Blood Magic

Blood Magic has very much fascinated me since I encountered it in Dragon Age six years or so ago. I wanted to have something like that in my own setting since all the way back when I started planning it. Since then I learned a lot more about how magic works in the Thedas setting and it actually is mostly demonic mind control. Not really much blood involved. But I most liked the idea of blood magic not being fundamentally evil and one of the first blood mages you encounter in the series is actually a pretty nice and also average guy. That had always had me want to have blood magic in my setting and the idea of using blood as a power source instead of some ethereal mana or mental energy is also really cool. It’s much more savage and primitive than arcanists in their libraries playing with astrology. Perfect for a Bronze Age barbarian setting.

But the whole time I never developed the idea further than that, always keeping it off for later. Because I just didn’t have any good idea how blood magic could be different from regular magic and my magic system kept changing all the time anyway. Now I do have a magic system that I really like (but still got not around to write out in full) and with the rest of the setting being already very far along it’s really getting time to finally tackle it.

How it works

latestMagic in the Old World is based aroud the idea that the being of any creature is a single entity of spirit and body, but that it extends beyond the boundaries of the physical form that is seen with eyes or felt through touch. The physical forms of creatures and things have clear boundaries, but the immaterial aspects do not. They just weaken with distance and eventually blur together with the essence of everything else. (Similar to gravity or magnetic fields.) Most beings only have mental control over their own bodies and minds, but since everything is connected and the spirit has no clear boundaries, it’s possible to take control over things outside the physical body and even over other beings’ bodies and thoughts through a contest of wills. This control over other creatures or things is magic, as it is used by all witches, shamans, and spirits. One important limitation of magic is that it only works when the caster is actively taking control. When the control ceases, the magic ends. It’s also not possible to use magic against creatures who are not nearby, unless a spirit is send to visit people and use it’s magic on them. It is also the reason why magic objects can not be created; they can only come into existance naturally.

Blood magic is one way to get around this limitation. Instead of maintaining control over an enspelled target, a blood mage weaves the spell into the target’s blood, whose life force will then power the magic instead of the mages mental energy. Blood magic keeps working regardless of how far the target moves from the blood mage and the spell can continue potentially for as long as the target lives. Masters of blood magic can even weave spells into the blood of their target that will remain dormant until certain conditions are met and they perform their true enchantment. Having some of its life force consumed by a blood magic spell causes the target to be slightly weakened, depending on the power of the spell. But usually the effect is too small to be a clear sign of blood magic, with the target only being slightly more tired or faster out of breath during strenuous activities.

A more well known use of blood in the casting of magic is as an alternative power source to the mental energies of a blood mage. Wrestling control over another person’s body or thoughts is one thing, but actually draining life force from living creatures is much more difficult. Usually this is done by complex rituals and the use of various potions that allow apprentices and acolytes to give their masters access to their mental energies. A simple shortcut to this is to simply tear the blood out of a living creature’s body and use the life force it still carries. This gives a blood mage a great boost to his power when casting a spell. It’s still a difficult thing to do, especially in the middle of a battle, so often blood mages draw on the life energy within their own blood.

Since the corrupted energies that animate undead are very different from the life force of living beings, they are neither affected by it, nor can they use it.

What it does

Aside from giving a blood mage a boost in power from draining life force from a living creature, blood magic can be used to put long lasting enchantments on living creatures. One common use is to make the target creature a permanent slave that has to obey the blood mage’s orders. It’s similar to a powerful charm spell but the ideas planted into the targets mind do not fade away as it remembers its own thoughts and memories.

Alternatively a blood mage can give a creature specific orders to be performed under specific circumstances without it even knowing that such an enchantment is in place. Unlike a spirit following around a victim, such enchantments are very difficult to detect by other witches or shamans. Blood magic can also be used to permanently alter memories. Such enchantments are very difficult to break and require a shaman who knows exactly what he’s looking for. Blood mages familiar with the process can break it just like any other spell.

Instead of manipulating a creature’s mind, blood magic can also make changes to the body. Blood mages can give their servants and henchmen great strength and resilience which they retain even without the spell being actively maintained. Since the magic power to maintain these spells is entirely drawn from the creature’s own life force and not the mental energy of the caster, such enchantments tend to take a significant toll on its health. Giving greater strength to heroes for an important battle can often be more than a worthy trade, but guardians who are kept permanently enchanted often live for only a few years. The enchantments keep them strong until the very end but eventually they just fall over dead as desiccated corpses.

How it is treated

Blood magic is not an inherently corrupting or more harmful form of magic but usually seen as one of the darkest forms, similar to sorcery. Tearing the blood of a creature from open wounds is an incredibly violent process compared to the casting of other spells and it’s easy to see why it is especially feared. The effect it has on the bodies and minds of creatures that have been heavily enchanted with blood magic also gives people plenty of reason to regard blood mages as nothing more than savage sorcerers. Blood magic is more common among the more wilder and isolated clans of the Old World and often associated with the witches of the Witchfens, which gives it a reputation of being primitive and brutish though it’s actually a very advanced magical art.

Blood magic also has a much greater potential for manipulating people’s thoughts and controlling their minds than ordinary witchcraft, wich makes known blood mages even much more mistrusted. Even those powerful ancient witches and high shamans who know the secrets of the red art rarely trust their students with such powers and the lack of teachers makes it a very rare skill outside of clans who practice it openly.

RPG implementation

Except for the blood draining ability there are no specific rules for implementing blood magic as a game mechanic. It simply allows blood mages to make their enchantments permanent without any special costs or mechanics.

Old World Inspirations

When it comes to worldbuilding, it’s always good to have a distinctive style in mind and working towards staying true to this vision. In my experience there’s always a tendency to go down established paths and before you know it you find yourself with a generic world with two or three gimicks. For the Old World I have a very clear image of what the setting is supposed to look and feel like and what it seems and internal logic should be. The following is what I believe to be a pretty complete list of the books, movies, videogames, and RPGs that inspired the setting:

  • A Princess of Mars by Edgar Burroughs (1912)
  • Alien (1979)
  • Aliens (1986)
  • Apocalypse Now (1979)
  • Bound by Flame (2014)
  • Conan by Robert Howard 1932-1936)
  • Conan the Barbarian (1982)
  • Crouching Tiger, Hidden Dragon (2000)
  • Dark Sun (1991)
  • God of War II (2007)
  • Halo 2 (2004)
  • Heavenly Sword (2007)
  • Heir to the Empire by Timothy Zahn (1992-1994)
  • Hellboy (1993 and ongoing)
  • Ghost in the Shell (1995)
  • Kane by Karl Wagner (1970-1985)
  • Knights of the Old Republic (2003)
  • Mass Effect 2 (2010)
  • Metal Gear Solid 3 (2004)
  • Morrowind (2002)
  • Planescape (1994)
  • Predator (1987)
  • Princess Mononoke (1997)
  • Raiders of the Lost Ark (1981)
  • Seirei no Moribito (2007)
  • Shadow of the Colossus (2005)
  • Soul Reaver (1999) and Soul Reaver 2 (2001)
  • Stargate (1994)
  • Super Metroid (1994)
  • The Empire Strikes Back (1980)
  • The Thing (1982)
  • Them! (1954)
  • Warcraft III (2002)
  • Yojimbo (1961)

There’s a couple of science-fiction movies and games on the list, but I think with almost all of them the technological elements are just window dressing. At their heart they are still about monsters and magical worlds.

Why have I not been informed: New LotFP edition in work

I just now spotted an article on the playtest document for the new edition of Lamentations of the Flame Princess that has been send out to some GMs back in february. I also noticed just a few days back that the new Referee Guide is still in work, which will include new unique monsters for the game. I assume it will be released alongside the new rulebook.

I don’t have the playtest rules myself, but looking at this summary from Dragons Gonna Drag (another new OSR website, like what you did so far Justin) I already spotted some things that I found interesting.

Intelligence determines skill points at first level. After that only specialists keep getting more points. I’ve been thinking about ways to give fighters and witches limited access to skill in my campaign these last couple of days. This is certainly one way to make it work.

There’s also a Medicine skill, which is nice, as it indicates support to play without magic healing. Very Sword & Sorcery.

Strength affects how many items characters can carry. This is one shortcoming I’ve seen with the Encumbrance system of the current edition and something which I think the system by LS from Pencils and Papers did better.

What I find really interesting is that classes are reduced to fighter, specialist, and magic-user (the other classes are said to be put in an appendix). I did the very same thing for my campaign. There’s been some talk not long ago about clerics and how they are pretty much a unique thing of D&D and not really fitting for other settings that don’t want to be worlds defined by the D&D conventions. (B/X is a great system on its own, even divorced from its D&D legacy.)

All characters advance with the same amounts of XP, a topic that I’ve been discussing on a forum just today. And I am very much in favor of it. Making miniscule adjustments to XP required for the next level is pointless when level loss, replacement characters, and characters of newly joined players all have a much bigger impact on the different levels of characters.

Justin mentioned having the impression that group initiative is being ditched, which is something I wouldn’t approve of. But it’s trivially simple to do anyway, and it isn’t like Dexterity would become a useless stat if it no longer affects Initiative.

There’s a new saving throw mechanic that basically uses a d6 dice pool and counting successes. That’s something I really don’t see myself using if it makes it into the new edition. I think a d20 roll against a target number indicated by your class level is just fine and much less of a hassle. There’s also partial saves, which is more granularity than I want to bother with. This new system also doesn’t improve odds as the characters level up, which I think is a pretty important feature of B/X. I can see why Raggi wouldn’t want that in his home games, but it’s something that I would really not want to miss in mine.

There’s also big changes to how spells are prepared, but since I’m using a completely different magic system that doesn’t have anything to do with D&D magic anyway, this doesn’t affect me personally.

Overall, I think this all sounds very good. I almost certainly won’t use the rules straight out of the book, but I don’t think there are many OSR GMs who do that with any game that is around. I am very much looking forward to the new rulebook and referee guide.

The Fishtank Sandbox

Sandbox campaigns are always and endlessly fascinating subject when it comes to roleplaying games. They are widely regarded as the type of campaigns that uses the unique abilities and potentials of the RPG to the fullest. No matter how well designed, written, and scripted a videogame is, having a gamemaster who can take direct input from the players and completely reshape the game world in response in a matter of seconds is somethings computers can not even approach to replicate. You can have very fun and entertaining adventures following a general chain of events and visiting locations according to a script, but to many this has a somewhat unsatisfying taste of wasted potential.

A sandbox campaign is the ultimate form of interactivity. The players can attempt any action they can think of and change any aspect in the world as long as the GM deems their attempts a success. You will never see the notification “you can not use this here”. The only way to really push the boundaries of a sandbox is to travel off the edges of the map. But even that could be fixed by giving the GM a few week to create more map. (Your GM will hate you for this, though. Have a heart and don’t do this.)

One challenge when talking about sandbox campaigns is the unclear terminology. There’s no kind of even informal authority among OSR gamemasters and designers. It’s true anarchy where terms become accepted because the majority uses them in the same way. But even then, you usually won’t find any clear definition. And to make things worse, people are using terms in the way they think they should be used, even if they are in a minority. Very often sandbox is used seemingly synonymous with hexcrawls. And after having been interested in this wider subject for years, I am only now starting to get an idea what hexcrawling actually means to the people who actually run succesful hexcrawl campaigns. (Those who complain that their hexcrawls sucked are usually told that they had a wrong impression of the concept.)

A week back I had started a thread about sandboxes at rpg.net, and wanting to make it clear that I wasn’t interested about either hexcrawls, domain building, or diplomacy sandboxes, I came up with the description of “dynamic sandbox”. One of the early replies was from someone who immediately got what I was getting at, who also mentioned that in Sweden they call them the equivalent of “fishtank”.

And I think fishtank is a brilliant term that really should get widespread use in our English RPG terminology as well. It just hits the nail square on the head. A fishtank is a kind of sandbox campaign (that is: no script, players set their goals), but one that is focused on and build around various factions and important people. The big fishes and the little fishes. And these are all swimming around in the fishtank, doing whatever fish business they have. The players are introduced into this environment – usually as the smallest of fishes – and mingle with the various other big and small fishes that already inhabit it. It’s the relationships between these important parties and players that the campaign is really about.

A fishtank campaign can have a hex map. Just like a hexcrawl or a domain building campaign. But it can also just as well be run using a point map, or a city street map. Since my Old World setting is a wilderness setting and I am more of a Sword & Sorcery than a survival or expedition guy, my personal choice is a point map that lets me easily track travel times with just a few lines and squares and without the need to create a sophisticated geography. (I think I’ll have to do a full post about this later this week.)

I’ve never seen the term fishtank used for this type of campaign, but I think it’s almost self-explaining to people who know the basic idea of sandboxes. It’s a sandbox of various actors doing their various things and fighting out their conflicts, and the players are joining them. As this is just the kind of sandbox campaign I have always been envisoning since I became familar with the concept, I am really hoping that it might gain a widespread acceptance. And maybe help more people become aware that a sandbox does not have to be a (poorly run) hexcrawl. I will certainly be using it to describe my campaign in the future.

Looking a bit around, I found the term fishtank referenced before in two posts at Gnome Stew. By a Finish author. Figures.

Thinking about NPC levels in an Old World campaign

So here I am again, writing about RPGs. Even though I am creating the Old World as a fiction setting, I can’t shake the constant thought that it also would make for a really great campaign setting. And once more I am finding myself getting back to B/X, specifically LotFP. Yes, I know: Oh, the irony! Aside from the magic system (for which I have a complete replacement almost ready) I just really love the game in all its simplicity. Combat, character advancement, and monsters are just exactly the way I really want it.

With my experiences in fiction worldbuilding, my look on preparing a campaign setting for an RPG also changed a lot. In the past I used to attempt to emulate the structure of settings like Forgotten Realms, Eberron, and Golarion, and for a long while really didn’t know what to make of things like Red Tide, Yoon-Suin, or the Wilderlands of High Fantasy. But having learned a lot about Sword & Sorcery worldbuilding in fiction, this very much changed and I am seeing what’s the deal with the later and how it fits my own purposes. Often less is more, and in this case it is much more less that is so much more. I am no longer interested in precise maps, borders, or population numbers for cities and countries. Making up new villages and dungeons as I go will be good enough.

But even when you have a setting that is defined by culture and environments and not by specific places and organizations, to have a campaign in which the players have real agency is that you know who the movers and shakers in the campaign area will be. And one topic that none of the many guides and introductions for running unscripted campaigns ever touch upon is the creation of NPCs. What class level should the major NPCs in the campaign have?

kingconan

Now one very easy solution would be to not set a level for NPCs until the players run into them for a fight. But that causes a pretty major problem. The decision of the players to fight an NPC or not is based on whether they think they can win such a fight or not. Chosing to start a private war with a powerful local leader is as big a choice as players are going to make, and it can only be an informed and meaningful decision if the strength of the NPC is fixed before the decision is made. If you create stats for an NPC only once you know that the players are looking for a fight, their choice will have been meaningless. When you decide to make the NPC beatable or unbeatable for the party at its current strength, the players are completely without power to influence the survival and victory of their characters. Over the years there has been a lot of talking over what makes the differences between the videogames Morrowind and Oblivion (and now Skyrim as well), and one thing that really changed how the games play is the adjustment of enemies to the level of the player, or the lack of it. In Oblivion and Skyrim it has become irrelevant what places you chose to visit and what quests to try, because the difficulty will always be the same. When you discover an area that seems too dangerous for your character, you might choose to leave and go somewhere safer for now. When you then return a long time later, after lots of great adventures and getting many powerful new weapons, and it’s still just as hard as it was the last time, then it really feels like you didn’t make any progress at all and didn’t become more powerful in any way either. What’s the point of reaching higher levels and gaining better weapons and armor if it doesn’t make any difference? In Morrowind monsters and NPCs are always the same strength, regardless of how powerful your character is. While this does mean that you will occasionally have to admit defeat and retreat, it really makes a huge difference to the sense of accomplishment and progress, that is an important part of unscripted videogames and RPG campaigns alike. Losing is good, because it tells you that any victory you gain has been earned.

Continue reading “Thinking about NPC levels in an Old World campaign”

My Old World Music

I am always very strongly influenced by sights and sounds and music always helps me a lot at focusing on a mood and aesthetic when working on my worldbuilding. I got a big collection of fantasy and sci-fi soundtracks from movies and videogames, and these are the ones I like the most for getting into the right mindset when writing for the Old World.

  • Baldur’s Gate II: Throne of Bhaal: Baldur’s Gate was my introduction to Fantasy as a wider world of fiction (The Hobbit and The Lord of the Rings had been isolated one-off things for me) and was a huge influence on me (hence I am writing stuff like this today), and when the second game came out it was even greater. But it’s particularly the expansion Throne of Bhaal that greatly inspired my vision for the Old World and the new music thar came with it is a great match. (Somehow, as a compulsory completionist who always plays a full series in order instead of just individual games, I never actually played this one since my first playthrough after its release in 2001.)
  • Berserk: Short, but nicely dark.
  • Bound by Flame: This is a game that is little known and was rather poorly received, though I think it was mostly just well overpriced. But for perhaps half the price it’s a very nice little Sword & Sorcery game about a world that has been overrun by ice mages and their undead armies, with a few surviving mercenaries and sages attempting to prevent the complete extinction of humans and elves. The presentation of this fantasy postapocalypse is very nicely done and the music does a great part of it.
  • Diablo III:: The world of the Diablo series has almost nothing in common with the Old World and I never even played the third game. But the music is very nice.
  • Dune: The one from the 80s. Saw only pieces of it when I was 8 or so and Dune is nothing like the Old World. The music is very nice and fitting, though.
  • Mass Effect and Mass Effect 2: While this series is all out sci-fi (or is it?!), the adventures of Shepard and her crew are exactly the kind of tales I care about. Possibly the single most important influence on the Old World and the reason I am interested in writing stories in the first place. Not sure if the music is that great a fit for the Old World by itself, but after having easily played 200 hours in the series it has all the right associations for me. It’s dark, mysterious, but also bold.
  • The Empire Strikes Back: Of course it’s here. It’s in everything where I am talking about aesthetics and atmosphere, being the best movie of all time and apparently the blueprint for the art design of Mass Effect. The Bespin and Dagobah pieces are all perfect for the Old World. In fact, the whole aestetic of the Old World is based on the presentation of these two planets.
  • WarCraft III: Another big fantasy game of my early youth and one that influenced the style of the Old World almost as much as The Empire Strikes Back and Mass Effect In particular the orc and night elf campaigns set in Kalimdor, a continent quite different from any other I’ve seen in fantasy and without any of the generic stuff from the rest of the series. The orc and night elf music is the sound of the Old World.