign worlds that support their narratives, and the Kriegspiel community where it focuses on playing a historical games, discusses how to set up a scenario with internal logic to help run the Kriegspiel.

We do know for a fact that collaborative World -Building in particular has been around a lot longer than either role-playing games for the modern Free Kriegspiel Revolution. The Brontë sisters, for example, spoke several times about a shared imaginary world they built together. They would sit around talking about a new place in that world as a part of a game they played. Then they would tell stories about the people places and things within that world in a way that presaged role-playing games pretty well. 

World Building is a Complimentary but Separate Hobby to RPGs

My map of Wonkatonkwa County,
Created using Campaign Cartographer
Poster-sized version below.

I've been going all-out trying to get Undeadwood ready for my play testers this week.

I know it is not the most efficient way of going about it, but I have been arranging and laying out the manual as I work. It gives me a great sense of accomplishment when the rules and ideas that I am putting out there look good and are easy to read.

Hunting through old pulp art for illustrations has been an engaging way to keep me inspired. And has got me reading some great 1930s Western pulp for fun.The end result is that I now have a pretty good-looking 60-page manual that is growing rapidly as I hammer away at it whenever I have a free moment containing a game engine that is custom tailored to the exact campaign experience i want

• It is designed to be extremely fast and robust.
• it is entirely player-facing.
• The way rolls are played out feels at least a little like shooting craps at a casino table.
• It is saturated with cowboy slang and mechanics to evoke the conventions of the game.
• It puts a heavy emphasis on players making hard choices when 
• Mechanics to make the environment as deadly as combat is.
• It is a system where there is magic, but it is not complex, and does not rely on things like complicated spell lists.

I embraced the Free Kriegspiel Revolution philosophy that "we are playing the World and not the Game," by making every design decision in service to making sure my players were experiencing the Weird West setting in as high a resolution as I could manage.

It is very liberating making the game to suit the world rather than the world to suit the game. You stop wondering about how you can fit or modify magic-users in your setting, and instead wonder about how exactly magic works in your setting, and how you can represent that without creating snarled and unweildly rules.

I also found that once I had a map, it was much easier to figure out what content I needed. I made some random encounter tables for Olvidado flats, the central desert area east of the big river on the map, and suddenly I knew that I needed stats for Skinwalkers and poisonous snakes, because I knew that they are something I wanted PCs to have to worry about at different times of the day.

In the ghost town in the centre of the map, I decided that there would be a haunted well with a lesser Lovecraftian horror down at the bottom of it that had infested the aquifer for miles. One that whispers terrible secrets if you have the guts to be out in the town after dark. What and how Lovecraftian horrors work in my world is something entirely down to me.

Often, I didn't feel much need to work rules out at all. That is a bridge I can cross when I get to it. If I even need to.

World Building as Hobby

It has left me with some thoughts on World Building as a separate hobby from Table-Top Role Playing Games. And it is a hobby that I enjoy quite a bit. In many ways, I use role-playing games as a medium to help me know where to start in building the world. Which,is backwards from the original AD&D method:

 In Advanced Dungeons & Dragons 1st edition, it was recommended that you make a dungeon and a village, or borrowed one from a module, and then built the world outward from the starting point as needed, often using random generation, and only when your PCs are ready to explore outward.

This isn't news, of course. World building first and then exploring later was a passion of many of the fantasy and weird fiction authors that informs Dungeons & Dragons.

J.R.R. Tolkien's Middle Earth certainly had an influence on D&D, even if it was only a integrated to increase the possible market audience for the game. Tolkein was forever building lore, languages, cultures and history for Middle Earth as a way of exploring a world where the best element of the Pagan ethos could stand side-by-side with Salvation and the Christian ideals of the Divine. It is clear that he spent a lot of time in his head just creating the nuances of the world, and then used fiction to invite others into it.His method of building maps, and then placing stories within them has remained a template for modern World-Building for good reason.

Jack Vance rightly awards for his incredibly rich world building with the Dying Earth. He set a new bar for creating a rich and immersive experience for his readers... and for leaving so many questions you always wish you could go into it and find out more for yourself.

Edgar Rice Burroughs' later Pellucidar and Barsoom books became less about a cowboy story of a hero settling a new and untamed land, and became about an adventurer experiencing a strange world with totally alien history and ways. The Chessman of Mars is a perfect example of this: John Carter takes advantage of the fact that he lives in a world of wonder and ancient advancements, seeks out some lost technology or knowledge that might repair Deja Thoris' broken spine, and along the way encounters strange and terrible beings who breed perfected slaves in order to steal their bodies when they have need of them (Probably the inspiration for Stargate's Goa'uld). This is definitely not the Western saga in SciFi drag that the first couple of John Carter novels were.

 Roger Zelazny's Amber has a rich cosmology of shifting planes in multiple worlds as characters move through. Often taking advantage of the differences in flow of time and availability of resources to make themselves rich and powerful on different worlds. And where the stakes of the game are the cosmos itself, with the enemies taking advantage of their own quirks of the laws of the magic of the setting.It is a compelling and challenging series to read, and deeply immersive precisely because Zelazny had spent so much time exploring the possibilities. 

As kid I developed a fascination with the world of Pern. I honestly didn't have much access to the novels. I lived way out in the country and the public library was a 50 minute drive from home. But, for Christmas when I was 11 my aunt gave me a copy of the Dragonlover's Guide to Pern, which is a beautifully illustrated text covering nuances of clothing, creature anatomy, early history, and the geography of Pern. I could look at that book for hours and wish that I had a chance to go and visit it.

At the time I lacked any knowledge of an existing Pern role-playing games, nor did I have the design skill necessary to build one for myself, but I certainly spent a lot of time there in my imagination thanks to the richness of details that that book could give me. 

Thanks to all that detail, I yearned to be able to explore it first-hand.

Role-Playing as Exploration Tool

Role-playing games offer a new way other than reading to enjoy the complex and nuanced worlds that these authors created. And I suspect the opportunity to go fighting Tharks in Barsoom or pitting your wits against the Courts of Chaos in Amber was a big driving force behind the development of role-playing games.

Ed Greenwood created The Forgotten Realms about ten years before Dungeons & Dragons really hit it stride. The original short stories created a view of Waterdeep and other places along the Sword Coast from the viewpoint of a canny merchant living in a fantasy world that once connected to Earth by magical portals, but those portals had become mostly closed, connected to realms of darkness, or were taken over by evil cabals. He saw the potential in Dungeons & Dragons to allow him to step into and explore his world and share it, and so adjusted the Realms to fit the D&D paradigm, and shared it through The Dragon. And his efforts eventually led to The Forgotten Realms going from his private World-Building creation to the default setting for D&D.

I think that is also why we saw the incredible success of Dragonlance. Not only did you have the Dungeons & Dragons modules, but you also had the deeply engaging novels by Weiss and Hickman that created a world that one would really want to go see and explore. Characters one would love to be able to meet. Then D&D offered you the portal to do exactly that.

I also think that you can safely say that Matthew Mercer's World building in Critical Role is a good portion of its success as well. There is not a session of the first campaign that I watched where he doesn't build up some details about the culture, people, and landscape of Tal'Dorei, and there were a lot of fans who enjoyed that part of the viewing experience, even if they weren't Dungeons & Dragons players. Prices back at the colossal sales of the Tal'Dorei world books for D&D were in part people who never had and never intended to play Dungeons & Dragons, but we're intrigued by his world building.

I have yet to have a chance to look at Daggerheart, but, I expect that the richness of the material that is being built out of helps build a game that has some interesting flourishes and nuances that will set it apart from its Pathfinder / 5e roots. 

Why Understanding That World-Building is a Separate Hobby is Valuable

When you understand that World building can be its own hobby, and that there's a rich tradition and a great number of examples and tools available for you that are not directly linked to role-playing games, you suddenly will find yourself with an incredible range of resources available to you

And when you embrace the idea that rules are, and ought to be hackable, or the FKR idea that you play the World first and let the rules be subordinate to its logic, it can allow you to create a far more tailored role-playing experience for your group.

And as a corollary to that, as they are separate hobbies, you needn't necessarily engage with World Building if you don't want to. It isn't required in order to run a fun, loose, beer and pretzels kind of game. So much DMing advice is actually rudimentary World building advice that doesn't need to be there..

It's one of the reasons why I recommend anyone who runs role-playing games check out the AD&D1e Dungeon Master's Guide. It had within it an endless supply of tools for building a game that didn't need the world to exist a priori. It allows the DM to explore and experience it as well at the same time. Chaos, after all, is one of the best sources of fun 

Back to Undeadwood

In Undeadwood, I started building the game in order to create a fast and easy system for building Cowboys who fit into a pulp Western as you might read and Lariat, 44 Western, or Spicy Western Stories. 

The game didn't start really developing the richness it now has until I had what I needed to offer that character generation mechanic to my friends then put the rules aside, and instead drew a map.

Once I had a map broke it into 10 sections, I made promise to myself that would make it last four pages of each area, complete with two settlements for each, several points of interest, and some terrifying supernatural threat lingering at each location. Once I staterd on that project, the game really started to come into its own, and I really started getting excited about making it.

And it made the rest of the project flow so much more quickly, I no longer need to ask what the game needs in it. Now I just need to get the time to get these ideas out of my head and onto paper.

Over the next couple of them articles, talking a little bit about the World Building separate from role-playing games, then the complexities of role playing games using role-playing games to explore them, then discuss how to play a role-playing game without the burden some task of building a world in the first place.

In the meantime, check out this awesome map!! I am very proud of how it turned out. Created with a mix of Photshop, GIMP and Campaign Cartographer.

Enlarge it to see more!

Summer of Game Development

 Summer has come and gone. And like many others, I'd hoped I create more content than I did. Especially here on Welcome to the Deathtrap,

Over the Summer I ran a campaign set on Hot Springs Island that I specifically structured for more casual play. I framed every game session as a foray onto the island from a neighbouring colony. If players didn't get off the island in time, the boat would leave without them.

I used dynamic rumour tables to give them several some things they could choose to do except would only necessitate one or two city encounters or possibly a small five room dungeon. As it was the summer and many of my players are parents, it was quite hard to wrangle enough people and a few sessions ended up being nothing more than a cat between them myself and one or two players.

Overall it was fun and my players came out of it with a few excellent stories, which I consider the mark of a game well dungeon mastered.

Pitching New Games

Now that the summer is over, I don't particularly care too continue with Hot Springs Island, however. I've had an itch to do some World building and some rules hacking. And, as it stands, life is a little hectic for some of my players and have not been able to show up for many of my Silver Gull campaign sessions. Creating a game with that same ability to just drop in and out is critical if I want to keep playing games with players aged 34 to 60 on weeknights.

So, I prepared for game pitches in the last week of my Summer travels that would both meet my desire to try and create something new, and continue to enable players to drop in and out, while taking advantage of the fact that they will be available a little more often than they are over the summer.

The pitches were as follows:

• The Temple of Elemental Evil played in Advanced Dungeons & Dragons, eventually fused with the giant saga, and the underdark saga, possibly going all the way down to the demonweb pots.

• A Norse themed campaign running in Low Fantasy Gaming where the player characters would play new arrivals to a colony at the edge of the world we are humans work with the easier to drive the frost Giants from midgard.

• "Undeadwood," A pulpy Weird West game where the characters find themselves in an extra planer realm parallel to Texas where creatures from American folklore like hodags and jackalopes and thunderbirds are real, the hungry dead walk the desert at night, and the Devil himself will gamble for souls.

• And finally, a two-fisted post Noir set on a 1950s science fiction Space Station. Essentially a fusion of Babylon 5 and LA confidential. With a twist of 70s SciFi Sleaze, which I tentatively called "Two-Fisted Tales of Omikron Station"
  

For those last two prompts I decided that system would be to be determined. Whenever I was going to settle on, I would need some heavy customization to make it work the way I want it to.

Jumping the Raygun

I got excited enough about that last prompt that I put some serious thought into it and started creating a game for it using the Drakken engine, with liberal borrowing from Star Adventurer and Alpha Blue.

I was, after 4 or 5 days of tinkering in my free time to the point where everything that needed to be overhauled for Drakken had been, and I'm to the point where I'm adding new content and tables to make a complete game. 

I figured that it was the most likely pick for my players, and even if it wasn't, it's a setting I will pitch again in the future, and something that my readers might enjoy playing.

Hold on There a Minute, Pardner...

Of course, they surprised me and went for my Undeadwood pitch. Quite frankly, the only game I have that even remotely if it's a weird West setting in my collection is Cowpunchers by the Basic Expert. 

Now, I suppose I could have tacked hey magic system is a monsters onto Cowpunchers and done just fine. It's a cool system that I bought ages ago and haven't had a chance to play. But, I wanted something just a little bit lighter on the rules, because I play in a very limited time window, and want to keep the burden of character generation down to an absolute minimum.

And so I have started writing not one but two games and already made significant progress on both.

I will be posting a lot of thoughts about the development process as I go, as it has really got me thinking about Word-Building in particular.

Steal This Map!

 Whether or not you are listening to my semi-actual-play podcast Swords Against Madness or not, you might find the map and encounter tables I created for the podcast worth stealing (1 hex = 6 miles).

Nar is the island where the campaign is currently set. A tropical island colonized long ago by a culture of explorers, the Aldi Guilds (inspired by Mystara's Minrothad Guilds), and then abandoned when the motherland suffered an economic collapse.

My Go-to Pantheon to Plagarize for Fantasy Religions (Majesty)

I am addicted to the process of world-building. Creating new places with interesting cultures, unusual people, and compelling disasters is something I never get tired of. I have home-brewed dozens of worlds.

In fact, if I have a weakness, it is that I have a hard time staying happy with a world for very long. It is a rare thing if I keep a world running across multiple campaigns. There have been only two of my home-brewed worlds that have seen more than one campaign.

Building worlds and hacking a game to make it fit that world give me incredible pleasure... except for one pain in my rear end: gods. I have had a terrible time in the past coming up with gods. I don't generally like using real-world pantheons for a number of reasons. I have used the Greyhawk, Eberron, or Golarion pantheons from time to time... but they have some pretty significant limitations to them: