Licensing options coming for AGE system?

According to comments made by Jack Norris and Chris Pramas on various forums, Green Ronin publishing is having plans to introduce a license next year that will allow others to release material for the Fantasy Age system with their official permission. The intention is to use something similar to the licensing options for Savage Worlds, which after a quick lookover seem very similar to those offered for Numenera. The approach is quite different to the d20 OGL in that it requires each product released under them to make it very clear that it is an extension to the official game, something you are explicitly forbidden to do for Dungeons & Dragons 3rd edition. They also don’t allow you to replicate the entire rules in either unaltered or modified form. You can create new rules and even have them override regular rules of the standard rules system, but either way there is no legal way to make a stand alone product.

How the lincenses for Fantasy Age will look specifically we’ll have to see once they are publically announced. But I already consider this very good news. Fantasy Age really feels like a system that is perfectly suited to be released to the crowds and modified and adapted to a wide variety of creative ideas. People have criticized the Basic Rulebook for being a bit too generic and lightweight, which is not entirely unjustified. But as a basic rules system to expand upon it really seems quite perfect. Having it be just the bare bones actually seems beneficial for that purpose, as adaptations for specific genres and settings mostly only have to add new rules instead of removing or overriding existing ones, which would be a lot easier to manage and less confusing for readers.

The OGL was a huge boost for the do it yourself crowd and small business publishers of RPG, even though in my oppinion the d20 system is really quite terrible. The big mistake WotC made was probably to force publishers big and small, as well as fan creators, to clearly renounce any kind of association with the company or the Dungeons & Dragons game. Because they did just that and did their own separate things. What did they expect to happen with a license like that? The Savage Worlds and Numenera licenses are much more sensible in that way and not only require any buyer of these products to buy official rulebooks as well, but also constantly promote the main game. The AGE system seems so much better suited as a generic system than the d20 system (and also Savage Worlds, in my oppinion), and I am quite excited to see what we might be getting if these plans for licensing agreements come true.

I, for one, welcome our new green overlords. I’ve been working on my Ancient Lands campaign setting for four years now and have very determined plans to eventually release it to the public in one way or another. The big question has always been whether to make it completely system independent or to provide a section with rules specific material for some open system or another. As I said before, Fantasy Age is very close to what I would have wanted to make if I were to make my own game and it really seems quite a perfect fit. Being able to release the Ancient Lands as an AGE system campaign setting would be a dream come true, and even if the license were more restrictive than those for Savage Worlds and Numenera, it would still work for my purposed. I don’t expect anything to happen for another year or so, but it’s still exciting to see an announcement of the plans that are currently being considered at Green Ronin.

Who kicked the dogs out?

Someone in a forum asked for fantasy novels set in a world with a style similar to the old videogame Morrowind (so far we’re mostly drawing blanks) and that got me thinking some more about that particular setting again. Back when I was 18 I thought it was a bit daring in how different it is from “proper fantasy” and it was ultimately the gameplay of the series that never got me really deeply invested in the game. But the setting and particularly it’s aesthetics stuck with me ever since and these days I hold it in very high esteem precisely because it’s so different.

While the stuff I had been working with before I nailed down the original concept for the Ancient Lands was pretty generic standard fantasy stuff and I am not ditching everything of that just because it’s generic, I very quickly got excited about the idea of also drawing inspirations from some very nonstandard works to create a somewhat unique style for my own world. Among Morrowind and Star Wars, there’s also the two classic and very quirky Dungeons & Dragons settings Dark Sun and Planescape, the continent Kalimdor from Warcraft III and Xen’drik from Eberron, and at least visually I am very taken with the John Carter movie. And thinking about what makes Morrowind so unique and interesting that could be found in unrelated fantasy novels also got me to start looking for what things these settings have in common that I might incorporate directly into my own setting.

And one very destinctive thing thing is that not only the environments look somewhat otherworldly, the wildlife is also completely different from what we have in Europe and North America. There are no dogs and wolves. Also no bears and no wild pigs. And people don’t keep horses, cows, and sheep. I already created a good number of animal-like creatures, mostly based on reptiles and insects, many of which can serve quite similar roles. So how about kicking out the dogs? And the wolves and the horses, and the sheep? Horses would be the biggest immediate change as far as players are concerned, but being all forests, mountains, and islands they didn’t really have much of a prominent presence in the setting to begin with. Usually “nonstandard fantasy” means not having elves and dwarves and giving people guns. (Yes, not only is there such a thing as “standard fantasy”, there’s also “standard nonstandard fantasy”.) But going the opposite direction and taking even more real world elements out of the setting and replacing them with more made up things might actually be a really interesting direction to explore. It worked for Dark Sun and Planescape, and those are probably the two best settings ever done for RPGs.

Main regions of the Ancient Lands

Earlier this week I wrote a post about rethinking my approach for dealing with the both physical and cultural geography of the Ancient Lands. I’ve never been anywhere close to happy with the geography of the setting and I think I now figured out why. The traditional fantasy campaign setting “satelite view” map very much conflicts with the sword & sorcery and space opera approach to setting design I am using. So right now I think I am not actually going to do a true world map at all. Instead there will be just a very rough and sketchy outline for the major landmasses. All the actual content regarding settlements and landscapes is confined to a number of relatively small areas, which get covered in considerable detail. These will be comparable to Icewind Dale, Ferelden, the Eldeen Reaches, Skyrim, Tatooine, Tuchanka, or any other of hundreds of “countries” you encounter in fiction outside of roleplaying games. The ones that I cover may not necessarily be the most densely populated or most representative regions of the Ancient Lands, but I am picking them by how well they are suited as places for adventures. Big fertile lands of peaceful farming villages are not really places either players or GMs would care about.

A good reason to have accurate world maps for fantasy settings is for judging travel distances and to see what kind of places and areas you’ll be passing through on a long journey to another region. This can be quite important information for some campaigns, but in a pulp campaign like Sword & Sorcery or space opera it normally doesn’t matter at all. Some weeks or months have passed and then you’re standing right next to the place you wanted to go to. The journey itself doesn’t really play any role in these genres. It’s the parts with the villains and the old ruins that matter, the rest is glossed over. Doing a good world map poses a lot of challenges (even if it’s just a continent or part of one), but for a setting like the Ancient Lands where it is not needed, it really isn’t worth the effort. And I think not having an accurate map actually enhances some of the themes and the overall atmosphere of the setting.

Currently, all the material I have crated over the years seems to come together very neatly in 16 thematical and geographical regions. The layout is very simple, consisting of a single long coast that runs from north to south with the land in the west and the ocean in the east. Similar to the American East Coast all the way from Greenland to Florida, or the eastern coast of Asia. Continue reading “Main regions of the Ancient Lands”

Reconsidering the role of place in the Ancient Lands

When it comes to working on the Ancient Lands, probably the most difficult thing about it has always been the subject of places. Cultures, Creatures, and Cosmology have always been my greatest strengths and I am totally in love with what I have created over the last four years. But places have never really worked out and after all this time I still have no real map for the whole setting.

I think a major part of that comes from the Ancient Lands being in many ways the synthesis of two different kinds of fiction: Fantasy RPG settings and space opera videogames. I always had in mind a reincarnation of Knights of the Old Republic and Mass Effect in the form of a bronze age Sword & Sorcery world. A concept I still fully believe in. Mass Effect is born directly out of Star Wars (so they could continue their game series unbound by a license) and Star Wars is a direct descendant of the John Carter novels with a bunch of old Samurai movies thrown in. And John Carter really is the granddaddy of both Space Opera and Sword & Sorcery. They are two divergent branches from the same root and at their very heart they tick the same and follow the same logic.

The cognitive dissonance I am struggling with is how these two main sources deal with maps. Fantasy roleplaying games are obsessed with maps of very high detail, while space opera doesn’t have any. And it doesn’t need to. Everyone travels by space ship and using hyperdrive. When distance doesn’t matter, relative position is meaningless as well. Now you are here and next you are there. That’s all there is. Somewhat paradoxically, even with a whole galaxy as the environment, the setting always only extends as far as the eye can see. These universes are so mind bogglingly huge that trying to write down everything is impossible, so nobody tries. Fantasy RPGs are different. They very often opperate by the unspoken logic that you can indeed catalogue every single major settlement and prominent landmark of an entire continent on a single page. Which is of course preposterous, but nobody really thinks about it or questions it. When creating a fantasy world, the instinct is very powerful to start with a map. But in this particula case it completely doesn’t work. The most important Space Opera element I want to capture is the sensation of vast emptiness of space. Having a satellite view map of the setting directly contradicts that and cancels it out. I think I now realize that a traditional RPG map can not work for the Ancient Lands.

When you look at Star Wars and Mass Effect, “worlds” really just consist of space ports and landing sites. And perhaps a short footmarch away from those. For a while that was an approach I tried to work with. But the bronze age setting focused on tribal society is meant to deal primarily with the villages in the wild, with the big cities being more like fancyful stories that most people never get to see, so I soon abandoned that. Of course, how would you make a map based world the size of a continent that consists only of small and mostly generic villages? That also is completely doomed to fail, but I guess I never really thought about it until now.

It seems that a completely different approach is required to tackle this. One source I will be going back to for this are the two great sandbox settings by Kevin Crawford, Red Tide and . I think that seems like a very viable approach to what I have in mind. Maybe I’ll also give Stars Without Number another more careful look. It is clear that I can not create an encyclopedia of all major and interesting settlements. Instead I think I should rathe concentrate of creating a good but overseeable number of towns and villages that serve as examples of how these usually look in the Ancient Lands. Not just as templates for making campaign specific locations, but also as completely functional sites to be used for adventures. But I think the main focus should really be on describing both cultures and environments in sufficient detail to give a good sense of their identities and dynamics. Within reason, of course. Something like a 120 page book for each culture would be nonsense. But say perhaps three or four pages for each of the 20 cultures? Add to that a section on different types of wilderness environments, a good number of full page settlements, and a bit about technologies and magic and you got a good size setting book that is both complete and not overwhelming. Some kind of map is of course still needed, but it can be a really crude one that only shows major land masses, main ports, and the largest mountain ranges. Like actual ancient and medieval maps did. Sadly I don’t remembe where, but a while ago I read a good post complaining about the wrong assumptions that are being evoked by most fantasy maps and how they put players and GM in the wrong frame of mind, assuming a world of extensive and complete geographic surveying. This might be a great opportunity to try out some different, more “oldschool” types of maps and seeing how they affect the experience.

Ancient Lands: An attempt at outlining trade

I have been giving some thought to the trade relationships between the peoples of the Ancient Lands and how they would have an impact on their cultures and society and possible sources of conflict or exchange. Now I consider myself decently educated in these things, but I think there’s probably still a considerable load of blatant error in here. Still, I’d like to show to you what I have so far and if anyone finds any errors and could point them out, I would be really more than grateful.

As you might see I am currently, in fact, working on a first early draft of an Ancient Lands Campaign Sourcebook. And it is coming along very nicely. I expect the first, completely rules free, version to be about 40 pages long. I also have a B/X based monster book, which I think will be of comparable size. Don’t expect a kickstarter anytime soon, but I really enjoy it starting to take shape after four and a half years of dabbling.

Bronze

The main material for making weapons and armor in the Ancient Lands is bronze. Made from copper and tin it is quite easily produced and to work with and it doesn’t get damaged by rust. Weapons and tools made from bronze are made by melting the copper and tin until it becomes liquid and pouring it into a cast, and broken bronze objects can easily be molten down again in relatively small fires. If needed, this can even be done on the road without use of a propper forge. However, the scarcity of tin makes it quite expensive and only available in large quantities to people who have established trade with other lands. While copper can be found in many places, most tin in the Ancient Lands comes from the Erhait, the Vestanen Mountains, and the Highlands of the Mahiri Jungles. Much of the wealth of the skeyn and the Vandren comes from the mining and selling of tin, which in many places is as valuable as salt or gold.

Iron

Smelting iron ore into raw iron is more difficult than turning copper and tin into liquids and the resulting material requires many hours of hammering until it becomes a usable metal and even then the wrought iron doesn’t stand up to the toughness of bronze. It is also highly susceptible to rusting when not kept clean and dry and broken or rusted pieces can not simply be remade without use of a large foundry and a lot of labor. However, iron ore can be found almost anywhere and in much larger quantities, making it a much cheaper material when quality is not important, such as nails, arrowheads, or small plates for lamellar armor. The most important exception is chainmail armor, as wrought iron is much easier turned into rings than bronze. Both the Vashka and the Neshanen possess this skill and their armor often find their way into the hands of their neighboring tribes. The skeyn of both the Erhait and the Tavir Mountains also know the secret of turning iron into steel, which is a much more advanced process than simply making wrought iron and requires the use of large foundries and forges. Weapons and armor made from skeyn steel are almost as good as those made from bronze, but the much cheaper production of the metal allows them to create them in much larger numbers and the soldiers guarding Barregal and Falreig are the best equipped anywhere in the Ancient Lands. They also sell steel weapons to clans of other tribes, but most warriors anywhere would rather use weapons made from bronze.

Silver

Silver is not a good metal to make weapons with, but it is unique in it’s ability to harm spirits and many other other magical creatures. It has a unique connection to the Spiritworld, which not only makes it very valuable for withes and shamans in the creation of magical devices and amulets, but it can also cuts the flesh of creatures that are unharmed by bronze, iron, stone, or wood. Taken by itself, silver is far too soft to be made into blades, but when molten and coated on bronze, it will form an inseparable bond that can not be broken by any means. A bronze blade dipped into molten silver will gain a coating of silver that can harm magical creatures but retain it’s original strength and toughness. The silver edge of the blade needs to be frequently sharpened and blunts quickly when striking other metal, but for a small number against unarmored creatures it is a sharp as any other blade. Sharpening the edge will eventually wear down the silver to the bronze core, at which point it needs to get a new coating of silver. These weapons are very expensive and dull quickly when used against armored opponents or parrying the weapons of armed enemies, but they are invaluable to those who are fighting monsters and the creatures of the Spiritworld.

Tin

Tin is required for the making of bronze and a relatively rare material found in large quantities in only a few places in the Ancient Lands. Almost all tin comes from the Erhait, the Vestanen Mountains, or the highlands south of the Mahiri Jungles. Those clans who control the mines are among the richest and most powerful of their regions, since otherwise they have been conquered by their neighbors long ago. Copper just by itself is even less suited for weapons and tools than wrought iron and many wars in the Ancient Lands have been fought over the control of tin mines and the highly lucrative trade with the metal.

Salt

Salt is one of the most valuable resources in the Ancient Lands and the real source of the wealth of the Vandren. Nomadic hunters in the wild or the people in small fishing villages can do well enough without it, but for those people who live by farming and storing food for the winter it is both vital for their health and the preservation of meat. People in farming villages who live mostly on the plants they grow will soon become sick and eventually die when they have no access to salt and meat is almost impossible to store for later without it. Not only is salt necessary for survival in the civilized parts of the Ancient Lands, it is also demanded in huge amounts. When tin runs out people can keep using the weapons and armor they have and melt down broken pieces to make new ones, but when the trade with salt comes to a stop it becomes an immediate matter of life and death. Both the Tavir Mountains and the Vestanen Mountains have several large salt mines, and digging the salt out of the ground is backbreaking work that often falls to thousands of slaves who rarely survive for very long. Both the Vandren and some of the Neshanen cities in Senkand gain their wealth primarily from selling salt to Eldanen, Halond, and even the Mayaka kingdom. The Ruyaki also have some limited trade in salt with the Takari, but in the last hundred years the Vandren salt mines have given the Takari access to much more salt than ever before.

Cloth

Wool is found almost everywhere in the ancient lands and comes mostly from sheep and goats. Linen and cotton cloth is much finer and lighter but requires a lot of work to make and the flax and cotton plants don’t grow in many parts of the Ancient Lands, which makes both yarn and cloth highly desired goods. The most prized and valuable cloth is silk, which is only produced by the Takari on the coast of the Mahiri Jungles.

Furs

The largest and thickest pelts come from the winter coats of animals found in the coldest lands of the North, such as Venlad and Yakun. These fetch very high prices in the markets of Halond, Senkand, Eldanen, and even the Vestanen Mountains where they are highly desired over wool from local animals. They are one of the main reasons why people from other lands make the long journey to the Northern Sea.

Bone and Ivory

While bone can be found in any places in the Ancient Lands and there are several large beasts with big tusks and horns in the jungles of the South, they are nowhere found in such large numbers and sizes as in the Northern Sea. Walrus and whale hunters in Venland bring a bounty of tusks and whalebone to the markets every year that is greater than what most kings of the South will see in their entire lifetime. And which makes those merchants who successfully make the journey to the frozen lands and back very rich.

Ancient Lands: Lizardmen

The Lizardmen are the dominant race of the Mahiri Jungles, Kemesh, and Suvanea, with smaller isolated groups being found on islands and in marshes as far north as the Tavir Mountains. They are on average a head taller than humans or elves and often weight twice as much, but the clans of some regions are of much more slender build. While not particularly fast or agile on land, they are very good swimmers and divers and most often make their homes directly at the water. As the other races are concerned, lizardmen show few emotions or individual personalty and seem generally somewhat dull, but in reality they are not any less intelligent. Much of their culture seems very strange to other peoples, such as their apparent lack of families. Eggs and young children are cared fore collectively by the women of a village and most make very little difference between their own children and those of others. Men are often not aware which children of the village are their own and young lizardmen become mostly independent of their caretakers by the age of ten. Positions of authority are usually attained entirely be merit and not by right of birth. To people from other tribes lizardmen often appear as highly indifferent and uncaring towards their children and eggs are usually regarded as replaceable, but they protect their young just as committed as all other peoples.
The cultures of the lizardmen are among the oldest in the Ancient Land, with many of their realms predating even the earliest elven kingdoms. However, the people of most major cities consider the lizardmen to be stuck in the past and having reached the limit of their abilities. While many of the outlying tribes do indeed have no writing or barely any metal, the major cities hidden deeper in the jungles are just as advanced as any elven kingdoms.

Gandju

The tribe of the Gandju lives in the many islands of Suvanea on the eastern end of the Inner Sea, which they share with the much less numerous human Amakari. Though there have been a few old naga castles in Suvanea, the Gandju never were made slaves in large numbers and their culture is entirely their own. Like the Amakari, the Gandju use no metals except for a few knives and spear blades taken from elven ships that have been boarded or run aground in the region. Gandju villages are mostly found on the beaches or lakes found on some of the larger islands. Their boats are much smaller than the merchant ships of the Keyren, Neshanen, and Takari and not well suited to endure storms out on the open sea, but very fast and maneuverable and perfect for travel between the islands. Some clans are frequently visited by merchant ships buying fresh food for the long journeys across the Inner Sea, but others are pirates who simply steal whatever goods from foreign lands they find a taste for.

Kuraka

The Kuraka a group of highly diverse clans of lizardmen whose most common trait is that they never were slaves to the naga or part of the Mayaka kingdom. They have no cities and only a few towns of significant size and they don’t make bronze, but have long ago learned to work the metal taken from dead Mayaka and Suji soldiers and they have many bronze spears and daggers in addition to their own stone and obsidian weapons. The Kuraka are most numerous in the highlands west of Kemesh, but small clans can be found throughout the huge unclaimed territory that separates the lands of the two great powers of the region and on many stretches along the coast. Most clans don’t want anything to do with either the naga or the Mayaka and live in small villages in hard to reach places.

Mayaka

The Mayaka are the largest of the lizardmen tribes and one of the most advanced civilizations in the Ancient Lands. Enslaved by the naga lords who ruled over most of the Mahiri Jungles and Kemesh many hundreds of years ago, the lizardmen in the western cities rebelled when the power of the naga began to wane and over several generations gained control over a large territory. Shamans of the slaves had been worshiping the Sun in secret for centuries, and it was these shamans that eventually were able to overcome the naga sorcerers, allowing the warrior slaves to conquer the great city Nakat Sahri. The shamans chose one of the greatest warriors of the rebellion to take charge of the armies and made him the first king of the Mayaka. While the king has been the leaders of the Mayaka warriors and in control of most of the everyday business of the kingdom for almost a thousand years, each king is chosen by the high priests of the Temple of the Sun, who may even replace him if he ever becomes unworthy as the avatar of the Sun.
Having driven the naga from one of their greatest cities and making it the seat of their new kingdom, the Mayaka had access to large irrigated fields and mines of copper and tin from the very beginning, when most other tribes where still living in trees and caves with nothing but sharp stones for weapons. Even almost a thousand years later, only the Neshanen and the skeyn have achieved a sophistication of technology to rival theirs. Though only a relatively small number of Mayaka is living in the great cities of the kingdom, most villages are well connected to the bureaucracy of the kingdom and the army of the kingdom is well organized and has many fortresses and camps on the borders to the dark elves in the West and the remaining naga cities of Kemesh in the East. In addition, the king also commands the Guard of the Royal palace, which is one of the most well trained and organized forces in all of the Ancient Lands, being rivaled only by a few of the best companies of the Sakaya. Soldiers of the Royal Guard wear bronze lamellar armor and swords, which make them stand out clearly from the regular Mayaka soldiers, who are equipped with armor made from corded rope and iron spears. While Mayaka soldiers are rarely seen outside the borders of the kingdom when not on a campaign to destroy enemy troops, soldiers of the Royal Guard also have the duty of escorting dignitaries of the kingdom to other countries and are sometimes chosen send on special assignments that lead them to far away places. Within the great cities of the kingdom, children of women of the palaces are raised away from those of the common masses, creating a kind of aristocratic caste that is unknown to the other lizardmen tribes. Commoners can still rise to position of great power and might even be selected to become king, but the children of the palace are given much better education, which puts them at a great advantage.

Suji

The Suji are a unique tribe in the Ancient Lands, as they have no chiefs or shamans and are entirely under the rule of the naga of Kemesh. They are almost never seen outside the naga realms, except when crewing the rare occasional ships that transport their naga masters to other lands. The Suji perform almost all manual labor in Kemesh except for the casting of weapons and armor for the naga and their elite serpentmen guards, and they also make up the majority of the vast naga armies that are in a slow but almost constant war with the Mayaka, and occasionally come to clash with each other. According to the Priests of the Sun and the Mayaka king, they are continuing their rebellion to free all lizardmen from naga slavery, but to most Suji they are heretics who are refusing to bow to their divine masters. Fieldworkers from villages captured by the Mayaka are often brought to the kingdom and live pretty much as slaves, with their young being raised in Mayaka hatcheries. Suji soldiers often fight to the death rather than joining the heretics and it is rare that any are taken alive by victorious Mayaka armies.