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A Fistful of Deadlands

A Fistful of Deadlands

Usually here at Black Gate I write about old-school tabletop roleplaying games or elements related to them, but now I’m going to truly show my age by writing about Deadlands. See, I continue to think of Deadlands as a new rpg even though it’s now a quarter of a century old. And what a quarter century it has been for this game.

Developed by Shane Lacy Hensley and originally released in 1996 by the Pinnacle Entertainment Group, Deadlands immediately proved quite popular with gamers and with critics, eventually earning as many as eight Origins Awards. And why not? Combining elements of horror with the legendary atmosphere of the Old West, along with a few touches of fantasy and steampunk, Deadlands was quite innovative not only for its time but also for today. I think that mixture of horror and Westerns was what originally drew me to this game.

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Lords of Creation: A Tabletop RPG before its Time

Lords of Creation: A Tabletop RPG before its Time

Throughout the decades, game company Avalon Hill has been associated with tabletop war gaming, and this was especially true in the 1970s and 1980s. However, the company has been known to dip into other types of games, mainly board games of one stripe or another and sometimes even tabletop role-playing games.

One of Avalon Hill’s earliest tabletop RPGs was Lords of Creation, published in 1983 and written by Tom Moldvay, known for his earlier work on Dungeons & Dragons.

Lords of Creation is very much a game of its time, but in many way it’s also a game ahead of its time. The D&D influence is obvious in the mechanics, especially concerning character and monster stats, but this game was one of the earliest to stretch beyond the boundaries of any single genre. Lords of Creation wasn’t just a fantasy tabletop RPG, but was meant to be a game for all genres, including science fiction, mythology, noir, and more. In fact, the back of the game box reads, “The ultimate role-playing game… a game of science, fantasy, science fiction and high adventure that explores the farthest reaches of your imagination! Splendid adventures take place throughout time, space and other dimensions.”

I didn’t get many chances back in the day to play Lords of Creation, probably because it wasn’t the most popular game around even if it has something of a collector’s following nowadays. Still, the few times I played the game, it was a blast, in no small part because of Moldvay’s ingenuity in making Lords of Creation something unique, at least for the time period of its original publication.

The box itself for the game is somewhat large for a tabletop RPG, though was typical for the Avalon Hill war games of the time. Upon opening the box, one finds a 64-page rule book, a 64-page The Book of Foes (you D&D players will recognize this as similar to a Monster Manual), a Game Catalog of everything Avalon Hill had to offer at the time, and three dice, a D20, a D10, and a D6, everything you need to play the game.

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Modular: Everything You Ever Wanted to Know About The Temple of Elemental Evil

Modular: Everything You Ever Wanted to Know About The Temple of Elemental Evil

the-village-of-hommlet-moathouse

Chainmail re-enactment of T1: The Village of Hommlet
at Garycon II, 2010 (click for bigger version)

Okay — maybe a bit of hyperbole there. About a month ago, I wrote about my favorite AD&D module, T1 – The Village of Hommlet. I mentioned that its follow-up, The Temple of Elemental Evil, was delayed for several years before Frank Mentzer completed it. Read on to learn about how Gary Gygax developed Hommlet and the Temple through play sessions and my deduction of why Temple was delayed for a few years.

Gygax and Rob Kuntz were constantly adding new levels and different environments to the dungeons under Castle Greyhawk as the players continued to eat up new content, always wanting more. Gygax began focusing his attention on developing a new region, with a campaign focusing on Hommlet and the Temple of Elemental Evil. With his game simply growing too big, Gygax split it, giving Greyhawk and its dungeons to Kuntz while he continued to work on Hommlet and the Temple.

Gygax’ son and a friend were starting to play, so Gary used the Hommlet campaign as a new, low level adventure for them, distinguishing it from the high level Greyhawk play. Gygax was busy developing TSR products and the Greyhawk Supplement (I) had come out for the Original Rules.

The Hommlet campaign was different than the Greyhawk dungeon delves. There was a village, with a smithy, an inn, a local elder, set in a rural environment. The party could role play in the village then move on to the dungeons of the Temple. It’s possible that Gygax ran players through some iterations of Hommlet and the Temple in late 1975 and into 1976.

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Modular: Swords & Wizardry Complete Kickstarter Explodes

Modular: Swords & Wizardry Complete Kickstarter Explodes

swords-and-wizardry-new-rules-smallLast month I wrote a post on why I chose to use the Swords and Wizardry (S&W) Complete Rules, instead of Pathfinder, for my latest campaign. S&W is a redesign of Original Dungeons and Dragons (pre-1st Edition), written by Matt Finch and put out by Frog God Games. Due to a stretch goal achieved in the Sword of Air Kickstarter, the S&W rules are permanently free in PDF format from Frog God. You can also buy a hardcopy with a cool Earl Otus cover.

On October 14, Frog God launched their thirteenth Kickstarter to fund a third printing of S&W Complete. But this is a little different than just a simple reprinting effort. Designer and RPGer Stacy Dellorfano had suggested to Finch that Frog God print a new version of the S&W rules, but with art and design done entirely by women. Within minutes, Finch and Bill Webb were on board and the project moved ahead.

There are minor revisions to some of the game play examples, but otherwise it’s a reprint of the second edition. However, there are two brand new adventures included: “The Five Maidens” and “Zaya’s Promise.”

Finch explained that the intent was for Dellorfano to come up with a design that was no less appealing to males, but more appealing to females. Webb has cited Lisa Stevens of Paizo as a huge influence on the role of women in the gaming community (as well as “saving the game industry when WotC cratered on 4th Edition”) and has said that his daughter will taking over Frog God from him some day. So, he was very much into the concept.

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Mashed Up

Mashed Up

FireflyAs might be expected from the guy who wrote Sword Noir: a Role-Playing Game of Hardboiled Sword & Sorcery and is now Kickstarting Nefertiti Overdrive: Ancient Egyptian Wuxia, I love a good mash-up. I use the term mash-up to refer to a creative work that blends two or more apparently dissimilar genres. The mash-up most genre fans would know would be Firefly, mashing-up space opera and westerns.

Brotherhood of the WolfNow space opera and western are not terribly dissimilar, but Firefly included many of the trappings as well as the tropes of the western. The characters carried six-shooters and lever action rifles, they had costumes that appeared quite close of 19th century American frontier clothing, and pseudo-frontier language dotted their speech – along with Mandarin. While I often hear Firefly referred to as sci-fi with some western aspects, I think it is more fitting to call it a western in space.

That’s kind of splitting hairs.

Firefly melded two genres, but there is a wonderful French movie that mixes at least four – period drama, martial arts, horror, and romance. The Brotherhood of the Wolf is one of my favourite movies and an inexhaustible source of inspiration. It might not be the finest movie of its age, but it was my favorite movie of 2002.

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Kissing My Axe

Kissing My Axe

Kiss My AxeI’ve written previously about starting Sword’s Edge Publishing, mistakes I made in running the company, and publishing Sword Noir. When the time came to publish Kiss My Axe: Thirteen Warriors and an Angel of Death, a role-playing game of Viking mayhem, I tried to follow the trail I had blazed with Sword Noir. If I mention the best laid plans of mice and men, you may see where I’m going here.

Sword Noir worked out because I knew everyone with whom I worked. I knew my friends wouldn’t let me down. Unfortunately, Ed Northcott, who did the art for Sword Noir (and was an industry professional long before working on my game) had quit as a freelance artist. A friend’s wife introduced me to an artist of her acquaintance who wanted to get into the RPG industry. I saw his portfolio and we made a deal. He would have accepted much less, but I wanted to pay the standard referenced by Steve Jackson Games – trying to be a professional over here.

I gave the artist three specific scenes I wanted to see and left the fourth to his imagination, suggesting anything inspired by the movie The 13th Warrior or the comic series Northlanders. I sent along links to pics on the Internet which could provide inspiration and references.

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Black Gate Interviews James L. Sutter, Part Three

Black Gate Interviews James L. Sutter, Part Three

dragonsofautumntwilight_1984originalThis week concludes Black Gate‘s interview with author and editor James L. Sutter with a discussion of the pros and cons of media-tie in fiction, the Before They Were Giants anthology which collects the first sale short fiction of many big name writers, and a look at what James is working on now. Be sure to check out parts one and two of this interview, as well as our review of James’ new novel Death’s Heretic.

You recently wrote an informative guest post at Inkpunks about the pros and cons of media tie in fiction from a writer’s perspective. What are your thoughts on media tie in books in general, from a reader’s perspective? They seem to be more popular than ever in stores, but would you say some of the reluctance or distrust many readers seem to have for tie in work is still an obstacle in the marketplace?

I think that science fiction and fantasy readers (the only genre I really feel qualified to comment on) have a love/hate relationship with media tie-in books. Many of us start out there–I know I read plenty of Star Wars and Dragonlance and Indiana Jones books as a kid. Tie-ins are a natural entry point into the genre, because those books deal with something you already know you like–movies, games, etc. Yet as we read further into the genre, I think many of us begin to associate those books solely with our humble beginnings. We fancy ourselves more sophisticated, and begin to define ourselves by our less mainstream tastes. Books with logos on the cover start to seem too lowbrow, or like blatantly commercial cash grabs rather than true art.

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Black Gate Interviews James L. Sutter, Part Two

Black Gate Interviews James L. Sutter, Part Two

city-of-strangers-sutterLast week we were just getting started in our conversation with writer James L. Sutter; this week we talk more about James’ role at Paizo, the balance between editing and writing, and his early history as a writer and gamer.

Tell us a bit about your role at Paizo — not only are you shepherding the fiction line, but, as you mentioned, you’re the guy that makes sure the world stays consistent.

I’ve been at Paizo for about 7 years now, so I’ve worn a lot of different hats. At the moment, I’m the Fiction Editor, which means I’m the guy in charge of finding authors, commissioning stories and novels, developing them, solving any continuity issues, and doing much of the editing (though I’m backstopped by several other excellent editors). In addition to that, however, I still do a ton of development for the game products, usually as they relate to the world and continuity–I had the good fortune to already be on the creative team when we started Pathfinder, so while the company’s grown since then, there are a few of us who have followed and shaped the world’s expansion since the beginning.

Last but not least, I also get to do a fair bit of straight-up design work for Paizo: not just editing and developing freelancer content, but writing books and articles as a freelancer myself, which gives me a wonderful chance to create sections of our world out of whole cloth. Probably my favorite books that I’ve worked on are the two that I’ve done solo, a book called City of Strangers, which was essentially a travel guide to an anarchic, Mos Eisley cantina-style city that I invented, and Distant Worlds, which comes out in February and details the other planets in our world’s solar system. (The latter was a nice chance for me to kick back and indulge my blatant love of science fiction within the bounds of our fantasy setting.)

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Black Gate Interviews James L. Sutter, Part One

Black Gate Interviews James L. Sutter, Part One

sutterrockI recently caught up with Paizo’s James Sutter for a conversation about his work heading up Pathfinder’s new fiction line, as well as his own writing and influences.  In part one of our conversation James tells us about his new novel for Pathfinder, Death’s Heretic, and sheds a little light on one of fantasy’s gray areas. Over the next two weeks we’ll be covering a range of topics as James divulges on media-tie in fiction, early reading, assembling the killer lineup of the Before They Were Giants anthology, working in the game industry, and turning off the ‘editorial eye.’

A Conversation with James L. Sutter

Death’s Heretic is your first published novel, so that seems like a pretty good place to begin the conversation. Tell us a bit about the book and about Salim, Death’s Heretic’s protagonist.

First off, Death’s Heretic is a Pathfinder Tales novel, which means that it’s set in the campaign setting for the Pathfinder Roleplaying Game. Fortunately for me, while it’s a shared-world novel, it’s a shared world that I’ve been helping to create over the last several years, and I had a lot of free reign with regard to the book’s setting.

The book is a fantastical mystery set in the desert nation of Thuvia, where folks with enough money can bid on an extremely rare potion which acts like a fountain of youth. A lot of people will do anything for a few more years of life and youth, so it’s not too surprising when one particular merchant wins the annual auction and winds up assassinated. The surprising part comes when the priests of Pharasma, the death goddess, go to resurrect him, only to find that his soul’s been stolen from the afterlife by an unknown kidnapper, who’s offering to ransom the soul back for the merchant’s dose of the elixir.

That’s where Salim comes in. A former priest-hunting atheist, Salim hates the death goddess with a passion, yet is bound against his will to act as a problem-solver and hired sword for the church. In this case, he’s in for even more aggravation than usual, as the investigation is being financed by the merchant’s headstrong daughter, who demands to accompany him. Together, the two of them end up traveling all over the various planes of the afterlife in a race to uncover the missing soul, interacting with demons, angels, fey lords, mechanical warriors, and more.

At the risk of spoilers, to me the book is actually three stories: the mystery of the stolen soul, the story of how a staunch atheist ends up working for a goddess, and the colliding worlds of the hard-bitten warrior and the wealthy aristocrat.

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