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.

Races of the Old World for B/X

One of the oddities of B/X D&D is that nonhuman races are treated as classes. It’s actually a nice streamlining of the fact that nonhuman characters in OD&D were all limited to just one class. All that B/X does is providing separate tables for human fighters, dwarf fighters, and halfling fighters and a table for elven fighter/magic-users.

When adapting the system to settings that are not limited to human PCs something needs to be done to make the other humanoids playable. In the Old World elves are the only race that has stats in B/X and humans don’t exist at all. In addition to that all races can be thieves and witches in addition to fighters. So my solution is very simple: Don’t use special stats for races at all.

All races can be of all classes (no clerics) with no level limits. It’s pointless to make twelve custom classes when I can just use the three classes out of the book. And what difference does race really have for characters? In most editions of D&D it’s almost none and what little there is evaporates to nothing after a few levels.

Though one thing I am currently considering is to create maximum limits for ability scores. Elves are limited to 15 Con, kaas to 15 Dex, skeyn to 15 Str, and yao to 15 Int. But I might even ditch that.

Return of the Magical Creatures

One problem I’ve been struggling with since when I started working on the Old World setting is creating a clear concept of what spirits are and how they behave. Since shamans and animistic religion are a major focus of the setting, this issue is a pretty big deal. I’ve been doing a lot of shuffling around and recategorizing of my creatures over the years but never really got to a satisfying conclusion. The last set of categories I had been using was people, beasts, undead, and everything else was a spirit. They are all inhabitants of the Spiritworld after all.

But looking back, this only seems to have caused more confusion than clarity. And I now think this is because there are two fundamentally different types of beings that are all said to live in the lands of spirits, at least in the way we think about these beings today. The fey people of celtic myth, or at least their modern interpretation in the British-Irish tradition are not animistic beings. They are people. They are generally human in shape, talk in human languages, dress in human clothing, live in human dwellings, cook their food, and are apparently born and age. But they are the people of a parallel world that obeys diferent rules, which makes their behavior seem very strange and gives them powers that are for all intends and purposes magic. This is not unique to the British Isles, though. You find many similar creatures in India and Japan as well.

But the spirits of nature are fundamentally different beings. They can appear in human form, but that’s not their real form. They are not born and do not age, they do not need to eat and you can not kill them with a blade. They do not live in a river or in a tree. They are the river and the tree.

When you lool at original descriptions of supernatural mystical beings, I don’t think this distinction holds really up and doubt people actually saw them this way. But when creating stories for modern audiences, I  think it’s a quite important distinction that we take for granted, even if we never really think about that.

Taking these things into consideration, I don’t think my shie, naga, raksha, and giants really qualify as spirits anymore. They have supernatural powers and they are native to the spiritworld, but they are all people who were once born and who can be killed with a blade. While I think the execution of creature types in the RPGs Dungeons & Dragons and Pathfinder is a total mess, I think it is the right idea. There needs to be a category of creatures that are magical instead of mundane mortal, but also clearly different from immortal spirits of the land, angels, and demons. So I will be expanding the categories in my creature document from four to five and add the Magical Creatures group. Hopefully this will help me get a better grip on the supernatural in the Old World.

I hate it when this happens

This week my worldbuilding efforts for the Old World have been spend mostly on trying to develop the role and nature of demons and the Underworld. And the unfortunate conclusion that I’ve reached is that my original ideas really don’t work for the kind of setting the Old World has become.

Lovecraft Horror in the Bronze Age is a cool idea, but the focus of the Old World lies somewhere else, and it just doesn’t fit in. I really, really like the six types of Underworld creatures I had planned, but they are just way too much like space aliens. (Partly because five of them are straight up adaptations from sci-fi videogames.)

But it just doesn’t work. The Old World will be a much better setting without them confusing things. In such cases there really is no point in dragging along dead weight that will only be a burden. So they just have to go.

Perfection is not reached when there is nothing left to add, but nothing left that can be taken away.

But I think I might still be able to at least salvage the aboleth archetype. Instead of being some eldritch being from before time, it can still work as simple one big ass evil fish. This picture is just too cool not to do something with it.

DA144_04

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.

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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.