Adventuring by Other Means

James of Mythic Fantasy takes aim at the doctrine of combat as fail state. I agree with the sentiment, especially contra the strong position that getting into combat always indicates poor playing. That said, combat can be tedious and boring, particularly if repetitious or lacking distinct circumstances.

This is engaging combat:

—Le Guin, A Wizard of Earthsea, chapter 1: Warriors in the Mist

The D&D equivalent: showdown against 30-300 bandits with a fog spell and some tactics.

(I imagine someone may object that Ged’s spell is more powerful than fog cloud. Well, of course. Ged is the the future archmage of all Earthsea. You go to war with the army you have.)

Also: remember to use morale rules.

—Fog Cloud, from AD&D (First Edition)
—Fog Cloud, from Fifth Edition D&D


Team Actions

Grenadier Miniatures, kit 2004—Hirelings—working together hopefully?

Some actions are best thought of as occurring at the team level, as if an adventuring party itself is acting. However, in most tabletop roleplaying games the adventuring party lacks a record sheet—for many good reasons that are beyond the scope of this post. Only individual adventurers have record sheets. So how is the team to take an action? A proposal: to resolve the outcome of a team action, have the most effective and least effective team members both make a check. Interpret two hits as success, one hit as partial success, and two misses as failure, lack of progress, or whatever makes sense for the context in question1. Exactly which checks apply depends on the base game chassis. Ability checks are an obvious candidate, but so is something like the OD&D d6 search roll.

This approach has several attractive properties, including advantaging groups made up exclusively of experts, incorporating the influence of weak links while maintaining incentive for risk taking, being simple, and constraining the numerical range of outcome numbers—what the D&D 5E developers called bounded accuracy—which helps prevent numerical inflation.

For comparison, some other approaches include: having everyone role individually—which is sort of obnoxious—and battle stations—which is fun but inflexible. Taking a battle stations approach, different adventurers each perform a role appropriate to the task at hand, making ability or skill checks to determine overall team effectiveness. Battle stations systems are inflexible because they tend to be domain specific. For best results the system should dictate, or the referee should determine beforehand, the various roles, assigning them evocative, thematic names, and establishing the right game systems or checks to use mechanically. Battle stations take a lot of work to implement in a satisfying manner.

A sufficiently strong member can carry an entire team, but over the course of repeated tasks, even a strong character will stumble occasionally. Additionally, using two checks in this way maintains greater tension around a particular uncertain outcome, which seems more desirable to me than the everyone roll approach, which I see somewhat often. For example, everyone make an intelligence check to see if you know whatever. Given a moderately sized party, it is almost guaranteed that someone will make the roll, in which case why bother? The two checks approach I propose here makes individual adventurer skill, ability, or specialization matter but avoids making it matter too much.


1. This takes a 2DTH (or “advantage”) style resolution system and spreads it across two player characters.

Planning Hereafter

The Pluspocalypse draws nigh. What are we to do? Well, for my part at least, this is where the wind has been blowing.

In terms of social media, activity seems to be congealing around three platforms: Twitter, Discord, and Reddit. I occasionally check Mewe, mostly for the vibrant Necrotic Gnome community. I have updated my About page here with links to other online game-relevant presences, guises, and manifestations. I plan to keep this up to date. All have drawbacks, but the value of social platforms comes from critical mass of users and activity rather than features.

In terms of experience, Twitter seems to be closest to Google Plus, based on my experience over the past month or so—despite lacking any features approximating Google Plus collections, which is a substantial shortcoming. Two tricks helped Twitter work better for me: 1) turn off retweets from people that you want to keep following but that have interests aligning only partially with your own and 2) add people to an “inbox” list to use as your primary view. You can keep the membership of lists private to avoid hurting any feelings. I find the default Twitter feed algorithm unpleasant, but there are clients which present chronological feeds. I use Twitterific on iOS which is okay so far. I post pseudo-privately to Twitter, just like I did on Google Plus. Bonus: on Twitter, you get to see my Zelda: Breath of the Wild screen shots.

Discord has been building social momentum, especially following the social reconfigurations of last week. I have been checking in on Chris’s OSR Discord server most regularly. A highly balkanized set of smaller Discord servers also now exist, based around personalities, publishers, and particular games—Melsonia, Swordfish Islands, Hydra Collective, and Mothership, for example. I am unsure if there are direct links to any of those, but if you are interested, join the OSR server and ask around. Luka’s Stratometaship (WTF blog) and Ben’s Questing Beast (Questing Blog) Discords exist for patrons. This collection is far from comprehensive. There is less substantive discussion on Discord compared to Google Plus, but it does provide a way to keep up to date—perhaps too much up to date—with what everyone else is doing. Discord shares with Google Plus proximity to actual gaming, as it has feature supporting voice and video conferencing, and I see many people coordinating active games. Just keep in mind that Discord is the afterparty cocaine of social media. You end up wondering where the evening went with so little to show for it.

Reddit r/osr is okay and has lots of activity, but also—as with all of Reddit—has the downsides of moderated forums. The r/artpunk sub has potential but is small.

I am expanding the scope of this blog, though only ever so slightly. Observant readers may have noticed some recent additions to the list of blog post categories, including Bibliophilia, Moving Pictures, and Words. Bibliophilia and Moving Pictures should be self-explanatory. Words is for discussion of relevant non-game texts, such as novels, histories, and so forth. I have posted this sort of content here before, though unsystematically and infrequently. An example for Bibliophilia is a past review of Inventory v.1 (an illustrated chapbook of often wondrous gear by Sam Bosma). An example for Moving Pictures is a past review of Jupiter Ascending. I will continue to only cover media relevant in some way to tabletop roleplaying games, but there may be slightly more posts in this vein. It seems likely that scene blog content in general will increase. The tools I use in this area, apart from this blog itself, are Feedly for central feed management and Reeder for mobile feed reading (it can use Feedly as feed source). Jacob H. writes good things about Inoreader.

Friendly reminder: you may wish to download your past Google Plus activity using Google Takeout. Though you may never actually do anything with it, a few years down the line you may remember that some conversation you hosted had some useful insights. For me, it makes the most sense to take an archive of only the Plus-related data (which are Google+ +1s on websites, Google+ Circles, Google+ Communities, and Google+ Stream). I think this will only preserve content that you posted or managed, and so your comments on the posts of others will likely be absent.

Eschatologies

Philosophia Reformata (source)

To make anything very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes.

—Burke, A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful

What follows is a roll all the dice apocalypse generator. I designed it primarily as a tool to help create atmosphere and structure challenges for a new campaign, but it could also be used for entries on an event table, if you like to watch the world burn and were so inclined. Just drop the 1d4 component, or replace it with some other determination, such as the changed color of sunlight in the brave broken world of tomorrow or the pattern of fissures spreading over the moon.

To sketch the outlines of an apocalypse, use the following six determinations. Since indicates for how long the apocalypse has obtained. Cause indicates what precipitated the apocalypse. Obtenebration indicates what conceals the ruined world from the view of mortals. Monsters indicate what still lurks in the wilds. Redoubt indicates where humanity endures. Doom indicates the immediate nature of destruction.

Or? Maybe your players found a portal. This is where it leads.

Click image for new result (opens a Google Sheets spreadsheet)

Since (1d4)

  1. As long as anyone can remember
  2. Terminating the previous cycle of empire
  3. Three generations past
  4. Yesterday and ongoing

Cause (1d6)

  1. Reckless wicked sorcery
  2. Final war
  3. Primordial monsters unchained
  4. Divine judgment of human hubris
  5. Imprudent excavation
  6. Extra-dimensional incursion

Obtenebration (1d8)

  1. Smoke and noxious gasses
  2. Boundless fog
  3. Extinguished sun and endless night
  4. Perpetual eclipse
  5. Storms of blood, slime, or ash
  6. Snow and ice
  7. Submarine: drowned world or under the ocean
  8. Inhospitable void: wilderness is outer space or Ptolemaic firmament

Monsters (1d10)

  1. Embodied divinities
  2. Restless dead
  3. Inscrutable giants
  4. Avenging angels
  5. Possessed animals, people, or objects
  6. Fears and nightmares made flesh
  7. Mass delirium, lunacy, or madness
  8. Gigantic, fecund fauna and flora
  9. Legions of hell
  10. Robots

Redoubt (1d12)

  1. None remain
  2. One final, fortified settlement
  3. Arc designed to preserve humanity
  4. One small village strangely untouched
  5. Isolated walled towns
  6. Underground bunkers
  7. Dungeon level one: waste above and underworld below
  8. Abandoned castle
  9. Wizard’s seclusium
  10. Ship run aground
  11. Small nomadic camps
  12. Huts clustered around a lighthouse, bonfire, or hoard of lanterns

Doom (1d20)

  1. Restless fault lines
  2. Ancient war machines unleashed
  3. Colossal monsters rampage
  4. Pestilence
  5. Plague of locusts
  6. Vanished sun
  7. Falling stars
  8. Land of the dead annexes the realm of mortals
  9. Invasion of extra-dimensional beings
  10. Flood
  11. Sky flooded by the parching rays of nine incessant suns
  12. Armageddon bombs
  13. Volcanic eruptions and rivers of magma
  14. Poisoned, blighted land
  15. Sunlight turns mortals to stone
  16. Reign of Satan
  17. Feral beasts
  18. Season of dragons
  19. Drought, famine, and mass starvation
  20. Playground of gods

I release the contents of this post under the Attribution-NonCommercial 3.0 Unported (CC BY-NC 3.0) license. It is available as a PDF for ease of offline use and printing; see downloads page.

Repercussions

This post is for people that have played or discussed tabletop roleplaying games with Zak. If the context seems unclear, you are probably outside this audience. That stated, this reflection seems to belong here.

I am going to write about online aggression. Offline aggression has more substantial consequences, especially when embedded in professional or romantic relationships. I discuss online aggression because that is what I can speak to honestly, rather than to equate the two forms of aggression. While Zak’s behavior online and in his personal life may share some causes, the second deserves more severe condemnation.

I retained greater distance from Zak than some, but was close enough that I feel warranted and perhaps obligated to discuss my experiences. I have interacted with Zak online since around 2012. We played in a handful of online FLAILSNAILS games together as players. I defended Zak once proactively against charges of homophobia, when he was in the midst of some controversy, and more low key in many other instances. I met Zak and Stokely in person at Gen Con in 2017. I saved seats at the Ennies for him and some of the other Lamentations folks.

Not long ago, Zak preemptively blocked a friend of mine for associating with the wrong people, seemingly out of the blue. This was a person who had gone to bat for Zak against unfounded accusations repeatedly in the past. At the time, I assumed Zak must be lashing out to deal with something else going on in his life. This was the most recent instance of several where I found myself using back channels to warn others about potentially engaging with Zak. For example, in a direct message on January 11th I wrote:

“I know you already do, but probably best to take care around Z; I don’t know what’s up with him.”

There are others. In August 2018, in another direct message I wrote:

“I can’t entirely tell whether Zak just has a blind spot around Apocalypse engine games due to the way he thinks or if he is fighting against the style and framing more instrumentally.”

Other people recount similar experiences. Patrick (of the False Machine blog) wrote a book with him and ended up totally disavowing any relationship. All of which fits into a broader pattern.

My approach to discussion differs from Zak’s, but participating in his discussions to the degree I did was a form of passive assent. I disliked how his approach would spill over into adjacent spaces and how he would involve only tangentially related grudges whenever possible. His scorched earth tactics probably did discourage some trolls and prudes, but they also drove away many other valuable voices. The collateral damage was too high.

People who criticized Zak for whatever form of prejudice were missing the real issue. Zak was, as far as I can tell, an equal opportunity aggressor. I have been in his gaming circles ever since he encouraged people initially to join Google Plus, based on the promise Hangouts technology presented for Constantcon and other online gaming. Accusing him of prejudice, so absurd for anyone who knew him even in the slightest, provided cover for his aggressiveness and lack of compromise, which caused indisputable harm. People stopped engaging online to avoid having to deal with him. I wish I had been there more for friends and acquaintances that Zak assailed directly or for those caught in the splash damage.

People are, in general, uncomfortable with holding inconsistent attitudes toward related objects. Understanding every positive thing Zak did as a form of manipulation is almost certainly a mistake. People are complicated. Assuming people can easily be classed into worthy and worthless was Zak’s consistent conceptual error. I try to avoid this error, but being welcome in social spaces is contingent upon behaving well, on balance, over time.

Zak, if you read this, a few points. First, putting your statement on a separate blog was cowardly. It only makes sense as a search engine optimization technique, to help keep this dirt from sticking to other aspects of your online presence as much as possible. In contrast, Mandy and Vivka posted their statements on their personal social media accounts. Comport yourself by your own rules and do the same, even if you lack the sense to engage in further reevaluation or introspection. You may feel the urge to argue about this or some other tangential detail, but my opinion or belief is irrelevant in this matter. The only thing you can do is demonstrate by your actions a better character. I believe that everyone deserves the opportunity to tell their story. Even people that have done worse things than those alleged. You have that opportunity elsewhere, however, and everybody knows your blog, or can easily locate it using a search engine, so I feel no obligation to host your response here or link to it directly.

Signposts and x-cards

Signpost: “Prepare To Die” (source)

People have developed a lot of systems to manage conflict, such as laws and courts. It is good that people can appeal to courts and other bureaucracies. Society would probably work poorly without that backstop. Explicit conflict management systems have some rather large downsides, however. “I am so happy this is going to court!”—said pretty much nobody ever.

The x-card is like a (mini) bureaucracy, designed to handle conflict that may be invisible initially to some participants. The x-card functions reasonably well as a tool (and works best if everyone is on board), but can suffocate play if allowed to metastasize. It is unsurprising to me that interaction with a club bureaucracy prompted this post by Emmy.

Most interaction between people occurs based on norms, including conflict management. The naive approach to managing conflict using norms in tabletop roleplaying games is the almost content-free “don’t be a dick” (almost content-free because it defers the work of creating shared understanding). For managing conflict between players, my opinion is that techniques such as writing play agendas and setting content expectations have greater promise and fewer of the downsides inherent in less-flexible procedural approaches (such as the x-card).

It might be useful to people that care about such things to come up with a catalog of approaches to managing conflict in games between players using norms. What techniques exist beyond written play agendas and signposting potential content?

(The proximate cause of this post was Scrap’s discussion here, soon to be lost.)

OSR play behavior

(This is part of an ongoing discussion of the 2018 OSR Survey results. See the table of contents at the bottom of this post for links to the other parts.)

Earlier, I reported the OSR ratings of various games (as in, level of agreement with the statement: I think the game ________ is OSR) and also which games respondents reported playing. As I noted in that post, these variables allowed me to score individual responses on degree of OSR play behavior. Respondents themselves, in aggregate, determined what OSR play behavior entails. In addition to being related to several other variables that you might expect (such as self-declared participation in the OSR, degree of identification with the OSR, and having bought an OSR product), degree of OSR play behavior also positively predicts blogging about tabletop roleplaying games generally and belief that the OSR welcomes diverse voices.

I came up with the idea of scoring respondents on OSR play behavior after designing the survey, so the set of games rated on OSR-ness differs slightly from the set of games respondents could indicate they were currently playing. However, there is a substantial overlap between the two sets. This set of overlapping games contributes to the OSR play behavior score. To create an OSR play score for each respondent, I calculated an average of play scores (playing = 1, not playing = missing value) weighted by game OSR rating, which ranges from 1 to 7. For example, a respondent that indicated playing Vampire: The Masquerade (OSR rating = 1.90) and B/X D&D (OSR rating = 6.14) would have an overall OSR play score of (1.90 + 6.14) / 2 = 4.02. One of the options for currently played games was Home-brew (OSR), which I decided should have an OSR game rating of 7. After all, what game could be more subjectively OSR than one the respondent categorized themselves as Home-brew (OSR)? I determined this scoring scheme prior to looking at any results.

1634 respondents reported currently playing some games for which I had OSR ratings, allowing me to score those responses on OSR play behavior. The mean rating of OSR play among these respondents was 4.41 (SD = 1.44, min = 1.75, max = 7). The distribution of this score was roughly uniform, though there were spikes around 2.87 (n = 198), which corresponds to respondents that reported only currently playing D&D 5E, around 4.93 (n = 64), which corresponds to respondents that reported playing D&D 5E + Home-brew (OSR), and around 7 (n = 96), which corresponds to respondents that reported only currently playing a Home-brew (OSR) game.

Each response gets an “OSR play behavior” score

This composite play score is obviously imperfect, as respondents indicated play dichotomously rather than by degree, the set of games available to select was incomplete, and the measurement of game OSR-ness was itself imprecise (though derived empirically from the beliefs of respondents). However, the relevant question is whether the rating captures some meaningful variation in degree of OSR play behavior rather than whether it perfectly describes each respondent’s play behavior.

Within sample, the OSR play behavior score has some predictive validity. For example, OSR participants have higher OSR play behavior scores (t(1630) = -18.13, p < .001, MOSR = 4.68, Mnon-OSR = 3.26, using a two-sample t test with unequal variances). Looking at the same relationship another way, I regressed the OSR play behavior score on effects-coded self-declared OSR participation (omnibus F(1, 1628) = 283.61, R2 = .15, b = 1.42, SE = .08, t = 16.84, p < .001, 95% CI [1.25, 1.58]). In English, people who said they participate in the OSR (yes/no) do actually report higher OSR play behavior (the R2 = .15 value means that self-declared participation explains about 15% of the variance in OSR play behavior). Additionally, people with higher OSR play scores were more likely to report having bought an OSR product, according to a logistic regression (b = .51, SE = .07, z = 7.21, p < .001, 95% CI [.37, .65]). This is somewhat exploratory, but strongly suggests the score is capturing some meaningful variation in reported behavior.

Now for some of the more intriguing relationships, such as with blogging (Do you have a blog where you post about tabletop roleplaying games? Yes/No). OSR play behavior positively predicts blogging about any tabletop roleplaying games (b = .32, SE = .06, z = 5.55, p < .001, 95% CI [.21, .43], using a logistic regression). General play behavior, however, measured as the number of different games played, has no relationship to blogging (b = .09, SE = .06, z = 1.55, p = .121). The logistic regression equivalent of R2 is pretty low for this relationship, around 2%, so the importance of the relationship may be small, but the point is comparative: something about OSR play inclines people toward sharing long-form thoughts about tabletop roleplaying compared to just playing a wide variety of games.

Finally, respondents with higher OSR play behavior scores reported the OSR to be more welcoming of diverse voices (omnibus F(1, 1628) = 129.69, R2 = .07, b = .46, SE = .04, t = 11.39, p < .001, 95% CI [.38, .54]). The text of this particular item was: The OSR welcomes diverse voices (1 = Strongly disagree, 7 = Strongly agree; M = 4.79, SD = 1.70, n = 1823). There are a few potential interpretations of this result. Optimistically, people walking the talk (that is, respondents that actually play consensually-defined OSR games) have a more positive view of the degree to which the OSR is welcoming. Pessimistically, there may be some selection bias, as people who feel the OSR is unwelcoming may have been less likely to participate in the survey at all. Anecdotally, I did observe this reaction from a handful of individuals. As a crude robustness check, I arbitrarily changed 50 of the “welcoming” responses (around 2% of the sample) to be 1 (Strongly disagree), simulating absent negative responses, and ran the same analysis again. The result held, suggesting that this sort of selection bias would have minimal effect on aggregate beliefs.


OSR survey report

Table of contents

  1. Purpose & Participation
  2. What About the R?
  3. Meaning Respondents Associate with OSR
  4. OSR games
  5. OSR Attributes
  6. OSR Play Behavior
  7. Buying, Blogging, Creating

Woodfall review

Woodfall bills itself as a dark fantasy mini setting. I would describe it as a setting toolkit, inspired in form by Vornheim, but with less emphasis on content generation tools and much more emphasis on particular realized locales. There are more fish in this basket than manuals about how to fish or tools for fishing. I backed Woodfall based on the strength of the sample art, and if you appreciate the gloomy storybook aesthetic (which I do), the final product delivers on that dimension in spades. For the physical book, the format is roughly digest sized perfect bound (print on demand) softcover. Within are 32 pages describing the settlement of Woodfall, 11 adventure locales of several pages each, and nine pages of new monsters. There are also subsystems for harvesting resources from monster hunting and crafting items. The PDF is 96 pages including cover and everything. Overall, the writing is concise, though more functional than artful, and play usability looks high. The art is profuse and evocative. On the downside, Woodfall’s tone is saturated with unsubtle, somewhat distracting satire.

Though I described the writing as lacking artistry, the illustrations more than make up for any shortcoming in the prose, and on balance the writing is fine but unexceptional. In terms of visual style, I find Woodfall to be one of the more enjoyable independently produced RPG products to have come out over the past few years. Even just the map of the Woodfall settlement alone is a fantastic, memorable locale that faces off respectably against any other town I can bring to mind from other modules. Memorable settlements breathe life into hexcrawls, but remain scarce as supplements. Visual presentation grants elements that might otherwise be overly prosaic or tedious a gloss of game utility, such as a a diagram of economic resource flows, though proof of this potential will be in the play. The visual component of Woodfall was clearly a labor of love, and nothing feels phoned in. Woodfall’s second strength is unfailing attention to game utility, with consistently inventive and generally non-generic ideas. Much of the complexity lies in relationships between elements. For example, the presence of a particular non-player character in the wilderness dampens the danger from a particular monster. Players can learn about and make use of this fact creatively. Another, in the form of a wandering monster: gossip earfish lurk around the swamp listening in on conversations have tiny mouths and communicate exclusively in very faint wispers [sic: caught a typo] (p. 74). These two examples only scratch the surface, and are the kind of thing that makes a module more than simply an exercise in stocking a map. The result is a rich, articulated framework that looks like it will respond in satisfying ways to player actions and choices.

That all sounds fantastic, but Woodfall does have one substantial weakness, which is a somewhat off key and inexpert sense of humor. Unlike Melan (see here for his review), I read Woodfall’s subtext as satirical rather than po-faced, more Addams Family than revolutionary vanguard. However, even tongue in cheek, the tone is a bit much and somewhat awkward. For example, the fairy liberation front—a resistance movement among faeries which fights against the enslavement and exploitation of faeries (p. 31)—is the kind of charming nonsense that often (inevitably?) emerges from table chat organically. I consider this to be a true shortcoming, rather than just an expression of my taste, and independent of any particular politics, because the players at my table (or yours) will readily add this finishing noise themselves, and it will be funnier, tailored as it will be to events of the moment and the idiosyncrasies of your table. Noisms’ post about D&D as straight man expresses a similar idea in a more general way.

A handful of other points deserve mention, both positive and negative. The hex map is usable and attractive but lacks coordinate numbers. The secondary locales are evocative and well-illustrated, but only lightly detailed, so referees that prefer more complex puzzles or challenges may feel poorly served (though as noted above, the relationships between the elements are rich with potential for exploitation by creative players). The swamp factions matrix—which captures alliances and enmities—is filled with mostly game relevant entries, but would be more useful with text labels accompanying the faction icons. As written, the setting of Woodfall secularizes sorcery in the presented setting, which tilts the atmosphere toward disenchantment. Curiously, this is at odds with the evocative illustrations. A referee running a low magic game will need to adjust descriptions accordingly. Finally, there are few crafting systems available for classic/OSR games, and the approach here, fully illustrated of course, looks both tractable and fun.

Personally, I consider the overbearing humor to be a venial sin, especially given Woodfall’s many other strengths. Unfortunately, the increased reliance on associative rather than deliberative thinking in the current intellectual climate means that many people will likely tune out before giving it a chance. Put another way, the badge of humorless activist boyfriend (to mangle Melan’s stamp of disapproval) may ruin what seems like an otherwise useful supplement for readers with condescension detection meters dialed up to full sensitivity. Ultimately, I think using Woodfall’s framework with modified tone and references would involve minimal hassle, even improvising at runtime, and offer substantial payoff. Considering the strengths and weaknesses of Woodfall, I wonder if there is a place for the module equivalent of silent cinema, supplements having minimal text that deliver content primarily through illustration and graphic design. Inventory v1 (my review) or A Land Called Tarot (AV Club review) could perhaps inform this kind of product.


Purchase info

  • Date: 2018-07-11 (backed) & 2018-12-06 (POD order)
  • Price: €15.00 + $5.62 CAD (at-cost POD softcover) + (a few more dollars for shipping) = $25-30 USD total
  • Details: Woodfall: A mini hexcrawl setting Kickstarter project

See here for my approach to reviews and why I share this purchase info.

Children of the winds

You are children of the winds. At the beginning of time, the four great winds first gathered wanderers into four primeval clans. Now, though there are many more than four clans, each clan heeds first one of the four: the constant wind, the mountain wind, the cloud wind, or the hidden wind.

The traditions of your people are humble compared to the majesty of the great Citadel Principalities. You hunt, you cultivate gardens, you trade crafts for tools from the Citadels, and you guide travelers venturing on the plains of the great rivers. But also, you watch. Because the children of the winds carry a secret.

You know where Satan lies.

The stories, only spoken by your people—for writing about demons is dangerous—tell how Satan fell from the world above, and how a mountain came in train, plummeting from the sky to seal the dungeon. Impossibly old now, the fallen mountain has been worn down by time, hunched, rising gently above surrounding hills.

For uncounted generations, the magicians and doctors of your people have performed the rites which hold the dungeon doors fast. The children of the wind have kept this secret from greedy adventurers seeking wealth, wicked sorcerers seeking the council of Satan’s imprisoned lieutenants, and prideful princes from Citadel Principalities, which constitute hard dominion, leavened only slightly by internecine struggle.

You have tolerated the capriciousness and cruelty of the magnificent Principalities, as sentinel legions require the riches of abundant fields. Strong armor and machines of war depend on towers of learning. The sentinel princes may water the plains with the blood of their brothers more frequently even than the flux of floods from the great rivers, but the legions also shield the great river plains from ignorant foreign kings. The Citadel princes’ role in the secret traditions is as custodian rather than sovereign, honing the blade of legions for times of exigency.

But depredations have worsened. A detachment of Citadel cataphracts descended upon plains settlements, executed those that resisted, and enslaved anyone unable to escape. The remants fled to the hills around the fallen mountain. Following the attack, Citadel princes scour the hills for survivors. The magicians have been unable to perform the rites securing Satan’s dungeon, and divinations reveal the gates are weakening. The only way to maintain the prison will be to venture within, repair the wards, and reinstate the rites. Alternatively, there have always been people, even among the children of the winds, who object to the taboo against entering the dungeon. Some have wished to venture within to vanquish Satan once and for all. Others seek the power and magics hidden below. Such aims, or many others, could be yours, as the doorway stands open and the taboo abandoned.

In a secluded glade, nestled in wild, rolling hills surrounding the worn, fallen mountain, lies the first doorway, the gate to Satan’s prison. The glade is the terminus of no path, but the children of the wind know the signs and incantations to find the way. The doorway is primitive, formed of three monumental, roughly-carved stones, two as post and one as lintel, set diagonally into the hillside, painted with white and red warding sigils.


Your adventurers belong to a group of the displaced. You have constructed makeshift shelters, but your camp is precarious. Each player should create one adventurer and two to four other escapees. For each session, you may bring another camp member as a support character. Replacement characters, if needed, will come from the camp. If a total party kill occurs and remaining camp population is zero, you lose and the campaign ends.

Supporting or developing your camp and crafting gear will yield experience.

Gear wears out. A few clans, mostly heeding the hidden wind, have metallurgists, but copper or bronze implements are more commonly trade goods from traveling princes. You will need to repair and craft gear.

Within the high walls of the Citadel Principalities is foreign ground for children of the winds. Taking haven turns is impossible in a citadel. Entering a Citadel is equivalent to exploring a dungeon and will generally involve taking dungeon turns, as with other dangerous built spaces. Even communicating with the princes can prove challenging. Each Citadel speaks a different language, rather than the language that the children of the wind speak, which is an echo of the first language. Beware the princes, as their decadent ways have become inscrutable and Citadel panoply terrifies in battle.

No homework!

Forbidden Lands Gamemaster’s Guide, p. 6

I am somewhat averse to manifestos, in game design and elsewhere, but if I were to champion one manifesto for tabletop roleplaying games it might be this: No homework for players! This principle is implicit in many classic/OSR cultural traditions, but is rarely stated explicitly, even in the secondary commentary of blogs, forums, and other ephemera. But if you look, you can see the various traditions all working toward the principle of minimizing player homework.

Some such traditions include aversion to complicated character creation and aversion to canonical setting material (“lore”). Classic/OSR play culture tends to be relatively hostile to the idea of character builds, which really took off in D&D 3E with the profusion of character option (“splat”) books. Complicated character creation takes at least two forms, which I will call character optimization (similar to the older term min-maxing) and character backstory. (Character optimization seems to capture the idea better because min-maxing focuses on the competitiveness of individual players rather than the affordances of game or play instances.) Players optimizing characters engage with rulebooks rather than socially with other players. This is good for companies that make money by selling books, but character optimization moves game engagement away from play at the table. The mantra “we explore dungeons, not characters” captures the related aversion to extensive character backstory, prioritizing the definition or discovery of characters based on events that occur in play at the table. See the following discussions for representative examples: Hack & Slash on character builds, this wishlist for oldschool games, and Noisms’ Theorem of Character Generation Length and Player Cautiousness.

Forbidden Lands, which I have been reading recently, is one game that tries to communicate this principle directly in the text, and succeeds reasonably well, directing the referee to expose players to the setting only through play at the table: To convey the history and myths of the Forbidden Lands to the players in-game, you use legends. … In this way, the players build their own knowledge of the Forbidden Lands and its denizens (Forbidden Lands Gamemaster’s Guide, p. 6). Forbidden Lands also includes a fictional device, the Blood Mist, which functions like fog of war in a video game, obscuring both fictional geography and history: “The demonic Blood Mist that covered the lands for three centuries, draining the life out of anyone who dared to wanter too far from their village, has suddenly and inexplicably lifted. You, and other restless souls like you, are finally free to leave your homes and travel far and wide in the Forbidden Lands, looking for treasures and adventures” (Forbidden Lands Player’s Handbook, pp. 5-6). The Blood Mist works to identify the extradiegetic (player) experience with the diegetic (character) experience. What other games attempt to state this principle directly?

For a player that wishes to fictionally position their full engagement, the Blood Mist justifies lack of adventurer knowledge regarding locations and other details of the fictional culture. In effect, to use a buzzword, this kind of device mitigates metagaming through setting design choices. There is precedent for using similar strategies to kick off campaigns, such as adventurers in Empire of the Petal Throne (1975) beginning as barbarians fresh off the boat. Any establishment of setting truth independent of a particular play group (canonical “lore”) comes into tension with the no homework principle, because player-accessible lore affords extradiegetic learning (homework!), allowing players to discover the setting outside of play at the table.

Homework is engagement with a campaign outside of social play. Character builds, character optimization, and studying lore are all examples of player homework. Homework means that players can hone their effectiveness, what OSR jargon calls, somewhat contentiously, player skill (see Matt Finch’s primer), by dedicating effort on their own, apart from a gaming group. For clarity, I phrase the principle imperatively, but as with most aspects of gaming (and life), there is a continuum. One could see choosing a class in OD&D as homework too, but this would miss the broader point. The more a game or campaign affords or rewards player homework, the less engagement with the game will exist in play at the table, the social interaction between players.