Showing posts with label sha-arthan. Show all posts
Showing posts with label sha-arthan. Show all posts

Monday, December 8, 2025

Fight On! Issue #17 (Fall 2025)

The latest issue of the legendary OSR 'zine, Fight On!, has been released in both print and electronic formats. Dedicated to the memory of David C. Sutherland III, it's filled with a terrific selection of articles and art from a wide variety of old school creators. I myself wrote a longish piece for this issue, a hexcrawl set in the Eshkom Distict of the Secrets of sha-Arthan setting, which serves as a little preview of some of what I've been working on (though you can check out my Substack for lots more of that, too).

It's good to see Fight On! continuing to release new issues. I consider it a foundational product of the Old School Renaissance, one that quite literally helped to bring this weird little part of our hobby to wider attention. Check it out!

Friday, December 5, 2025

Shackles

Shackles by James Maliszewski

Slavery in the Empire in Inba Iro

Read on Substack

Friday, November 28, 2025

The Threefold Faith of the Living Balance

Over at Grognardia Games Direct, I've indulged my enthusiasm for worldbuilding by presenting an overview of the beliefs and religious practices of the Empire of Inba Iro. This is pure setting creation without any direct game mechanical application for Secrets of sha-Arthan, but I enjoy this kind of thing and thought some of my readers might too.

The Threefold Faith of the Living Balance by James Maliszewski

The Religion of Inba Iro under the Chomachto

Read on Substack

Friday, November 21, 2025

And So It Begins

As I posted yesterday, my Barrett's Raiders Twilight: 2000 campaign, which started in December 2021, has ended. Though sad (and even a little disappointing), its conclusion opens up a slot in my weekly schedule for a new campaign and that's always exciting. Just what that new campaign will be is still very uncertain and depends, to a great extent, on the interests of the remaining players. We'll discuss the matter at some length at our next meeting, but, in order to get the ball rolling, I sent them a selection of four(ish) RPG I'd enjoy refereeing for them, which I thought I'd share with you as well.

Gamma World/Metamorphosis Alpha

I'm pretty sure I've mentioned, likely many times, that I've long been a huge fan of Gamma World. In my youth, it was one of my favorite games, just losing out of a spot in my Holy Trinity of RPGs to Call of Cthulhu. It's one of those games I find very easy to run, both from an ideas perspective and from a mechanical one. I have little trouble coming up with fun scenarios for Gamma World and its rules are straightforward and easy to use – two great boons when it comes to refereeing a roleplaying game. 

Notice that I've included Metamorphosis Alpha as a possibility too. That's because, while I have played MA, I have never actually run it myself and doing so has long been a dream of mine. In some ways, I actually prefer the campaign frame of Metamorphosis Alpha to that of Gamma World, perhaps because it appeals to my fascination with "secret sci-fi" settings. So, given my druthers, I would press for MA over Gamma World, but I'd be equally happy with either.

Secrets of sha-Arthan

This is a no-brainer. I've working sporadically on this project since June of 2021, during which time it's undergone a number of different changes and evolutions. Those of you who've subscribed to Grognardia Games Direct know about its current state, since that's where I post regularly about it. However, I've not yet had the chance to do anything more with it than run short scenarios. What it really needs is a proper campaign to take its development to the next level and this might be the perfect time to do that.

I considered starting a SosA campaign after the conclusion of House of Worms last month, but opted not to due to its very broad similarities to Tékumel. It's a baroque, exotic fantasy setting with a secret sci-fi substratum – I'm sensing a theme here – albeit one based on very different historical/cultural influences than those of Tékumel. However, my Monday night group includes a different set of players, so the comparisons to Tékumel wouldn't be a problem.

Thousand Suns

In a similar fashion, Thousand Suns is another good option. Like Secrets of sha-Arthan, I'm currently in the midst of revising and reorganizing it in preparation for the released of a second edition. Also like SosA, I'm chronicling my work on this project over at Grognardia Games Direct. This is a game that's very near and dear to my heart and one I haven't run for some years now, so it'd be great to have the opportunity to do so again.

Furthermore, one of the goals of the second edition is to make the rules of Thousand Suns clearer and easier to use. They're already pretty good in this regard, I think, but I hope to make them even better. I also want to do a better job of highlighting those aspects of the game that distinguish it from its competitors and inspirations. Refereeing a campaign would give me lots of opportunities to do just that.

Urheim

Urheim was my second attempt (after Dwimmermount) to produce a megadungeon suitable as the foundation for an entire old school D&D campaign. I got fairly far into constructing it before moving on to other projects, but it's still something I think about from time to time

Consequently, I thought now might be a good time to return to it as a replacement for Barrett's Raiders. A megadungeon campaign is very straightforward and easy to maintain. It's also got the potential to spin off in a variety of different fun directions, so it's a good fit for my personal refereeing style. If I did return to Urheim, I'd almost certainly use Old School Essentials, probably of the advanced variety, for the rules, though part of me wants to dive back into OD&D + Supplements.  

And that's where things stand at the moment. Which of these options will be chosen is (mostly) up to my players. I'm very curious as to what they'll chose.

Friday, September 5, 2025

Epistle (Continued)

Epistle (Continued) by James Maliszewski

More Excerpts from the Secrets of sha-Arthan 'Zine

Read on Substack

Friday, August 1, 2025

One Month In

It’s now been a month since I launched Grognardia Games Direct, my Substack newsletter dedicated to my various RPG projects, most notably Thousand Suns, Secrets of sha-Arthan, and anthologies of Grognardia’s most enduring and influential posts.

Substack is a very different platform from Blogger. It's newer, more streamlined, and still unfamiliar in some ways, but I’ve enjoyed the process of learning its ins and outs. After just 31 days, I feel I’ve found a productive rhythm, one that’s helped me focus my creative energies more effectively than I have in some time.

I’m grateful to everyone who’s already subscribed. I’m within spitting distance of 500 subscribers, an encouraging milestone for a new Substack or so I’m told. Of course, I’d love to see that number grow. The more readers I have, the more feedback I receive, which is especially valuable in the case of Secrets of sha-Arthan. Unlike my other projects, it’s a wholly new endeavor, not a continuation of earlier work, and outside perspectives are particularly helpful as I shape its direction. If you’ve enjoyed my past RPG writing, I hope you’ll consider taking a look.

I’ll admit, I was initially reluctant to start a Substack, despite encouragement from friends. My chief concern was that it might distract me from Grognardia. As much as I wanted to explore new territory, I had no intention of neglecting this blog or the community that’s grown up around it.

To my surprise, just the opposite has happened. Rather than pulling me away from Grognardia, the newsletter has sharpened my focus on it. In writing for both venues, I’ve written more – and, I think it’s fair to say, better – posts here than I have in quite some time. For whatever reason, working on both platforms has been creatively energizing. I feel more in tune with my work now than I have in months, maybe even years. Whether that’s apparent to readers, I leave for you to judge.

In the meantime, I appreciate your patience with my occasional reminders about new Substack posts I believe might be of interest to Grognardia’s readers. I’m having a great time over there and I’d like to share that enthusiasm more broadly.

Friday, July 4, 2025

Epistle

Epistle by James Maliszewski

A Secrets of sha-Arthan 'Zine?

Read on Substack

Thursday, April 24, 2025

The Sigils of sha-Arthan

I've recently completed a gazetteer of the Eshkom District, one of the twenty regions that make up the Empire of Inba Iro, the sample starting area for Secrets of sha-Arthan. This gazetteer will appear in an upcoming issue of Fight On! (though I've already shared it with my patrons). A lengthier, more detailed version of it will appear later this year as part of a new 'zine I'll be releasing, about which I'll talk in the coming weeks. 

For the moment, though, I wanted to share a few pieces of art the ever-amazing Zhu Bajiee produced for this project. Unlike previous pieces of artwork, these don't depict characters or monsters from sha-Arthan but rather symbols of some of the factions within the setting. The first of these is this one, used by the House of Magdor, the current ruling dynasty of Inba Iro. Named after Magdor, the great-great-grandfather of the current King-Emperor, the House seized the Solar Throne almost two centuries ago when his Chomachto army conquered da-Imer, the First City. 
The House of Magdor
Of course, not everyone was pleased by this seizure of power, most especially the former Ironian dynasty and its allies, some of whom have clung to power in certain districts of the Empire (Eshkom being one of them). Though outwardly loyal to the House of Magdor, they have formed a secret alliance known as the Sunbound that works behind the scenes to overthrow the Chomachto and regain the Solar Throne. 

The Sunbound
The temples of the Eternal Gods are quite powerful within the Empire, few moreso than that of Akor, the goddess of silence and secrets. Akor's temple once acted as guardians of Inba Iro's known vaults, but that role was recently stripped from them, a move that has created a rift between it and the Solar Throne. Fortunately for the King-Emperor, the temple is itself divided, with one faction favoring the Sunbound and another desiring rapprochement in the hopes of regaining its ancient rights.
The Temple of Akor
The Unmakers are a loose collection of cults whose leaders see the Makers as having been detached, corrupt, and, above all, stifling to the development of sha-Arthan and its inhabitants. Though suppressed in nearly every realm of the True World, sects of Unmakers nevertheless thrive in the shadows. The Hollow Prophets are the largest and most powerful such sect within the Eshkom District.
The Hollow Prophets
Because of their proscription, these cults make regular use of way signs – simple, deliberately cryptic graffiti that mark safe meeting spots, hidden caches, and homes of sympathizers, allowing cultists to navigate a hostile world without drawing attention to themselves or their activities.
Way Sign of the Hollow Prophets

Monday, March 31, 2025

A Maker's Enigma

Among the more frequently unearthed relics of the Vaults are finely wrought containers of metal and ceramic, known as Maker’s enigmas or, in some circles, cipher caskets. Each is a marvel of ancient craftsmanship, its intricate locking mechanisms guarding the secrets within from all but those who possess the proper key. Yet even such defenses are not impervious; the Chenot, with their deft tendrils, have a knack for unraveling these age-old puzzles. Some enigmas conceal deadly traps, though such precautions are seldom found in the smaller ones, like the example shown here. The treasures within are as varied as they are coveted: coins and gems, alchemical pastilles of restoration, rolled sheets of ushua-paper inscribed with the cryptic Hejeksayaka script, or even arcane devices of unknown purpose. An unopened Maker’s enigma, especially one of larger size, commands a fortune in the great cities of da-Imer and Eshkom, where eager buyers wager immense sums on the hope of unveiling a priceless relic of the Makers.

Art by Zhu Bajiee

Thursday, February 13, 2025

sha-Arthan Combat

Mechanically, Secrets of sha-Arthan began as a variant on Moldvay/Cook Dungeons & Dragons, because I'm a big fan of that version of D&D, which is easy to learn and to play. However, as I've worked on it and playtested bits of it, several elements – for example, the magic system – have diverged more and more from B/X, to the point where it's becoming more of its own thing. I'm fine with that, since, at the end of the day, my first priority is to make a game I like. However, I do hope that, when I'm done (whenever that might be), it'll also be something others might enjoy, too.

Lately, I've been experimenting with some ideas related to the combat system. Most significant among these ideas is that player character hit point totals are mostly static and equal to one of the character's ability scores. So, for example, if the character's score in relevant ability is 12, he has 12 hit points. This makes beginning characters quite a bit tougher than a typical 1st-level D&D character, who might have half that many hit points to start. However, I don't envisage those 12 hit points ever really increasing with experience, except perhaps in small ways here and there.

This is a big change from D&D and its derivatives, though very much in line with games like RuneQuest and other members of the Basic Role-Playing family. Having played many BRP games over the years, I do appreciate the benefits of non-inflationary hit points. For one thing, combats are generally much more dangerous, since a single lucky hit is capable of knocking a character out of a fight, if not outright killing him. That means players have to think twice about rushing into battle and, when they do so, they have to rely on planning and superior skill, not simply bags of hit points, to achieve victory. 

On the other hand, precisely because of combat's deadliness, BRP games include a lot of ways to potentially mitigate that deadliness. For example, the combat rules include active defense maneuvers, like dodging and parrying. The rules also include ablative armor that lessens any damage that makes it through those defenses. These are welcome aspects of the combat rules, but there's no question that their inclusion slows down play in a way that D&D's relatively simple and abstract combat rules do not. As a guy who usually finds combat the least interesting aspect of most RPGs, fast and simple better suits my preferences.

Yet, I'm still playing around with ways to keep hit point totals low and combats quick and deadly in Secrets of sha-Arthan. It's proving to be harder than I thought it would, for some of the reasons I've already mentioned. Though BRP-style combat historically grew out of early attempts to regularize OD&D combat and make it more "realistic," it did so at the cost of speed. Finding a way to thread the needle between the elegance of D&D's combat system and the perilous nature of BRP's equivalent is tough, or at least I'm finding it so. 

Consequently, I'd love to hear more from people who have long experience with BRP in any of its forms. Is there a way to have your cake and eat it too? Can I get the best of both worlds? Fast, simple combat that nevertheless has some tactical depth, with lower hit points and active defense? Or is this a fool's errand and I should just abandon the attempt? I'd love to know your thoughts. 

Monday, January 27, 2025

What's in a Name?

Since I was a child, foreign languages (and foreign alphabets) have fascinated me. I'm almost certain that my fascination was a direct result of my having spent untold hours staring at the endpapers and appendices of the Random House Dictionary of the English Language that detailed the evolution of various writing systems and the relationships between Indo-European languages. Though I've never mastered any language other than English, I've formally studied a bunch of them, which has only strengthened my interest in tongues other than my own. Reading The Lord of the Rings probably played a role, too.

My fascination with languages inevitably carried over into my roleplaying games. Almost from the moment I discovered Dungeons & Dragons, I started creating riddles, puzzles, ciphers, and codes that depended on obscure, esoteric, and/or foreign words. I thought I was being clever, though, judging from the reactions of my friends, they weren't nearly as pleased with my brilliance as I was. Undeterred, I moved on to creating my own languages, complete with their own grammars and vocabularies, hoping that my players would want to make use of them in our games. Alas, outside of coming up with appropriate sounding names for characters and locations for my campaign setting, this rarely happened.

I think names are important. Having good, evocative names helps to lend a sense of place to an adventure or campaign, especially if they're meant to be something other than a generic fantasyland or galactic empire. One of my problems with a lot of RPG settings is that the frequently don't have good names, quite the opposite, in fact. Bad names – or even unimaginative names – take me out of a setting or adventure, which can lessen my enjoyment of them. I realize that not every roleplayer cares about such things, but, for me, they're important. A big part of my enjoyment of roleplaying comes from exploring an imaginary world and, in my opinion, good worlds have good names.

As a setting, Tékumel is well known for its use of constructed languages, most notably Tsolyáni, the language of the titular Empire of the Petal Throne. Everything in the setting, from monsters to gods to even coinage and units of measurement have unique names derived from Tsolyáni or another imaginary language. For someone like myself, that's a huge boon to immersion. However, I know plenty of gamers who are actually put off by it. They don't like having to wrestle with words like Ngóro or Dlamélish or Mu'ugalavyá when playing an RPG. Sure, words like these are more suggestive of a real world with a real culture of its own, but, if they get in the way of actually playing, then what's the point of including them?

This is something I think about a lot. Since I've lately been writing a bit more about Thousand Suns, I'm reminded of the fact that, in that game, I make use of the constructed international auxiliary language Esperanto. I did that for a number of reasons, though one of the main ones was that a number of sci-fi books that inspired me, like Harry Harrison's "Stainless Steel Rat" series, for example, used Esperanto as the universal language of mankind. So, in Thousand Suns, I use Esperanto words and names in place of more common English ones as a way to add flavor to the game's meta-setting. I don't expect anyone to actually speak Esperanto while playing any more than anyone is expected to speak Tsolyáni while playing Empire of the Petal Throne. Even so, I've occasionally got complaints about the use Esperanto and its peculiar orthography (e.g. ĉ instead of ch or ĝ instead of j).

I've been pretty upfront about the fact that Tékumel was a big influence on me as I developed the setting of Secrets of sha-Arthan. One way that Tékumel has definitely influenced me is the use of unfamiliar, non-English words for people, places, and creatures within the setting. I really like the way these words have helped me to get a stronger handle on the various cultures that exist in sha-Arthan and how they relate to one another, but, as with Tékumel, I can easily imagine that someone not as keen on the use of odd words might find them an impediment rather than an aid to their enjoyment of Secrets of sha-Arthan.

It's a tough line to walk. My own interests and inclinations are to indulge my own love of exotic words, even if it's discouraging to some potential players. At the same time, one of my goals with both Thousand Suns and Secrets of sha-Arthan is to present something that were more easily accessible than the games and books that inspired them. Consequently, I'm constantly second guessing myself when it comes to how hard to lean into idiosyncratic nomenclature. I'd appreciate hearing your thoughts about this topic, especially if you can point to your experiences with games/books that either succeeded or failed to make use of peculiar names and words to help build a unique setting.

Thursday, November 7, 2024

Tyo-tomat

Yet more glorious Secrets of sha-Arthan art from Zhu Bajiee, this time a Ga'andrin tyo-tomat (or "elixir master"), a kind of sorcerer who supplements his natural magic talents by the regular ingestion of mutagenic chemicals. 

Tuesday, October 29, 2024

A Birthday Gift

Today is my birthday, so I'm mostly taking it easy. However, my definition of "taking it easy" includes working on the current manuscript for Secrets of sha-Arthan. In this latest iteration, I've eliminated race-as-class, in large part because I wanted to open up greater possibilities for players of nonhuman characters, like the Ga'andrin

Originally, I'd imagined that the Ga'andrin as eschewing sorcery entirely, Then, I thought about relegating their sorcerers to the realm of NPCs. However, after seeing Zhu Bajiee's latest artwork for me, I knew I couldn't deprive players of the opportunity to play one of these guys. As usual, he did a great job of bringing my vague ideas to life. I can't wait to finish the rulebook and share it with the world.

Saturday, June 22, 2024

Dousing the Fireball

With the possible exception of magic missile – which, ironically, didn't appear until a year after the original game's release – I can think of no more iconic spell in Dungeons & Dragons than fireball. As most of you will no doubt already know, fireball (or fire ball, as it's rendered in OD&D and the 1981 and '83 D&D Expert Sets) first appeared in Chainmail, where it's one of two types of missiles a wizard can throw, the other being lightning bolt. In Chainmail, a wizard can seemingly throw a fireball at will and its function is as a form of battlefield artillery that immediately destroys any target within its area of effect weaker than a Hero. Even if you've never played Chainmail, I hope my brief summary makes clear just how potent a fireball is – and that's the problem. 

When the abilities and spells of Chainmail's wizards were translated into the terms of OD&D, there were inevitably going to changes and alterations, big and small. In the case of fireball, these changes included a slightly larger burst radius and damage that increases with the level of its caster or, as Men & Magic explains it, "A 6th level Magic-User throws a 6-die missile, a 7th a 7-die missile, and so on." These changes explain, I suspect, why fireball became the iconic D&D spell and the one that nearly every magic-user hoped to learn as soon as they were of sufficient level to do so. Taken together, the fireball of OD&D and all subsequent TSR versions of the game is one of only a handful of spells whose damage-dealing potential has no upper limit. Coupled with its large area of effect and easy reach for most characters – a magic-user only needs to be 5th-level (20,000 XP) to potentially acquire it – fireball is a must-have spell when it comes to damage-dealing.

Spend enough time in online D&D circles and the subject of the relative power of fighters versus magic-users will inevitably come up. This is one of those perennial topics that simply will not die, because, unlike many such topics, I think there's some substance to it. Fighters, even when equipped with potent magic weaponry, can never dish out as much damage as can even a fairly low-level magic-user. Over the years, various solutions have been proposed, such as weapon specialization in AD&D, but none of them has met with universal acceptance – quite the opposite, in fact. 

That's why I've lately been thinking about either eliminating or modifying spells whose damage-dealing effects increase with the level of their caster. If you look at the original spell list from Volume 1 of OD&D, both fireball and lightning bolt are odd men out, mechanically speaking. Most of the game's "offensive" spells, like sleep, cloudkill, or disintegrate do not become more effective as the caster rises in level. Any variability they have in terms of damage or overall effectiveness is usually independent of level (there are exceptions). That feels right to me somehow and offers a better model to emulate in rethinking spells in OD&D and similar games.

On the other hand, simply removing fireball, lightning bolt, and comparable spells might be simpler. This is what Lamentations of the Flame Princess did long ago. Many of that retroclone's deviations from OD&D were introduced specifically to strengthen the fighter's role as the most potent combatant and damage-dealer, which is a worthy goal. Furthermore, by eliminating and/or weakening the number and scope of magical damage dealing, this approach carves out a different role for the magic-user, that of a seeker after knowledge and controller of the environment. It's a far cry from the role people now tend to associate with D&D magic-users, but is that necessarily a bad thing? It's closer to the pulp fantasy conception of sorcerers and wizards than to the cartoonish, video game-y vision of them flinging fireballs and hurling lightning bolts.

I don't know. I'm still thinking about this, especially in light of my evolving thinking about magic in Secrets of sha-Arthan. I'd love to hear readers' thoughts on the subject, especially from those of you have regularly play fighters and/or magic-users. How do you perceive their relative strengths when it comes to damage-dealing or do you make changes to rebalance things?

Friday, June 7, 2024

Aranalar

Aranalar by Luigi Castellani
Aranalar ("Indomitable") is a sword +1, +2 vs the Unmade forged from alchemical steel. Its blade is single sided, forward curving, and, like all Kulvuan osuna, intended to be wielded from the back of a teteku, The blade itself is approximately two feet in length and bears a maker’s mark (not visible in the illustration) that identifies it as a product of the famed Bejanakoru workshop of lost Onoritash, though it is unlikely that its enchantment took place there. The grip is wrapped in ridzor-leather, while its pommel bears an early example of a nasha-charm that would later become commonplace on Kulvuan imperial weaponry.

Aranalar possesses a single magical ability, from which it receives its name. So long as the sword is held, its wielder is completely immune to the melee attacks of any Unmade of equal or lesser level than himself. This immunity does not apply to either ranged or magical attacks, however. The ability has no duration and is usable at will, so long as the sword is held. Sheathed, Aranalar no longer provides this immunity. Likewise, this immunity extends only to the current wielder of the sword and to no one else.

The precise date of Aranalar’s forging is unknown. However, its magical ability suggests that it was created for use during either the Consolidation of Light (1:1–4) or the Daybreak Wars (1:15–25). The third book of Samakan’s Lesser Chronicle of Dawn makes mention of the warrior Besu Tankuli, who, during the Siege of Itixtar, emerged seemingly unscathed after facing off against “an Unmade host the likes of which none have seen since the Epoch of Shadows.” Samakan notes that Besu wielded “a mighty blade, whose enchantment protected him against the twisted creations of the Unmakers on that day.” General Daljan Chayusi (1:301–2:5) unambiguously wielded Aranalar during his career, most famously at the Battle of Uchiran (1: 344). Upon his retirement, he gave the sword to his son, Dalen (1:326–2:3), who was murdered by persons unknown, possibly for his role in the Second Archontic Succession Crisis (1:358).  Aranalar was then stolen and disappeared from history, though rumors of its location or current wielder continue to this day.

Thursday, June 6, 2024

The Unmade

An Unmade Brute by Zhu Bajie
The Unmade (or Omajya in the Onha language) are the unnatural servitors of the Unmakers. Transformed by iniquitous sorcery, the Unmade are frightful demonstrations of where the Unmakers' nihilistic philosophy leads if unchecked. They are also a potent threat to the civilized peoples across sha-Arthan (except the continent of Alakun-Tenu, where the priesthood of Ten long ago extirpated them).

Like their masters, the Unmade first appeared during the Epoch of Strife. Though none can say for certain which of the many Unmaker prophets of those days first twisted Men and beasts to serve them, the names Arkatzo and Trene are often cited by scholars. Arkatzo figures prominently in the legends of Jalisan of Churuga, while Trene is associated with the ruin that bears her name to this day, Trene's Bastion, laid waste by Hejneka during the latter days of the Pechra War. 

An Unmade Martinet by Zhu Bajie
Like their ultimate origins, the process by which the Unmade come to be is not well understood, even after all this time. Large scale alchemy is almost certainly involved, as is metamorphic sorcery of a type unseen since the Epoch of Wonders. Indeed, it has been suggested by some, such as Badisa Selmis in his Compendium of Universal Knowledge, that the Heritor Lords were the first to perfect a method of re-shaping living beings, a method the Unmakers would later improve upon. Others, such as Ajana Solokat theorize that the weird energies of the False World are another important component.

As one might expect, there is wide variability in the forms of the Unmade. Nevertheless, there are three broadly recognized classes of these beings. The first is by far the most common. Known as Brutes (or Travesties), they are nightmarish mixtures of many types of creatures given humanoid form. No two Brutes look exactly the same but all are aggressive, bestial, and hulking. This type of Unmade periodically gather in hordes to menace city-states or even entire realms.

An Unmade Discarnate by Zhu Bajie
The second type is slightly less common but can often be found serving alongside Brutes, where they act as leaders. Called Martinets (or Taskmasters), these Unmade are humanoid in shape, their head replaced by a phase stone that grants them the ability to use one or more sorcery spells, depending on its size and color. Compared to Brutes, Martinets are very intelligent and free-willed, making them a much greater threat.

The third and final type is the rarest – and most dangerous. The Discarnates exist simultaneously on sha-Arthan and the World Between. This not only enables them to move quickly from place to place, it also makes them difficult to engage in physical combat. Their dual existence grants them access to sorcery even more potent than that of the Martinets. Fortunately, Discarnates are few in number and seem to serve as special agents or even lieutenants to Unmaker prophets.

As noted above, other types of Unmade may also exist, but are sufficiently uncommon that they lack for widely accepted appellations.

Monday, May 13, 2024

Secrets of sha-Arthan: Tomb Robber

A tomb robber by Zhu Bajie

 

Tomb Robber 


Prime Abilities: DEX and INT
Hit Points: 1d6 per level 
Starting Possessions: Leather breastplate, dagger, one-handed weapon, tool bag, 3d6 × 5ul

An almost universal custom among the myriad peoples and cultures of sha-Arthan is the burial of grave goods to aid the deceased in his journey to the afterlife. A tomb robber is someone who makes his living by stealing these goods, despite the strong taboos against it. The skills he acquires in these illicit endeavors make the tomb robber a valuable addition to expeditions into the Vaults. 


Alertness

Thanks to his keen awareness of imminent danger, a tomb robber reduces the chance of his party being surprised to 1-in-6.


Skills

A tomb robber begins with four +1 bonuses that may be applied to any of them following skills: Architecture, Climb, Lore, Luck, Search, Stealth, Survival, and Tinker. Each bonus must be applied to a different skill. Every level thereafter, he gains two additional +1 bonuses that can be applied to any of the aforementioned skills. 

  • Dead Languages: Because of his familiarity with inscriptions in ancient ruins, the tomb robber does not suffer the usual –3 penalty for attempting to read dead languages.
  • Improvisation: If specific equipment is normally required to use a skill he possesses, a tomb robber does not require it. If he does possess the equipment, he gets a +1 bonus to his roll. 

Trap Avoidance

To succeed in his chosen professional, a tomb robber develops a knack for avoiding traps. This knack grants him a +2 bonus to saving throws to avoid the effects of traps. 

Monday, April 22, 2024

What is Roleplaying? (Part II)

During the Grognardia drinking game, I suspect my readers have thrown back a few whenever the 1977 Dungeons & Dragons Basic Set edited by J. Eric Holmes is mentioned. Because it was my introduction to the hobby, I still have a special affection for it over all the other D&D products I've bought over the years. Looking back on it now, one of the more notable things about its rulebook is that it doesn't include an explicit section in which Holmes explains the nature of a roleplaying game. In fact, the word "roleplaying" (or "role playing") only appears in its text three times, one of them being on the title page. 

To some extent, this is understandable, since the Holmes rulebook hews very closely to the text of the original 1974 little brown books, where the word "roleplaying" does not (I think) appear at all. Aside from the aforementioned title page, the two other places where the word appears are the preface (by an unknown author) and the introduction (presumably by Holmes). Here's the relevant section of the preface:

That's pretty simple and straightforward. It also makes sense, given that, even in 1977, when this rulebook was first published, the concept of a roleplaying game was still a very new one, especially outside those already involved in the hobby. For a basic rulebook, one might well expect it to "introduc[e] the reader to the concepts of fantasy role playing." The introduction, meanwhile, simply calls Dungeons & Dragons as "a fantastic, exciting and imaginative game of role playing" before launching into an extended description of its play:
It's not a bad description, but it's all a bit abstract in my opinion, particularly if you have no prior knowledge of what the actual play of the game might look like. I know that my friends and I were initially quite baffled by the nature of roleplaying, taking it to be closer to a strange new type of boardgame. Remember that we came to Dungeons & Dragons through Dungeon!, so I hope we can be forgiven our misapprehension. Furthermore, the title page of the Basic rulebook contains the following subtitle, which recalls the subtitle of the Little Brown Books: "Rules for Fantastic Medieval Role Playing Adventure Game Campaigns Playable with Paper and Pencil and Miniature Figures."

The section of the Holmes rulebook entitled "Dungeon Mastering as a Fine Art" does include an example of play that features a dialog between the referee and the party's caller. This goes some way toward elucidating the practical details of roleplaying, but it's still not very explicit about the subject. The AD&D Players Handbook is even less helpful in this regard, lacking even an example of play (though a very lengthy one does appear in the Dungeon Masters Guide). The 1981 version of Basic D&D, written by Tom Moldvay, contains what is probably the most famous example of play in the history of D&D, but its treatment of roleplaying as an activity is still quite vague in my opinion and, in any case, we started playing before that version of the game was published.

When my friends and I eventually came to understand what roleplaying was, it was no thanks to any rulebook we had read. Instead, our knowledge was imparted to us by a friend's older brother, who'd been playing D&D for a couple of years beforehand. Once we finally got it, it was very easy to look back at Holmes and see what he was attempting to explain, however unclearly. I suspect our experience was not unique. Unlike, say, the 1983 Frank Mentzer-penned version of the Basic Rulebook, which does an excellent job, in my opinion, of explaining the nature of a roleplaying game, I find it almost impossible to imagine anyone picking up Holmes and then being able to start playing without any confusion or need for clarification from someone who already knew how to roleplay. I say this as someone with great affection for the Holmes Basic Set.

Nowadays, I think it's much more common for RPGs to include explicit "what is roleplaying?" sections and examples of play. Even so, I can't help but wonder whether they're any more useful to people than were the sections with which my friends and I had to contend in our youth. Of course, the concept of roleplaying is now much more widely understood, with many popular computer and video games making use of the concept. This fact might make such sections almost superfluous in the 21st century. Nevertheless, I find myself wondering about it as I continue to work on Secrets of sha-Arthan. Is there still a need for a lengthy description of roleplaying in a contemporary RPG or is the need for it a thing of the past? This is something I've wondered about before, but enough time has passed since then that I'd curious to hear what readers have to think about the topic in 2024.

Friday, April 19, 2024

Small is Beautiful

Like a lot of gamers, I've long had a bad case of cartophilia. Truth be told, my love of maps predates my involvement in the hobby of roleplaying. From a very young age, I would pluck atlases off the shelves and then spend hours staring at the maps within. I was especially fond of historical atlases, since I enjoyed seeing the way borders changed and countries grew and shrank according to the fortunes of war and other events. 

Once I became a player of Dungeons & Dragons, I naturally gravitated toward paying even closer attention to maps of the Middle Ages. What I noticed is that, during many periods of medieval history, many parts of Europe were divided into a crazy quilt of petty kingdoms and principalities. This isn't news to anyone with even a little knowledge of history, but it was positively revelatory to me at the age of ten. Growing up in a world of superpowers and large nation-states, this was contrary to my own sense of what the world was like or indeed could be.

In recent years, I've found myself thinking more about those maps of the Middle Ages, especially as I further develop the setting of Secrets of sha-Arthan. For example, the Empire of Inba Iro is actually made up of twenty districts, each of which is ruled by its own king, who, in turns, swears fealty to the King-Emperor of da-Imer. I've taken one of these districts, the Eshkom District, and fleshed it out for use as the starting area for new campaigns. The district is actually quite small – about 60 miles east to west and 45 miles north to south – because I think that's more than large enough to contain more than enough opportunities for adventure without overwhelming a referee new to the setting.

Over the years, I've drawn a lot of setting maps and I've fallen prey to the urge to "go big." I suppose that comes from having looked with awe at the maps of Middle-earth one too many times as a kid. There's something undeniably appealing about a huge map covered in evocative and mysterious names. Such maps seem ripe with possibilities. However, as I've gotten older, I've come to feel that, lovely though they are to look at, big maps rarely get used to their full potential. More often than not, they wind up being akin to those world maps in the Indiana Jones movies, marking only a handful of places the characters pass through on their way to the site of their next adventure. 

Nowadays, I'd much rather the characters spend more time in a smaller area, getting to know it better than they ever could if they were constantly flitting about from one end of a big map to the other. My Twilight: 2000 campaign, for example, has spent the last two and a half years of play within a fairly small part of Poland. Likewise, the Traveller campaign in which I'm playing has taken place entirely within a couple of subsectors in the Crucis Margin sector. This has helped to give it a "cozy" feel that I've come to enjoy. Rather than simply being a huge swath of Charted Space comprised of hundreds of planets, each one indistinguishable from the last, Crucis Margin feels like a distinct place, with its own unique feel. I think that can be important to the success of a campaign.

What's your experience with smaller campaign areas? Do you like them? How do they compare to larger areas in terms of contributing to player attachment to a setting? I'm quite curious about this, because, looking at the RPG settings that have been sold over the years, most of them seem to lean more toward the large and I wonder whether this has influenced the preferences of gamers. Let me know what you think.