Trouble in Shroomy: New Adventure Preview

I'm working on a new adventure, tentatively titled Trouble In Shroomy, to be playtested tonight!

Trouble In Shroomy

The commonweal of Shroomtonia is a mushroom kingdom ruled by His Capped Shroominess, King Bolete LVII. It is generally a place of peace – humans are indentured to work the fungi fields – thus commerce and wealth thrives, and the Shroomfolk can pursue their various vocations unmolested. Being located beneath the earth (though not far) Shroomtonia thrives in relative darkness. The upper glades are the domain of Shroomtonia too, a place teeming with wildlife and flora of all description. It is this area that is currently under threat from human settlers, who have chanced upon the four glades. The settlers have begun hewing the giant conifers with axe, hunting the tame wildlife, and destroying the sacred toadstools - all in the name of 'progress'. This will not stand with King Bolete!

King Bolete has charged a group of shroomlings with the responsibility of putting an end to this human insurgence, so as to protect the upper realms from destruction. Bringing back the human leader’s head will grant membership to the prestigious ‘order of the stipe’ - and a chance to become an advisor to His Capped Shroominess.

I will be running this using B/X so Labyrinth Lord and OD&D players should find this pretty easy to pick up and run. My intention is to include the Shroomfolk Class within this adventure, which functionally is pretty similar to an Elf (with some differences obviously). This adventure will be great for a one-shot, and will probably be a bit more linear than my other adventures. It is definitely more Fungeons & Dragons than anything - being pretty silly, and departing from some standard D&D tropes. But it should be fun. 

...And yes, that shroomfolk's spear does have three human ears dangling from it. 

"...Painting Dwarven Penis Runes On His Barn", Or More Politely "Slumbering Ursine Dunes: A Review"

Author: Chris Kutalik
Price: $9.00/$16.00 (Drivethrurpg)
Format: PDF/Print
Page count: 66
System: Hydra Cooperative (Labyrinth Lord)
Year: 2014

If the title of my review doesn't grab your attention, you won't like this module. It might seem like a debased attempt to get you to read this, and okay, maybe it was a little, but the quoted excerpt actually appears in this adventure. If on the other hand, the idea of a centaur enacting such immature pranks makes you chuckle a little, then you will probably gravitate towards this adventure. 

Some of you will remember I reviewed Hydra Collective's Hill Cantons Compendium II slightly over a month ago. In my review I discussed the overall humour of Chris Kutalik's writing, and my general attitude of propensity towards this work. Cantons has a very homely feel, and the compendium has recently been released in a print format, that personally I think looks Gorgeous. 

Needless to say, when +Chris Kutalik was kind enough to provide me with a review copy of Slumbering Ursine Dunes I was immediately excited. Why? Before I had read or even heard about Hill Cantons Compendium II, I had already had my gaze set on this adventure. I lavished the immediately evoking cover artwork, and plotted how I might be able to justify its purchase. Clearly, when the opportunity arose to delve into the content, I was game.

The Good
Slumbering Ursine Dunes presents itself as "a Labyrinth Lord adventure for levels 2-4". Like most products at least loosely affiliated with the OSR, or with old school gaming more broadly, there is an enjoyable cross-compatibility between many systems. Slumbering Ursine Dunes - or SUD as I will now refer to it - is no exception. The stat blocks and mechanical considerations are not the exclusive domain of Labyrinth Lord, but can be enjoyed with more or less any retro-clone or pre-2000 edition of Dungeons & Dragons. Even a 5th edition conversion would present scant difficulty. While this will be obvious to some, I do not wish to presume my readership possesses this knowledge or ability (though these types of conversions seem simian in execution), and some gamers expect exacting compatibility with their system of choice. Be advised this thing is easy to work with, but will require some work if you're not using Labyrinth Lord, OD&D or B/X. 

The layout of SUD reminds me of Hill Cantons, in fact I'm almost certain the type-font of the title and some of the interior is identical. Generally speaking the fonts are easy to read and the layout is solid. It didn't boggle the mind with its awesomeness but neither did I have any particular distaste for it. The tables have a nice shading, and are pleasant to read and interpret. Little grappling is required which is perfect for the gaming table. The cartography is reasonable, being functional and clear. Personally I found the visual highlight to be the artwork. There is an off-beat consistency to the pieces which drew me into the adventure immediately. The front and back cover have an unnameable reminiscence. It's not 'old school' per se, but it begs the viewer to immerse themselves within the setting, and alludes to old tales found in dusty books. The pieces range from mysterious, weird, and terrifying. Like good RPG artwork it transports the reader to another place, and stimulates the imagination in useful ways. The artwork alone sold me on this product. I'm very picky when it comes to this, so that is high praise. Artwork is incredibly important to me in determining the feel of a product, in digesting it, and relating to it on a visceral level. SUD does this well. Any money Kutalik (and co?) spent commissioning artwork was well worth it. Because the illustrations depart from some of the artistic boringness associated with other OSR offerings I feel this product (and probably the rest of Kutalik's work) has made some important headway within the 'scene'. Like Hill Cantons it requires you to leave your notions at the door. That's important, because rather than rehashing the same old tropes, this one will leave you guessing. 

Okay, enough blabbering about artwork. You want to know about the content don't you?

Alright, alright... 

Slumbering Ursine Dunes put simply, is an "open-ended mini-sandbox adventure". When I read something that forces me to break out a dictionary (albeit online) I'm happy. This work forced me to do so on at least two occasions (that I'm willing to admit anyway). First, curious about the title, I had to look up what "ursine" means. For those interested it means "bear-like". This is suitable as one of the major features within this work is the yearly pilgrimage of "soldier-bears" within the dunes. The second word beyond my literacy was "Sisyphean" which means "endlessly laborious or futile". This word was used to describe the consistent insurmountability of mounting the dunes without the aid of magic. It's possible but takes a damn-long time. Already we get a sense of the place. The environment is harsh, and hey, there's bear-dudes. 


Kutalik's typically facetious and largely parodic prose surfaces in this work. I imagine he's the type of man who doesn't take himself too seriously. I can't decide whether I'd want to play in his games or not: on the one hand I imagine spending most of a session in varying states of laugher, whether that would be a small giggle or an outright ROFLMAO I can't be certain; or else he would be laughing at the party's attempts to adventure in his strange worlds. Comments like "the imaginatively-named Misty Isles.." or "Kůň is a greedy fuck" made me laugh. This is someone I can relate to. Whether Kutalik's intention or not, I could see myself within this narrative being the DM: "I need a name for this place...hmm...there are islands and there's a mist. I know! 'The Misty Isles'. It's slightly prosaic, but it will do".


It's funny, bordering on ridiculous, at times. Even if you never run this you'll probably laugh a few times. Discoverable items like the silver ball that induces an orgasmic sensation upon the wielder are the types of tongue-in-cheek, stupid but funny type of things you may expect within this package...

The text begins with the background and lore of the Dunes, going further to detail a few major players in the dunes. A table of rumours is provided - following the true/false dichotomy of older-era modules. A 'Wandering Critter Encounter' table follows with some usual and not-so-usual creatures. What I especially enjoy about the first part is the distinct flavour of the factions and creatures that inhabit the dunes.  

SUD uses a point-crawl system. Rather than providing a traditional hex-based map with adjoining hexes in every direction, the map provides a road map of sorts to the notable points of interest. Getting between each node may be a mini-adventure itself, though it's somewhat presumed these travels will be largely arduous. This is a logical choice for an adventure of this sort, and is probably easier to describe than a hex-based map may have been.

The dunes' locales are generally distinct and interesting. Any mention of a half-mad priestly hermit type will have me instantly interested, so it should be no surprise I was happy to read about one among the nodes. It was accompanied by one of my favourite illustrations within the book too, only rivalling the cover image for best piece. There is a strange hermit in an adventure I've personally been writing this year, so it's good to see a kindred adventure-writer. There are two points of interest particularly detailed: that of the Golden Barge and Glittering Tower. The Golden Barge has creatures called 'ghuls' aboard, some of whom attack with meat skewers and use their faeces to fuel the barge.Conversely the Glittering Tower is guarded by bear soldiers. The whole area oozes oddities and reeks of the bizarre. Centaurs charge travellers a toll, while the 'Chaos Index', aka the 'shit gets weird' table, ensures all sorts of strange events will occur within the dunes. In other words this place is unpredictable at best, and utterly deadly on a bad day. A bestiary outlines new monsters and creatures, while there are two new playable classes (for Labyrinth Lord, but obviously adaptable for OD&D, B/X, etc). The back end of the book contains pre-gens so you can whip a henchperson up in a jiffy, or use them as PCs for your lazy players. The other stuff was cool too, but I don't want to spoil the surprises it if you're planning on playing or buying this.

The Bad
I have a similar critique with Slumbering Ursine Dunes that I did with Hill Cantons: there were times where I felt somewhat external to the text. Because this work is surely based on Kutalik's own campaigns there appeared to be a level of insider knowledge I felt I was missing, but did not necessarily need. Let me be clear: the work in itself is complete and comprehensive, but at times I wished I had been part of the play tests. In a backhanded way perhaps I'm complimenting Kutalik, because his campaigns seem imaginative and like a lot of fun. But I do feel future works would benefit from an outside perspective to make it as digestible and understandable as possible. At times I became confused, especially around some of the mythologies, factions and key NPCs. This was due in part to the writing style and layout, but generally a bit of cross-referencing here and there clarified most ambiguity. In the spirit of transparency and fairness I was reading this on two occasions while very tired, so that undoubtedly contributed. 

Final Thoughts
I like Chris Kutalik's creations. Primarily they are imaginative, quirky and interesting. You truly never know what to expect; a genuine breath of fresh breath air in a sometimes stale scene. His work breaks outside of the boring fantasy tropes that have become associated with D&D. His work is important because it offers something fresh and different. It refuses to oblige with tradition or convention, and is brave enough to try something new. Please, do yourself a favour, and at least check out Hill Cantons Compendium II. While Slumbering Ursine Dunes is a very different piece for a number of reasons, the former will provide you with a sense of Kutalik's style. If it's to your liking I imagine you'll gravitate towards Slumbering Ursine Dunges. I'm looking forward to inflicting this on my players in my Astonishing Swordsmen & Sorcerers of Hyperborea Campaign, and if you've enjoyed what I've written, you should too.

Now I need to buy myself a damned print copy!

Tranzar's Redoubt: Review

Author: Joe Johnston 
Price: $1.99/$6.99 (RPGNOW)
Format: PDF/Print
Page count: 44
System: Taskboy Games (Labyrinth Lord)
Year: 2015

It wasn't much more than a month ago since I reviewed +Joe Johnston's FREE How To Hexcrawl guide. You may remember that I reviewed it favourably with the caveat that the artwork had room for improvement - though being a free product I could hardly complain. 

When Jo asked whether I'd like a review copy of his new adventure Tranzar's Redoubt I immediately put up my hand. Firstly because I like free stuff, and secondly because I enjoyed his writing style the first time around. It was clear and easy to digest.

The Good
Tranzar's Redoubt is a Labyrinth Lord compatible adventure. It is stated to be ideal for 4-8 characters of levels 4-6. The overall appearance of this work gets a big tick. Tranzar's Redoubt makes good use of appealing fonts, presentable tables, sensical layout, evocative illustrations by +David Guyll and one of +Dyson Logos's distinctive maps. The illustrations are 'classic' without subscribing to an imitable rehash of an old TSR product, as some OSR products habitually attempt. Overall, I can feel the vibe, without being bored by yet another attempt to capture 'the good old days' *

The adventure background is straightforward and involves the namesake of the title. Tranzar was/is a maligned and destructive wizard who unwittingly made a foolish pact with a...tree...for immortality. He was betrayed by the tree, who he had previously saved, and is now in a non-corporeal state within a cave.

Four logical suggestions are provided for 'Getting the Party Involved'. Obviously the DM/Referee/Labyrinth Lord can add additional seeds according to their own whim or purpose. 

The redoubt is filled with horrible vines and pods, which makes an interesting change to the regular, bare-stone dungeon. It provides the adventurers with an additional hazard to navigate too, which can only make life more exciting. Again, the dungeon dressing is described clearly and succinctly. A small table provides vine effects. The effects are largely undesirable, yet not so harsh as to be unfair - generally a -1 penalty to a task, or a small amount of damage. It adds flavour, and has an in-game consequence which I quite like. 

The dungeon (or cave) is relatively simple. There is a secret door to additional chambers, but otherwise the complex is relatively linear. There are some interesting areas like '16. Gold on the Ceiling'. I won't spoil the contents of the room, but the name reminded me of this |m|. The flavour of the adventure is right up my alley, especially the likes of Mr. Gravelskin and his tea party, which very much appeals to my whimsy. There are some definitely lethal perils within this cave too. It's not all fun and games, let me tell you. 

Besides the meat of the adventure there are some other goodies in the end portion of Tranzar's Redoubt. The 'Pretty Little Things' section details the curiosities and magic items to be found within this adventure. 'Creatures Large And Small' provide some additional critters and NPCs unique to the adventure, while 'Under-Over' is a mini wager game. There are 6 pre-gen characters included, all with a brief background to assist getting into the action. Finally there is a player handout 'The Lay of Sword and Crown' - a brief poem detailing the tale of Tranzar. 

The Bad
The 'Under-Over' table I found difficult to comprehend, but I suspect it is actually as simple as the table suggests.The explanation did more to confuse me than clarify, and the examples seemed incongruous with the rules. I wasn't sure what to make of it which is disappointing because I like gambling games. That part of the adventure would have benefitted with some clarification and improvement. There are some substantial treasures within the adventure that may need pruning depending on the style of campaign you're running (I like things to be pretty lean). Clearly that is the liberty and preference of whoever is running the game. I would not consider that aspect to be a flaw necessarily - though it was noticeable. Finally, the map is placed in the middle of the adventure, which from a functional perspective seemed a bit odd. Besides those three quibbles (the latter two being very minor), this product is exceptionally well executed. 

Final Thoughts
Tranzar's Redoubt is a commendable little adventure. I can imagine running this, and even found it to be exciting at times. With the abundance of (free or paid) adventures on the market, you need a product that will stand out in some way. Tranzar's Redoubt stood out to me. It's a solid adventure, with some interesting ideas. It's easy to grasp and is well written. The atmosphere of the adventure was tangible, and I imagine it will gel nicely with any style of fantasy campaign. I can wholeheartedly recommend this. Preferably buy a print copy. 




*If as an author/publisher/artist/whatever, you can actually capture the vibe of 'the good old days' that's great. If you do it well it may even be something special. But progress and innovation involves building on solid tropes and fondly remembered ideas, rather than remaining in nostalgic memory. Therein lies creative decay. The truly great products of the OSR are able to achieve something new in my opinion. These products offer inspiration, without the burden of nostalgia weighing them down, yet remain a distinct homage or celebration of what was loved. 

Campaign Journal: AS&SH The Anthropophagi of Xamboola (Session 4)

SPOILER ALERT: This journal is extracted from an unpublished and upcoming Astonishing Swordsmen & Sorcerers of Hyperborea adventure I am currently completing. This account eventuates from the playtest. You have been warned!

Visitors to the desert-city of Xamboola beware! Demoniacal cachinnations and dull totemic drumbeats sound nocturnal from the outskirts of the city. Too, vile shrieks echo in response to the nightmarish noises, making even those of heroic aspect shudder in repulsion. Residents do not tarry to lock themselves in their homes at night, for something sinister lingers in the fringes of the black of night. Whisperings and warnings intimate that foreign guests residing at the inn of one Aramis D’athak oft disappear at night, never to be seen or heard from again. Where they disappear is not known, nor do the people of Xamboola speak of the hellish noises that darken their oasis city in the gloom of night.

Session 4: The Warlord's Mirror

The Party

Sint the Pict Ranger (Level 1)

Heron the Kimmerian Druid (Level 1)

Moloch the Male Ixian Witch (Level 1)

Grimnear Hothgar the Viking Berserker (Level 1)

Estorane the Ixian Thief (Level 2; Hireling)

Part I: The Death Of The Eight

Arrows flew, magick was woven, and iron wreaked havoc on the cannibals. Taking respite from the usual diet of human flesh, the cannibals were entirely surprised when five armed and dangerous intruders of mercenary persuasion began attacking. Before they could react feathered shafts were protruding from them, and the rest succumbed to the witcheries of the strange Moloch. A fresh pool swelled upon the floor: the life blood of the slain cannibals flowed as their throats were cut while they slept. 

With little adieu, the wanderers exited the kitchen, and began exploring the remainder of the complex. After sleeping, selling acquired goods in the bazaar of Xamboola, and returning to the ruinous palace, the group continued with their prior explorations. One room, a cube of 20 feet by 20 feet, was entered. Two filthy beds were within, and a mural depicting Xamboola razed in violent conquest. It looked recently painted. The room was turned upside-down, but scant was discovered, besides Sint happening upon a letter opener. Leaving, the adjacent room was entered, albeit cautiously. This room appeared as a once-armoury, with bits of rusting metal sitting on a rack, and a mouldy drape pooling on the ground. Grimnear poked at the drape with his sword, while Estorane and Sint scanned the walls for possible nooks and crannies. Nothing of worth was found.

On the other side of the complex a room filled with women and children was discovered. They all appeared to be akin to the cannibals. After questioning them and discovering little besides the existence of some certain 'wise masters' Grimnear decided to steal a grotesque statue they seemingly revered. Despite cowering in the corner and protecting their children, one women was brave enough to prevent Grimnear from snatching the idol. He shoved her away and attempted to grab it again, but she had enough: drawing a makeshift dagger she slashed him across the arm. The Viking's patience was depleted and drawing steel he hew through muscle and bone, decapitating her. The women and children whimpered and cowered. Eventually the brute left with the idol in hand.

A nearby room, appearing mostly collapsed was explored. Grimnear shoved the queasy idol into one a chamber pot, piled with defecation, as this room appeared to be where they relieved themselves. Poking around Grimnear and Sint unearthed a brood of venomous vipers. Ironically the vipers proved to be much trouble for the group, compared with the nil challenge of the now-dead cannibals. Tirelessly the vipers attacked injecting their poison into Sint and Grimnear. After the near death of the two it was decided to return to Xamboola; those bitten appeared very sickly. 


Part II: Fugly Attackers

Back in Xamboola the wounded employed the services of the priest of Rel to remove any residual venom. A ceremony was undertaken one in the evening, one the next morning for Sint and Grimnear respectively. After recovery the party returned to the palace yet again, this time descending into the depths of the basement. Below, a wine cellar was discovered, though any remaining wine or foodstuffs had long evaporated or been devoured by rapacious rodents. And rodents there were. As the group busily pried and poked around the room, a group of giant rats sized as canines attacked, drooling for the taste of flesh. This time Moloch fell prey to diseased ailment. Again the party returned to employ the priest, who lamented Moloch's demise would have been imminent without his steadfast assistance.

And yet again the group returned to the underground of the palace!

Listening at a door and hearing nothing the wary explorers forced another door. This one led into a vast storage chamber, with arched columns supporting the palace roof above. Seeing or hearing nothing they continued into a hallway lined with dungeon cells. Two contained a skeleton, while one showed evidence of escape attempts, however futile they ended up being. The other cells were not examined, for another door held the party's attention. Without any thought to safety the door was pushed open, however on the other side awaited two horrible anthropoids. They were not human, yet appeared roughly so, standing at most 3 feet tall. They were sinewy and broad, yet held none of the sympathies or curiosity associated with humanity. Instead, these dark and sour creatures attacked immediately, targeting Moloch. They proved both deft and hale, at last being bested with the weapons of Heron, Estorane, Grimnear and Sint. Moloch in a panic, departed with haste from these fiends lest they tear him to pieces in their savagery. When the hostilities expired the corpses were stripped of their chain armour. The room was thoroughly searched: a torture chamber with a secret doorway. In addition was a stone bench with bloodstains and two strange stone closets lined with hideous spikes.

Opening the secret door Grimnear, Sint, Heron and Estorane entered a strange hallway lined with four stone statues flanking each side of the passage. Moloch remained in the 'safety' and relative darkness of the dungeon, while the others tiptoed into the hallway with slight trepidation...


Part III: Smoke & Mirrors

Being a man of haste, and not given to bouts of elongated musing, Grimnear gazed upon two diadems on the heads of two statues. Overcome with gold-lust he grabbed the first. An otherworldly voice filled the air. 
"I didn't quite catch what they said, but it sounded good" said Grimnear as he adorned the crown with little contemplation. He walked over to the second diademed statue as no ill-effect befell him. In as much haste, he grabbed the other diadem. This time a voice spoke illy, bespeaking the intruders' imminent deaths. That's when a noxious gas began to fill the corridor, and the door between Moloch and the others slammed with a deafening "BOOM!"

Nasty boils immediately formed on the skin of Estorane and Sint as they gasped for breath inside the acrid and choking passageway. Imbued with otherworldly strength the mighty Viking dove for the opposite doorway, yet unexplored, and hove it open with a deriding snarl. Heron and Grimnear stumbled into the distant room, and Estorane and Sint fell inside too. Moloch was on the other side of the passageway, alone in the dark. After half-heartedly calling out his companion's names, and without checking behind the now-closed doorway he returned to Xamboola - after all, terrible accidents do happen, and he dare not tarry lest death befall him too!

Inside this new chamber, the lucky survivors soaked in their new surroundings. An unspeakable cosmic presence resided in this chamber, yet none could name it. A twenty-foot idol grimly sat on the opposite end of the room, horned and ugly, behind which was a raised dais and a tantalising mirror. Three huge columns held the roof up, set within alcoves, while a foreign and antediluvian sigil was inscribed in the floor. After exploring the room to no avail, the mirror was examined. Heron examined the mirror, reaching out to it with his surreptitious ancient majick. Without warning he disappeared in a puff of blue smoke: ye gawds! The Viking and the ranger touched the mirror, yet all they received for their trouble was a bone shaking jolt. Wisely, they determined the departed witch should be summoned to retrieve their druidic friend, now gone, and divine the approximate usage of the portentous mirror.

They found the witch in Saturn's Luck Hall drinking and contemplating his fortunes. 
"Fuck you!" shouted the Viking. "Where did you go, and why did you leave us?!"
"I thought you guys were dead" was the reply.
"Did you at least check behind the door?" demanded Sint.
"No. I thought I might die, and I came back here" came Moloch's sheepish response.
"Fuck you!" repeated the massive Viking, storming away in a fury.
"Hrmmphhh!" exhaled Sint, with a scowl, turning his back on the disloyal and disavowed witch. 

That night was awkwardly quiet.

Morning dawned and Grimnear grit his teeth. 
"We're going back, and you're coming with us".
The witch knew better than to disagree. They filled him in on the way back, detailing their misfortunes.
Reentering the enigmatic chamber the Viking pointed:
"You're going to try to use that" he commanded.
The witch took the dais, eyes darting around the room nervously.
"Alright, alright"
Gazing into the mirror the blue smoke returned. Moloch was overcome by a vision...

A purple and twisted land rose up, debased and foul. A dull orb rested in the sky, not unlike Hyperborea but more sinister somehow. Heron was amidst a jungle, feverish and horrible. He talked with a man. The man had no hair, and his skin was a lurid blue, smooth and bald..dia.........wit....pur.....mir.... 

The vision faded.

"I saw him! He's in a strange land" declared Moloch with glee and bliss. 
Those in Hyperborea agreed to employ the mirror in an attempt to reclaim Heron from the odious land he now occupied. Another cloud of charcoal-bluish smoke engulfed the party as they joined hands in an attempt to travel together. A loud crack resounded and a fleeting mad cachinnation pierced the air as pain riddled their bodies. Sint and Estorane passed into unconsciousness, while the Viking was shaken: his soul felt afire. The smoke finally subsided, revealing the witch's body. Rent, and splayed, the witch had a manic grin on his face, eyes open in death. In his last his utmost thirst for power had been exercised, his joy complete amidst the pain - he had experienced a magick presence unearthly, and although he now passed unto death, the knowledge of its presence was surely worth it...


Part IV: Epilogue/Carcosa

Heron was bewildered. He had been looking at a mirror and now...

Where was he?

A strange marshland opened before him, replete with jungle trees and creeping vines. Another mirror was a stone's throw away. He began to walk towards. From behind a tree sprang a terrifying man. He was blue. 

Hairless and blue. 

The blue man spoke immediately in an accursed tongue, vile to discern, alien to interpret. 
Heron asked "who are you?"
The man pulled on a mouthpiece, incomprehensible to the druid. As the druid spoke the man fiddled with something on the side of the mouthpiece, and suddenly he somehow mimicked the druid's own voice exactly. The stranger spoke through the device in an unnatural manner.
"I need your help to locate a purple man. I'm so close!"
"Where am I?" asked Heron.
"This land is known as Carcosa", spake the blue man.
For some reason the very name sent repulsion through Heron's core.
"How do I get back to my land?" he asked.
"If you help me, I'll help you!" promised the blue man.
"I'm so close!" he repeated. "Some are in the nearby swamp, and I have a small boat and everything."
His fervour disturbed Heron deeply.
Walking to the mirror he ignored the blue man's taunts: "The only way to leave here is with my help, the purple man will be mine, he'll be mine! You'll see! Ohhh....."

Defying fate, the laws of the universe, and evoking the mirth of whatever gods watched, Heron magicked the mirror, appearing amidst his sleeping companions, in that cosmic room in that dark dungeon of Hyperborea...

Notes:

In this session I used Carcosa by Geoffrey McKinney, for the otherworldly bit.
Zak S's A Red & Pleasant Land was implemented for the random objects to roll up the letter opener Sint found. All other content was drawn from the official Astonishing Swordsmen & Sorcerers of Hyperborea box set, or it was derived from my strange imagination.

By a twist of fate, and rebuking all odds of mathematics the dice indicated Heron returned to Hyperborea! That was unexpected. 


Adventure Rewards

216xp for defeating 9 Cannibals
75xp for defeating 3 Vipers
36xp for defeating 4 Giant Rats
160xp for defeating two grotesque humanoids
60xp for finding a silver chalice and leafy brooch
10xp for finding a letter opener
2000xp for finding two magical diadems
500xp for solving puzzles
1800xp for attendance and role-playing

971 xp each

Previous Post - Session #3 An Unholy Feasting

"Get Off My Bedroll You Filthy Dwarf!": An Essay On Playing With People

Last night a friend asked me to write an article about this topic. I don't normally do 'requests' as such: I have to be genuinely inspired by a topic, and actually have something worthwhile to say. But I viewed it as a challenge, so here goes...

Note that this is largely written for the benefit of the beginning DM. This stuff will probably be obvious to veterans, but my hope is there is at least something of use herein!


A Communal Game
Dungeons & Dragons is invariably a communal game. Thus, there exists a social contract between everyone at the table. The catch is, this contract is often unspoken, and becomes effectively rendered invisible. It is very apparent that people are drawn to D&D because it is an enjoyable pastime. Simply put, it is fun. There are additional reasons of course: some like rolling dice; others enjoy assuming fictitious identities or world-building; making characters; inhabiting mythology, history or folklore can be attractive; or maybe it's just to escape reality for awhile. The invisibility of the social contract can become problematic for a number of reasons, mainly because everyone wants something slightly different from the game. 


Everyone's Different
Let's pretend we have five players at the table:

1. Sally is the Dungeon Master. She loves creating her own worlds. It's a creative process for her. Helping players become immersed in her creations is vastly rewarding.

2. Bevan likes combat. He loves rolling dice, scoring critical hits (if such things exist in your games), he likes the action, and he likes being a bit of a hero in the party. Some call this guy the 'min-maxer', and often he knows all the rules. 

3. Samantha is primarily a role-player. She is always coming up with new ideas for characters. The powers or the benefits of the character are not really important , it's more the process of immersing herself in the game that is appealing. She needs to feel like she can actually express this alternate identity. 

4. Doug like solving problems. He likes riddles, puzzles, determining intrigue, setting up traps, coming up with strategic ways of dealing with situations. His character is really just him, but in this shared fantasy world. The challenge is what he's drawn to, rather than the character or the world necessarily.

5. Finally we have Sophie. Sophie doesn't talk much at the table, being fairly quiet. She loves the game however, and faithfully shows up every week. She has a vivid imagination and while she doesn't say much, there's plenty going on in her head as she experiences the fantasy worlds presented by Sally, and negotiated by the players. She loves the adventure or exploration aspect of that game. 

Okay...

Have you been in this group before? Because I have.


Expectations
The names of the players may be different, the wants and desires from the game may vary group to group, but I've been there. I've been both the player and the DM in this type of situation. The mark of a good DM (and I would say player too) is negotiating the differences at the table. Not only do we have personal drivers for why we wish to play, but the type of games we want to play vary substantially. Some love the high fantasy thing: lots of magic, myriad races and magic items, and a vast world that the characters can become heroes of. Some games are gritty and dark. Some have horror or weird elements. Some players like 'gonzo' games. Some want a mix of this and a mix of that. Some don't really care.

To complicate matters further we have different levels of commitment. For some players the game is an obsession or their favourite hobby. For some it just gives them something to do on a Saturday night. The places we actually play the game might also vastly differ: some congregate at hobby stores, while others infinitely prefer the solace of one's home surrounded by friends.

With all this difference it's a wonder that groups stay together very long (and I suspect it's a reason why many fall apart).


Collaboration
I don't care who you're playing with, there needs to be a level of teamwork or agreement for a group to function. I don't mean the friendly well-behaved party where all the members agree on everything, even though they are supposedly wildly different people (although if that's everyone's cup of tea, go for it). Groups where characters disagree, or have vast difference is more interesting in my opinion. It is a more organic or believable process. It reflects real life to a greater extent. Disagreements or conflicts within a game do not necessitate in being an 'issue'. See them as an opportunity. When I say there needs to be 'agreement' or 'teamwork' I mean that the players need an understanding of what their games will entail and what the expectations within the games will be. As I've already mentioned I don't believe this is often verbalised (nor does it necessarily need to be), but it is essential that if I'm playing with whoever that we're on the same page. In my games D&D is not the outlet for someone to express their sexual fantasies, but for some groups this sort of thing is okay. Likewise some will inevitably balk at the idea that my games are extremely violent, often involving human sacrifice and other nastiness. Luckily everyone at my table is down for that style of play so it's not a problem. The point is, everyone needs to be board. There is a need for collaboration.


Keeping Things Safe & Appropriate
Tastes evolve and adapt over time, but it's essential to respect those you play with. Last year I ran a 5th edition game in a hobby store and I was very careful about the level of brutality I injected in the game. I have a general disdain for including other races besides human (I find them yawningly boring and over-used), but this game had all the races you may wish to play. The game was designed to be open to all, and hopefully be an enjoyable experience for everyone at the table. Compare that to my home games where the players have slaughtered everyone within a temple, or walked into a room where cannibals are tearing the flesh off a still-living human. Clearly there is a massive divergence between these two games, but it is reflective and appropriate for the context of play where the game occurs. In my home games there is a level of trust available for these themes to occur and be present, and for everyone to go home having had a good time. It's taken years of playing together. Yes, we've had some heated arguments over the years. Or one player may vehemently disagree about a ruling, or whatever, but that sort of stuff has actually been essential for establishing the group process. We have a mutual respect for each other.

With public games (at a store), or in games in which you are playing with strangers or mere acquaintances I feel a slightly different approach is required. The DM either needs to be transparent about the content likely to arise in the game, or they need to run a strictly G or PG styled game. The key is respecting the players. Just because I've written a vastly brutal adventure that I think is awesome, doesn't mean I have the right to inflict that on anyone unless it's within a safe context.


Encouraging Synergy
So that's my essay really: things need to be safe and respectful for all players. When these two things are present within a game I find the differences between players actually become assets: Bevan knows all the rules so he can assist Sally (DM) when she forgets something. Samantha can help Sophie express herself more openly. Doug's enthusiasm for puzzles can rub off on other players, etc. Likewise, when the social contract is uncertain, why not voice it: "I'd love to run a horror-fantasy game, and it may get bloody and violent. What does everyone think?" Speaking from experience these two elements - safety and respect - go a long way towards the true intent of the game: to have fun. 

Dragon+

Free to iOS, is Dragon+. It seems to be the newest rendition of the now defunct Dragon Magazine. It's free (for now) and can be acquired on iTunes App store. It is focussed on 5th edition Dungeons & Dragons. 

Love it or hate it, there is a lot happening at the moment regarding this edition, and for the hobby overall. There are plenty of reports of new players congregating to the hobby, and I think that's important. I for one really enjoyed my brief stint with running 5e, having at one stage close to 10 players at the table. One indication of a robust system is the ability for combat to keep moving, and even with that many players it did so well. 5e gets my vote even if I'm not playing it at the moment (I do own all the books). Being endeared with an OSR style of game I have been unable to escape the old school lure. 

But anyway if you're on iPhone or iPad you can download Dragon+ for free and access additional content pertinent to the 5e game, especially for their current Elemental Evil adventure line. 

More info HERE