Protectors of Éire for the Ghosts of Albion RPG

Tá an chumhacht agaibh. Cosnaímis mé, a Chosantóirí na hÉireann!


The Protectors of Éire
Like it's neighbor, Albion, Éire (the mystical name for Ireland) has also had her Protectors.

At the time of Swifts (1839 on) the Protector of Éire is Tadgh O’Braohain and he is detailed in the upcoming adventure "Ghosts of Albion: Blight", which can be played this 2010 Gen Con.

Though until then here are some of the more famous Protectors of Ireland's shores.

Fionn Mac Cumhail (Finn Mac Cool)
Protector of Éire

Fionn Mac Cumhail was believed to have lived sometime around the Fifth to Second Century BCE. Fionn lost his father, Cumhail, when he was killed by a rival clan. Muirne, his mother, called her son Fionn which means fair-haired. Knowing that the Clan Morna would seek him out as well she took him to be raised by the wise Ban-drui Bodhmal and her anamchara the warrior woman Liath. They taught Finn to be both a warrior and a druid. He was taught magic, poetry, and the arts of survival.

Fionn learned also from druid Finegas. Finegas captured the Salmon of Knowledge and Fionn cooked it. He burned his thumb on the fish and sucked on it, giving him the gift of wisdom. When Fionn wanted to gain insight to a problem he would put his thumb into his mouth, behind his molars and contemplate.

Fionn later went on to become captain of the Finana, an army of men loyal to the High King Fiachadh (fee-a-kuh). Fionn implemented a code of honor among them, changing the Fianna from an unruly band to a group of champions of the people. The Fianna became models of chivalry and justice. Some claim that the tales of the Fianna formed the basis of the legends of the Knights of the Round Table.

Fionn is also the ancient Protector of Éire, the mystical name of Ireland. Fionn was the father of the Irish hero Oisín, by the goddess Sadb. Fionn battled many mundane and supernatural foes including a Scottish giant and his greatest enemy of all, the Dark Druid. Details of his death are sketchy and many contradict each other. Some say he is not dead at all but merely waits for Ireland to need him. When Éire is in its greatest need he will return.

Special Notes: Fionn generally avoids overt magical use. He knows some spells (as needed by the Director) and performs them when he must through the use of poem or song, though he is not as powerful in this respect as his son Oisín, considered to be one of Ireland’s greatest Occult Poets. Fionn prefers to use his magic in a more passive role, for healing or discovery. This however does not make him a pacifist, far from it, Fionn enjoys to defeat his enemies in combat either by weapon or hand to hand.

As a protector Fionn is allowed to use Magical Flourishes and may use any Magical Defence maneuver.

Name: Fionn Mac Cumhail
Protector of Éire
Character Type: Hero
Attributes: Strength 4, Dexterity 4, Constitution 5, Intelligence 3, Perception 3, Willpower 4
Ability Scores: Muscle 14, Combat 17, Brains 12
Life Points: 64
Drama Points: 5
Qualities: Attractiveness +1, Fast Reaction Time, Hard to Kill 6, Honorable (Rigid), Magic 6, Nerves of Steel, Occult Poet, Protector of Éire (Ireland)
Drawbacks: Adversary (Dark Druid and others) 5, Archaic (in 20th Century)
Skills: Use Brains Score for Occultism and Wild Card (Herbal Remedies)
Maneuvers
Name Score Damage Notes
Dodge 17 Defense action
Grapple 19 Resisted by Dodge
Kick 16 14 Bash
Punch 17 13 Bash
Big Sword 17 29 Stab/slash; two-handed

Notes: Fionn appeared in the first published Buffy RPG Adventure, the Dark Druid. He has been updated to the Ghosts of Albion RPG here.

Link: http://en.wikipedia.org/wiki/Fionn_mac_Cumhaill

Cú Chulainn

Hero of the Ulster Cycle (The Red Branch, The Cattle Raid of Cooley), the Hound of Chulainn
Protector of Éire, Manx and Alba

Known as in his early childhood as Sétanta, the boy who would be Cú Chulainn was already the fairest and strongest in the land. Even at the age of seven Sétanta would enter into battle and invoke his ríastrad to defeat enemies three times his age and twice his size. Tutored by the bard and occult poet Amerigan as well as the druid Cathbad, it was predicted that he would be Ulsters greatest warrior. It was also foretold that his life would be a short one and that its beginning and ending would be marked by the death of a dog.
The first dog was one of the great hounds of the blacksmith Chulainn. Stanta was visiting the smith on the invite of his fosterer King Conchobar MacNessa. Conchobar though forgot to let Chulainn know and he released his guard hounds. Stanta was attacked, but he managed to kill it with a hurley ball. Devestated at the loss of his prized hounds, Chulainn demanded retribution. Sétanta, already honorable beyond his years offered to rear a new hound for him and until such time the hound was ready he himself would be his guard dog. From that point on he was known as Cú Chulainn, the Hound of Chulainn.

Worried that Cú Chulainn will steal their wives and daughters now that he is of marring age, the elders of Ulster decide that he should be sent to train with the fierce warrior woman of Alba, Scáthach, the Shadowy-one. In Alba Cú Chulainn learns not only the skills to become a master warrior, he also impregnates Scáthach, her daughter and Alfie, Scáthach’s mortal enemy and sister. Each bare him a son in due course.

Cú Chulainn returns to Ulster and has many more battles and adventures (and sons).
For more see http://en.wikipedia.org/wiki/C%C3%BAchulainn

Cú Chulainn first was called by Éire at age seven to become her Protector. Though mostly associated with Ulster (Northern Ireland) his adventures took him all over. His training by, and his command over, Scáthach earned him the Protector of Alba (Scotland) as well. His defeat of Alfie gained him the Protectorship of Manx.
Like Fionn, Cú Chulainn learned his magic from bards, ovates and druids. He often sings his spells when going into battle. Again, like Fionn, Cú Chulainn prefers to be more physical.

His greatest weapon is the Gáe Bolg, or great spear. The skill to use this devastating weapon is only know to Scáthach. She at first refused to teach it, but was overcome with Cú Chulainns resolve to learn it. He had also by this time impregnated her daughter so she demanded he stay. The Gáe Bolg is a heavy spear that can be used as a melee weapon (min STR 4) or a throwing weapon (min STR 5). What makes this weapon so awful is the spear blade is formed with many barbs so that removing the spear causes even more damage, represented by the number of Success Levels from the attack.

Name: Cú Chulainn
Protector of Éire, Manx and Alba
Character Type: Master
Attributes: Strength 6/9*, Dexterity 4, Constitution 3/6*, Intelligence 4, Perception 3, Willpower 5
Life Points: 64/94
Drama Points: 5
Qualities: Attractiveness +4, Fast Reaction Time, Gáe Sidhe, Hard to Kill 6/8*, Honorable (Rigid), Magic 7, Nerves of Steel, Protector of Éire (Ireland), Manx and Alba (Scotland), Ríastrad*
Drawbacks: Adversary 5, Geas (the death of a dog will end his life, 5), Geas (must accept any dinner invitation offered to him, 5)
Skills: Armed Mayhem 9
Maneuvers
Name Score Damage Notes
Gáe Bolg 13 28/40* Removing spear causes an extra 12+SL points
Damage
(thrown) 12 21/30
Dodge 13 - Defense action
Grapple 15 - Resisted by Dodge

New Quality

Ríastrad
5 Point Quality
Ríastrad, or Warp Spasm, is a type of supernatural attack in which the attack can go into a berserk sort of rage. During a ríastrad the attackers Strength and Constitution are increased by 3 each, with an additional 2 levels of Hard to Kill (with corresponding increase in Life Points). Attractiveness though drops to -3 regardless of what the previous level was. In addition the ríastrad will cause the attacker to attack everyone, friend and foe alike.
To enter ríastrad the attacker must be excited, that is to see blood or an army massing. A failed fear check might be enough to push someone into a ríastrad against their will.
Once in the throws of the ríastrad the attacker’s body twists and bloats. Arms and legs become huge with tendons and veins visible under the skin. Their hair sticks out in chaotic directions, eyes bulge an pop out while their tongues look engorged with blood. The scene is frightful enough that friends and foes alike must make a fear check.
The attacker then my attack, usually running into the direction they were facing and randomly attacking all. Only a difficult Will test can calm the attacker down.
http://en.wikipedia.org/wiki/Warp_spasm

Gáe Sidhe is detailed in the Ghosts of Albion corebook.

New Drawback

Geas
1-5 point Drawback
A Geas (Gesa) is a magical taboo that has it roots in the Celtic tradition. A cast member must always follow his Geas or a calamity will occur. The nature of this calamity should be up to the Director, but it should never personally be life threatening. Unlike a curse the Geased person can violate the taboo by force of will, but must pay the price.
A Geas of 1 point is something the character is never likely to break or has minor consequences, such as never owning a black cat or violate it to be overcome with a fit of coughing. A 5 point should be something that the cast member cannot avoid, such as always accepting any invitation to dinner offered, or something life threatening.
The player and the director can work out the details of the Geas. How did the cast member become Geased? Is it magical taint? Karmic debt? They must also figure out how the Geas needs to be paid off. The director should not allow the player to buy off the Geas with points, they must actually do something; like lay the bones of a long dead relative to rest, or travel to some distant land and bring back some water from a sacred stream. Or maybe there is a time limit, such as when they reach their 30th birthday.
In the case of C Chulainn he could not avoid his Geas and it did end up killing him in the end. He is offered dinner by his enemy Lugaid who feeds him dog meat. This breaking of his Gesa manifests by removing the power of the Protector from him. He is then defeated in battle by Lugaid.


Brigit of Kildare
Protector of Éire

"A Bhrigid, scar os mo chionn, do bhrat fionn dom anacal."
- Traditional prayer to Brighid

The Goddess Brighid is one of the most beloved by the Celtic people. Every year they celebrated her feast day, Imbolc, to celebrate the return of spring.

Brighid, also known as Brigit, Brigantia, Bridget, or Bride, is the Celtic Goddess of the rivers and rural life. She is also the Goddess of Healing, Midwifery and Wisdom. She was the daughter of the Dagda and one of the Tuatha Dé Danann. She was the wife of Bres of the Fomorians, with whom she had a son, Ruadn (the Red).

Brighid is one of the great Triple Goddesses of the Celtic people, with some saying that there are three Brigits: one sister in charge of poetry and inspiration who invented the Ogham alphabet, one in charge of healing and midwifery, and the third in charge of the hearth fire, smithies and other crafts.

Once the Christians came to Ireland the Goddess Brighid was not forgotten, but her worshippers favored the new Christian God.

Later in the very center of Brighid's worship center, Cill Dara ("Kildare"), a woman of God was born. Her name became Brigid.

Here, as a nun Brigid of Kildare performed miracles, healed and taught. All the things that pagan Brighid had done. When she had done enough in this world she left and was made one of the Patron Saints of Ireland.

Brighid as a Protector
Not all Patron Saint were Protectors and visa versa, but in Ireland there was a great sense of pride and of belonging with the land. This was land of the Goddess and she choose her own Protectors. Like Patrick, Brigid was very much a part of Ireland. It is natural then that Ireland Protector, a land that never fought against the Christian conversion, would choose to exemplars of it's faith to lead it into the next age.

Brighid as the Protector embraces both halves of the heart of Ireland, the Christian and the Pagan.

Name: Brighid of Kildare
Motivation: Protect her worshippers, Christian and Pagan
Creature Type: Protector, Goddess or an Irish Saint, hard to say really
Attributes: Strength 6, Dexterity 9, Constitution 9, Intelligence 6, Perception 8, Willpower 9
Ability Scores: Muscle 18, Combat 18, Brains 22
Life Points: 88
Drama Points: 5
Special Abilities: Aspects (Fire, Healing, Water, Wisdom), Age (Ancient), Immortal(?), Iron Mind, Hard to Kill 6, Magic 9, Regeneration (2 Lifepoints per turn), Supernatural Senses (Empathy, Insight, the Sight)
Maneuvers
Name;Score;Damage;Notes
Dodge;18;;Defense Action
Grapple;21;;Resisted by Dodge
Kick;17;19;Bash
Punch;18;18;Bash
Sword;18;24;Slash/stab
Spell;22;by spell type

http://en.wikipedia.org/wiki/Brighid
http://en.wikipedia.org/wiki/Saint_Brigid

New Quality
Blessed of Brighid
1 Point Quality
Prerequisites: Must have red hair; taken only during character creation (or by special Director permission).
In Ireland is said that those marked by Brighid lead charmed lives.  They can usually be spotted by their firey red hair.
The Blessed of Brighid can do one of the following once per day.
1. Aspect of Three.  The player may roll three (3) dice (d10) for any one roll made and choose the more favorable of the outcomes.
2. Add 3 to any one roll. The player may add 3 points to any one roll made in a day.  The choice can be made after the roll is done.

Black Rose, Replies

It's reader participation day at The Other Side.  Here are some replies to my "Black Rose" posts.

Rhonin84 said...

The land that the Queen rules over is the last bastion of light besieged on all sides by the encroaching darkness, all of her allies are gone defeated in the wars to stave off the darkness.

Her dreams at night are haunted by a figure that is intoxicating and terrifying, this Dark Lord wants her for his queen, it's a dream that she has had for some time and the fortune tellers tell her that she has lived this before....

Just a thought with some imagery for you to chew on!

Greg: I agree. Aldea is the last bastion of light in an otherwise dark world.  But more importantly to the plot it is something for the characters to fight for, as opposed to fighting against the darkness.  Of course I like the idea of the Dark Lord haunting her dreams.  It can easily be anyone, but the best choice is obviously Strahd.

seaofstarsrpg said...

Very interesting, sounds like a good match.

Though I think I would make dark dreams and nightmare a constant sub-theme in this campaign

Agreed.  In order to do this well there would need to be a slow build up of darkness. Punctuated by increasingly dark dreams and nightmares.  There is so much that can be done with this.

 Ka-Blog! said...

I'm not that familiar with Blue Rose (I was more intrigued with the True 20 aspect), but I understood the romance influence on it.

I am a fan of Ravenloft, but was always stymied by:
- what the PCs do during the day time (sleep, I suppose); and
- isn't it monotonous to know that the big bad is someone you can't defeat (because he's a dark lord) and you live on his land?

The merging of the two gives some space for PCs to retreat and recuperate, and allows greater contrast when PCs must fight the dark lord on his own turf..

Yes.  Though in most cases I do not want them to fight the Dark Lord of the land, instead maybe figure out how to undermine their power.   In some cases I would want them to "free" the land's Dark Lord, to find out what is the source of the evil and stop it.  Thus freeing the lord to go on to whatever afterlife awaits them while their lands slowly dissolve back into the mists.  I want this to be more of a thinking game than a fighting one.  Not that there won't be fighting. There will.  The big issues are going to need a different tactic.
Like Rhonin said above, Aldea would be a "safe haven" for the PCs, but the mists might not always let them return.

 P. S. Mangus said...

This is a very cool idea. Personally, I never gave Blue Rose a proper chance. In hindsight I should have taken a harder look at the system, and over looked the problems I had with the background of the game. Ravenloft has always been a favorite of mine. I especially liked Masque of the Red Death, and felt it was a stroke of genius when it came out. Of course I could never get anyone to actually play it. Looking back at it now, MotRD was ahead of its time.

I never had the problems others did with Blue Rose.  I always felt it was like a dreamscape setting.  Yes there was this too-good-to-be-true kingdom with modern sensibilities and an extremely accepting culture.  But everything around them was dark and sinister.  They thing is that is a perfect backdrop for a Ravenloft game.  I am not wanting to do "Grim Dark Blue Rose", I am keeping pretty much everything in Blue Rose intact and I want characters to explore interpersonal relationships.  I want loves and loss and love again.  I think that this is an important part of what makes Blue Rose a good game.  Ravenloft though gives me something else and something that is not wholly incompatible with Blue Rose.  The Dreamscape is still there, but now it is tainted, a blacker on the edges.  This is done to make "Blue Rose" parts of the game shine even more.
The fictional tradition behind Blue Rose is struggling to discover yourself in the world and your own inner strength.  The tradition behind Black Rose would be struggling to discover yourself in the world, beset by horrors, and your own inner strength to defeat them.

BlUsKrEEm said...

I'm very impressed with how well thought out the setting / rules for this idea are. I would play or run this in a heart beat (if my player would give it a chance that is.) Thanks for sharing.

Thanks,  It is something I have been thinking about pretty much ever since I picked up Blue Rose years ago.  I never liked the feel of the d20 mechanics for Modern games, and True 20 seemed to be a better fit.  Likewise I was not thrilled with the d20 Ravenloft, though I did enjoy both Ravenloft and D&D 3 a lot.  True 20 (and Unisystem for that matter) seemed to be a better fit for the kinds of things I wanted to do in Ravenloft.  Same with Blue Rose.

Thaumiel Nerub said...


Idea is good. I personally think, that Blue Rose is way too cheesy for me. Adding a bit "black" to the palette would suit me well. You could concider also characters. They must aswell melt in the world. Otherwise it's just this background story where heroes do their job. Character's must also represent this "Black Rose" theme. Character's aren't necessarily those knights in shining armors or they even could be, but in every character there must be something tragic. Sounds a bit emo, but well, goth is that. Dark secrets, revenge, lust, depression.

I think that usually in fantasy games character's biggest goal is to "win" the plot GM gives for players like killing the evil dude or something. But even if in this Black Rose setting there is that "big evil", I think you could get more out of it, if there is also personal problems within characters. Some might be touched by darkness what is infecting him slowly and he is hiding it realising, he would be Shadowspawn soon (no cure, or it wouldn't be tragic). Knight who was not betrayed but was betrayer himself. Wizard who is eager for power, and knows the best mojo is in evil magic.
They all are heroes, they save the world, but in the same time they are tragic characters and the line between good and evil is thin.

Again, I liked Blue Rose from the start, but I do see why others didn't.
You are correct about the characters.  But I think instead of darkness, the characters need to harbor that self-doubt and humility that is often absent from characters.  Yes it does tend to skew things towards Emo, but I am not trying to play a game full of self-doubts and dark personal secrets.  Characters should be more fully flushed out than a "barbarian, and I hit things".   For example a member of the Royal Guard trying to live up to her father's expectations.  Or a witch, pretending to be something else so she is not discovered practicing "foul" magics, even though she is Light aligned.

I think the take away from all of this is players in a Black Rose game would need to spend quite a bit of time thinking about who their characters are, what are their hopes and fears, and then ask the important question of "when the Queen calls on you to fight the darkness how will you respond?"

The other half of this though is also finding players that would want to play this style of game.  My kids are too young really to do this now and my semi-regular group might not find this all that interesting.  Plus we get a full amount of horror RPGing in with our Ghosts of Albion games.

Maybe I should try it as a one-shot someday.  Or use it as a prototype for some other games I have in mind.

Black Rose, Part 4

What sort of stories do we tell in a this mash-up of Romantic Fantasy and Gothic Horror?

Well lets start with the obvious.  Evil is out there and it needs to be stopped.  In the Gothic Horror tradition, the evil is always more powerful than the heroes and rarely if ever fully stopped.  Black Rose would to follow suit. The evil is out there and it must be stopped (because that is what heroes do) even if the odds are stacked against them.

In Romantic Fantasy and in Blue Rose in particular, we expect there to be more character driven plots than monster of the week ones.  Not to say we can't do both, but the plot must be focused on defeating the "Evil", whatever it might be, but at the same time growing the characters.

So what are the games about then?

I could start with the death or injury of the Golden Hart.  This is the catalyst that brings the characters together.  I think more so than any other game I would want the players to spend a lot of time telling me who their characters are and what they want.  Riches and Glory are fine for most D&D games, but for Black Rose, I think there needs to be something more.

I would then spend some time slowly building up the lpot elements.  Have encounters with the Vistani/Roamers, or even a run in with a wrongly accused Night Person/Caliban/Half-Orc.  Yeah that is a little cliched I know, but I think there is value in going over some of these tropes that make up the game.

Of course plenty of undead for the characters to fight, though not names dead.  In Ravenloft back in the 2e days the authors really took the time to, pardon the pun, flesh out the monsters.  A wight was not simply a monster from a barrow, it was an ancient warrior that was once a human and some of that human might remain.  Vampires are not just high level threats (they are)  but also characters in their own right.  Blue Rose/True 20 supports this type of play since all monsters are built as characters more or less.

So what is the ultimate goal?
"Defeat evil" is too vague to build a campaign on.  I think the first step is to find out who tried to kill the Hart and find out way the land is creeping into darkness.  These are related of course.  The ultimate goal then is to discover that the Dark Lord Sayvin is not dead (sort of) and behind all of this.  To do this there would need to be a lot of exploring of the lands to gather information.  The heroes would be the lone bringers of light and justice in a world creeping into darkness.  Sounds like it has a cool 70's genre vibe to it.

In Ravenloft there is no chance the heroes could defeat a Dark Lord.  In Black Rose though, I might let them. Or at least Sayvin.  But they can't do it with combat alone, given the feel of Blue Rose, there needs to be something more.  Something that the characters have to do to show growth and ultimate sacrifice for what they believe is right.   Not sure how to do that one yet that doesn't involve railroading the players.

If it works it would make for a great campaign only game, where after defeating the Dark Lord Aldea is pulled back into the light.  I think that is a good ending.  It's not a fairy tale one, the Queen is still a widow and the deaths that happened are just as real as before.

Personages
I think one thing is obvious.  I would have to include Strahd.  I would also like to see Azalin, Harkon Lukas and some of the other Dark Lords.  I would avoid the ones that are too far removed from the Quasi- Renaissance Europe.  I would also have to figure out how the weakening of the barriers keeping them in their own lands would work out.  Some of these Dark Lords hate each other more than anything.  That is a good place to put the heroes in between.  Maybe it is the presence of Aldea that is weakening the laws of Raftenloft.  Sayvin did not complete the ritual 100% (and he is still trying) so Aldea was not pulled all the way into Ravenloft.  That has the borders of the lands become weaker and maybe the Dark Lords want to use that as a means out.  Certainly Azalin would.  Strahd is more concerned with finding his Tatyana, so maybe this freedom is something he is only using to get to her.  All the time Sayvin is making attempts on the Queen's life, but only during the night when he is active.

Lots of potential here I think.

I picked up Troll Lords Tainted Lands in hopes that it might give me some ideas.  But they seemed to have taken Ravenloft and ran in the opposite direction than I want to go.  Too bad really.  But I think there are still some ideas I can use here.

Now to find a group that would want to play this.

Black Rose, Part 3

Sorry for the delay here.  Been really sick.

Now I want to look at the mechanics of how Black Rose will work.  I want to include as much of the Ravenloft feel as possible, so that means fear and horror checks.  To accommodate both Blue Rose and Ravenloft I also want to keep magic low.  In this respect I think the Adept role from True20 will work out fine.

Rules
I'll use the Revised True20 (T20-R) rules for this game.  I love the simplicity of the system and it "just works" well for me. Plus the Revised version allows you to craft roles to better suit your game world.  This would let me create a "Lesser Adept" that still has some spell casting, but also more skills or even combat.  I would use this for clerics and hedge witches or even PC magic-users.  Some of the Roles in the "Horror Adventures" chapter are a good choice.  I would in a sense try to re-create the roles found in Masque of the Red Death for Black Rose.

Magic is known, but rare.  This would not be D&D where you can go to the local "magic shop" to buy magic items or even get them appraised.  So to use the T20-R this would be a "Rising Tide" game.  I would make necromantic powers more difficult to obtain.

With less magic I can see more gun powder being used.  But hardly anything beyond a flint-lock.  I am thinking this is 16th or 17th century at the most, with places still around 14th or 15th, in terms of technology.  I like this idea because it also builds up the struggle of tech vs. magic as well as good vs. evil.  In Dracula, the heroes all were using "state of the art technology" in order to defeat Dracula, a creature of darkness and magic.  It is a pillar of the Gothic tradition.   Of course the other pillar of the Gothic tradition is Frankenstein, or how technology has lead humans to even greater evils.

Fear, Sanity and Dark Powers
Sanity and Fear checks have been part and parcel of horror games forever.  Black Rose would be no different.  I would use the Mental Health track from T20-R since it is very, very close to what characters would experience in Ravenloft.  In this case I would use Sanity as it's own Save.  Give the game it's own feel.

I would not however do Dark Powers checks.  I never really liked them in Ravenloft and feel they have less of a place in Black Rose.  The PCs are supposed to be heroes, and heroes of the highest caliber. Now I know sometimes PCs (and players) mess up, so for that I will use the True 20 Conviction mechanic.  Evil acts result in less conviction, but heroic acts can build more.

Feel
So far everything I describe could be done in games that already exist.  Witchhunter, Solomon Kane, Rippers or even Ghosts of Albion, could all do this and do it well.  What then does Black Rose do for me these other games don't.
Well foremost there is the battle of good vs an unrelenting evil.  But this is not a fight alone in the darkness, the heroes have a home, Aldea, and it is good and worth fighting for.    If nothing else I need to instill in the players or the characters that an attack on Aldea or their Queen is worse than attack against themselves.
Also in Black Rose, everyone knows about magic and the supernatural.  It is an accepted part of life.  People don't fear the bogeyman because he has magic, people fear him because he is evil.

If this were an on-going game I would like to come up with something for the heroes to work towards.   Maybe the eventual defeat of the Dark Lord?  Or finding a way to keep Ravenloft from seeping into Aldea.  No idea yet.  But I would want it to be big and worthy of characters than have been heroes to the land for s long.

Black Rose, Part 2

Continuing on one of the things I need to figure out is how Ravenloft and Aldea come together.  This is a two-parter really.  I need to figure out game-wise how the fit; is Aldea pulled into Ravenloft, is Ravenloft slowly seeping into Aldea?  And I need to figure it out story-wise; what event caused this to happen.

To start with I want to go back into Aldea's shadowed past.

Dread Exiles
We have all been told the tale of how the Exarchs of Shadow had been defeated at the hands of the Gods of Light. We were told that they were locked away with their only means of accessing the world was via the Shadowgates or through subtle influences in the world. This is mostly true, but there is much that is unknown. Even in Kern, the greatest scholars of the Lich King had not discovered all of the Exarch's secrets, nor were they willing to give them up so easily.
But it is not the end of their story, but only the beginning.

So I have decided is that the Dark Powers of Ravenloft are the Exarchs of Shadow.
Sure it removes some of the mystery. I have them trapped here, physical forms destroyed, they can only pull in other creatures that have a significant amount of evil/shadow to them.
They are not able to be selective though, nor wish too, so they end up scoping all sorts of innocents in with them.

Their Goal? Escape of course. There are Shadowgates that lead to Ravenloft (often Mist shrouded), but very few that lead out. And even then the Exarchs have an even more difficult time leaving than do the Dark Lords. What is their plan? Use the likes of Strahd and Azalin to replace them in their prison? Or are they experiments on how to escape? Maybe even the Exarchs are no more than spoiled children and are pulling others to share their prison because they can? Who knows. Just because I have ID'ed the Dark Powers doesn't mean I need to detail their motives.

So now that I have established that the Dark Powers are part of Aldea, this opens me up to lot of tinkering. Since this is their "native" land they should be a bit more powerful and that power is translated down to the Dark Lords. Regardless of how Aldea and Ravenloft come together one of the side effects will be that Dark Lords can now leave their realms. They are not as powerful in other Realms and often at the mercy of the other Dark Lords, so even though they can "move about" few of them rarely do.

Now the in-game event that caused this.

The Lady and the Captain
Queen Jaellin in her first five years as Sovereign has become known as Queen Jaellin, The Beloved (3 years before the present day of the Core Book). Her temperament has been easy, her laws just and fair and her rulership everything that Aldisians would want. Though talk began, most likely rumors spread by the agents of Lord Sayvin that the Queen may be unfit to rule since she had not produced an heir to her legacies or even named her Consort. While an heir had no extra claim to the throne, as Sayvin himself could attest, it was considered to be proper behavior. In a dark jest she became known in some circles as “Queen Jaellin, the Unloved”.
The Queen was no fool. Her calm and rational demeanor disarmed most people and lead others to assume she was still a simple girl. Her mind was sharp and she knew of these rumors, the trouble was she was beginning to believe them herself.
During one of her outings to visit the outlying communities, she was joined by her royal guard. The Captain of the Guard, a young dashing rogue of a man that felt his duties to protect the Queen included disobeying her orders. They spend a long trek where they infuriate each other for days until their party is attacked by agents of Lord Sayvin. Her guard defend her heroically, but to no avail. She is though taken by her Captain and they are pursued through out the forest. They fight, fear and eventually come to fall in love. She is brought back safely, to surprise of Lord Sayvin and then to shock of all she names her Captain as her Beloved and Consort. They were happy for many years.
In this romance think Victoria and Albert. The young queen and the dashing prince consort. As their love grew, the land prospered and Sayvin grew darker. In a few years he discovered the means to get what he wanted.

Blood and Roses
Lord Sayvin had made a deal with the Dark Powers based on a scroll he found in Kern. The scroll gave him the means to enchant a crossbow arrow that would kill instantly whomever it struck (and deliver that soul to the Dark Powers) and give Sayvin what he most desired. This is Ravenloft, his displeasure at not being chosen Sovereign has turned into a blinding hate and jealousy.

Sayvin chooses the night of the Queen and her Consort's Anniversary, he crept into their bedchambers and prepared to kill the Queen. As fate would have it he missed the Queen in her lover’s embrace (yeah total symbolism here, but the ultimate horror in Aldea would be the horror of your beloved dying in your arms) and the arrow hit her Captain (yeah…I need to name the guy) instead. Jaellin screamed, Sayvin roared, and the Dark Powers laughed. Jaellin in a fit of insane rage summoned every ounce of power she had as an emerging Adept and as the Sovereign of the Land and struck down Lord Sayvin, blowing his body with blast of pure eldritch power. His body was never found with most claiming he escaped. Most claim that because the alternate choice was their Queen, Jaellin the Beloved, murdered him in a sorcerous rage.

That night the pact formed by Sayvin and the Dark Powers failed to complete. Jaellin was supposed to die but did not. The Dark Powers savored her pain and were allowed to come into the world just very slightly. As his reward, Sayvin was given what he desired. He was made the Dark Lord of Aldea and was cursed to the form of a Shadow.

During the day, when the sun is bright, Jaellin’s ministers rule the land in her name. But at night the land is ruled by Dark Lord Sayvin, only most people do not know this. They only know that the lands are more dangerous and evil seems to have the world in its grip. And the Queen? In the years since the attack she has said little and is rarely seen in court, and never outside the castle. She mourns and it seems the land mourns with her.

Today the Queen is still loved by her people and older residents remember the bright young girl she was and what promise she held for the land. But many feel like she has abandoned her duties and even life itself. Some, though not many but loud enough to be heard, say the Queen is a witch and this current situation is her fault.
There is unease in the land, monsters that were once only found in fairy tales are now found on the roads between towns. Strangers walk the lands now, with odd customs and accents. Once, such people would have been welcomed in Aldea, given a place to sleep in exchange for their stories of other lands. Now people turn their heads and no one is welcomed.

This in and of itself would be enough to get any character invested in the idea that Aldea is a beacon of light and hope motivated to find out what was going on, but this is Ravenloft and I have one more nasty dagger hidden in my sleeve.

The Company of the Hart
To do this I want characters deeply invested in what is going on. This is an "oncoming darkness" tale and things are not going to get better, they are going to get worse. Unless the PCs can do something about it. What can they do? That is the mystery to be solved. In the meantime they are also tasked with ridding the night of all the foul creatures of Shadow now invading the lands. I am imaging a small company of adventurers chosen by destiny to to Aldea's Champions. How? Here comes that dagger.

The characters are thrown together because some are in the Queen's court and others have found the Golden Hart in the woods with a black arrow in it's heart. They bring this to the Queen who immediately recognizes the arrow as of the same kind that killed her Beloved. The first task of the new group is to find the magical Rose that will heal it. After this quest they become an elite group answering only to the Queen and their job is to stop the oncoming darkness.

This allows me the court intrigue that I think/feel will be needed for this game, allow the Heroes to have access to various parts of the country they might need and give them first hand observation to the Queen's depression and the key to unlocking the truth; that this really began with the murder of the Queen's Consort by Lord Sayvin AND the fact that the Queen has withdrawn not just because of her lover's death, but because she herself feels tremendous guilt over using her own power to "kill" Sayvin.

That's where I am at so far.

Sick

Hey all.  Updates are going to be slow, I am really, really sick.

I have Part 2 of "Black Rose" ready so maybe I can post that here soon.

Black Rose, Part 1

I had no idea people would like this one so much.  I mean to me it seems a no-brainer.   Let me roll back a bit and talk about why I think so.


I love Ravenloft.  It was *my* world for all of 2nd Ed.  I loved the Gothic horror feel, I loved that there were all these worlds and this was some sort of cosmic dumping ground of evil.  But mostly I loved the atmosphere, there was something about it that was different than all the other AD&D worlds out at the time.  Greyhawk was basically dead, I hated the Forgotten Realms, Planescape was cool but I hate stupid made up slang.
But I had a basic problem with Ravenloft.  A world drowning evil is not always the best one to play in.  Or as I used to say, Ravenloft was great at night, but during the day it was lacking.

Well I put Ravenloft away when I did my great D&D break of the late 90s.  When D&D 3 came out I purchased one of the limited editions Ravenloft core books.  After all it was being done by White Wolf and they know horror.  While it did make me interested in the lands again, the spark was gone.  Besides at this time the Kargatane was breaking up and Ravenloft was not as fun as before.

Then a new game came into my life.  Blue Rose.   In Blue Rose I felt there were a lot of the same things I liked about Ravenloft.  Emphasis on character development and story telling, less on combat.  One by nature the other by choice.  I know a lot of people disliked Blue Rose, but it did give us True 20.  And in True 20 I saw the answer to a lot of the problems I had with Ravenloft.  Ravenloft as an idea was Gothic Horror stapled on to a fantasy action adventure game.  True 20 was systemless.  It was much easier to represent more people with combinations of the Expert, Warrior and Adept classes than the standard D&D ones; or worse the 36 some odd classes we had in the d20 Masque of the Red Death.



Blue Rose also took on some of the same issues that Ravenloft did.  That of being an outsider for one, or working for a cause of light vs. darkness.  People criticized BR's morality, but that is a perfect morality for Romantic Fantasy or Gothic Horror.

In the last couple of years we have seen a surge of books that fall under the term "Urban Fantasy" or "Horror Romance" and even "Chick-Lit".   Typically these books feature a strong willed female protagonist who sometimes makes mistakes but in the end finds her own inner strength.  Sometimes she gets the guy (or girl, or both) all in a world where magic, vampires, werewolves and other horrors are real.  Maybe she is even one of those horrors herself.  Plus many of the authors of those early Ravenloft novels are now "names" in this market such as Elaine Bergstrom, Christie Golden, P. N. Elrod and Laurell K. Hamilton.  Modern urban gothic fantasy is in Ravenloft's DNA.   Blue Rose as a concept supports this type of roleplaying very well.

So I sat down with my Blue Rose book and my d20 Ravenloft book and I started to notice too all sorts of places where they were the same.  So I had this idea, blasphemous as it sounds, to mix in Ravenloft with Blue Rose. I wanted to cast a shadow of Aldea, something is not right any longer. The Queen still holds court, lovers still walk hand in hand, and there are still adventures to be had.   But I had questions I needed to answer. Why has Aldea and Ravenloft "merged"? Or were they always together?
If they merged what was the catalyst? Why now?
What is the effect on the populace with this new influx of evil and dread?

One of the things I have wanted to do is bring Ravenloft out of "mists" and into a real world. Yeah I know that looses someof what makes Ravenloft unique, but I also like the idea of "horror is everywhere" and not needing to go someplace remote to find it.
By bringing Aldea and Ravenloft together I can have "days" and "nights" covered.  Aldea becomes a near perfect landscape with some deep seated malaise over it.  A dark cloud on the horizon.  Or as I call it in my games, "the oncoming darkness"

Here are my first thoughts.

The Races and other Groups
Humans are humans and remain untouched.

I plan to keep Sea Folk for now, but given my Lovecraftian background I will certainly introduce some dark spawn that plauges them. Something like the Shadows out Innsmouth or something.

Night People are the easiest to deal with since their creation is basically to fill that game playing niche of half-orcs. But they also serve other purposes as well, as a constant reminder of the dangers of dark magics and in the case of good and noble Night People, to remind the players and characters that you cannot judge a person by their birth. In all these regards they are nearly identical to the Ravenloft Calibans.

Both games describe these ersatz Half-Orcs much in the same manner. They are products of dark sorcery; they are feared, hulking brutes. I will use the Night People racial modifiers from the BR Core and the backgrounds of both races into one since there is no conflict between them.

Roamers will be replaced by the Vistani from Ravenloft. There is just so much information on the Vistani that it makes sense to use them in place of the Roamers. I will keep the Roamer name, that is what native Aldeans still call them. I will still use most of the information on Roamers from the World of Aldea book, in particular the sayings. Where they contradict is simple. The Vistani are a large group with many Tasques, something that is true for one in not true for the other. Or true depending on where they are. Or, let’s face it, neither group is very forthcoming with information to the giorgios. I have to decide whether or not to use the “Half-Vistani” race. In the Vistani lore there is ample evidence that these children are different than their full blooded cousins. And not using them robs me of a plot device where a young half-blooded Vistani goes on an epic quest to discover “her father’s people” and ends up discovering herself instead. Plus I love the Tarot work on backgrounds. So I will see if it can be adapted to use the Tarokka deck. Maybe when adventures get ready to go on their first epic quests a Vistani vardo comes to town and reads their fortunes to them (using the Ravenloft rules) and then shows them their character (Blue Rose rules).

Vata are still more or less Elves, or more to the point, the Sidhe of Aldea. Ravenloft has elves and half elves, but not a lot of them. My solution then is to go with Blue Roses’ idea and have all the Elves (Sidhe, Vata) be extinct. I have not decided with domains to pull in, but I have figured out that the Ravenloft Domain of Sithicus was the last Vata/Elf country before they were destroyed. Now it is a sad, haunted land.
I might remove the Vata’an and Vata’sha as races and instead use a feat to represent “Vata Touched”. Still thinking about that one really.

Dwarves, Halflings and Gnomes exist as rumors or fairy tales only. They might have existed somewhere in the past, but no longer.

More on the lands and bringing these worlds together later.