Almost a year ago, I made up a list of great villains from fiction that I want to use as direct inspirations for my own antagonists. Even though this setting is very different in style and tone, I found that this list is still representing my top picks for great antagonists to emulate. They need to be human in their desires and limitations and failings, but also absolutely dispicable. This is what great enemies look like.
Silly title? Probably. It’s not easy being both snappy and clever all the time.
The first step in creating a new setting is always to think about which existing works you draw your main inspirations from and serve as your primary references. It may be fully unconcious for many people, but you can’t create something new from nothing. The second thing that I think everyone should do, but a great many number don’t, is to give it some thought what your new creation is supposed to be about. Lots of fictional worlds, especially in RPGs, are not really about anything. And that’s the main reason why they are bland, boring, indistinguishable, and ultimately forgettable. With past settings I did make this crucial step, but then I immediately went ahead creating lots of content without really paying any attention to the themes. And the campaigns ended up simply being okay, not very memorable, and feeling somewhat generic. (Though I also partly blame this on sticking with D&D-derivative systems.) Self-awareness being the first step towards self-improvement and all this, now is another opportunity to do better.
I’ve already been doing a good amount of preliminary work on the setting, and out of the many ideas I came up with and threw out, some general overall themes did emerge. The core idea, that has fascinated me for years, is that complex human cultures throughout all of history have regarded themselves as the pinacle of creation. Beings so far above all other living things that they exist outside of the natural order and nature in fact exists to serve man. Above them are only the gods, who are immortal and live in realms removed from the world. But among the living things on Earth, man stands above everything, and man will live on even after death, in the realms of the gods. This seems to be almost universal among civilizations, with exceptions being small isolated cultures that live in places where the environment has not been transformed into farmland and cleared of most dangerous predators. Yet for the last generation or two, there has been a growing awareness and understanding in western culture that we can’t bend nature to our will, and it’s not a matter of developing better technologies. Instead of adapting to local environmental conditions, we have tried to force the environment to change to suit our needs. But nature doesn’t care about or needs, which directly led to many of the worst natural disasters of human history. Some people even go so far to say that there are no “natural disasters”. Nature just does what it always did, disasters only happen when people put their houses in the paths of natural forces or think they know how to improve the environment for their own benefit. We’ve had plenty of fiction over the last decades about a world altered so much by humans that it became inhospitable to humans. And now the survivors have to learn to live with the new conditions. Or they don’t. My idea for the main theme of this setting is a world with natural forces so strong, forests growing so fast, and beasts getting so big that it was never suited for civilizations. The spirits that rule over nature don’t care about what happens to people any more than to any other creatures, and people are far from the top of the food chain. It is a forest world with numerous small areas suitable for farming and free of most dangerous predators, but the limited space does not allow for growth or expansion beyond some tens of thousands of people. Beyond these small islands of relative safety lies a true primordial wilderness, a world that is majestic and wondrous, but also terrifying and cruel.
One major difference going into this setting compared to my previous ones is that I don’t approach it from the perspective of Dungeons & Dragons, with it’s levels, spell lists, and monster books, but from the perspective of Apocalypse World. Structurally, a world in which the environment restricts human societies from growing large is very similar to a world in which catastrophic changes to the envrionment reduced human societies to a very small scale. The situation in which people live, the needs they have, and the threats they face are mostly the same. Post-apocalyptic fiction often features extreme or even exagerated conflicts and violence because it takes place in settings of extreme or exagerated scarcity. It takes the complex and often abstract conflicts that are part of our own world, and human history as a whole, and reduces them to the very basics where everything gets much simpler. I don’t want to make this a dystopian setting where people live in misery and constant fear, but I find it very useful to approach the overall social situation, with its conflicts and factions, from the perspective of fundamental scarcities. What do people need but do not have? What motivates them to behave in certain ways that are typical for the setting? What makes them act agressive and foolish?
The first, and most simple scarcity, is a scarcity of farmland. There are only a limited number of places where the ground is suitable for growing crops, the vegetation not spreading too agressivly to clear fields, and the wildlife not too dangerous to settle downn. With farmland being limited, there is only so much food that can be produced. But even when you have enough to feed all the people, you also need to have surplus to store for bad years and to trade with other settlements. Farmland is the primary unit of wealth, and while the distances between major settlements make generally unfeasible to conquer land from neighboring settlements, it is the main source of conflict within communities. A settlement can not increase its amount of farmland, but families are constantly trying to get more land from their neighbors. The scarcity of farmland is the underlying basis for most local politics and power structures and affects who could be a potential ally or enemy to the players, and who they would have to approach to get things done.
The second scarcity is a scarcity of cooperation. Because communities are separated by often long stretches of wilderness, most of them tend to be fairly insular. Trade between settlements is a common thing, but nobody ever gets anything for free. And in times of trouble, most communities are entirely on their own. Their local trouble is not someone elses trouble. It might seem as a sensible course of action in the short term, but in the long term problems can grow into much bigger threats that endanger much larger regions. The indifference to the trouble of others is regularly a contributing factor to the rise of major threats. Cooperation is rarely given and never expected, but this also means that it is regarded with immense value when offered. Getting allies for their cause is a major challenge for the players, but the offering of assistance is a very strong bargaining chip and comes with great gratitude that may be invaluable in the long run. The difficulty in finding allies can be a frustration for players, but being persistent and taking risks will lead to immense rewards.
The third scarcity is a scarcity of understanding. It is in the nature of people to believe that they understand everything perfectly well and that they know all they need to know. But in reality, most people’s understanding of the wilderness and the supernatural is rudimentary at best and often outright false. But the confidence in their mistaken believes drives them to make decisions with terrible outcomes. Real dangers are being ignored and needless conflicts escalated because of people’s believes about how things work and what others want. Because resources are scare and the environment dangerous and often hostile, not all conflicts are caused simply by misunderstanding, and could be solved by explaining the truth. When there is not enough food, then there is not enough food. But every threat is being increased and every conflict escalated by people making decisions based on false assumptions. And it isn’t just that people are mistaken, but refuse to believe that they are mistaken. Understanding more about a situation and the creatures and spirits of the wilderness is always the most important part in dealing with a problem. Blindly charging in without a plan always makes things only worse. Attempting to communicate with the alien minds of spirits or gleaning information from the ruins and records of past settlements is always a crucial part in putting an end to threats that endanger communities.
Just yesterday I realized that these three scarcities very much overlapp with the three vices and three virtues that I picked as the basis for one of the most prominent religions of the setting. Greed, hatred, and pride are the sources of all ills. They are the reasons people do stupid things that lead to violence and disaster. Opposed to these are the virtues represented by the three gods of the religion. The God of the Fields, who represents generosity, the God of the Home, who represents hospitality, and the God of the Herds, who represents humility. The scarcity of farmland is connected to greed; the scarcity of cooperation is connected to distrust and resentment, and therefore hatred; and the scarcity of understanding is directly matching pride. Almost certainly not a coincidence, but simply the result of having thought about these and worked with them for several weeks.
Finally, it is critical to have a pretty good understanding of what kind of people the players will play, and what kinds of things they will be doing in the campaign. The themes I have decided on don’t really align with becoming powerful warriors through the fighting of many monsters and the amassing of great riches, and trying but ultimately failing to make D&D characters work in the Ancient Lands was probably the main reason that setting never led to the campaigns I envisioned. But Apocalypse World makes very different assumptions about what player characters are and what they do. Even though it’s never spelled out that way, AW is a system centered around being community leaders. Some of the character types lend themselves to loose canons, but the majority of them come with implicit or outright explicit ties to a home settlement. Three of them are leaders of large groups and two more are running essential services for the community. And all the others lend themselves to being very well known, either highly respected or feared. These ties to the community mean that the characters are automatically invested in the community. When the main defining trait of your character is running a temple or owning a tavern, ensuring the town’s continued existance is always going to be high on your list of priorities. And even if you play a character without such ties, you’re playing someone closely aqainted with the local priest or tavern keeper played by another player. In the past, my focus has always been on the wilderness and dungeons, and these are still where my passions lie. But having characters deeply tied to a home settlement does not mean that play has to be focused on that settlement. Most threats to the settlement come from outside and the people can’t afford to wait until they are clawing at the gates. To prevent trouble from reaching the settlement, the players have to go out and face them in the wilderness. Threats can come in many forms. Since I am a fan of the supernatural, spirits starting to act threateningly or monsters coming close to the village are always great options. But you can also have shamans and sorcerers trying to gain power and endangering the village in the process. And things can always be made more interesting by throwing some raiders into the mix. Raiders on their own are never very interesting to me, but they always make for a great complication in a charged situation.
My feeling is that this is a really solid fundation to building a setting with strong themes that run from the big picture down to the finer details and make it a world that has it’s own distinctive character that makes adventures feel and play out differently from what you can have in any other setting.
Good artists borrow, great artists steal. I plan on stealing from these ones very generously.
I admit not a lot of forests here. But that’s where the creative transformation into something new happens. I am such a genius. The shortest way I can sum up the concept is “Dark Sun in green”.
I think one thing to take away from this list is that the world and its inhabitants needs to be intense and surreal. It really has to be larger than life to evoke the styles of these reference works.
Work on the Ancient Lands setting more or less ended early last year because I just couldn’t get my dreams for a fantastic world fit together with the needs of fantastic adventures. Last winter I tried putting my creative energies somewhere else and started working on the medieval Baltic Sea dark fantasy world Dark World, but I lost interest in that pretty soon. Instead, I went back to making my alternate timeline for Knights of the Old Republic a reality. Which actually went quite well.
The idea of Bronze Age warriors riding on great reptiles through an endless forest dominated by strange magical beings just never completely faded from my mind.
And how could I? Once you’ve seen perfection, how could you ever be content with less?
The problem was never with the elements I wanted to include in such a setting. The reason things never really worked and came together was that I had painted myself into a corner with what I wanted characters and adventures within that world to be like. Somehow I got that idea in my head that I don’t wannt to run campaigns that are about such banal things like permanently chasing after piles of gold, or seeking glory in killing piles of enemies. Which is a valid aesthetic choice, but it turned out to just not work when you still approach characters and adventures with the mindset of Dungeons & Dragons.
Originally, my idea to make some kind of wilderness warriors campaign started with a fascination for the E6 variant of D&D 3rd Edition that cuts the 20 level progression down to 6 and then has characters gain more low-level abilities instead of becoming increasingly more powerful. Later I moved on to Basic/Expert and from that to Lamentations of the Flame Princess, and finally to Barbarians of Lemuria. with a short detour through Symbaroum. But even though the later two are classless systems with more flexible systems for experience, they still come with very similar assumption about what a fantasy hero is and does.
But this summer, I finally managed to understand Apocalypse World. I had to read the whole book end to end probably five times, but even when I first read it a year before, I immediately became aware that there’s a really fascinating game hidden in the unorganized heap of rambling and unexplained game terms. At some point I had looked into Dungeon World, which is based on the same mechanics adapted for fantasy settings, but it tries to use the mechanics to recreate the style of Dungeons & Dragons. In the process, it loses what makes Apocalpyse World feel different.
Last year, Mick Gordon gave a great presentation at GDC about how he created the soundtrack for the new Doom. His instructions were that he had to create music that nobody had ever heard before, that fit the game perfectly, and that would be instantly loved by fans. Which he actually did, with huge success. And one of the big lessons that came out of that work was “to change the outcome, change the process”. And since I started to really dig into the rules of Apocalypse World and working out how it is meant to be used, I discovered this to be a really significant realization. For several years I had tried to create something that is unlike D&D, while still approaching like creating content for D&D. When put like that, it really doesn’t seem surprising that the whole effort repeatedly bogged down, even though I tried to start over again several times.
To get a different result, you have to use a different approach. And Apocalypse World is indeed a very different approach. Without getting too deeply into the specifics of the rules, one difference that impressed me the most is the approach to the different character types that players can play. Character classes are defined primarily by a set of abilities, very often in combination with a narrow set of equipment. These are all in turn based on tasks. Fighters do the frontline fighting, thieves do the locks, traps, and scouting, clerics do protection and healing spells, and wizards do the artillery spells and various support spells. In Apocalypse World, the various playbooks all have their suits of specific abilities, but for most characters all there’s a free choice from all optional abilities, and pretty much all abilities can be learned by any other characters as well. (Though you’re limited to a total of two abilities from other playbooks in addition to four abilities from yours.) And all characters can use all equipment equally well if they get their hands on it. Instead characters are defined by their role in society. There’s a character who rules over a small settlement or compound. A character who leads a cult, one who leads a gang, and one who runs some kind of bar. One character is an artists with a captivating personality, another has access to abilities that goad players to stir up trouble any time they run into important or dangerous people.
Because of this, you completely avoid the situation of the characters sitting in a bar and waiting for an opportunity to use their swords or spells to appear. Many of the characters come with NPCs who depend on them, who have expectations of them, or who just don’t like their presence. This is a game that just doesn’t do lone wanderers without connections looking for other people’s problem to fix. In Apocalypse World, you’re always a prominent somebody and problems come to you. To make this work, Apocalypse World is designed as being set in a post-apocalyptic wasteland full of dangers, where there’s always a scarcity of somethhing that makes people do stupid and dangerous things. Even if you don’t seek riches or glory, staying put in a quiet place isn’t an option. When you have no food, you have to get some. And when you have it, you have to keep hold of it. This really is not a radically new idea. But it’s a very different one from the D&D adventuring party.
My ideas for an ancient forest world have never been post-apocalyptic. But it has always been about the treacherous wilderness on the frontier, beyond which lies a vast unknown home to strange beings and phenomenons. It is in many ways and environment with a great deal of structural similarities, and I found that all the character types from Apocalypse World translate very well to a fantasy wilderness. You live in an insolated stronghold surrounded by hostile wilderness and it is up to you to take steps to keep the mundane and supernatural dangers that are lurking out there from getting in. I had actually considered something along this line some years ago, but still thinking about adventures in terms of dungeons, monster stats, magic items, and experience point I just couldn’t figure out how to make this work.
Learning how Apocalypse World approaches campaigns, player characters, and NPCs was a very fascinating and inspiring process. And all the while, I couldn’t help but think how all of it would translate to Bronze Age warriors riding dinosaurs through a vast forest ruled by strange beings. At some point, I had this image in my mind of “Dark Sun, but in a giant forest”. And with the default assumptions of Apocalypse World, this seems like a really good starting point for a redesign of that ancient forest that always keeps calling back to me.
I was just wondering what has happened to the Witcher RPG and whether it is still in production. And it turns out to have finally been released after huge delays last friday.
The first print run was sold at GenCon and there’s probably a proper print release very soon. Meanwhile the pdf is already available for 22€ and runs at a total of 336 pages. According to the content table, the book is 158 pages of rules, 32 pages of setting information, 26 pages of GM information, and 48 pages of creatures and enemies, with the rest being a couple of other things.
Still have to properly read it, but I hope that even with 51 pages of character creation and 30 pages of combat rules it’s still actually playable.
I went with Star Wars, reviving my idea for a Knights of the Old Republic campaign in which Darth Revan was succeeded by a Sith Empress.
So far, all of these planets are from the Expanded Universe with no completely made up additions of my own. This is the most interesting region of the Galaxy in my opinion, where you get the Republic, the Jedi, the Sith Empire, the Hutts, Czerka Corp, the Mandalorians, and Adascorp, and can easily add in the Exchange. It has the homeworlds of the Arkanians, Cathar, Ithorians, Mandalorians, Miraluka, and Wookiees, which are all prominent races in the Old Republic; and also Gand, Trandoshans, and Weequay. Aside from Twi’leks, Duros, and Rodians, what else could one ever want? And those all have hyperspace engines.
The only other equally interesting region of the Galaxy is the one that holds Tatooine, Bothawui, Rodia, Ryloth, Sluis Van, and Sullust (and Geonosis, Kamino, Mustafar, and Naboo if you’re into that stuff). In a Rebellion campaign I would probably set my game there, but for the Old Republic there’s no space like Sith Space. But why limit yourself to a small part of the galaxy at all, when the movies very clearly make it look like you can jump from one end to the other in maybe an hour? Because if you give the players a map of the entire galaxy, it’s just way too much information. With a hyperdrive, the players can go almost anywhere at any time, and when every planet is an option, they are easily paralyzed by indecision and you have no way to have at least a little note card with the basic information at hand.
(Yes, you could make a map showing only selected planets all across the galaxy, but shush!)
Finally main season at work has come to a close. Instead of 44 hours per week I am now down to a much more cozy 35 hours, and also almost no weekend duty anymore. That provides me with a lot more free time.
And immediately I start thinking about starting a new online campaign. The biggest question is what type of campaign I want to make it. Some kind of Conan-style adventures in a Morrowind-style setting using material from my previous games, or do the Knights of the Old Republic game I had wondered about for a long time now.
Now that I think of it, the question can probably be boiled down to “Do I want lightsabers or not.” The rest would actually be mostly the same.
Considering all the options, I am currently favoring Barbarians of Lemuria as the game of choice. It doesn’t have all the numbers and restraints of D&D type fantasy games, but it also is mechanically really simple and easy to understand, which makes it very well suited for online play.
While it’s really well made, I’ve always been thinking that making a Conan RPG based on the d20 system was a really odd and unfitting choice. The extremely steep power gradient between 1st and 20th level just doesn’t seem right. But running the Conan game in an E6 variant? Now that seems like a really interesting thought.
At the very end of the run of Dungeons & Dragons’ 3rd Edition, someone came up with an idea to turn the game from one that covers heroes who start as complete nobodies to become practical demigods into one that emulates a more grounded style of fantas with a single very simple modification. In Epic 6, player characters can only advance up to 6th level, instead of up to 20th level and possibly beyond. Characters can still advance, but instead of getting new levels with everything that includes, they only get further customized through gaining one additional feat in place of additional levels. Numbers remain relatively small and within a range that has proven itself to work really well in practice, and most of the powerful spells remain outside of the players’ hands. It’s about getting characters to the level that is considered to be my many the one where they best represent the common image of a proper fantasy hero and then staying there. No new rules need to be learned and all the existing material of the game that is available to 6th level characters can still be used just as it is. As a rules hack, it is incredibly neat and elegant.
But to me, the really amazing consequence of E6 is not on the side of the players. In my own experience, very few games ever had characters reach 7th level and beyond. The great power of high level characters never became an issue in any of the games I played and ran. The reason I got so fascinated with E6 back when I still played 3rd Edition is the many implications that it has for the world around them. It’s not just that player characters are limited to 6th level, the same limitation also applies to NPCs as well. This means you can’t simply go to a big temple or wizard school and pay someone to cast 4th and 5th level spells for you and you won’t be able to buy scrolls of these spells as well. A considerable portion of magic items also can no longer be crafted by either PCs or NPCs either. Even if magic is as widely available as the game seems to assume by default, the limitations of what spells are available to the wizards and clerics of the setting lead to a rather different “high magic” setting with a lot of low-power magic and an almost lack of high-power magic.
But where it gets really interesting is the fact that these limitations on the powers and abilities on PCs and NPCs don’t apply to monsters, as those don’t normally have levels. Many people seem to prefer to adjust the world of their game accordingly by limiting the monster population to creatures that are considered appropriate challenges for 6th level parties by the rulebooks, but I’ve been much more a fan of keeping all those big critters around as they are. This way you get a world in which even the most powerful mortal heroes are incapable of taking on directly. If an older dragon or greater demon needs to be dealt with the players will have to work out different strategies to face than other than straight up challenging them to a fight in their lair. At the same time, powerful magical creatures are the only source of access to higher level spells which they have as inborn abilities rather than learned through advancing in levels. If you need powerful magic, you need to find a powerful magical creature and convince it to provide it for you. A world in which “high level” PCs stand head and shoulders above the common rabble but are still dwarfed by magical monsters is something I’ve not really seen much in fantasy. Something that I find very fascinating from a worldbuilding perspective. While I like the mechanics of Symbaroum, the way it is written it only makes advanced PCs vulnerable to common soldiers and bandits, but at the same time it also lets them take out the most powerful monsters just as quickly. Limiting the possible strength of monsters the way they are feels somewhat disapointing to me. There is a space for fantasy in which fights can take almost the form of Russian roulette by making engaging a powerful foe a great danger. But setting things up in a way that a head on assault isn’t really a viable option strikes me as much more interesting.
Building on a previous post from two months ago and somewhat revising it.
I always want to do more with magic than it simply being there and wizards casting spells as if it’s a simple science. For me it also needs a mystical element that waves it into the nature and origin of all reality. To come up with something for this setting, I looked at what the primary role of supernatural forces in the world would be. Which clearly is the effect of different regions becoming more or less magical or magically corrupted and this affecting how civilizations develop and decline. There are also gods of the land that have some control over it, and priests and sorcerers who want to take that control for themselves. The casting of spells by mages as a weapon or to do useful things is still very much a secondary thing in the worldbuilding and I don’t have any real plans for how that should look yet. So I’ve been looking at magic as a divine and natural force first and build a metaphysic model for the world before going deeper into available spells and magical items. As of now, I am working with the magic sytem of Symbaroum in mind, from which the three magical traditions are directly taken.
Magical energy is both the source of the life force in all living things and the power behind all natural forces. It’s the energy of earthquakes, volcanoes, and storms, and as such also governs flooding, droughts, avalanches, and wildfires. In its primordial state the world is raw Chaos, just the basic elements without any structure and order. It is the will of spirits that makes the primordial chaos take form and give it structure. All the lands exist because they are given shape by the Gods of the Land. There are countless spirits of greatly different power, but they all together form the environment that exists around them.
In the natural order of things, mortals are not the masters of the world, not do they have any preferential position in it compared to all the animals they share it with. The untamed wilds are a place that is harsh and dangerous and full of things much more powrful than people. But mortals always have the desire to shape the environment around them to be less dangerous for them and provide them with more prosperity. The oldest form of such attempts is Witchcraft, the practice of appealing directly to individual spirits of great power whose influence over the land can make an important difference to the farmers and hunters and their villages.
At some point Witchcraft was surpassed in many places by Theurgy. Instead of appealing directly to numerous indivdual spirits of the land, priests began to pray to greater gods of much greater power and far wider influence. In the End, two cults became dominant that worship gods that have become known to be sympathetic to the plights of mortals and responsive to their pleas. Nine in the North and Seven in the South. (Six of which are identical.) Their ability to influence the natural world is tied to the faith of the people who inhabit the lands and as such the building of temples and the performance of rituals is a very important element of society. The true power of the gods is found only where the faithful take it, while at the same time abandonment of the Gods of the Land diminishes their influence and power to cause disasters and other calamities that are cause of suffering for mortals.
But it is the nature of mortals to always seek to improve their lot and gain power that rivals that of the gods. All the prayers and rituals of the priests have their limitations and they are unable to make all the beneficial changes to the environment that are possible. Some think they know better than the gods what mortals really need and developed the art of Sorcery. Sorcery attempts to gain the powers of the spirits and reshape the surrounding world to provide greater prosperity, wealth, and security. However, the natural world is a fragile thing and witches and priests are both in full agreement that it should be left in the hands of the gods to reshape the lands to the greater benefit of their worshippers. Sorcery has achieved a number of marvelous wonders, but much more prominent in the minds of most people are the many disastrous catastrophies that turned whole lands into barren wastelands or regions haunted by nightmares. Except for a few places, Sorcery is feared in all lands, and in many places ruthlessly exterminanted by both priests and witches where discovered.
In the present day, worship of the Nine Gods and the Seven Gods is the dominant religion in allmost all settled lands. But Witchcraft snd the worship of Gods of the Land is still practiced in many border regions and isolated settlements that have almost no contact with the great cities that are the centers of Theurgy.