RPG Net Discussions; Pirates and Witches

So there are two threads I am currently actively following on RPG.Net.


Normally I don’t air the dirty laundry on other sites, but the issues of these two discussions need a wider audience.

The first is something that I think more people need to know about.

Outlaw Press, known for selling Tunnels and Trolls products, has been stealing art and publishing material they do not own.

It is worth reading for a few reasons. One, to know if anything you have done might be there (though I think all the artists have been identified). Two, as a cautionary tale, if you steal someone else's work you will get caught.

http://forum.rpg.net/showthread.php?t=483885 but also discussed in my T&T centric places, http://trollbridge.proboards.com/index.cgi?board=general&action=display&thread=1163

The other is a discussion on Princess Lucinda Nightbane from Witch Girls Adventures.

http://forum.rpg.net/showthread.php?t=484151

That one has to be read to be believed. But I do find it a tad hypocritical that people playing games about their characters killing things and taking their stuff can get so bent out of shape when it is a little girl doing the exact same things.

The Selfish Succubus

I picked up a copy of "Instant Antagonist: The Selfish Succubus" last week. Instant Antagonists is a new product line from Flames Rising. Now full disclaimer here, I know Matt McElroy and I am a fan of his site and his work. IF you are a horror gamer you really can't help but be a fan really. Horror news, gaming news, interviews and now products like IA.

What is IA? Well it is actually a very cool idea. They spend a few pages to fully develop a character to use in any system. This is quite a good idea really. Most often you get character stats, but not much in the way of background or story. The IA aims to change that. So how do they do? Well I have the first one here.
Lily Sinclaire is a succubus. Not in the metaphorical sense, but a really honest-to-the-devil succubus and for whatever reason she is out of Hell and here to have a good time. In "Instant Antagonist: The Selfish Succubus" we are introduced to Lily, also known as Lilis, through some fiction and a description. She is beautiful, looks and sounds exotic and has a prehensile tail. Yeah a tail. She has to cut it off every night, but otherwise it is a tail. In what might be a preview of how future Instant Antagonists might be like, we are given descriptions of how she looks, about how smart she might be. WE are also given insight to what they might be like, powerwise, through their systemless system of Mind, Body and Spirit. Things like "she thinks quickly on her feet", or "she knows a lot about ancient history". I found this to be a very effective way to describe the character. So I have an idea of what she might be like in say Tri-Stat or Unisystem, stats wise.
Multiple origins are given for her to help place her in your favorite system better. Or even as rumors about her. Despite the fact that the book is all fluff, there is no waste.
And finally there are story hooks, ways you can pull her into your game. Either as the titular antagonist or as someone the characters are likely to interact with. Though given how detailed Lily is, she likely to be elevated to the level of "Guest Star" and not "Monster of the Week". So all the plot hooks can be used one way or the other.
I think that the idea behind Instant Antagonists is a great one. Often times it is too easy to come up with stats and forget the character they are supposed to represent. Lily is the opposite. By presenting her as a character, sans stats, you are forced to think of her as a character, with background and motivations, first and not a collection of numbers.
So what would Lily look like. Mind you here is the other plus of this. I can make as powerful or as weak as I need her to be. Given this background I see Lily as a fringe player in the supernatural world. Yes she is evil, and yes she will need to be stopped sometime, but her introduction will be one of a succubus, freed from Hell making her way in the world. Like a demonic Mary Tyler Moore.
So let's build a Lily Sinclaire using Ghosts of Albion/Angel. Using the Mind-Body-Spirit guide in the book lets convert her to some stats. Her Mind says she knows a lot about ancient history, can manipulate others, has a lot of occult contacts. Ok, so To me that says a better than average Intelligence, say 3 or maybe 4, but maybe a higher Willpower and Perception. I would give her a higher level in some skills and maybe keep her Intelligence at 3. Body says she is very attractive, so Appearance 3, a good dexterity 3, but maybe only a 2 in strength. She has a high tolerance for drugs and alcohol (party girl) so a 4 in Constitution. Her Spirit supports a higher Willpower and even some obsessions or mental problems. She is a succubus, so she gets some demonic powers too. So where does that leave us? I fill in the rest with my own guesses and what I need her to do.

Name: Lily Sinclaire

Motivation: To get what she wants
Creature Type: Succubus (demon)
Attributes: Strength 2, Dexterity 3, Constitution 4, Intelligence 3, Perception 4, Willpower 4
Life Points: 37
Drama Points: 15
Qualities and Drawbacks: Addictions (Sex 2), Adversaries (anyone that knows her true nature), Attractive 2, Contacts (Supernatural 3), Covetous (lecherous 2), Emotional Problems (Cruel 3, Arrogance 2), Hard to Kill 1, Immortal, Innate Magic, Regeneration, Resources (Well off), Secrets (3, many), Supernatural Form (1, has a tail)
Skills: Armed Mayhem 1, Art 2, Athletics 3, Crime 3, Driving/Riding 1, Engineering 1, Fisticuffs 2, Influence 4, Knowledge 5, Languages 4 (English, Latin, Sumerian, Greek), Marksmanship 0, Notice 4, Occultism 4, Physician 1, Science 1.
Maneuvers

Name Score Damage Notes
Dodge +5 Defense action
Grapple +7 Resisted by Dodge
Punch +5 4 Bash


We can also do her up for Witch Girls Adventures using the same guidelines, though I am going to have to guess about her magic and what powers succubi have in this world.

Lily Sinclair, Succubus
Rank: 3
Body: d6 Mind: d6 Senses: d8
Will: d8 Social: d8 Magic: d6
Life Points: 12 Reflex: 9
Resist Magic: 9 Zap Points: 12
Skills: Athletics +2, Basics +2, Dancing +4, Fighting +1, Hear +1, Leader +3, Look +2, Magic Etiquette +2, Mundane Etiquette +3, Mysticism +2, Mythology +4, Streetwise +3
Abilities: Beautiful, Mysterious
Heritage: Demon
Spells: Lily does not know any spells save those magics all Succubi can use.

Looking forward to more.

The City Built around a Tarrasque!

There is a really interesting thread about a (D&D) city built around a tarrasque.
http://forum.rpg.net/showthread.php?t=261519 and
http://waelfwulf.wordpress.com/

For those that don't know, in D&D the tarrasque is an immortal killing machine related to the dragons.  It's immune to magic and all sorts of things that make it so it just can't be killed.  It's a DM's way of ridding the world of unneeded PCs really.

But this concept is so cool that I feel the need to adopt it.  It would make sense to me, since I have never used the tarrasque in any of my games even when it first appeared in the MM2 for 1st Edition.  Though I have used the Piasa bird, a similar creature from my neck of the woods.

The idea behind this city is they have captured and immobilized it. Now they are feeding off of it's meat and blood which regenerates all the time. There is a corrupting power to this, plus the moral corruption of keeping a live beast chained up while you continously hack bits of it off.  Something we saw in the Torchwood episode Meat.

Plus it is the type fantastical, out of this world crazieness that I love to have in my games.  Cities built on the corpses of dead gods; Elven nations of thousands living in the trees and a city built around a Tarrasque.

Eldritch Witchery, Back to Basics

I am returning to work on Eldritch Witchery, my guide to witches and warlocks for the Spellcraft & Swordplay RPG. The idea is simple really; make a witch class for the game. But I want to do this class justice and not just do a retread of the material I have written for other games.


So I am going back to school.

I have been rereading old Dragon and White Dwarf magazines from the 70s to the early 80s to get a proper feel for the game as it was then. What were people talking about and doing in their games. I have also been going over my basic assumptions. Why is a witch needed if we already have Clerics and Wizards? What niche does a witch fill in a Sword and Sorcerery game? For this I am indebted to Jason Vey who has been giving me a crash course in all things Pulp related. Conan (whom I never really read and now understand I know next to nothing about), the works of Robert Howard and how they relate to Lovecraft. Plus I have been thinking a lot about my own influences for D&D. Clark Ashton Smith is a big one for me. I have been rereading all my old D&D books and notes. My first witch character was made in October of 1986, I wrote my first set of rules (20 pages) around her.

What has this done for me?

Well I have a pretty good idea what I want to do and how I want to do it and it is different than say my d20 version of the witch, or even the magic I wrote about in Ghosts of Albion. What does a witch do in the world of Spellcraft & Swordplay. Well the witch is more connected to the primal nature of magic. I hesitate to say “beyond good and evil” but maybe before good and evil. She is like nature. I also want to incorporate a lot of what is old folklore and fairy tales about witches. So these are defiantly more Baba Yaga than Sabrina.

What do Witches Do?

In any game you need to figure out where a character’s niche will be. What is it that the character will do, what can she do and what will she bring to the adventuring party. Where does she fit in this world organically. I also want keep in mind the classical or stereotypical powers of the witch; casting spells, making potions, the evil eye, curses, charms, turning people into animals, flying on brooms, consulting with familiar spirits. The witch then for me needs to provide that air of mystery in a world already full of magic and magical-using characters. She needs to have something special about her, I want the other characters in the group to say, “We need her, she is a witch!”

Hopefully players will say the same thing.

Next time, more on the occult powers of the witch class.

Blackmoor, no more for 4e?

I have blogged about Blackmoor in the past and was very excited to have picked up the 4e version of the Blackmoor book.

Well I have learned from Mystara expert Havard that there may not be any more Blackmoor for 4e.
http://blackmoormystara.blogspot.com/  and http://grognardia.blogspot.com/2009/11/blackmoor-news.html for the Grognardia viewpoint.

This is a disapointment, but not a suprise really.  I guess this leaves me to do my own thing in my world.  I am planning on keeping the Docrae race (off shoot of halflings) and keeping the unique classes to give the area a very different feel, the Wokan(i) in particular.   It will be interesting to see where CMP goes from here, but I am likely to go backwards with my Blackmoor and hit the orignal books again and build up my Shangri-La like area somewhere north of the Black Ice where even Dragons dare not fly.

Google Wave

I am now on Google Wave!  Not yet sure what I will do with it but there are plenty of things I can do with my day job for it and I have heard of plenty of RPG applications.

I'll keep you all posted.  Maybe I'll run some Ghosts of Albion games on it.

Wonder Woman and the Curriculum of Gender

One of the more interesting books I have been reading is "Wonder Woman: The Complete History" by Les Daniels (2000) and a related documentary "Wonder Woman: A Subversive Dream" (2009, Warner Brothers). I am struck by the parallels between the creation of this comic book character and some of our discussions on gender and public curriculum. Some of these parallels were in fact intentional by the comic's creator William Moulton Marston, a Harvard psychologist.

Background

In 1940 Prof. Marston wrote a pop-ed piece in Family Circle called "Don't Laugh at the Comics" in which he stated that the comic books of the time, read predominantly by pre-adolescent boys and then later service men, were a source of great educational material. He made the claim in this article and in a follow piece two years later that the comics were a great morality tale in which one could educate the masses in "good moral behavior". As mentioned before William Marston was a Harvard psychologist who, among other things, wrote articles on child care, education and even invents the lie-detector (and early proto-type). While most other creators and comic book writers were barely high school educated; not that this matters, but it is a stark contrast. Marston was a critic of comics, till he began to read them. He then decided that he needed to create a comic that conveyed the stories of myth and Greeco-Roman culture as well educate readers on this as well his other ideals (detailed in a bit). In an oft-quoted tale Marston told his wife Elizabeth (also an educated, liberated woman) what he was planning to do, she paused and said, "fine. But make her a woman." This of course was part of Marston's larger plan, to teach people that women were the superior gender and that the world would be a better place if they were in charge. In his 1943 follow-up in The American Scholar Marston points out that he planned Wonder Woman as something for younger girls to look up too as well. That girls "didn't even want to be girls as long at the female archetype lacks strength and power…"
In December of 1941 Wonder Woman, previously called Suprema, appeared on the stands in All-Star Comics #8. She appeared again a month later and by June of 192 she had her own headlining title (Wonder Woman #1), a time line unheard of in those days. Despite a brief reboot, the series has never been out of publication. Unlike her co-heroes Superman and Batman, Wonder Woman was a Goddess. Marston wanted to be very clear that his hero is not an alien or a man driven by revenge but a superior Goddess. He states throughout "Complete History" that the Goddess choice was intentional to equate the woman of the 20^th Century as Goddesses. Still he has Diana/Wonder Woman, go through the classical Hero's Journey. She earns her place in this tale because she is better than the others.
Wonder Woman is also of princess of the Amazons, which were the archetypes of female warriors and "those on the outside". The amazons were self-reliant, peaceful, though could be warriors when needed, and all skilled at fighting. Yet despite the fact that Wonder Woman is faster, stronger and more skilled at battle, her mission (and Marston's) is one of love and peace.
 Curriculum of Non-Violence and Love

What was Marston's plan, his hidden curriculum? As it turns out his curriculum is not so hidden, at least in his mind. Marston had been DC Comics (then called Detective Comics) Educational consultant. He took his knowledge of how people read comics and his own feminist viewpoints (some of which may seem a bit skewed by today's standards, ie women are not equal to men, they are superior to men). He was very open about what he had planned on doing. Present a character that can be admired by both boys and girls, give her a strong background in the classics, show that she has traditional feminine qualities (beauty, compassion, empathy) but is as strong and wise as any of the Gods and Goddess in her own background. Wonder Woman cared. Her first mission was one of returning wounded pilot, Steve Trevor, home and to help improve diplomatic ties between Paradise Island and "The World of Man". In Wonder Woman comics produced today a common theme is that the sign Wonder Woman has failed is not whether the "bad guy" gets away (like Superman and Batman) but whether or not she can promote peace and stop war.

He based Wonder Woman's qualities on his own research that lead to his creation of the systolic blood pressure based lie detector. Amazons and Wonder Woman were superior in their peaceful environment due their steadiness. Unlike Superman with his massive strength, flight, heat vision, freezing breath and an array of powers, or Batman and his billions of dollars and high-tech gadgets, Wonder Woman is known for two items, her magic lasso that compels people to tell the truth and her silver bracelets which can deflect any weapon (but most often bullets). These are no accidents or mere comic book constructions, they hold key significance to the psychology of Marston and his creation. The parallels between the lasso and Marston's own early "lie-detector" should be obvious; truth is more powerful than a lie. Wonder Woman's bracelets are a reminder of a time when the Amazons were held in bondage and how they never would again, referencing myth but also the post-suffrage movements of women and their expanded role in the work-place of WWII. The bracelets also represent protection, in a sense it is Marston saying my heroine not only doesn't need weapons, but yours are useless on her too. There is the tie to female-archetype as well, bracelets that stop bullets, earrings that allow her communicate with anyone including animals and a girdle that boosts her own already prodigious strength. The fact that is research assistant Olive Byrne (his other "wife" in a three-person polyamorous relationship with him and his wife Elizabeth) often wore large metal bracelets on each wrist should not be ignored.

Marston even said that all boys and men, not just ones reading Wonder Woman, would willingly follow an alluring woman stronger than themselves. Marston believed that he was luring them towards a more peaceful and non-violent way of life.

Hidden Curriculum to Global Curriculum

In 1972 a feminist of a different type, Gloria Steinem put Wonder Woman on the cover of Ms. Magazine. In that 30 years other comic book heroes had come, gone or been radically changed, partially due to the Comics Authority Code, but Wonder Woman was still recognizable as the archetype, or even icon, she had started out to be. In 2009 I just finished working on a new course called "Culture, Gender, and Power Differences in Conflict", which many of Marston's own curriculum for Wonder Woman is part of the objectives for this course. Understanding how men and women approach conflict differently, how are minorities oppressed in subtle ways that either side may not be aware of. Between these two points we have decades of pop culture references that have influenced and been influenced by Marston's creation. Even saying "Wonder Woman" invokes not just an image of a 6 foot tall Amazon in red, white and blue, but is synonymous with "powerful woman".

It is difficult to measure at level Marston met with success in his original conception of his idea. He certainly created not just a feminist icon, but a feminine one. A lot of what he wanted to see accomplished did in fact happen, though not everything. In the end I am left with two quotes from two very different males about Wonder Woman. When asked about Marston's view of women as superior Playboy founder and former editor and CEO Hugh Heffner said "would the world be better if women were running things? No question about it, absolutely."
When asked about Wonder Woman my 6-year old son said "don't make girls mad, they will kick your butt, best to do what they say."