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Location, Location, Location! – the Roundup and Wrap-up (for now)


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Everything needs somewhere to happen, and in terms of gaming, that’s what the September 2013 blog carnival was all about. When I launched the Carnival, I outlined several types of suggested articles. In logical sequence, and synopsized, they were:

  • Choosing/Designing a location;
  • Improvising a location;
  • Describing a location;
  • Representing a Location with battlemaps;
  • Modifying locations to achieve plot needs;
  • Specific Location descriptions;
  • Other – in case there was something I hadn’t thought of.

All told, there were a massive 27 entries for this Carnival, a wonderful response rate, and it was particularly pleasing to see a couple of people joining in for the first time.

The rest of this article is going to summarize and categorize those 27 entries (plus a ringer or two) under the seven headings I outlined above.

But if that’s not enough to float your boat on the subject, the October Blog Carnival is already underway over at of Dice and Dragons on the Halloween-inspired subject of Spooky Spots (and yes, I do have something planned for that)!

So, without further ado:

Choosing/Designing a location

Ten Entries focused on choosing or designing a location, unsurprisingly. And I’ve added an eleventh.
 

  • Location, Location, Location – How Do You Choose A Location?Campaign Mastery – Kicking things off, I examine the roles of logic, personality, genre, style, meaning, iconicism, and mundane considerations like illustration, representation, inspiration, and artistry on choosing a location. There’s also some useful advice on the subject in Parts 2 And 5 of the Breaking Through Writer’s Block series that I posted before the carnival began – look for the sections on “Setting”. This was to be the lead-off article in the Carnival and I wanted to make it a strong one.
  • The Gassy Gnoll: Where are we again?Game Knight Reviews – Fitz writes, “Story relies on the trifecta of character, plot, and setting” and then goes on to offer advice on how to design a location – and wraps things up with a collection of links offering advice on how to improve your chosen location on the fly.
  • Can, Can’t, and Shouldn’t: Three Ways Location Shapes BehaviorExchange of Realities – Ravyn’s third submission to the carnival considers how locations interact with characters to alter their actions and plans. There are some profound thoughts in this one.
  • Blog Carnival – September 2013 – Location! Location! Location!The Warehouse Of Trinkets – The Storeman, a.k.a. Martin Lima, offers a great tip on not making locations into puzzles that several module writers in the 80s could have learned from. This article could have gone in several categories – ‘choice’, ‘description’, even ‘other’. But because it’s the most fundamental of the options, I chose the first.
  • Locations, Fate Core Style: Part IAggregate Cognizance – Wil offers the first part of a two-part article. This one focuses on choosing a location based on purpose and adventure potential.
  • Puzzling LocationsROFL Initiative – How to make location-based puzzle encounters, with three great examples. And some links on where to get puzzle ideas. Does this contradict the advice offered by Martin at The Warehouse Of Trinkets? Not really, because of one critical factor: Geoff makes sure that the puzzles have a plot significance and aren’t simply there for their own sake.
  • Purpose-Based Location DesignExchange of Realities – Ravyn adds a fifth to his contributions with this great article on drawing inspiration for your locations from the purpose you intend them to serve.
  • Big Is Not Enough: Monuments and Places Of WonderCampaign Mastery – For my sixth post in the Blog Carnival, I raise the question of Wonders Of The Known World and what they need in concept and description to allow them to live up to the label; the four reasons they are hard to do well, 10 reasons why they are worth doing, and 12 sources of wonders to help overcome those difficulties.
  • Placing Settlements in your GameROFL Initiative – Not officially offered as part of the blog carnival, but I think Geoff’s article is relevant to the subject at hand, so I’m including it anyway. In this post, he considers some of the possible reasons that could lead to the formation of a city.
  • Layers of Places Past: Creating Ruins with PurposeROFL Initiative – Geoff’s third official offering asks why ruined locations show up where they do, how their past might inform their present desolation (I’m quoting it directly) – and how to create ruins with a purpose. This post was actually inspired by a comment on the previous article by Geoff.
  • Much Ado About LocationShades Of The Game – Christopher Nelson’s first foray into the Blog Carnival discusses how he chooses a location to suit his needs. Make him feel welcome, and check out his advice – written from a different genre perspective to most, and so offering an invaluable alternative slant on the subject.

Improvising a location

Only one entry in this category. Which is just as unsurprising as the article count in the first category – improv ain’t easy and teaching others how to do it well is even harder.
 

  • The Gassy Gnoll: Where are we again?Game Knight Reviews – Yes, I know this one’s already appeared in the list – but not many people dealt with this subject (including me) so Fitz gets a gold star and a second entry for the same blog post.

Describing a location

This sub-topic fared a little better, with three submissions which fall directly into this category and being touched on within a number of the other articles contributed to the Blog Carnival.
 

  • It’s All About Location….of Dice and Dragons – Scot discusses location descriptions and the benefits to leaving details out of them – and what should be left in.
  • Wednesday Night Writing Exercise: SnowfallExchange of Realities – Ravyn focuses his regular column on writing onto locations and their description – at least that was the plan; in the end, he focused on the mood and weather impact on location descriptions. Not much in the way of how-to in this submission, but as an example, it hits all the right marks.
  • Adjectivizing Descriptions: Hitting the targetCampaign Mastery – I offer a seventh entry into the Blog Carnival with practical advice on How to describe locations, especially Wonders.

Representing a Location with battlemaps

Only two entries focused on battlemaps, which was slightly surprising.
 

  • Battlemap? What Battlemap?Exchange of Realities – Ravyn’s second offering to the Blog Carnival discussed how to make sure you have a battlemap to suit the location at hand – or can do without. The discussion spilled over into Describing locations.
  • 52+ Miniature Miracles: Taking Battlemaps the extra mileCampaign Mastery – My 3rd entry in this month’s blog carnival looked at ways of extending the functionality of battlemaps by adding Found and Made objects. The general response to this article has been “now why didn’t I think of that?” which was very gratifying.

Modifying locations to achieve plot needs

Difficult, esoteric, and narrow – I didn’t expect anyone except myself to have a submission to this category – right up until a week before the Carnival started, which is when Roleplaying Tips #586 landed in my in-box…
 

  • People, Places, and Narratives: Matching Locations to plot needsCampaign Mastery – My fifth item for the Blog Carnival. As Hungry at Ravenous Role Playing put it, Your cast of characters isn’t limited to PCs and NPCs. This article shows you how to access and use the current location as another member of that cast.
  • Eight Tips For Using Real World Locations In Your GamesRoleplaying Tips – The feature article from issue 586 of Johnn Four’s long-running email magazine, a contribution by Jesse C. Cohoon, offers suggestions of how to balance the fantasy elements of a game with the influences that created the location in the real world that you are using as a model. Applicable to any genre of game.

Specific Location descriptions

Nine entries meet this description, which is not all that surprising – I always thought it would attract a lot of contributions. And I’m sure there’s a lot more where those came from.
 

  • The Glade Of Lost DreamsSave Versus – Roland offers a 13th Age “random encounter” for a future outdoor exploration session in his campaign. This would translate readily into any fantasy campaign. There’s also an insight into game prep in his comment advising of the article that’s worth noting: “I’m putting together a hex map where the PCs will have to explore and map a large region. Instead of randomizing, I’ve been creating encounters based on the locations they will visit.”
  • Location, Location, Location: NynganCampaign Mastery – I describe my home town (and get a number of people into a nostalgic frame of mind in the process) – then adapt it to a number of different genres (Fantasy, Sci-Fi, Pulp, Horror, Westerns, Cyberpunk, and Superhero games).
  • Locations, Fate Core Style: Part IIAggregate Cognizance – In the second part of his two-part article, Wil uses an actual location from his Fate Of Vimary campaign, The Shrine Of C’nawa, to illustrate the actual process he employs to put the general principles described in Wednesday Night Writing Exercise: IcebergExchange of Realities Says: – Ravyn offers a fourth post for the blog carnival, presenting another inspiring location for you to contemplate.
  • Places to go and people to meet: The One Spot series from Moebius AdventuresCampaign Mastery – I review a series of new products from (one free, two low-price) that collectively offer a trio of ready-to-use locations to drop into your fantasy RPG: (the free one), , and ($US 1 each). Check the article for descriptions and review and ideas for use. Fitz has been awesome about using my comments to improve his products, which is exactly the sort of behavior we all like to see in a publisher – so he deserves our support in his efforts!
  • Make-it Monday: Map, Elven MuseumROFL Initiative – Geoff offers a neat map of a ruined Elven Museum and set of room descriptions to go with it – plus how he used it and the backstory of the place. And don’t miss the additional insight within the comments!
  • Six Wonders: A selected assortment of Wondrous Locations for a fantasy RPGCampaign Mastery – When I sat down to list ideas for the Blog Carnival, I only intended to do one article on Wonders. But when you get inspired… The offerings in this post are: The Broken Man, The Pool Of Reflection, The Palace Of Winter, The Citadel Of Secrets, The Spire Of Contention, and the Library Of Shelves.
  • Five More Wonders: Another assortment of Locations for a fantasy RPGCampaign Mastery – My Ninth entry into the blog carnival continues where the last one left off, with five more Wonders Of The Known World (that I didn’t have time to complete for the previous article). This offers The Pyramid of Reason, The Caves Of Rockbeard, The Rainbow Of Eternity, The Desert Of Gold, and The Emerald Falls.
  • Still More Wonders: Fifteen Amazing Locations for a Sci-Fi RPGCampaign Mastery – I snuck this one in because September wasn’t quite long enough to fit everything in. Actually, it was delayed because I needed an extra half-week to deal with Fantasy Wonders and because I was having trouble gathering enough ideas. Thanks to the players in my superhero campaign, I got there in the end! This article offers The Orouberus Molecule, The Cascade Nebula, “Birth And Death” By Garl, The Dyson Superplant Of Epsilon Centauri, The Spiderweb Of Rukh-C, The Torus of Andraphones, The Confusion of Hydra, The Waltz Of Minos IV, The Diaphanous Assembly of Omicron Boötis, The Billboard Of Greeting, The Halo Rock, The Necrotis Plague ‘Planet’, The “Cosmic String” of 18 Delphini, The Arena Of Canopia, and The Fireworx Swarm. Hopefully there’s some inspiration for someone in there…

Other

I thought I had covered every possibility, but right out of the box came this item… It might be the last listed, but it certainly isn’t the least!
 

  • Manage your player’s home base in OneNoteROFL Initiative – A video presentation (17 minutes 56 seconds) on how Geoff organizes and tracks information related to his player’s in-game base of operations, the Keep at Thunder Dale, without having the task get in the way of the game’s main purpose – adventure.

Missing In Action

Campaign Mastery unfortunately experienced almost a full day of downtime during the Carnival. At least one pingback/announcement was lost as a result (but luckily noticed and recaptured). So if you’re blog entry isn’t listed, drop me a line and I’ll update the article PDQ.

So that’s a wrap, and an official handover to Scot at of Dice and Dragons. We’ll have to do it all again sometime!

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Still More Wonders: Fifteen Amazing Locations for a Sci-Fi RPG


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Officially, the Blog Carnival for September finished on Monday, and the October Blog Carnival has already started at first-time host of Dice and Dragons on the Halloween-inspired subject of “Spooky Spots” (best of luck with it, Scot!) – but I had one more article that I wanted to sneak under the wire. My last two posts have listed “Wonders of the Known World” for fantasy RPGs; this time around, I’m offering a pool of ideas for “Wonders of the Known Universe” for an SF campaign.

Although the byline above doesn’t reflect it, these ideas represent a team effort. I got the players in my superhero campaign to spend a few minutes adding to the idea pool last Saturday before we started play because it was looking a little shallow. So official thanks for their contributions to this article go to Blair Ramage, Saxon Brenton, and Nick Deane.

I’ve added my two cent’s worth to some of the ideas, tweaked and polished them a little, but they are still not going to be as fully developed as the ideas I’ve been offering for fantasy campaigns. There won’t be as much depth or as much in the way of plots that are built around these Wonders. Some of them lend themselves to that sort of thing, others… not so much. They have varying levels of gosh-wow, and run the gamut from cosmic phenomena to planetary curiosities. Few of them are rigorously explained; it’s enough that they are somewhere within spitting distance of suspension of disbelief. Most would need a lot more development for use in a Hard SF setting. But hopefully they will contain enough imagination to make up for that.

Hint: Hubble photos are great for conveying a “you are there” sense of space to players. Just flash one on your laptop or iPad for that jaw-dropping “out there” sensation.

Cosmic Phenomena

Cosmic Phenomena are big. Really big. Bigger-than-a-star-system big. You might thing that anything at this scale is noteworthy, and you would be right – but there are a couple of items that are even more noteworthy than most.

1. The Orouberus Molecule

The Orouberus Molecule manifests as streamers of trans-temporal polymer consisting of a single molecular chain linking to its future self form a nebular “reef” in space which has become home to a number of unique lifeforms which occupy it and use it as a scaffolding in the same manner as the inhabitants of coral reefs on Earth. Some of these lifeforms are believed to facilitate the extension through time of the Orouberus Molecule. Assuming that time is circular, eventually it is believed that the Molecule will link back to its earliest form, creating a closed circle through time – the source of the name of the phenomenon.

2. The Cascade Nebula

A swarm of microscopic black holes passing through a nebula produce ripples and currents within that nebula, and violently varying gravitational surges that affect both the gas and any object that attempts to traverse the nebula. The sensation is analogous to a three-dimensional form of “white water” rafting that has proven attractive to a certain breed of daredevil and extreme sportsmen and women. Energy gains from gravitational shifts make the nebula glow blue-white, the black holes are the equivalent of rocks that must be avoided, and matter from the nebula is sufficient to prevent the collapse of the holes through pair production. The only mystery is where the swarm of mutually-orbiting black holes came from, a puzzle to which science does not have the answer.

Interstellar Curiosities

If it’s bigger than a planet, it belongs in the category of Interstellar Curiosities. Only a small percentage of solar systems are peculiar, but there are so many to draw from that even “peculiar” isn’t enough to make this list, which is reserved for a few that are exceptionally strange even by the standards of ‘weird’ that improbability can throw up with a sufficiently large sample.

3. “Birth And Death” By Garl

Artistic movements come and go as they always have, but when Mankind first ventured out into the galaxy and began observing the natural beauty of many interstellar objects – nebulae and gas clouds – at close range, many art and design movements found themselves dwarfed and intimidated by the natural wonders of the universe. The responses – Neominimalism, Neoretroism, and Neobauhaus – came to dominate the art field for almost twenty years. But there was one small movement who refused to be intimidated and felt compelled to expand their works to the scale of those wonders; although it would take centuries for the technology to mature sufficiently to enable the visions of the members of the Cosmologic Movement. Most of the early practitioners designed artistic concepts with no real idea of how they could be achieved, leaving it to future generations to find ways of implementing their artistic visions. Only a few of those visions have ever manifested in actual artistic works, and of those, by far the biggest, most grandiose, and most famous is “Birth and Death” by Garl Eiflesson.

Inspired by such natural phenomena as Old Earth’s “Old Faithful”, “Birth and Death” features a planet which periodically and regularly blows itself apart and then reforms, ready to do it all again a decade later. A wormhole artificially placed at the centre of an unwanted planetoid in orbit of a Dwarf Star is used to pump energy into an elemental transmuter that creates high-order unstable radio-isotopes, whose decay creates vast internal heat within the planetoid. When the energy levels reach a critical threshold, the planet explodes; but the threshold of reaction is set sufficiently low and the size of the planetoid sufficiently high that the debris does not escape local orbit and falls back to their collective mutual centre of attraction, forming a new planet. This process is accelerated by gravity generators which are also powered by the wormhole. Minor variations in the position of the ‘generator station’ relative to the centre of the planet mean that each detonation is unique. Of course, the heat generated means that the planetary surface is still white-hot and molten at the time of the next explosion, and hence more visible due to radiative heat in the visible temperature range.

Artistic interpretation of the resulting piece of “dynamic art” have varied widely. Some consider it a commentary on man’s destructive tendencies, others consider it a reflection of man’s habit of reengineering his environment to his own specifications, while others consider it an expression of the cycle of creation itself. Others discuss the symbology as representative of the birth and death of human lives. Most just enjoy the spectacle.

4. The Dyson Superplant Of Epsilon Centauri

A small dyson sphere of 100,000 small solar collectors placed close to Epsilon Centauri (approximating the relative equivalent orbit of Mercury in terms of solar proximity) which convert sunlight into radio waves and tight-broadcast it to one of three points in space. Presumably collection satellites would have been constructed at those points in heliostationary orbit to relay constant power to an inhabited world within the solar system, but no planet in the Epsilon Centaurus system has sustained life for at least 60,000 years. Who built it? Did they destroy their home world, or fall victim to some galactic disaster – or simply run out of power before this ambitious project could be completed? Were they destroyed when the star became a Giant? Or did the power project accelerate the process? Or were they from some other solar system and simply planning to tap the power generation of this very bright star? Does this engineering project have anything to do with the variability of the star? These questions remain unanswered, though there are constant archeological searches underway for remains on each of the planets within the Epsilon Centauri system.

5. The Spiderweb Of Rukh-C

Rukh-C, more formally known as Delta Cygni C, is home to a set of planetoids that are held together in a fixed close arrangement by means of visible tractor- and presser- beams in orbit around the first full-sized artificial black hole ever created (for research into faster/alternative FTL approaches) and then abandoned when that technology didn’t pan out. These visible beams bend and twist through the distorted space to look like a spiderweb catching the light. (NB: This is a very space-opera-ish proposal).

220px-Torus

6. The Torus of Andraphones

The Torus was once a giant star like a great many others, but about 20,000 years ago, it was impacted by a relatively small and very fast-moving black hole moving so quickly that it “sucked” a hole through the centre, but was gone before the entire star was consumed, and imparted so much spin on the remaining stellar matter that the star remains a stable torus to this day, the only star in existence with no centre. It was named for the Astronomer who first showed mathematically how the phenomenon could have originated and stabilized.

7. The Confusion of Hydra

The system with the largest number of planets ever discovered, Hydra has no less than 37 worlds in stable, independent orbits. Two of these are in the inhabitable or “Goldilocks” Zone. It is believed that the system was formed with several gas giants in eccentric orbits that destabilized each other in repeated collisions or near-collisions, sending them too close to the star, which tore them apart with tidal forces, swallowing some of the dismembered planets and expelling other parts which then coalesced to form the extraordinarily large number of worlds now found there. The System (whose technical name is HD82943 or 164 G. Hydrae) is named for the constellation in which it is located, and reflects the theoretical origins of the planetary bodies (“cut off a head and two will take its place”). Initially it was thought that these additional Gas Giants had been swallowed by the parent star, due to the high concentration of Lithium-6 in it’s spectral emissions, but actual inspection revealed that the planets had broken up prior to this and only partially consumed.

Planetary Peculiarities

Sometimes it’s not the solar system, but a particular planetary body or associated lunar collection that makes a place noteworthy. Once again, slim chances come up often enough when there are so many planets to consider that it takes something fairly exceptional to make the list.

8. The Waltz Of Minos IV

The “Mount Rushmore” of space, famous/notorious sculptor Hammaz Ebvischuck spent a fortune and a lifetime preparing and planning this display of planetary engineering located at Iota Horologii: Thirty-two moons arranged in Klemperer rosettes orbiting each other at the trojan points, each of virtually identical size and mass, and sculpted by remotely-controlled terraforming technology to display the face of a famous historical figure, their orbits arranged so that the moons orbits resemble the dance-steps of the traditional Waltz. The original sculptures were done using sandpaper and models and each stroke of ‘erosion’ recorded by computer to be translated into instructional blueprints for the full-scale work, which took some 600 years to complete. Discarded material was removed by means of giant vacuum pumps after a thin and very temporary (on the celestial scale of events) atmosphere was added for the purpose consisting of neutral gasses, then formed into a concrete ‘sealant’ that is used by the automated machinery to make repairs.

9. The Diaphanous Assembly of Omicron Boötis

The discovery that matter did not experience the force of gravity when in certain unusual quantum states which could be maintained by pion currents running through the matter in question led to a number of architectural and sculptural applications getting underway before the physics consequences were fully understood. Everyone, it seems in retrospect, wanted to be the first to exploit “artificial gravity translucency” in an otherwise-impossible supercolossal structure. Most of these projects floundered when it was discovered that matter so arranged was too radioactively-active for occupation or even a prolonged tour. While the principle of Gravitic Transparency would later emerge as a vital step in energizing fuels for efficient interstellar travel at FTL speeds, occupational health and safety regulations written with respect to practices within nuclear power stations two centuries earlier made the completion of the majority of the projects impractical, while in several cases where “art” trumped “personal danger”, artists were killed by radioactive exposure before their works could be completed. In fact, only one structure was completed in time, the handiwork of architect Treselov Borislavich, and sponsored by Transuranic Miners & Prospectors LLC, who were particularly well-suited by experience to handle the dangers posed by radioactives. In later years, it would be alleged that the corporation manipulated their role as a technical advisor to the Health And Safety boards who interpreted those requirements to ensure that no-one else could complete a project, but this has been the subject of vehement denials by the board of the corporation.

Be that as it may, the fact remains that the only standalone Gravitationally Translucent construct ever completed is the planned corporate headquarters building of TMP at Omicron Boötis – a building of impossible height, extending from ground level into orbit. The gravitational translucency is the only reason it does not collapse under its own weight or get torn apart by tidal forces. Of course, it could never be used for its planned purpose, so it remains pristine and unique, though it is still the registered official headquarters of the corporation which still operates through “off-site” management.

10. The Billboard Of Greeting

The gas giant named Theroz Marcellus II (technically HD 48265 B) is home to an entire ecosystem that floats endlessly in its nutrient-rich clouds, like many gas giants. Like every known example, these creatures have extremely limited intelligence as individuals. Uniquely, the inhabitants collectively have a hive-mind that is effectively fully-sentient; so much so that many researchers find it convenient to consider the entire ecosystem to consist of a single sentient being, which (of course) course can never leave its supersized homeworld. It communicates with the outside world by rearranging itself to form patterns of color and hue on the daylight-side visible ‘surface’ of the world. In personality, it is bright, bubbly, and known for its practical jokes, and intensely curious about the outside world; some researchers suggest that it is not entirely incorrect to treat it like an exceptionally bright teenaged girl. For intellectual stimulation, it demands regular visits by the most creative and inventive minds in the galaxy for performances and guest-lectures – if it cannot go to the stars, it will pay to have the the stars brought to it! It pays for these by reshaping the “visible” surface of the world for brief periods of time into advertising for its sponsors – in between telling jokes and sending birthday greetings to its human friends in orbit around it – and by licensing the rebroadcast rights to the performances and lectures. If only it didn’t have a fondness for boy bands…

11. The Halo Rock

Technically, at 0.1 AU across, this is the largest artificial gemstone every created, though it is actually a crystalline coating over a balloon inflated by the solar wind of Oculus Borealis, officially referred to as Epsilon Tauri. Once the artificial crystal had formed on the surface, it was carefully faceted and then micro-grooved to refract light of a different color from each facet. As the Halo Rock tumbles through space in it’s orbit (relative to the star), the light shining through it is refracted to form an eternally-changing halo of rainbows.

Other

To wrap up the list, there a few structures that are peculiar enough to make their planets noteworthy, and a few planets with biological phenomena that are peculiar enough to make them famous.

12. The Necrotis Plague ‘Planet’

The medical research facility established at HD85512b-III was made famous for its ground-breaking research for years before one of its treatments escaped from the labs and forced the abandonment of the facility. Technically, it’s a moon of the superplanet, but – like Ganymede and Titan in Earth’s solar system – it is large enough to qualify as a planet in its own right. The treatment which forced abandonment of the facility involved nanobots programmed to consume necrotic (dead) tissues, preventing them from poisoning the rest of the organism. This was considered a refinement of the enzymatic removal of necrotic tissues for two reasons: firstly, it would have fewer side effects and hence promote recovery; and secondly, it could be applied to any necrotic tissue anywhere in the body without need for surgery. Unfortunately, it was discovered that the treatment caused massive internal disruption as the nanotech “virus” also attacked cells undergoing apoptosis, the process by which the body naturally recycles cellular material. This is a natural part of the cellular lifecycle and is essential for normal health; excessive apoptosis causes atrophy, while inadequate apoptosis causes cancer through excessive cell reproduction. Fifty-to-Seventy cells die and are replaced each day in the typical adult human by way of this process. In effect, the treatment destroyed the infectious tissues – but at the price of causing the rest of the body to waste away and experience cachexia-like symptoms; and because apoptosis is a normal biological function, this disease also affected everyone else in the facility. Although an emergency evacuation of the facility took place, all exposed at the vicinity succumbed within a year to what became known as the Necrotis Plague.

All animal life on HD85512b-III was eradicated by the plague.

But in more recent years, the still-viable Necrotis Plague has once again become a valued treatment for acute and severe necrosis. Patients are remote-piloted to the surface and exposed to the Necrotis plague, which eradicates the necrotic tissue, then inoculated with a specific variety of Hunter-Killer nanobots designed to destroy the nanotechnology which, having consumed the necrotic tissue, is now targeting Apoptotic tissues and robbing the cells of vital materials needed for the construction of new cells. With the plague disrupted, the patients are again remote-piloted from the surface to the satellite space hospital which now orbits the original facility, and suffer minimal harm (the equivalent of an hour’s starvation).

In recent years, it has become fashionable to will one’s body for ‘burial’ on HD85512b-III; the organic remains are consumed by the plague and help sustain its viability for the benefit of others. Special permission is required before any such burial.

Note: Travelers are warned that a substantial military/law-enforcement presence is maintained in the planetary system to prevent any attempted harvesting/weaponizing of the plague.

13. The “Cosmic String” of 18 Delphini

The Space Elevator at 18 Delphini was originally constructed to shift cargo and passengers to the orbital station at the top of the beanstalk, but in modern times is better known as the largest musical instrument in the universe, the “Cosmic String” (not to be confused with the hypothetical cosmological phenomenon of the same name (refer cosmic string). The structure resonates audibly with winds at different altitudes, naturally harmonizing with the string interval defined by the altitude of the mass ascending or descending the elevator in the same way as a violin string changes pitch when the string is depressed at a particular fret, with secondary resonances at the interval defined by the separation between the cargo and any of several maintenance robots that ascend and descend the monofilament structure testing for and repairing defects. In effect, the one space elevator is several strings of the resulting musical instrument at the same time. The changes in tone are considered reminiscent of a slide guitar of impossible size and deep timbre. No other space elevator has resonances in the audible frequencies, which result from the peculiarities of the wind patterns of 18 Delphini b. On the planetary surface, the tones are audible from several kilometers away.

Rumors that famous avant-garde composer Nith Behrgren and his support band, Ninth Wave, are composing an electronica symphony in which the “Cosmic String” is to be a featured instrument are unconfirmed.

14. The Arena Of Canopia

When man emerged into space as a permanent place of residence, he brought a lot of his games and artistic expressions with him. The Arena of Canopia is designed to invent and popularize micro-gravity variations of popular sports and entertainments – everything from adaptions of Shakespeare’s plays to Micro-Gravity ballet to Hypersquash and Low-G Rugby. The largest enclosed microgravity environment in existence, the Arena (initially made famous by its Zero-G Wrestling Championship) now comprises 132 separate playing ‘fields’ which can be configured as necessary to host different events for broadcast throughout human space.

15. The Fireworx Swarm

Bioluminescent nocturnal insects are nothing new. But the Fireworx is larger than most (the size of terrestrial dragonflies) and so are the swarms of 100,000 plus that continually chase the night hours of the planet Dirathima, which is otherwise a not-especially-noteworthy swamp world orbiting 55 Cancri, itself a somewhat unusual star. The name derives from the initial brightness of the display, though it quickly stabilizes to a lower level. Each insect can only maintain its luminescence for a few minutes before it fades, but after a few minutes’ rest it is ready to flare into illuminated life once again. Whichever insect is the brightest-glowing at any given instant is the “swarm leader” and all the others flock toward it. Because the insects rest during the day, but are continually being joined be new members, swarms give the appearance of maintaining pace with the twilight line.

The glow indicates that the insect is ready to mate, and the relative brightness of the initial burst makes one individual insect a preferential mate. Fireworx live for approximately a week as adults, in which time a female can produce almost a thousand larvae (birth occurs during the daylight hours, leaving the female ready to produce fresh larvae the next night). Fireworx are phototropic and thermotropic. There are suggestions that they are a genetically-engineered species or were introduced to the planet because they appear to have no genes in common with other life on Dirathima. Current speculation is that the species proved more successful than desired and now constitute a plague population on the planet, but this is unproven. No human agency has been identified as responsible for their introduction; they were present when the planet was initially surveyed for colonization. If proven, this would make them the only verified case of bioengineering by non-humans.

One final tip: The rebooted Dr Who has more than it’s fair share of great ideas to snaffle for this sort of campaign.

Okay, that’s a wrap! The “Location, Location, Location” blog carnival has been a great success. Next week I’ll compile the articles submitted into the traditional link-fest :)

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Five More Wonders: Another assortment of Locations for a fantasy RPG


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Last Thursday I delivered six locations for GMs to insert into their campaigns that celebrated the fantastic. You could argue that at least one Wonder Of The game-World should reflect what is unique about that particular campaign, and that by leaving a slot free, I achieved the mythical seven; but that presupposes that each of the Wonders that I proposed is suitable for every campaign. They won’t be.

And it would be incredibly dull if every campaign out there used the same six wonders. So this time I’m going to offer some more, that I simply didn’t get time to write up for the previous article. Choice is good. Choice implies permutations and variations. The assumption should be that each GM will populate his game world with as many Wonders Of The Known World as he can think of, focusing especially on those aspects of the world that are unique to his campaign, and drawing apon outside sources only to top up the list.

So, without further ado…

1. The Pyramid Of Reason

A squat four-sided pyramid lost in the desert heat-haze until you are almost on top of it, which appears through the vagarities of natural illusion to appear from the tip down as you approach. The top is three-fifths the length of the base, accurate to the tenth of a millimeter. There are two towering obelisks alongside the entrance which tower to exactly nine-sevenths of the length of the base – or would, if the top of one had not broken off somehow. Eleven different types of stone form the multicolored, multi-textured entrance, accessible after climbing thirteen stairs. Within the pyramid are seventeen chambers protected by 19 doorways, the path illuminated by 23 window-slits hidden within the walls. To reach them, there are 29 different changes of elevation. The base of the entrance side of the pyramid is constructed of 31×31=961 stone blocks of perfectly equal size (not counting the eleven that line the entranceway); the side to the clockwise (when viewed from above) consists of 37×37=1369 stone blocks; the side opposite the entrance, 41×41=1681 stone blocks; and the base on the fourth side, 43×43=1849 blocks. In total, on all four sides, the number of stone blocks that are visible is a multiple of 47×53=2491. It has been calculated that in its total construction, 59x61x67=241,133 stone blocks were used. Within the pyramid, those 29 changes of elevation involve a total of 71 steps. The first chamber is tiled in a complex pattern employing exactly 73 tiles; the second, exactly 79; the third, 83; and so on, through to 157 tiles in the 17th chamber. Detail after detail reflects an obsession with incorporating – somehow – the next prime number into the construction. One section of corridor is covered in 163 red tiles and 173 gray tiles (167 is used elsewhere).

And no-one knows why it was built, when it was built, or who built it.

But legend has it that strange things happen inside…

GM’s notes

It’s the excessive, even obsessive, attention to detail that makes this place special. Throw in as many other mathematical concepts and universal constants as you can think of (the value of Pi, for example), going as overboard as you possibly can. Stretch a point if necessary (exactly 25-thirds of the value of pi?).

Now, here’s the fun part: Are the legends true, and if so, what are the strange things?

Option one:
Everything you’ve ever read about pyramid power, or that you can think up, is true in this place. It does preserve the dead – in one chamber. It does preserve fruit – in another. It sharpens blades – in a third. Purifies water, sharpens the intellect, purifies the spirit, heals the sick… If it weren’t out in the middle of nowhere in some almost-impenetrable desert or other, wars would be fought over it.

With such obvious powers, the question becomes more about “why put it here” than “why build it this way” – the answer to the latter is completely obvious.

Option two:
If the pyramid has no obvious powers, then the GM has more room to be subtle and sneaky. You can throw as many purported functions at the pyramid as “pet theories” as you like, and let all of them be true – or none. A doorway between worlds – sometimes, or between times. A prison for an extra-planar greebly. A pan-planar survey marker. A lost civilization showing off its mathematical and engineering capacity. Maybe the entire culture that built it is folded in space within, ready to emerge when the desert blooms again. Perhaps its true purpose is simply to serve as a source of inspiration!

Size has been left vague, but if it has 17 internal chambers linked by corridors, it’s going to be monumental. Map the interior and use that to establish the length of the base in whatever units you find convenient – whoever built it probably won’t have used those units, so it doesn’t matter how big the place actually is.

Location has also been left for the GM to decide, but it’s deep within a desert; half the exploring parties that set out for it should fail to arrive, it’s that hard to reach. The more difficult it is to reach, the greater the mystery that surrounds it, because it represents a greater effort on the part of the constructing civilization.

Plot Potential is difficult to pin down, and depends on what the place actually is, and what it is believed to be. If you choose to go with option two, you have lots of choice, and perhaps the greatest plot potential is as a means of engaging your players’ paranoia about what its significance might be.

Above all, though, strive not to have the real purpose seem anticlimactic if the PCs ever discover it. An alien horde of jackal-headed warriors from the past – that works. Cthulhu’s prison cell? That works. A periodic gateway between worlds, planes, or times? That works. The only fixed point in the multi-planar cosmos, used as a reference during the construction of the universe? That works, too.

2. The Caves Of Rockbeard

(You may want to rename this wonder to reflect Dwarven naming conventions in your world).
Named for the discoverer, an eccentric Dwarven miner and prospector with a penchant for striking out alone in pursuit of some theory of his own about where new mineral deposits could be found; although he got lucky in a small way from time to time, these remain his most notable discovery. A system of vast caverns with smoothly regular dimension, uniform in size, illuminated by vast spires of floor-to-ceiling quartz-like material that seem to trap light from somewhere and release it slowly, also perfectly formed and cut, each a meter across with eight-sided cross-section, and linked by hundreds of leagues of perfectly-carved tunnels, also of uniform size. Since their discovery, hundreds of expeditions have attempted to map the tunnels, without success, because they never seem to lead to the same cavern twice. Every attempt at being clever – trailing lines of string, or keeping a second party in line-of-sight with the first – has failed. It’s rumored that Rockbeard himself is lost somewhere in the tunnels that bear his name.

Time seems to pass differently within the tunnels and caves. In places it crawls, and in places it speeds. Expeditions are constantly turning up to discover that they have traversed hundreds of miles in impossibly-short times (as counted by the surface world) – or that they have spent decades underground which seemed to them like only a few days. The only constant is that their personal calendars cannot be reconciled with the passage of time as measured by anyone else.

Attempts to mark passages by means of writing or carving on the walls suggest that there is only one tunnel of finite length that loops and curves back apon itself, reaching a destination only when the tunnels “feel like it”. A troop of explorers may carve a marker on a tunnel wall, walk for a week, discover the same marker, and shortly thereafter emerge into a cavern located hundreds or thousands of miles from where they set out. Others report walking in a straight line for a day without deviation from that straight line – only to find themselves reemerging into the same cavern from which they departed by a completely different entrance on a completely different alignment.

If the tunnels were in perfect condition, this would be a curiosity and nothing more. They aren’t; in places, the walls have collapsed, and all manner of underground-dwelling creatures have found their way into the tunnels through these breaches. These pose a constant threat to travelers, but more significantly, sometimes find their way to the surface to emerge near a populated location. Similarly, surface creatures sometimes emerge many miles from their natural terrain – mountain creatures near desert oases or isolated farmsteads, desert creatures in swampy marshes, and so on. It is rumored that occasionally creatures can enter caverns in another plane of existence entirely and emerge on the prime material plane, or vice-versa.

Most of the caverns contain great Dwarvish enclaves, though some have been claimed by Drow or other underground races. New caverns are being discovered – and being lost again – all the time. There are indications that the caverns themselves migrate, relative to the surface world, from time to time. A Dwarven community can spend a hundred years as neighbors of a particular surface settlement, establishing trade links and relations – and discover, one day, that the passage to the surface now leads to a completely different community hundreds of miles removed from where it had been.

GM’s Notes

Most D&D campaigns I’ve played in have the concept of a central ‘civilized’ core and a wilderness outside it, with various layers of transition between the two. This takes that concept and throws it away completely. A safe community can have a Drow-occupied tunnel turn up a week from now, without warning. Or a wandering Djinn from the City Of Brass. Anything can be Anywhere, it’s just a question of how improbable it is. All settlements would need to be fortified, and adventure would be anywhere.

This would have a profound impact on military tactics – it does no good holding all the mountain passes if your enemy can turn up behind your lines. Of course, the odds of that happening are low, but terrain no longer offers the same security that it did.

The great temptation that must be guarded against with this Wonder is overuse. Strategic situations are stable, most of the time – but every now and then, the strategic situation changes without warning.

Systems Of Control
Most GMs will tend to want to establish patterns to the shifts, even if these are not understood by the inhabitants of their game world. Most players, on encountering the caverns and associated phenomena, will want to identify “triggering conditions” that lead to the topological rearrangements. The GM should resist establishing patterns for his own use, and resist even more strongly any attempts to make sense of the Caverns by PCs. As soon as any such are established, the caverns start losing their Mystery. The Cavern shifts and tunnel system should remain a perpetual unknown. Unless you build an entire campaign around finding the cause and shutting them down to restore order to the world, of course.

Philosophic Impact
The presence of this wonder makes the game world a less orderly, more anarchic and unpredictable place. Certainty would be regularly undermined by the unpredictable. The notion of ‘Destiny’ would be less believable to the populace, and a more fatalistic attitude would take its place – ‘What happens, happens’. Self-reliance would be emphasized; you couldn’t rely on good relations with the neighbors, because next week there might be Orcish Death Squads roaming through the hills between here and there. This is a world in which adventure comes to you eventually, whoever and wherever you are.

Origins
Nothing has been said in the description about who made the tunnels and caverns, but they are clearly artificial in nature. If the GM intends to build a major adventure or campaign around this wonder, deciding who, why, and how will be essential.

In a more prosaic interpretation of the subject tag-line, it might be helpful to know where the idea came from. The initial concept was essentially a set of subway tunnels connecting subway stations – but the tunnels were a rabbit warren, a maze. I stripped out anything that gave away what the source concept of the tunnels – the rails, etc – and supersized the concept to cover an entire continent. Then I wondered what it would be like if it were just one, or a limited number, of topologically strange tunnels – which threw in the spatial distortions and inspired me to supersize the whole thing again, extending it to other planes of existence.

And that might have been the original purpose – to connect all the planes of existence and permit easy passage from one to another. But the engineering, when whoever it was actually constructed the place, could not cope with the multi-planar stains and stresses, and as a result the darned thing has never worked right. Just a theory :)

Plot Use
The Caverns Of Rockbeard are a homogenizer. No place is removed from the frontier when the frontier comes to you. It’s unlikely, but every now and then seemingly-impossible encounters can take place. I’ve you’ve ever wanted a half-Orc half-Elemental hybrid, this is your excuse for doing it. The Caverns give the GM the capacity to completely reinvent the game world whenever he feels like it – within limits.

Background Insertion
The big problem with this wonder is two-fold: either it’s new, in which case it loses that aura and mystery and Wonder and becomes a problem with a solution out there somewhere – or it will cast its shadow throughout the campaign background. That’s fine if you’re creating a new campaign, but this just doesn’t work as well in an established campaign.

3. The Rainbow Of Eternity

There is a mountain with a mesa-like flattened top. Long ago, something tore a huge hole through it from West to East. On both sides, there are lakes. There is a river that flows down a taller peak to the north to the top of the mountain, then cascades in a huge waterfall thousands of feet down the eastern face, into the lake below. Each day, as the sun sets, it shines through a notch in the mountains, reflects off the lake, through the hole in the mountain, and through the waterfall, creating the world’s largest and most stable rainbow, whose position varies precisely and predictably with the seasons. It’s the improbability that makes the place so awe-inspiring; in a million years, you could never construct such a thing by accident.

GM’s notes

If the Caves Of Rockbeard are a wonder that increases the anarchy within a campaign, this is a wonder that is reflective order. In essence, it’s a cross between Stonehenge, a sundial, and a rainbow. If the seasons are regular, predictable calendar events, this is a natural Wonder that would become a holy place to someone. If they aren’t orderly and predictable in the same way that they are in our world, then a natural phenomenon that announces midwinter and midsummer each year is a WONDER in big brass letters. Envoys would travel from Kingdoms all over the continent to be present at the key moments, and the place is likely to become the Switzerland of the game world.

There are some very deep concepts embedded within this Wonder. Principles of physics and predictability, of the scientific foundations that undermine how the game world works. If the seasons are not predictable in length, if you can’t forecast the date of an equinox but only measure it when it happens, then orbital mechanics aren’t the cause of the seasons – which means that something supernatural is the cause, and this Wonder measures the effect of that something on the world.

Players might not figure all this out when they first hear about the Wonder, but enough of them will know enough about Stonehenge and like objects and history to eventually put the pieces together. It’s fun watching the eyes glaze over and the jaw drop when that happens :)

Location
Location has been left deliberately vague, but it’s going to be in some Alp-height mountains somewhere in order to accommodate the very specific geographic requirements. A location that’s more-or-less central to the “civilized world” emphasizes the diplomatic function in a supernatural campaign.

Plot Usage
The best plots centered around this wonder occur in a supernatural world. There are obvious diplomacy-inspired plots that result in hostile forces coming together in a neutral location. This wonder can also be the starting point for the PCs to explore the supernaturalism – “Midwinter is late in coming, and we desperately need to know why. We’re running out of food, and we know that Korzagg’s army will March when the weather breaks. Will summer ever return – and when?”

Then, you could have an adventure that looks into who and what carved out that hole in the mountain. Forbidden weapons? Forbidden magics? Something crashing to earth through the mountain and carving out a crater that filled with water, forming the other lake (the one the waterfall doesn’t flow into)?

But this wonder generally works better as simply a unique, breathtaking, location, somewhere that just is.

4. The Desert Of Gold

This desert region appears to be dune after rolling dune of solid gold, polished and buffed to a mirror finish.

It actually consists of fine-grained dusky yellow sand, only a few inches thick, atop a layer of rock; the “dunes” are actually the shapes of this rock, wrinkled and crumpled. At night, the water table rises, and the surface becomes waterlogged and then freezes at the surface, giving the mirror-like sheen to the terrain. When the sun rises, the region becomes a golden mirror, which reflects much of the heat back from the surface; the golden finish lasts for hours before the thin layer of frozen ice melts and streams from the tops of the dunes into the shallows, where it drains back into the water table.

Subsurface grass-like plants feed on the water and the nutrients carried from the sand, poor though they are (in agricultural terms), sustaining a natural matting that holds the sand to the dune “surface” and preventing it from accumulating in the shallows. Occasionally, a blight afflicts a dune, releasing the sand, exposing the rocky underside of the dunes and creating a dangerous sand-drift in the hollow to windward. These are the only “flat ground” in the region, and travelers soon learn that if they aren’t climbing up or down a slope, they are in trouble. When the water drains through such drifts, it packs the surface to an unknown depth like a frozen pond, while maintaining looseness in the subsurface; how strong this surface is remains an unknown until you put your weight on it. Will you fall in and sink? Only one way to find out…

GM’s notes

Most Wonders are even more awesome close up. This was deliberately devised to be a Wonder that was more spectacular at a distance. Some of the geological/climactic details probably don’t make real-world sense – who cares? But make due allowances, which can break the suspension of disbelief (and the awe & wonder) if a player challenges the mechanics.

The environment poses a particular challenge to adventurers seeking to cross it. Making camp is difficult; it’s hard to drive tent-pegs into rock, and rock is never far from the surface. Tents and sleeping mats will become waterlogged and then frozen. Frostbite is not out of the question. Fires will go out. Breaking camp will be a whole new challenge. And, during the mornings, the thermal extremes suffered by those seeking to traverse the region are extreme. In effect, you receive two or three times as much heat as you would in the desert alone without the reflective effect. That means that the temperature climb is precipitous, you can be roasting even while the soles of feet are freezing, and employing sources of shade is a waste of time. And, of course, the light (especially early in the morning) can be blinding – think of being snow-blind.

The rapid increase in air temperature means that by the time the reflective effect fades, the temperature is already 100°F and still climbing. The Desert Of Gold is easily the hottest desert in existence with peak temperatures in excess of 130°F – enough to kill unprotected humans and animals. This prevents wildlife from disturbing the delicate ecology of the effect.

Size
How big a region should this be? Too large to cross in a day, and big enough to stretch from horizon to horizon. But not too much bigger. About 100 x 100 miles sounds about right to me – especially remembering that there are no camels and that horses won’t survive for very long. Certainly, no more than twice that. And don’t forget to allow for reduced movement rates across sand when considering the question.

Plot Use
There are several possible plots, but many of them are mutually exclusive. If it is felt that the desert is impassable, you could have someone figure out a way to stage an invasion through the undefended flank. You could stick something interesting in the middle of it, and contrive some reason for the PCs needing to cross it – and having to work out how. Or simply have someone with more wealth than good sense employ the PCs to work out a way to cross it (with secret plans to invade a neighbor that way once the PCs have opened the way) – something that might be a rude surprise to them. But mostly, it’s just there to look spectacular.

If you get challenged on the particulars of the geology/climate, postulate that under those rocky ridges are naturally-occurring unstable passageways to one or more elemental planes, and see if that can’t answer the challenge. Or perhaps they aren’t natural, but are the results of some colossal spell going wrong, or an arcane cataclysm of some sort.

5. The Emerald Falls

For hours you hack your way through the jungle toward the sound of water. As you chop away one final wall of greenery, you see a clearing in the trees containing a pool of deep green water at the foot of a cliff. Colorful birds flit from tree to tree and protest the intrusion as you can do nothing but gape at a waterfall of solid emerald, frozen in place. Awestruck, you advance to examine the phenomenon more closely as chattering monkeys peer between the broad-leafed vegetation.

GM’s notes

This obviously belongs in a jungle setting, and a somewhat mountainous one at that. It should be geographically isolated; getting to it should be an effort. It’s also clearly a natural wonder.

What you’re looking at:
The cliff is undercut slightly beneath the lip of the waterfall and covered with a combination of moss and climbing plants that form a vertical carpet. Vines, naturally twisted and knotted, descend from the lip to the surface of the pool, where they are lost from view beneath the giant floating pads. The water is laced with dissolved mineral salts, which contribute to the color of the pool; over time, when the wind blows through the vines, and it’s late in summer when the water flow is at it’s least, some of the minerals have been deposited on the surface of the vines. Year after year, this green crystal has accumulated, until the vines were completely encased in a solid crystal shape running the length of the waterfall. From time to time, a portion of the crystal becomes so heavy that it will no support itself and breaks off to fall into the pool, where it will vanish from sight and slowly dissolve.

Plot Use
Aside from being a gorgeous location in and of itself, there are a couple of potential plotlines for this location.

  • Being isolated, it’s a great place to hide out – or to hide something in the pool (suitably protected, of course).
  • Where does the water come from? ‘Dissolved minerals’ suggests underground – which in turn suggests that there might be a hidden location in the mountain.
  • Similarly, there could be a cave hidden behind that “green carpet” behind the waterfall and you’d never know it.
  • Finally, the geography matches the sort of place where you might really find emeralds! Perhaps carried to the surface by the water source? And perhaps, on very rare occasions, one really good gemstone emerges? “Romancing The Stone”, anyone?

Technically, the Blog Carnival ends today – but I have one more article to go, offering some Wondrous Locations for a Sci-Fi Campaign, which I’m going to sneak over the line on Thursday. Next Monday, I’ll wrap up the September Blog Carnival :)

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Six Wonders: A selected assortment of Wondrous Locations for a fantasy RPG


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As a final dénouement of the articles on Wondrous Locations, I am offering a collection of wondrous places, all of which have been created just for this article (none are from my past campaigns). These aren’t quite as polished as I might have liked (I ran out of time), especially in terms of the descriptions of the settings; they aren’t much more than well-developed ideas at this point. But, in many ways, that’s an advantage; they might not be ready to drop into an existing campaign without a little more work, but they can be better integrated into different settings.

1. The Broken Man

Legend holds that once there was a race of Giants who were as incredible in size relative to modern-day giants as those are ordinary men. Legend also holds that they fought a terrible war for supremacy amongst themselves, weakening their numbers to the point that the race was overthrown and wiped out by the other megafauna of the world – dragons, beholders, elementals, and the like – when the Megagiants turned against the Gods. All but one of the corpses vanished without a trace beneath the waves when their island home sunk at the height of the cataclysm, an object lesson in Hubris. That last survivor worked a vile spell to preserve his life indefinitely, and survived being dismembered, torn apart by the enemies that assaulted him, and the pieces strewn over the landscape; and survives in this wretched state still, the flesh and bones becoming slowly encrusted with soil and earth and forming the rather distinctive group of hills now known as strong>The Broken Man.

Strange things are said to happen in those hills. Those with broken bones and diseased limbs are healed in body, according to legend, but suffer the equivalent in grievous wounds to their minds and spirits. Those who camp near the Head sometimes hear it whispering its’ story to them at night. Undead, Demons, and Devils draw strength from the region, becoming incredibly more dangerous, while Clerical spells are weakened and prone to failure.

But this is a perilous journey, for the region seems to be a favorite amongst the species of Dragons, who suffer none to intrude on their domain (however temporary); they do not lair here, but do spend a part of their lives keeping outsiders away from the Broken Man. Some do so with gentility and firm insistence, others with violence and mayhem. This seems to be neutral ground to Dragonkind, another of the strange attributes of the place.

There are frequent minor tremors and shakings of the ground.

The problem, according to myth, is that there is a maximum amount of life energy that a body can contain, and the Broken Man used all of it to sustain his life despite the trauma he endured. There is no capacity left within him to actually heal his wounds, and even if there were, the broken fragments are covered in tons of earth and rock (said to be the death grip of the huge elemental who ultimately defeated him). Leakage of life emerge from the ends of the severed limbs is what heals the wounded, while terrible spells woven into the tattoos that adorn the living flesh hidden beneath the surface bolster, boost, and protect the undead and unholy. And this, it is said, is the final, eternal, hope of the Broken Man: that sufficient of the healing energy within him will be stolen by the wounded, or cancelled out by the presence of the unholy, that he will become ever-so-slightly mortal once again – either ending his suffering or enabling some sympathetic soul to finally heal his wounds and restore him to once again challenge the Gods.

There are some who say that in fact this has already occurred, and the Broken Man finally died when not healed in time, and that this is the origin of the ‘leakage’ of life energy. No-one knows for sure.

Only one thing is certain: no-one goes there by accident, and few survive going there deliberately. Everyone with any sense goes around The Broken Man.

GM’s Notes

Scale has been left vague. The smaller the Broken Man is, the more easily it will be recognized as unnatural and the less wondrous; normal giants (all races) range from 10½ feet (hill) to 21 feet (storm) in height. Relative to a 6′ human, that’s a factor of anywhere from x1.75 to x3.5. Applying those ratios to the low and high respectively gives the height of an intact Broken Man as 18’+ to 73.5′. Neither of those seem big enough to me, to be honest; I would put the minimum to result in a credible geological phenomenon at 100′ and if you want to preserve doubt that there’s anything to the story, at least 250′. These are the sorts of sizes usually attributed to the Giant in cartoon adaptions of Jack-and-the-beanstalk. I say again, these are very much a minimum. My personal choice would be to go with something like 600′. Human calf muscles are perhaps 3″ across, or 1/24th of the height; giving the colossus that results from a 600′ height makes the height of a severed limb 25′ tall, definitely high enough to form a hill in it’s own right.

In terms of layout, I keep imagining a crime-scene outline where the parts more-or-less line up in correct positions, but this is only obvious on a map or overhead view – and with dragons infesting the neighborhood, that’s not likely to have happened.

How much of the legends are true? That’s up to you, but I suggest retaining the “neutrality amongst dragonkind”, the draconic defenders, and the boost undead get, at the very least, with alternative explanations if necessary. The “hubris” element of the legend has been deliberately included because it gives a reason for clerics to retell the story to their flocks, building the legend with each retelling. But that might just be clever spin of a natural formation.

There are several possibilities for Story Use in adventures.

  • The PCs might be hired to escort and protect a wealthy person with a defective or withered limb seeking healing through the Wonder, at its simplest.
  • I can’t imagine that there are no cults who would take an interest in attempting to heal the Broken Man – the defenders would chase away some, and human authorities would go after them whenever they showed themselves, just in case.
  • Perhaps the expansion of human civilization is now encroaching on the Broken Man and have chased the dragons away.
  • Or perhaps it has become a summit point where dragons and humans can interact in (relative) peace.
  • The quest for eternal life is an old favorite quest. And, according to legend, The Broken Man hides the secret. That’s never going to attract any interest.
  • Perhaps the legends are half-right (as is so often the case) and the Broken Man is actually the pieces of a colossal Golem.
  • Given all of the above, the Broken Man would be a key military objective and the region would be the focus of all sorts of political intrigue. Temples would be erected around the site, perhaps an Order Of Paladins would be based there to chase away evil cults and curious magi, and so on. There would be several prospering settlements in the shadow of the Broken Man.
  • If the legends are true, the ultimate plotline would be the restoration of The Broken Man.

2. The Pool Of Reflection

The pool of reflection is a small lake that lies in a natural garden in the middle of a great plain, fed by a natural spring and with a river flowing from it. When viewed from the west, it sometimes reflects the image of a mountain range that is no longer there.

Legend holds that the spirit of the Lake looked out at the mountains and became so enthralled by their snow-capped magnificence that she began an illicit romance with the spirit of the mountains. Union between Elementals of different kinds is forbidden by the Gods, and when this romance was discovered, steps were taken to separate the pair; the mountain range was moved to the heart of a desert, where no water-being could go, and the mountains replaced by the eastern half of the present Great Plain. The spirit of the lake still pines for her lost love, but she was permitted to hold onto her reflection of him. The climate in the vicinity reflects the mood of the Spirit of the Lake; while sometimes it is happy and cheerful, more often it is cold, clammy, and mournful, and even in midsummer, strange glooms can sweep over the region. When it rains, the rain always has a teary quality, no matter what the weather over the rest of the plain might be.

Structure Of A Crater

Click on the thumbnail to see the full-sized diagram by NASA and coutesy Wikipedia. Used in accordance with the Creative Commons Licence 3.0

GM’s Notes

Scale has been left to the GM. My own impression is that the pool should be deep at its heart and shallow at the edges and no more than 100′ across, but this can be varied to suit. The larger the lake, the less fantastic it seems in many respects (it’s more likely to have its own microclimate, for example), but the more impressive will be the reflected image. The smaller it is, the harder it is to explain the climatic phenomena naturally, but the more easily the reflection can be dismissed as an optical illusion or a trick of the light reflecting on the water. I would suggest that the Pool Of Reflection be emplaced in a region of low hills – which used to foothills, according to the legend.

The observant may notice that many craters have raised formations in their centers – refer to the diagram. What you make of this information is up to you.

Further Legends should exist. Perhaps marriages conducted here are considered blessed by the spirit of True Love, or cursed to end in separation and misery. Or both, by different groups. Perhaps the spirits in question were mortals punished by the gods (very Greco-Roman Mythos). Or perhaps people think they can catch a glimpse of their own True Love in the reflected waters. Or maybe the region is prone to inducing romantic flings between total strangers, the result of the Spirit within the Lake attempting to play out her doomed romance. Perhaps there’s a legend that if the love of a couple united by the Lake survives for long enough, the Gods will relent and reunite the lovers. There are lots of possibilities, but many of them are mutually exclusive – which is why I didn’t include them in the overall description above.

If it’s real, Mages would be naturally interested in how the effect works. Clerics would consider it proof of the power of the Gods. The two would be sure to clash. Throw in Druids, who are likely to consider the garden a Holy Place of their own, and you have the makings of fun on a regular basis – and that in turn would keep the civil authorities interested in what would undoubtedly be a powder-keg. But there is an implication that the Terrain is fertile land, and that means that more secular leaders would occasionally want to exploit it; so the location would be a focal point for all sorts of political games, and can be used as a metaphor for the eternal dispute between conservatism and progressives. Most of those seem to come down on the side of Progress, but not this one, so it can also serve as a balancing point for those influences within the campaign world.

Other possible Plot Uses include an expedition to find the mountain range that is reflected (moved, according to legend, to the heart of a desert); or perhaps studying the reflection to figure out how to gain entrance to a Dungeon on the mountain surface. And then there’s the question of the “ban” on elemental intermarriage – why? What happens? And surely at least one mage has tried to make it happen? If some sort of monstrosity results, the PCs might have a quest to discover where they are coming from, and who’s doing it, with the Wonder providing the central clues. And that all completely ignores the potential for Romantic plotlines and entanglements.

Still more possibilities stem from the emotional state of the Spirits in question. While “grief” and “sorrow” are the dominant characteristics, there can easily be flashes of other emotional states – rage, jealousy, malice. Perhaps the spirit within the lake seeks to orchestrate a reunion of the forbidden lovers, and has started manipulating people to achieve this.

Finally, throw in the potential for Divine politics – the God or Goddess (usually the latter) of Love probably feels sympathy for the pair, and there could be festering resentment of the forced separation of the couple. If that ever came to a head, there would be plenty of plot potential for mortals (like the PCs) caught in the crossfire.

3. The Palace Of Winter

In the frozen lands to the north there is a magnificent palace carved from a single giant chunk of ice by the King Of Winter from which he sends forth his emissaries of cold each year. On midsummer’s day, when he is at his weakest, he is unable to refuse entry to those who come calling; at such times, he is a munificent and gracious host; but woe betide any who linger too long, for when his power returns with the passing of days, he will throw off this ‘weakness of spirit’ and turn cruel and hostile, and enslave the unwanted guests to serve him forever. In the meantime, he will do everything in his power to persuade guests to stay within his walls for just one more day…

GM’s Notes

I keep thinking of the wild hunt whenever I attempt to visualize the “emissaries” but you might have other ideas, perhaps modeled on the four horsemen of the apocalypse.

A variation would be to have the King confine the power during summer; you could recast the whole thing as an act of self-sacrifice on his part. This would add a new layer of mythic quality.

Perhaps the whole “King Of Winter” story is myth, constructed to explain the palace – with no-one knowing for certain who built the place, which was found abandoned and empty – and in which no-one can bear to live for very long.

Or perhaps Hell is a frigid waste in this campaign world (despite what theology and planar travelers would have people believe), where only beings of fire can maintain enough warmth to survive – and The Palace Of Winter is a gatehouse.

Use In Adventures very much depends on which variation you choose. If the original, perhaps the PCs have to rescue someone famous or politically-significant who has been imprisoned/enslaved by the King Of Winter. Perhaps someone gets to confront the emissaries each winter, with the battle being symbolic of the severity of the ensuing winter – and this time around it’s the PCs turn. If you go with the “tragic figure” version of the King, perhaps he has hatched a plot to trick a PC into taking his place, or a PC’s loved one. If the Palace has been abandoned, perhaps the PCs are sent by an ambitious Noble to claim it on his behalf. If you choose the “Palace as Gateway to Frigid Hell” option, perhaps the King is growing old and decrepit, and letting things through that he should be stopping – but he has no heir. The PCs either have to rejuvenate him, or solve his infertility problem, or whatever.

4. The Citadel Of Secrets

Long ago, a weak Kingdom stood at the intersection point of four great Empires. By playing one against the other, and serving as neutral arbiter in their regular border disputes, the Kingdom managed to sustain an independence for itself, and even to prosper. Eventually, an ambitious King came to the throne, and devised a scheme to discover the vulnerabilities of each of his neighbors which he then intended to take advantage of. On the edge of his capital city, he had constructed a magnificent citadel, draping it with fineries and luxury; no expense was spared.

Great stone blocks, twelve feet to a side, were layed in interlocking manner, and each magically bonded to the adjacent stones. The outer surfaces were covered with ceramic tile inlayed with gold, silver, and precious gems which, in aggregate, depcited a magnificent sunset scene. He named it “The Guardian Of Dawn”, and it is still sometimes known by that name. The construction almost beggared his Kingdom, but eventually was complete, and he decreed that it was to be available to each of his neighbors when they came to bargain, to keep them safe from hostile forces.

Unbeknownst to those neighbors, there were greater magics involved in the construction of The Guardian Of Dawn than the ambitious King let on; if one stood still, and listened very hard, the secrets of whoever resided within would be whispered by the walls in a hidden chamber within the citadel. By orchestrating a series of minor crises, he would bring, in succession, each of the rulers and generals of his neighbors, and begin to plot against them. Unbeknownst to the ambitious monarch, the mages he employed were led by an even more unscrupulous and ambitious leader, who had sabotaged the construction. Not only would the walls throughout the structure whisper the secrets of all within, two in three whispers would be abject falsehoods, and the spell made no distinction between wishful thinking, speculation, ambition, and intent, and would broadcast the secrets of anyone within the hidden chamber as readily as those of anyone else. One by one, each of his neighbors learned of the ambitious monarch’s true intent in constructing “The Guardian Of Dawn”, and of ‘secret alliances’ between that monarch and their enemies, and what they thought were the vulnerabilities of each. The fires of conquest were lit within the hearts of each monarch, and soon led to general war and then anarchy. Stripped of their defensive neutrality, the ambitious monarch was the first to fall, and his Kingdom was razed – all but the citadel, which proved impervious to all attack. Then the order of Magi who had constructed the Guardian – now granted its more popular title – attempted to occupy the structure and bring all four empires under their own rule, only to discover that in their ambition, they too had overreached; the walls whispered not only the secrets of those now in residence, but the secrets of any who ever had, or ever would, abide within them, however briefly. Most of these were servants gossip and trivia, and most of what remained was mendacity, and most of what remained was irrelevant; but if one waited long enough, a single gem of insight might be revealed, shorn of its context and explanation. Worst of all, the whispers were incessant and could not be silenced; not even cutting off one’s ears sufficed. Linger too long, and – it is now said – the voices would follow you, whispering in your ears eternally, distracting you in combat, and driving you incurably insane.

All four empires are long-gone, as is the Kingdom, and even the city; only the citadel remains, as breathtaking and enticing as ever. Many make pilgrimages to the site and linger until learning something they find personally profound, risking their lives and minds for the promise of enlightenment. Others come in desperation, in need of answers or insights that may or may not be forthcoming.

Near to the Citadel, an order of Monks has established a cloister, and from it – in relays – they take it in turns to record the whispered words, one hour each at a time. The rest of their waking time (that not spent seeing to the needs of survival) is spent indexing and correlating the secrets they have learned, and attempting to discern what was from what will be from what never was. To support themselves, from time to time, they issue a limited number of small booklets of prophecies, which sell for exorbitant sums.

Every now and then, an ambitious noble seeks to take advantage – either forcibly or through intrigue – of the discoveries of the Order, only to discover that the Monks have recognized the true intent and advised his enemies accordingly. They perpetuate, politically and socially, the neutral power broking of the original Kingdom, their way of honoring the sacrifices made to construct the Citadel.

GM’s Notes

The above is so compelling that I had to read it through three times before realizing that there was not a hint as to the size and layout of the Citadel itself. That seems almost trivial in importance. My own thinking is something fairly big and impressive, with thick walls. It’s worth noting that “Rock to mud”, its reverse, and the use of moulds, makes it very easy to construct stone blocks of any required size and shape – if you can afford the mage to cast the spells – so “Big and impressive” is easier to achieve in a D&D world, and a lot faster. Employing the same principle and an elementary pump makes it easy to fill shaped hollows within each block with more mud which can be rendered into rock. Steel was still too expensive and hard to make in quantity for it to be used as a reinforcing material, but if it were not, this approach would make reinforced concrete as easy to use as it is modern times, with even more flexibility – both things to keep in mind, especially when thinking about a “no expense spared” structure like this one.

Nor is anything much said about the local geography. My mind’s eye sees a valley with passes to the four original Empires, but that’s up to you.

As for adventure potential, if all sorts of plotlines aren’t suggesting themselves to you right away, you aren’t trying hard enough. Lies, truth, fantasy, speculation, deliberate plans, wisdom, insight, prophecy, politics, and secrets all wrapped up in a neat little bow – with a wickedly malicious and subversive intent built into the basic programme? What more could you want?

Of course, if all that seems too overwhelming, have the PCs be the first to discover the long-forgotten Citadel, and have the rest of the developments described – the pilgrims and monks – take place in the background of the campaign. But that means there would be no-one to warn the PCs about the dangers of lingering too long…

5. The Spire of Contention

The community of Shar is the most peaceful in existence. There is no internal dissent, there are no disputes between neighbors, and no arguments. Placidity and tranquility and a sense of unchanging inexorability seem to linger in the very air. And that is because the Spire Of Contention casts its shadow over the community of Shar every day.

The spire is a long finger of rock stabbing into the sky, jutting from a level plain without explanation. There is no evidence that it was moved to its present location from elsewhere, and its geology is completely unlike that which is native to the region. The story is that one day the sky tore open and the spire crashed to the ground from nowhere, crushing two donkeys and a stable, and burying itself a full third of its length. There is endless speculation as to its ultimate place of origin, and even more speculation as to the how and why of the profound effect it has on any who climb it. No explanation of any substance whatsoever has ever come to light. The most popular is that this is a cornerstone of heaven, and that part of its otherworldly nature clings to it, but there is no proof.

Once a year, and whenever a dispute arises, those in contention climb its narrow, winding staircase carved of stone. With each step, they relive in full intensity and with heightened passion, one source of dissension or ill-feeling within their lives, past or present. Minor irritations become sources of towering rage and frustration. Most climbers are so infuriated that (even though they know better) they attempt to turn and act on their feelings, only to find that they are held firmly in place when they seek to travel in any direction but higher up. Immediately they take another step, the inflated anger and fury vanish, and the climber becomes aware of how disproportionate their response was to the cause, which in turn makes the cause seem less vital and urgent than it did; effectively, they are cleansed, purged of the negative emotions vested in the object of emotional disquiet. Apon reaching the summit, their angers and irritations have been washed away, leaving a calmness and dispassion that enables a peaceful resolution of whatever domestic irritants they might experience. Only anger and its possible causes are removed; the locals remain as capable of happiness and celebration and love as those anywhere.

No matter how many people are ascending the spire at the same time, they can never make contact with each other, never stand on the same step at the same time, not even reach out to a climber they know is just ahead of them and touch him. No matter how slow a climber the person ahead may be, a faster climber can never catch up with them. No-one understands how or why this happens, either. Speculation is that subjective perception of time AND objective measurement of time are both manipulated in the course of the passage, but that doesn’t explain how or why.

At the summit, the climber can see the entire community as a whole, an image that stays with them as they descend, for once at the peak, they can turn around and descend freely, with none of the emotional manipulation experienced on the ascent. It feels so good to be relieved of the anger that if one climb was insufficient, a climber will usually be so strongly desirous of peace within his spirit that he will turn and ascend again. The spire’s influence does not change the people, though it transforms their lives; they are still every bit as capable of anger and rage as the next man, they simply have a way of relieving those emotions. However, the locals have learned that when the passion is removed from a dispute, they can often see solutions that were not evident previously. Should they leave the vicinity, they are as people anywhere – other than being, perhaps, a little wiser and harder to agitate. This is why it does no good forcing an entire population to ascend.

It follows that all attempts to employ the Spire to force peace between warring nations or factions fails if the conflict is sincere. Only if both sides are ready to make peace can the spire strip away the encrustations resulting from the conduct of the war. However, many military leaders and political leaders faced with difficult decisions will make a pilgrimage to the Spire for the clarity of perspective that it offers; while an equal number will refuse to do so, aware that if their followers are more passionate about the cause than they are, they may lose control of the battlefield.

Some claim that if you climb the spire backwards, you will retain the anger and fury and passion generated at each step; inevitably, each time someone attempts this, impatience leads them to make a careless misstep and fall from a great height. This is usually fatal and since it can only be a deliberate act, survivors garner neither sympathy nor support from the locals.

GM’s Notes

What is the spire? Where does it come from? How did it come to be where it now is? How does it do what it does? Why? Who built it? Why? All the fundamental questions are enshrouded in mystery. Its effects are both subtle and profound. It could settle into the landscape of any campaign without a ripple, and become part of the landscape; but from the moment of its arrival, it would begin exerting a subtle influence over the campaign world.

My (admittedly incomplete) thoughts are that it exemplifies the difference between Drow and Elves so perfectly that this should be the cornerstone to the story. But even then: is it a tower from Corallen’s Palace? Is it the creation of some high elf Master? Is it a creation of the Drow, storing the negative emotions of which it cleanses the locals until it reaches some “critical mass” – and does something nasty?

Where is supposed to be, and what are the consequences of it not being there? All these questions hold potential plotlines…

6. The Library Of Shelves

I have a personal hatred of book-burning and censorship in general. It’s too easy for knowledge and wisdom to be suppressed for ideological and dogmatic reasons. (At the same time, I accept that there are perfectly valid reasons for classifying information and not making it publicly available – but rarely trust those making the choices – but that’s not relevant here). It was that personal trait that led my thoughts to the idea of The Library Of Shelves.

Every book has an existence as real as that of any person. Any author will tell you that books take on a life if their own as they are written, edited, and revised; like a sculptor trimming away the stone that is not part of the sculpture to reveal the form that lay in potentiality within the original block, the process of writing is as much about what to leave out as it is about inclusion. It is as though they develop a soul, a spirit of their own – one that can be infinitely subdivided and distributed equally amongst every copy. The lineage of ideas can be traced, with sufficient care, in exactly the same way as a human family tree – though with an oddly variable number of forebears, and differing relative strengths of contribution. And if books possess something akin to a soul, they can also leave behind a ghost of what was. And that’s where The Library Of Shelves comes in.

Constructed by a shy retiring scholar who just happened to be born into a family with more wealth than they knew what to do with. When construction was complete, the family were impoverished, their fortune a thing of memory – but they left a legacy that cannot be undervalued. The Library was blessed by the God Of Knowledge (after very generous donations to his temples), making it is a remarkable place, and Holy if for no other reason. From the outside, it is an unassuming place of timber and stone, vast without being overwhelming, poetic in line and form but without decoration, austerity raised to the level of art form. Only the most outward of its surfaces lies within the Prime Material Plane; most of its structure lies elsewhere, no-one is completely sure where, but the result leaves it impervious to wholly material weapons. It may well be eternal. But that is the least of the Wonders it encompasses.

It is bigger within than without, something possible only because it is built through the walls that confine existence. But this is not its most awesome attribute, either.

Within, shelf apon empty shelf may be found. Indeed, the library expands internally every time a book is published, a letter written, or a map or chart drawn. And on those shelves are held the ghosts of every book ever written.

Where a book is in wide circulation, these are ephemeral, for the Library holds only one Nth of the ghost. As copies wear out or are destroyed, through age, wear, accident, or malice, the spirit of the words is redistributed and the ghost of the book becomes more substantial, through it remains intangible. When only one physical copy remains, the ghost achieves its greatest substantiality.

The library is attended by scholars and curators of innumerable species. These monitor the health of the collection, and when only one copy of a work remains, the Library staff dispatch a party to obtain that last copy, tracing it to its current possessor by means of the connection between ghost and source tome. If they can, they will buy it. If the price is beyond measure, they will steal it. If it cannot be stolen, they will copy it, and leave those copies in the collections of bibliophiles who may never know what treasure they possess. If it is too dangerous to have the entire book in one location, they will split it up and hide one part here and another there. The ultimate goal is to reunite the last copy of the book with its ghost (or ensure that it is not the last copy, for in doing so, they confer a bibliological form of immortality apon the printed words, preserving them for all eternity within the Library of shelves.

The only books that can be touched within the Library are the last copies in existence of that book.

GM’s notes

This time, location has been left to the individual GMs, but it should be somewhere with a history of scholarship.

Plot potential: It would be easy to use the Library as a framing device for an entire campaign, with the PCs being sent to find and retrieve books, but even without going to that extreme, there is information there that people with power want (some of whom will do anything to attain it), and information there that people with power want suppressed (ditto re the ‘do anything’). Wars would be fought to claim this particular real estate. If you don’t want that, have the location become “lost” and the Library a “Legend” and have the PCs find it – or simply come across someone else who is searching for it. The Library is one of those rare Wonders that never has to be found to become central to a campaign.

And then, of course, there’s the potential for some bright spark to embark on a rampage of book burning to ensure that his copies are the last ones in existence – and then to offer to give them to the Library if their retrieval team does “one little favor” for them – a precedent that the Library staff cannot permit, but above all the books must be preserved. Anything that would endanger them must be forbidden.

Finally: if books have souls, then book-burning can be used to power necromantic magic. And perhaps to resurrect or restore a book of forbidden knowledge. If you can’t get a plot out of that…

The Origin Story: Frankly, I’m only half-satisfied by this. It seems a little too mundane, and the dues-ex-machina is too obvious. If I were to use it in a campaign, I would be tempted to junk the origin and have it be a “nobody knows” situation.

I have five more to go, maybe six. Some of the remainder are natural wonders, and at least one is from a non-human race. But for this article at least, I’m out of time. Fortunately, there’s room for one more article before the Blog Carnival for the month comes to an end…
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Adjectivizing Descriptions: Hitting the target


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I’m anticipating a relatively short post (especially for me) this time around but that shouldn’t minimize the importance. And, of course, I have a terrible track record at doing “short”. Postscript: After the fact, I can see that I’ve maintained my track record…

Last time around, I started writing about Wonders and what was necessary to make them amazing, and while there was some of that involved in the article that resulted, I ended up spending most of my time talking about the need to have them at all, and most or what remained, discussing the qualities that they had to have just to qualify for the label, “Wonder of the known world.” That’s because a whole section of the last article got yanked out in the final hours; a section entitled “Describing Wonders”. I pulled it when I realized that the subject applied more broadly, to locations in general, and deserved to be in an article of its own.

Part of the advice that I’ve offered in several of the articles on locations for the blog carnival, and in my earlier article, The Poetry Of Place: Describing Locations & Scenes in RPGs, is to use as little description up front as you can get away with (to some extent, this article can be considered a sequel to that one). ‘Less is more’ so it’s important to make the most of a few well-chosen adjectives.

The problem is that often, and for wonders in particular, you need to create a vision of otherworldly grandeur and magnificence, or of vastness, or of any of half a dozen other qualities, most of which got prominently mentioned in the last article. You need to create a sense of wonder and awe, and that’s hard to do with only a few words.

Use as many words as you need…

Does that make Wonders an exception to that general principle? Not entirely. The goal is to describe what needs to be described, plus sufficient additional description as may be needed to enable the imagination to fill in the rest of the environment to a sufficient degree to provide context. A good general impression is better than a lengthy and ponderous detailed impression of the whole – too many details get in the way of seeing the overall picture. If you describe every rock, animal, and tree, your readers/audience literally won’t be able to “see the forest for the trees”.

This hardly offers a precision guideline. It would be great to be able to say “the necessary plus two items” or “the necessary plus up to three” or some variation, but the reality is not so convenient. One “how to write” guide that I remember reading years ago(though I don’t remember who wrote it) suggested “The central focus of narrative attention, plus one or two general environmental impressions, plus one or two specific impressions, at least one of which has to be dynamic in nature, plus one statement for anything that does not fit the general environment or that distinguishes it from a dozen others, plus one specific reinforcing impression for each aberrant impression.” That’s a lot of description, especially since the guide was unclear on whether it was counting sentences or paragraphs. Nevertheless, I’ve found that its not too far off the mark – counting paragraphs in a novelized setting and sentences in RPGs and short stories, and employing a heavy editorial pen.

So let’s break it down into individual elements, and be clear about what each one is:

1. The central focus of narrative attention:
In principle, this is good, but right away there’s a problem in terms of RPG usage: sometimes we don’t want it to be apparent what the “central focus of narrative attention” should be. Thankfully, this is not the case when we’re talking about a Wonder or Monument. Even natural wonders, like a waterfall of spectacular beauty, or that flows upward for some reason, or is liquid helium, or whatever, have a central focus – though sometimes you may have to think about it. If a bay is sufficiently magnificent, is it the water, or the beach, or the trees, or the rocky prominences, or some interplay between two or more of these, that is the central focus? Or perhaps it is some collective quality that they all possess, or an attribute of the location in general rather than anything specific within it? What is so spectacular that this is a “Natural Wonder Of The World”? It’s not enough for it to be a picture-postcard of beauty.

What makes an Elven Forest different from any other forest in the Game World? What’s the difference between a Dwarven Mine and anyone else’s?

2. One or two general environmental impressions:
A general description of the broader environment in succinct form to provide surroundings for the central focus of narrative attention, and to provide a framework for the more detailed impressions to come.

3. One or two specific impressions, at least one of which has to be dynamic in nature:
When you look at a location, even one containing a wonder, there will be the central focus of attention and a general impression of what’s around it, plus one or two details that leap out at you from that general impression.

“Dynamic” requires some further explanation. I’m not just talking about active vs passive language, I’m talking about including some activity that goes with the scene – birds singing or a monkey swinging through the trees or clouds drifting lazily overhead. Note that these are not specific enough – you should name the species of bird and the quality of the song, or the species and size of monkey, or the type of clouds and relative direction of drift. This requirement keeps the scene you are describing from being a still portrait and brings it to life in some way. If the quality to be emphasized is tranquility, or calmness, or stillness, or silence, or something along those lines, the “dynamic impression” might have to come from a character’s reaction/action – drawing breath, or panting from exertions, or whatever.

4. A statement each for anything that does not fit the general environment or that distinguishes it:
The writer’s guide used the example of a WWII aircraft that had been reclaimed by the jungle. RPG locations can be a bit more exotic in nature, but the principle holds. Note that this requirement may already have been met if the “central focus of the narrative” is the only thing that doesn’t belong. It should really say “anything else that does not fit”, but that presupposes that the central focus doesn’t fit and would have become confusing.

If you’ve described a jungle, now is the time to mention that the plants are all red, or crystalline, or made of metal. If there are two moons in the sky, now’s the time to mention that, as well. If the lake holds the reflection of mountains that aren’t actually there on the horizon, take this moment to describe them.

5. One specific reinforcing impression for each aberrant impression:
For each element that doesn’t fit the general environmental picture that you offered in (3) and that isn’t the central focus of the narrative – in other words, for each descriptive ingredient you mention in (4) – you need to add one more item of the same type as (3). Otherwise the weight of the unusual will overwhelm the general impression that you are trying to convey – unless, of course, that is the goal. And again, at least half of these should be dynamic in some way.

In what order?
This is a very good question. Should the central focus be the last thing that you describe? Or after the general impression? Or before it? How about those unusual elements from (4), where should they be placed?

There are two competing principles. The most obvious should go first because it is the most obvious; the most obvious should go last so that it doesn’t distract the reader/audience from the rest of the description.

The same logic – both ways – can be applied to the unusual elements.

And finally, there are two more principles, which can also be in opposition: if something is expected or anticipated, it should be early, to satisfy that expectation; and juxtaposition can be used for contrast and emphasis.

With so many ‘rules of thumb’ at loggerheads, the best solution is to throw the rulebook away.

My Solution
I write using a word processor. So I can put each of the five sections of narrative on separate lines/paragraphs (even if they will eventually form one block of text) and then easily select, drag, and drop to try out different ways of ‘streaming’ the description. I’ve also found that doing so right after you’ve written them can be either the best time or the worst time to do so: the best time, because the impression that you have in your mind’s eye is at its most vivid at that point, the worst time because your players/readers won’t have the benefit of that vivid mental impression beforehand; your objective is to create it in the mind of someone who doesn’t already have it.

Copy-and-Paste comes to the rescue. I make three copies: one I leave unmodified, so that I can scrap my work and start over, one I modify right away, and the third I modify without having re-read the first two after doing something else for at least an hour, and preferably first thing the next morning. I can then compare the results of the newly-arranged second attempt with the first, and decide which is better – and if either are satisfactory.

That doesn’t mean that I get rid of the two that don’t measure up, not quite yet – I select them and change their color to Aqua or Grey or Silver or Yellow – some color that the eye will tend to skip over – and wait at least 48 hours and preferably 5 or 6 days before making my choice final. More than once I’ve found that what seemed clear the next day is as transparent as mud when I come on it completely fresh.

…but go light on the adjectives

Four or more descriptive passages? Each with one or two adjectives? No, no, no. That’s far too many.

In fact, the approach described above generally produces far more descriptive narrative than is needed. This is often a good thing if you then employ a little self-discipline and edit ruthlessly.

A writer (I forget who), discussing his editorial philosophy, said in one of his books, “If in doubt, cut it out. I have yet to encounter any book which could not be improved by the disciplined use of this technique.” Personally, I think that is going a little overboard and risks tossing junior out with his bathwater.

When I edit, I ask myself “What is this sentence/phrase/word contributing to the whole? Can it be removed without harming the whole? Is it redundant, tautological? Can I take whatever value was in this sentence/phrase/word and incorporate it into another so that I no longer need it? Can I make the description, or the situation clearer? Can I make the characters more expressive of their personality? Can I give them more personality?” (It’s probably worth mentioning that I perform next-to-no editing of my articles for Campaign Mastery beyond ensuring that the layout is correct, or they would take twice as long to write.)

While not all of that is relevant to descriptions of locations and Wonders, there’s enough validity that it is worth employing. And remember that there may be a Personality involved: either the personality of the builder/designer or the personality of, or that is attributed to, the subject.

Back to the subject at hand:
And speaking of subjects, let’s get back to ours. The guideline discussed above tosses “the central focus of narrative attention” aside with scant consideration, focusing more on everything else, and simply saying (in effect) ‘describe the Wonder’. Well, that’s exactly what we’re trying to do, and this article is supposed to have the objective of showing you how – this dismissive approach just won’t cut it.

One Adjective to rule them all

When I want to describe a Wonder, I try to find one single adjective that most colorfully encapsulates the philosophy or quality that I want the Wonder to express. When I want to describe a more general scene, I try to find one single adjective that most encapsulates the general impression that I want the scene to have. When I want to describe a character, I try to find one single adjective that sums up the first impression that I want the character to express.

I call this the Ruling Adjective because it sums up the impression that I want the subject of the description to convey. I then build the rest of the description around that adjective. Let’s consider the process in greater detail:

Choosing the Ruling adjective

The first word that you think of is probably not the right one, but is usually related to the right one. The thesaurus is your friend; I look up that first word and make a list of related entries in the thesaurus, then look up each in turn until I find the one that contains the most nuance and implication for the subject of the description.

Although it’s called “the Ruling adjective”, I’ve been known to cheat. A noun may be the perfect metaphor or analogy for the adjective I want, which sometimes doesn’t actually exist.

Reject the self-evident

When I say “the first word”, I should qualify that: I mean the first word that is not self-evident. If the wonder is a very high waterfall, “high” or “tall” may be the first things that come to mind, but these are going to be obvious from the physical description. The “first word” expresses something more. It might be about the sound, or the way the water moves, or the light, or the color, or the smell, or some other quality of the waterfall. “Spire” or “Needle” or “Rainbow” or “Roaring” or “Stench” or “Emerald” or “Swirling” or “Cascading” or even “Misty”, all come to mind for describing different waterfalls – and those are just the terrestrial versions of the geologic phenomenon.

It Starts With A Name

The sense of awe and grandeur that we want to generate when people hear or read the description of the Wonder we are creating has to start somewhere, and the all-important first impression usually comes from the name. Nail that, and you’re half-way home; get it pedestrian, or worse, and you face an uphill battle.

So, what can you do to get the name right?

Past Lessons

Names are important. That’s’ why I wrote a whole series on the subject a while back. Part Five of that series (A Good Name Is Hard To Find) was entitled “Grokking The Message: Naming Places & Campaigns”, and the first part of that article might be useful – but naming Monuments and Wonders (other than natural ones) didn’t get mentioned. So in part, this article can be considered an extension of that series.

Nor is that the only past article to which I should refer readers at this point. In The poetry of meaning: 16 words to synopsize a national identity, I used translations of 16 key words to get inside the collective heads of a culture, building layers of meaning and depth onto simple foundations. The national identity of the naming culture is definitely useful in determining the name of a Wonder, so this article is also of definite – if indirect – relevance to the subject.

Neither of these actually answers the question of how you derive the perfect name for your Wonder, though they both address factors to keep in mind while working on the name.

The Standard Formats

There are two standard formats that are generally used for the name of Wonders:

  • The [General] of [Specific]
  • The [Specific] [General]

I realize these aren’t very clear, so let’s throw up an example of each:

  • The [Colossus] of [Rhodes]
  • The [Reichsbacht] [Falls]

The first is usually applied to Non-natural Wonders, while the second is applied to some Natural Wonders and to locations which are not always considered wonders.

Incorporating The Wonder

These traditional forms buy into the popular culture mystique of ‘Wonders Of The Known World’ by association of form within the name, but they don’t do a lot to convey the sense of awe and mystery and majesty (and whatever) that is our end-goal. Part of the problem is that the “Specific” part of the name is either a geographic reference – a place name, more to the point – or sometimes the name of the designer or builders, and none of that really fires up the imagination.

Using the same form, however, we can conjure up names for wonders that are far less prosaic while still harkening back to the source forms. Off the top of my head, try these two:

  • The Veil of Symphony
  • The Impulsive Jungle

I have no idea what these wonders are – but the names alone are enough to fire the imagination, to start suggesting possibilities of what they might be.

In other words, the same principles that apply to creating good names for magic items also apply to creating good names for Wonders! This also offers the potential for other name forms, but they will all contain the same two components – a [general] element and a [specific] element.

Of course, this is the 20th-century (and 21st) human approach; your society might employ different naming conventions. However, this can create an additional burden for the GM to overcome, since it gives up the cache of your player’s existing awareness of Wonders. So have a VERY good reason for employing that different naming convention, or play to your contemporary audience of players/readers.

Having broken the search for an effective name into two smaller components, let’s look briefly at each, and then wrap up this part of the discussion with a guiding principle.

The [General] Element

This can be prosaic – “Jungle” in the second example above – but if you can find an alternative noun that is descriptive, so much the better – “Veil” in the first example, because it gives you an extra descriptive element for the price of one.

The [Specific] Element

This is the element of the name that pins this particular Wonder down, as opposed to any other locations that might fit the [General] label. As such, it frequently carries the heavier burden, having to create the gosh-wow (or at least, lay the foundations for it) as well as being descriptive. As a rule of thumb, I will spend three times as much time and effort on the specific element as I will on the General Element, minimum.

Other Languages

Don’t forget that rendering the name you come up with into another language can add tons of flavor. “The Hall Of Shadows” is already a pretty good name, but here it is in a dozen other languages, courtesy of Google Translate:

  • An Halla Na Scáthanna
  • Aula Umbrae
  • Hall nan nan lonbraj
  • Hallen av skuggor
  • Itzalak Aretoan
  • La sala de las sombras
  • Le hall d’ombres
  • Mae’r neuadd o gysgodion
  • Sál stín
  • Sala cieni
  • Salurinn á skugganum
  • Zule nas

A Tip for using Google Translate:
Avoid unusual capitalizing. When I started the above list, I had entered “The Hall Of Shadows” and quite often the software failed to translate it at all. More than half the above list was only accessible once I had changed my entry to “The hall of shadows”.

Another Tip for using Google Translate:
Quite often, copying text from a website produces strange formatting. I keep an empty notepad (plain text) document on my desktop; I copy and paste any website text into it to strip away any formatting, then copy and paste that into my actual working document, where – being bereft of formatting – it will adopt whatever formatting (font etc) is already established. For a long time, I thought that I had to save it first, but have discovered that step to be unnecessary. :)

Imply the Ruling Adjective In The Name

This is tricky to do but can pay big dividends if you can manage it. Sometimes a variation on the General element will do the trick, at other times you have to add this to the requirements for the Specific element.

Cheating with a non-human language: The last resort

A whole section of my article appears to have vanished without a trace. I’ve done my best to recreate it at the VERY last minute, but if I’ve missed anything…

If worst comes to worst, and there is no word in the english language that contains everything you need it to, you can always create a word in a non-human language and use that in the title. When you do this, the sound of the word you create should be reflective of the Ruling Adjective; you can put everything else in the translated meaning.

The Construction Of A Description

So, we have a suitably inspirational name for our Wonder, and we have the surroundings covered – now it’s time to get on with the task of describing the elephant in the room.

As usual, firm rules and techniques are hard to come by. Some descriptions work best starting with the physical shape, others are more effective starting with a dominant feature, while still others are most successful focusing initially on some general impression. A fourth option is to start with a reaction induced by the totality, or some expression of the dominant quality that the Wonder is to represent.

My approach is reminiscent of that employed in generating the description of the environment, spelt out earlier in this article. Put all the sentences together on separate lines, shuffle the order for clarity, tone, and atmosphere, review – and, if necessary, rinse and repeat. Then edit heavily.

Beyond this, there are some specific guidelines that I can offer that usually serve me in good stead.

Reject synonyms of the ruling adjective

Because the Ruling Adjective is intended to cover the totality, it (and variations) will frequently make an appearance when describing individual elements of the Wonder. This is an extended tautology by association, and you are better off culling all or almost all of these adjectives. Once they are removed – something I achieve by changing font colors again – I will restore one, and only one, somewhere near the start of the description.

If I do retain an additional variation, I try to place that piece of the description last, so that I am bookending the description with this dominant theme.

You can either describe a detail or use an adjective to refer to that detail – not both

If we’re talking about a Statue with unusual eyes, you can either describe those eyes, or you can attribute the effect of the eyes on the totality to the statue as an adjective. Doing both is another redundancy, and can lead to confusion on the part of the reader/player.

As an alternative, describe a sub-feature of the detail instead of describing the entire detail. This focuses the attention on salient points without wasting a lot of verbiage on the detail containing the sub-element. Instead of the eyes of the statue, mention the irises.

If a building, describe the windows or the glass, or use an adjective to discuss the effect that they have – not both – and so on.

Employ adjectives from other domains of language

A trick which I have mentioned before is to employ an “adjective” from some other aspect of the language. Take an adjective that would normally be used to describe a character’s personality and apply it to the structure, for example. Take a verb that would normally be applied to a person’s actions or reactions and use it (suitably modified if necessary) to describe the relationship between the Wonder and the environment.

I’ve discussed this principle before, so I won’t go into further details here.

Build around the adjectives

Sentences are normally built around the noun. Adjectives and adverbs are used to nuance, classify, quantify, emphasize, and elaborate on some aspect of the noun. This is fine for a literal description, but not so great when atmosphere is the target. Try building your sentences around the adverbs and adjectives, instead, applying them to less-common or global attributes of the wonder or its environment.

Build qualifying double adjectives then remove the primary adjective

This is a favorite trick for condensing a description, and one that I rarely see mentioned anywhere. Actually, amend that to “never”. I’m sure someone has observed this principle before, but if they have, they aren’t talking about it anywhere that I have found.

Take the phrase “a cloudy sky”. What sort of clouds? Here’s a grab-bag of possible second adjectives, each of which have been used to qualify the adjective “cloudy”:

  • A Leaden, Cloudy Sky
  • A Brooding Cloudy Sky
  • A Fiery, Cloudy Sky
  • An Icy, Cloudy Sky
  • A Windswept Cloudy Sky
  • A Broken, Cloudy Sky
  • A Tempestuously Cloudy Sky

Now remove the primary adjective “Cloudy” and see what happens:

  • A Leaden Sky
  • A Brooding Sky
  • A Fiery Sky
  • An Icy Sky
  • A Windswept Sky
  • A Broken Sky
  • A Tempestuous Sky

The missing adjective’s presence is still implied but the unique secondary characteristic is strengthened in intensity. One adjective is doing the work of two. And, by eliminating one of them, you can now add a tertiary adjective if one seems necessary.

This doesn’t always work, but most of the time it will sharpen your language very effectively, especially if used sparingly.

Don’t rely on software like Word to find and fix these things for you. I use word for spellchecking these articles, and it had absolutely no problem with the long-form versions of the examples above.

Replace adjectives and nouns with a more expressive noun

This advice comes from Rachel Shirley and her web page entitled How to use Adjectives in Novels. She offers three examples in the section “Effective Use Of Adjectives”:

  • A large stone is more succinctly described as a boulder.
  • Steady rain could be described as drizzle.
  • A thick book could be reworded as a tome.

(If you go browsing on her site, note that each article is in two-column format).

Another reference

Another page that’s worth a look, while you’re at it, is How the Right Adjective Can Breathe Life into Your Writing, by Nanci Panuccio.

Above All

Don’t be afraid to think big. Worry about questions of why and how later.

Just as it’s hard to infuse the mundane and trivial with a sense of wonder, it’s hard to keep the sense of wonder out of really big, creative, ideas. Be expansive.

One final reference

Creating a “Wonder of the world” is not all that difficult; you just need to get creative and find some inspiration. Describing one is not all that difficult either.

Doing it well is a whole different kettle of fish.

If you get stuck, try some of the solutions I offer in the parts of my series on writer’s block that focus on settings, especially the last quarter of part 2.

No campaign or literary world is complete without wonders and iconic locations. But these are neither wonderful nor iconic if poorly described. Your goal has to be to engage the imaginations of the readers/players with your words, and then sketch in just enough of the scenery that they get a sense of “being there” – additional details can always follow later.

Examples. You want some examples, right? Well, I’m working on some – I’m not sure if they will be ready Thursday or if they’ll have to wait until next Monday, but there are examples on the way. Just thought you’ld like to know.

Comments (7)

Big Is Not Enough: Monuments and Places Of Wonder


Updated with an additional section in the comments

Big Things Postcard created by BrisbanePom.

Big Things Postcard created by BrisbanePom.

Mention of Easter Island in a previous article has had me thinking about monuments and places of wonder, and what is needed to make them amazing.

It’s a lesson that Australians in general don’t do very well at – hence “tourist attractions” like the “big prawn”, “big banana”, and “big pineapple”, collectively known as ‘Australia’s Big Things‘.

Most campaign creators don’t give enough thought to such monuments when they are setting up their game worlds.
 
 
 

All images used to illustrate this article, unless otherwise noted, were sourced from Wikipedia Commons and are subject to the GNU Free Documentation License and/or the Creative Commons Attribution-Share Alike 3.0 license.

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Seven Wonders Of The Ancient World

In the age of the ancient Greeks, various guidebooks began listing “must see” wonders of architecture and design around the Mediterranean Rim, especially the eastern side. These wonders are still known to much of the world even though only one survives into modern times, though most people couldn’t tell you anything more about any of them. They were:

  • The Great Pyramid of Giza
  • The Hanging Gardens of Babylon (destroyed by an earthquake sometime after 1 BC)
  • The Temple of Artemis at Ephasus (destroyed by Arson and plundering)
  • The Statue of Zeus at Olympia (disassembled and later destroyed by fire)
  • The Mausoleum at Halicarnassus (destroyed by earthquakes)
  • The Colossus of Rhodes (destroyed by an earthquake in 226 BC)
  • The Lighthouse of Alexandria (destroyed by an earthquake in 1303 AD).

(I was always under the impression that the Great Library of Alexandria was also on the list, and I don’t recognize the Mausoleum at Halicarnassus – so maybe I learned a different list, or someone decided two in one place was a bit much?)

The original list has had many successors and imitators over the century, each drawing apon the mystique of the items by means of the association with the original list but also reinforcing the mystique of that original list, which is one reason why it remains embedded in the popular consciousness 2014 years or more after its first compilation. You can read about several of these lists at this Wikipedia Page. The commonly used phrase, “8th wonder of the world” adds to the popular awareness.

The Great Wall Of China, photo by Craig Nagy.

The Great Wall Of China, photo by Craig Nagy.

Wonder Characteristics

All these wonders have a number of broad general characteristics in common: Size, Beauty and/or Grandeur, Value, Cultural Importance or an Air Of Mystery or Historical Importance, and Symbolism.

Eiffel Tower at Sunrise, Photo by Tristan Nitot. Click thumbnail for a larger image.
Size

In an article entitled “Size is not enough”, this is the obvious place to start. Wonders and Monuments are all big. Impossible to miss. They stand out, either naturally or by design, and at a considerable distance. “Unmissable” has a double-meaning when used in reference to them.

Mitre Peak, New Zealand, photo by Grutness (James Dignan). Click thumbnail for a larger image.
Beauty, Grandeur, or both

For one reason or another, these things are always breathtaking or awesome or both. They totally dominate the landscape – but with something more than sheer size. A rock can be big, but it needs to have something more going for it in order to qualify as a natural wonder. A building can be monumental, but if it’s a monumentally ugly slab of stone, it’s probably not going to qualify.

If it doesn’t make your jaw drop, it doesn’t make the list.

I suppose it’s possible for something to be “monumentally, jaw-droppingly ugly” though….

Taj Mahal in March 2004, photo by Dhirad, ©2004. Used in accordance with permission terms specified at http://en.wikipedia.org/wiki/File:Taj_Mahal_in_March_2004.jpg. Click on thumbnail to view licence terms and larger image.

Taj Mahal in March 2004, photo by Dhirad, ©2004. Used in accordance with permission terms specified at http://en.wikipedia.org/wiki/File:Taj_Mahal_in_March_2004.jpg. Click on thumbnail to view licence terms and larger image.

Value

The first two characteristics usually add up to expense. These things don’t come cheap, and that means that whoever constructed them cared about doing so – a LOT. They were vitally important for some reason; they had value to the builders. That normally translates to having value in subsequent eras.

Unfortunately, that also translates into a place with value for looters and thieves. It’s something of a wonder (pun intended) in itself that more of the ancient wonders weren’t destroyed in this fashion.

Because they also have symbolic value in representing whoever cared enough about whatever they represent to have value as a symbolic target to those opposed to those people, and that value usually outstrips (to them) the cultural wealth of retaining them intact. If a city contains a wonder, that city’s enemies will tear it to rubble if the city ever falls to them.

Easter Island statues, photo by Ian Sewell.

Easter Island statues, photo by Ian Sewell.

Cultural Importance or Air Of Mystery or Historical Importance

I thought long and hard about this “quality” of wonders, especially in terms of “wonders of the natural world”, but realized that those have cultural importance.

Cultural Importance means that they influence, or have influenced, the general society in some fashion. They might be considered sacred, they might provide a natural defense, they might be the home of one or more Gods. They are mentioned in song and story even if there aren’t songs and stories about them specifically. If they are expensive, and have value and significance, then they also have a greater implication: that the people who built it were prosperous enough to do so. There’s a reason why so many of them have religious connotations; there’s a reason why so many are associated with rulers and the ruling classes. Cultural importance can also mean that the wonder is ironically representative of the city or country in which it is located.

But some wonders and monuments don’t meet this prescription. They carry with them an air of mystery, instead. Arguably, all wonders start with this when they are first discovered, and the cultural importance results from attempting to penetrate the mystery. Easter Island is one of the finest examples, but the Great Pyramid, the Sphinx, and Stonehenge all possessed this mystique in the early and middle 20th century. They excite the imagination, entice speculation and supposition, and inspire myths and legends. Arguably, Tutankhamen is the most famous King ever to have reigned anywhere in the world; I’m sure that 99 out of 100 passersby on any western city would recognize his famous death mask right away, if not more.

Some sites have neither great cultural importance nor any real sense of mystery to them. What they have instead is an amplified historical significance. The Washington Monument comes to mind as an example. Westminster Abbey comes to mind as an example. The Empire State Building comes to mind as an example – it was the world’s tallest building for 42 years, and is iconic even today as a result.

Mount Rushmore, photo by Dean Franklin.

Mount Rushmore, photo by Dean Franklin.

Symbolism

The final attribute of most monuments and wonders is that they are, were, or are held to be, symbolic of some greater value or concept. Spiritualism. Faith. Democracy. Liberty. Justice. The power of nature. The beauty of nature. Love. Power. Exploration.

Just about anything that can be conceived of, no matter how abstract, can be the subject of a monument or wonder’s symbolism.

If I had more to say in this article, I would have added pictures of the Statue Of Liberty, Washington Monument, and Arlington National Cemetery to those chosen – I would argue that they all qualify as “wonders” under these criteria. I might also have chosen the White House.

Stonehenge Green, photo by Mactographer.

Stonehenge Green, photo by Mactographer.

Why is it so hard?

So why is it that so few campaigns make full use – or any use – of wonders? Why do so few worlds even mention them or provide a list of them? Why is it so hard?

Great Sphinx of Giza, cropped image, Photo by Usuario Barcex.

Great Sphinx of Giza, cropped image, Photo by Usuario Barcex.

Creativity Requirement

First, they impose a huge burden of creativity on the part of the GM. He or she is just one person; the wonders of our world are the handiwork of thousands of creative people over millennia, plus the natural wonders uncovered by hundreds of explorers.

Their historical importance means that they influence and shape history and culture. You can’t take your campaign background and simply tack them on as symbolic of some highlight; you have to create them at each stage of history and incorporate the reasons why these monuments are deemed important into the narrative, then have to keep track of them throughout the history that follows. It’s additional creative workload at a point in the campaign’s genesis that doesn’t need additional workload, and it’s easy to dismiss them as mere color, and hence something that can be sacrificed in favor of more directly-valuable efforts.

Chichen Itza, Mexico (photo released to public domain by author).

Chichen Itza, Mexico (photo released to public domain by author).

Artistic Requirement

Then, too, it’s never enough to be able to describe a wonder in words alone; they have to be depicted in some way, and that imposes an artistic requirement that not everyone can meet. Either you have to be really good at illustration or painting (including digital art), or you have to be good at image manipulation, or you have to find and adapt someone else’s image – which may not be at all suitable. “It’s like this except, and except, and except, and also…” …it just doesn’t work.

Me, I’m an OK-to-good artist (depending on the wind and phase of the moon and all sorts of other imponderables), and fairly good at image manipulation. I’m not an expert in either. I’ve done some work of which I’m proud (much of it in Assassin’s Amulet or here at Campaign Mastery) and some work which was just barely good enough, and some that I wish could have been done better – and there’s some that I won’t show anyone. But all that puts me nine leagues ahead of many, while leaving me in awe of the breathtaking work produced by others. I know just enough to know how hard it is :)

As a derivative work of a copyright image, the copyright of the original is deemed to extend to the derived image. The source image is by Dhirad, ©2004. Used in accordance with permission terms specified at http://en.wikipedia.org/wiki/File:Taj_Mahal_in_March_2004.jpg

As a derivative work of a copyright image, the copyright of the original is deemed to extend to the derived image. The source image is by Dhirad, ©2004. Used in accordance with permission terms specified at http://en.wikipedia.org/wiki/File:Taj_Mahal_in_March_2004.jpg

 

For example, what if you wanted a Jade Palace? One way you could get what you’re after might be to modify some other image, manipulating it to give it a green color. And if you wanted this to be a magical place, with a strange light show emanating from it? You could do that, too. I spent 10 minutes or so manipulating a small-sized low-resolution Taj Mahal image (shown to the right) to achieve a passable representation of those very results. Compare it with the source image shown earlier in this article. If I were doing it for real, I would have worked harder and used a higher-resolution image. I would also have played around with proportions of different elements to produce something that was less-obviously a derivative image, and maybe added some additional wings to the building.

If the skills to meet these artistic requirements aren’t in your toolbox, you’re in trouble.

Big Boxing Croc, photo by Stuart Edwards.

Big Boxing Croc, photo by Stuart Edwards.

Avoiding Kitsch

Not all ideas are good ones. But, by definition, only great ideas make it to becoming wonders. There’s a fundamental incompatibility that results from this combination; inevitably, some of the wonders you propose shouldn’t be anywhere near the list, never mind on it.

Honest self-criticism is one of the hardest abilities to develop that I can think of. Until you have it down pat, you are going to need some supporters to sit in judgment, and perhaps to throw new suggestions and ideas in your direction.

I’d like to think I’m getting better at artwork all the time – certainly, when I first started on Campaign Mastery, something like the Orcs & Elves titles would have been beyond me. Not to mention the “change in the weather” that I did for my the image of the Sydney Opera House in my previous article. But I can still deliver a clunker, an idea that just doesn’t work.

At all costs, you have to avoid being cute. Monuments and Wonders have to exude Gravitas – weight, seriousness, and dignity. Cute becomes Kitsch all too easily.

Empire State Building, photo by Jiuguang Wang.

Empire State Building, photo by Jiuguang Wang.

What to represent

But perhaps the hardest part of the entire process is the task of deciding what the wonders should be, what they should represent. What’s worthy? What’s not?

I touched on all this to some extent in an article from October 2009, Legendary Achievements: Coloring Your Campaign with Anecdote and Legend, in the section Legendary natural wonders to bring the geography to life,, but this is a whole new order of problem. Cute and Trivial worked just fine for the folksy local legends that I suggest there, but few objects and locations will qualify as a wonder of the world, and because they are exceptional, they have to be treated in an exceptional manner.

The Banaue Rice Terraces in Ifugao, The Philippines. Source: McCouch S: "Diversifying Selection in Plant Breeding.", Public Library of Science Journal, 2/10/2004. The PLoS website states that the content of all PLOS journals is published under the Creative Commons Attribution 2.5 license, unless indicated otherwise.

The Banaue Rice Terraces in Ifugao, The Philippines. Source: McCouch S: “Diversifying Selection in Plant Breeding.”, Public Library of Science Journal, 2/10/2004. The PLoS website states that the content of all PLOS journals is published under the Creative Commons Attribution 2.5 license, unless indicated otherwise.

Solving The Problems

Okay, so having sorted why it’s so hard, why should you bother – and, if I can convince you that you should, how can you go about it?

Uluru (Helicopter view), photo by Huntster (Public Domain Image). Click on thumbnail for a larger image.
Why Do It?

Depth. Having wonders in your world gives it a sense of having existed before the PCs arrived, of being a real place. According to the DVD extras, Weta workshop put a lot of effort into constructing little bits of the Numenorian culture – statues and architecture and the like – that they could then demolish and leave lying around in various places, for this very reason.

Verisimilitude. The real world has them; your campaign world should have them. If they are absent, no-one might notice; but if they are present, they will notice that.

Filler. Wonders give the characters a chance to play tourist, soaking up the campaign world and its background and concepts in the process. This takes some of the burden of adventure creation away from the GM on a day-by-day basis; so the effort can be viewed as an investment in the future.

Landmarks ground a campaign. The landmarks give a framework around which the players can assemble the bits of campaign background knowledge that come their way. All too often, there seems to be a divorce between the background and the current-day reality of campaigns. By salting the background with the remnants and artifacts of the past, you can have action occur at those locations, giving a connection between the modern-day game world and the background.

Reference. Wonders form landmarks in the players’ minds as well as on the map. This gives them a key which can be used to relate other aspects of the campaign. “Lilton” might be the small community where something happens that will be of interest to the characters, but it’s just a spot on the map unless they’ve already adventured in the region. If they can be told that it’s midway between the legendary Salt Mines of Tarah and the Waterfall of Niglesh, largest in the known world, suddenly it is a lot more than that (and a lot more interesting).

Individuality. My choices as Wonders will not be the same as your choices, which will not be the same choices as the GM who lives on the far side of town. Those choices help make your campaign distinctive. But even more valuably, if they are connected to the campaign background and its core concepts, they give the players a ‘hook’ from which to hang the uniqueness of the campaign. It’s amazing how much more accessible those unique elements become when you can point to a Wonder Of The World and describe how, at this particular place, that difference manifested in an unusual or significant outcome.

Integration.By virtue of these connections between campaign concept, campaign background, and contemporary campaign reality, Wonders can integrate the many facets of the campaign world into a unified whole. They become the ‘nails’ that hold the rest of the metaphoric structure together. Without them, the connections can seem superficial or even non-existent.

Moreover, they can help the GM integrate his own thinking and planning. If you exemplify a house rule with a World Wonder where it made a difference, you facilitate and help solidify your own thinking about how that house rule will manifest within the game reality. Sometimes you can discover unintended connections between, and implications of, those house rules, before they become a problem. One of the easiest ways to collapse a campaign is to have a house rule and a campaign background that doesn’t reflect the existence of that rule and its impact on the game reality. Wonders and Monuments can help avoid this problem.

Inspiration. I’m big on having explanations for everything, as long-time readers of this site will know. I go many, many, extra miles to maintain the internal coherence of my campaigns. Wonders give me the opportunity to be a little more playful, to build in something whose explanation I don’t know. I can stick a giant statue in the ground without knowing where it came from, just for the fun of it.

Mysteries and Lifesavers. Sometimes things fall in a heap of confusion. The PCs have managed to snatch defeat from the jaws of victory, and done so in such a way that there seems to be no escape; the campaign looks like it’s about to collapse as a result. When everything that is already known tells you that the PCs have no hope, you have three choices:

  • Learn to live with the PCs failure. More importantly, find a way for the campaign to live with the PCs failure. Or:
  • A completely unsatisfying dues-ex-machina that solves the problem for them. Or:
  • Enlarging the campaign to include things that were not already known, and that offer a potential way out for the PCs – if they discover it, and how to exploit it to score a surprise come-back at the 11th hour. And so far as the players have to know, you always intended it to happen that way.

Wonders with some inexplicable quality give you a hook to hang such solutions from. If they are established within the campaign already, they won’t even seem like Dues-ex-machinas; instead, they will be established plot elements whose significance is only now being revealed. And you will look like a genius.

Wonder. Wonders give you the chance to add some “Gosh-wow-cool” to your campaign. There is a reason they are called “wonders”, after all!

In Combination, those reasons are quite enough to justify the effort of including wonders – if a way can be offered to make them practical.

Dream Landscape, artwork by Chris Hortsch (www.chris-hortsch.de), sourced from SXC (Public Domain Image) – click thumbnail for a larger image.
What to represent

The place to start is always to decide what you want the wonders in your campaign to be.
 

  • I start with Natural Wonders – Tallest Mountain, Greatest River, Biggest Waterfall, Biggest Bay, and other scenes of natural beauty. Virtually every game world will have these. Note that there may be taller mountains, bigger rivers, etc – these are simply the biggest in the known world.
  • Next come the ruins and works of Lost Empires and Kingdoms, especially the most recent.
  • Historical Icons I – I examine the campaign background for key events that would have been commemorated in some way, the bigger the better. I maintain a list as I work forwards through the background, looking for 1) events that can take place at the monument; and 2) for any impact that the presence of the monument might have on future events. If I want a certain event to be forgotten, and it would almost certainly have been commemorated, I can destroy or hide the monument (the latter is preferable, as its rediscovery gives me a way to reveal what was forgotten when it becomes significant).
  • Historical Icons II – where were past capitals? Where were the obvious invasion routes, and how did past kingdoms/empires guard them? What happened to the defensive works – and how were they overcome, if they were?
  • Mythical History/Prehistory – The sort of thing that Stonehenge was once thought to represent (and still does in the popular consciousness). What else can be left over from a mythic interpretation of prehistory?
  • Gods & Supernatural Beings – in any world where these have an objective reality, expect even more effort to represent them in art, statuary, song – and monuments – than there was in our world, where their existence is subjective. These need bear no relation to the current theology within the campaign. I once thought up a game world in which someone had smashed every statue in existence of a particular Deity – without explanation. I never finished work on it.
  • Cultural Greatness – Regimes at the height of their powers tend to celebrate their cultural greatness with expressions of that greatness that become wonders of the world either then or subsequently. And the contemporary regime is either declining, or is at the height of the power (so far). There is also an element of rivalry involved – ‘the ancients did that, and we’re better than they were, so we’re going to do this.’ And throw in the occasional splash of decadence and self-indulgence, while you’re at it.
  • Campaign Uniqueness – What is there that is going to be different or unique about this campaign? Can I think of a way to exemplify or celebrate that difference with a Wonder Of The Known World?
  • Magic – in any world where magic works, there should be monuments built in celebration of it. And monuments that are impossible without it. I let my imagination run wild for a while, then apply strict self-censorship. And get a second opinion on anything I’m unsure of.
  • The Mysterious and Fantastic – Having warmed up with the preceding section, I’m ready to really get creative. Is there anything I can dream up that will add to the Mystique, Mystery, or Magic of the game world? Why not a house in which the interior rooms are all on the outside and a small garden is on the inside? A fairy palace? A gingerbread house? A cave in which up is down? A castle whose towers run down, into the ground, to protect from underground attack? A gypsy wagon (with occupants) trapped in Amber? I then apply strict self-censorship. And get a second opinion.
  • Non-human races & Cultures – How would each non-human race’s mindset play into the concept of Wonders? Is there anything that would exemplify what makes that race unique? What might they create that humans would consider to be Wonders?
Iguazu Falls, photo by Trabajo Propio.

Iguazu Falls, photo by Trabajo Propio.

Photographic & Illustrative Inspiration

I keep a file full of ‘clip art’ that’s not for public circulation. Anytime I come across an image that I find interesting or inspiring, I save it to that file. When I find the time, I might plug a suitable search term into Google Images and go trolling for future ideas. When I know I’m going to want something specific in the future, I use a subfolder dedicated to the subject. I currently have one folder full of futuristic buildings, and one full of Lovecraftian Horrors, and one full of Digital Demons, and one full of Ice Terrains, and one of Ice Queens, and another of Hell. And I keep one of backgrounds and textures, and another of faces and people with particularly distinctive appearance.

Some of these provide direct inspiration for Wonders. But because I don’t restrict myself to public domain images, I will never display these publicly – they are kept for private use only.

Cairo Citadel, photo by Ahmed Al Badawy.

Cairo Citadel, photo by Ahmed Al Badawy.

Decide the significance

Context might not be everything, but it’s an awful lot. What is the current culture’s subjective appraisal of the significance of each wonder? Why is it remembered, and what is it considered to be symbolic of? Never mind what the people who created it thought – what do the people in the game world now think of it? And how does that color their impressions of those who created it?

In my unused adventure ideas file, there is the notion of a now-lost pacifist society who repress their aggressive tendencies and perversions through the most graphic artworks imaginable. Everyone made these, in one medium or another, or was branded a public danger and a criminal, and locked away. An archeologist has discovered the remains of this society and is trying to make sense of them, and getting entirely the wrong impression. A temporal accident then brings some of them forward in time, where they seek to impose their “perfection” on a nearby settlement; enter the PCs…

Ely Cathedral, photo by Tom-.

Ely Cathedral, photo by Tom-.

Connect with History

I make sure that every Wonder has some connection with the campaign history. Where this isn’t pivotal, I might set it aside for use as an anecdote relating to the Wonder if and when the PCs visit the scene (I like to have at least one of these for every wonder, better yet two or three – I add to the total in the step after next.)

Ruins du Chateau de Mousson, photo by Fab5669.

Ruins du Chateau de Mousson, photo by Fab5669.

Connect with Society & Culture

I examine each Wonder and consider what impact it has had, would have, or is having, on the contemporary society of the campaign. If I don’t want that, then the Wonder has to go ‘bang’ at some point in history. If I don’t want it to be happening yet, I have it get lost or stolen, only to be rediscovered at some future time. I once had this happen to an artifact, but had descriptions survive – all from a common source which had a mistranslation of the size. When it released the Evil that it had confined (after being rediscovered by some peasants), the PCs came looking to see if there was any way to re-confine the Evil in the Wonder – only to discover that it wasn’t 300 feet in size, it was 300 tenths of an inch in size, small enough to put in a backpack – which is what someone had done…

I also make sure that there are at least some cultural references to each Wonder in a list of the attributes of that wonder.

Haiga Sophia, Photo by Robert Raderschatt.

Haiga Sophia, Photo by Robert Raderschatt.

Create Events

I create more events as necessary to fill out the legend of the Wonder and supplement the unused historical references. These may be myth, legend, or rumor, and I make no decisions as to their validity – using a Question Mark to indicate this indecision, so that I can decide what’s true and what’s not when the time comes.

Fantasy Castle (Regaleira), photo by ladyleaf, sourced from SXC (Public Domain image) – click thumbnail for a larger image.
The Non-human Psyche

Are there any noteworthy differences in interpretation of the Wonder from particular non-human races that are present in the campaign world? Can I use these interpretations to justify some past event whose rationale is thin? Can they cause any holy wars? Are there any non-human Meccas?

Ruins of a castle in Ogrodzieniec, Poland, photo by Saiuri. Sourced from SXC, used subject to licence terms specified at http://www.sxc.hu/photo/598412 – click thumbnail for a larger image.
Where and When

Having decided what impact the Wonder will have, I can nail down where it is located and when it was constructed.

The Reef, photo by Markopolis, Sourced from SXC (Public Domain image) – click thumbnail for a larger image.
Current Status

What is the Wonder’s current status – lost, almost forgotten, well-known, destroyed, mythical? Why? When did whatever happened, happen?

Carina Nebula, photo by NASA Hubble Space Telescope. It’s hard to believe that it’s been over twenty-three years since Hubble was launched! Click thumbnail for a larger image.
The Visceral Reaction

One of the most important aspects of a Wonder is the visceral reaction that it has. If the imagery available is not good enough, and there is no prospect of being able to do better before the image is needed, make sure that the Wonder is lost or destroyed. At the same time, a great visceral response is reason enough to restore/rediscover a lost Wonder.

The Potala Palace, photo by Coolmanjackey. Click thumbnail for a larger image.

A Celebration Of Your Campaign

The Wonders of your game world should be a celebration of your campaign and its uniqueness. They should provide eye candy for your players that helps them feel their characters presence within the world and aids them in getting into character. They should inform everyone involved of the ‘magic’ of the world, and inspire. If they do all of these things, you can’t go too far wrong.
 
 

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An afterword: Wiki Loves Monuments 2013

While gathering the images which adorn this article, I discovered that Wikimedia Commons are currently running a contest to capture, photographically, the cultural heritage of the world, Wiki Love Monuments. This contest is due to finish at the end of the month, but if you have any images that YOU have photographed that would be relevant, and your country is one of those participating this year, consider uploading them. No idea what the prizes are, but the FAQ definitely indicates that there are prizes.

This is a sheer coincidence; not only am I not a participant, my country is not even participating (and the 2012 definitions were way too restrictive for my tastes). But I thought it appropriate to spruik the event since I have used so many Wikipedia Commons images for this article. Fair’s Fair!

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People, Places, and Narratives: Matching Locations to plot needs


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In my first article for this month’s Blog Carnival, I asked the question ‘Location, Location, Location: How Do You Choose A Location?‘ and identified ten or eleven influences on the decision, and an approximate hierarchy within them, but was unable to offer even a guideline beyond those observations in answer to the question.

Today, the subject is one that’s even more difficult and wide-ranging: How do you choose or modify a location’s specifics to match its description to the needs of the plot?

Scope

There are three aspects of the location specification that can be modified to meet whatever secondary needs you have:

  • Surrounding environment;
  • Location specifics; and/or
  • Choice of language.

location procedure

A procedural approach

It’s possible to outline a procedural approach to the task, which would look something like this:

  1. Identify the most important unresolved story need.
  2. Can this story need be satisfied through location specifics?
  3. If yes, amend the description accordingly. Proceed to step 9.
  4. If no, can the location specifics support some other solution?
  5. If the answer to that question is yes, amend the description to do so, and proceed to step 9.
  6. If no, does the story need rule out any aspect of the location specifics?
  7. If yes, note the restriction to the location description and proceed to step 9.
  8. If no, consider the story need irrelevant to the location specification and set it aside.
  9. If there are any important unresolved story needs, return to step 1.

…but I don’t find that approach to be all that helpful. There are too many conditional questions. It’s a bit clearer as a flowchart, as shown to the right, but even that leaves a lot to be desired.

Instead, let’s focus in on the critical steps: 1+2+3, 4+5, and 6+7.

Click the thumbnail for the full sized image. I’m proud of this image since on the original was taken on an especially gloomy day with lots of heavy gray clouds… :)
Story Needs that can be satisfied through location specifics

Since this is the central subject of the entire article, it is a little premature to go into too much detail; by the time I finished, the meaning of the other critical steps would be long forgotten. That, however, doesn’t stop me from offering a very general overview.

Locations are chosen to meet certain story requirements, as described in the article referenced above. But there are all sorts of nuances that can be added to the mix by tweaking the details. The general location may be just an environment. It may be a populated settlement – how large? It may be a specific settlement – where in that general location? It may be a type of building, a sheriff’s office or a hotel, for example – where, how large, what’s it look like, what are its surroundings? It may be a “specific” building, for example the Royal College Of Surgeons in Zanzibar (to invent a place off the top of my head) – same questions. Even if it’s a world famous landmark, like the Sydney Opera House, or Easter Island, environment – weather, visitors, activity, and mood can all have an impact on the perception of the location, as can the tone and language used to describe it. Or a location can be a specific room, or a vehicle interior.

The more story that can be conveyed by the location description, the less you have to do elsewhere; and the more strongly any story elements that are conveyed by the other instruments of play – dialogue, descriptions of people, etc – can be reinforced. The right location can “sell” the rest of the scene. In The Poetry Of Place: Describing locations & scenes in RPGs I detailed the tools and techniques of doing so. Today’s subject is about choosing the raw ingredients to be subjected to this treatment.

Location as a solution support

Even when the details of a location can’t directly meet a story need, the right choices of details can make it easier (or even possible) to employ the other elements of the scene description to achieve a solution, or can make it more difficult to do so. Once a story need is identified, and you’ve determined that location alone is not enough, the next question has to be whether or not location details can at least contribute to solving that story need.

Location as an inhibitor

And, when that doesn’t appear to be the case, you have to ask whether or not the setting of the scene is getting in the way of a solution to that story need, and if so, what can be done about that. Only if the answer is “it isn’t getting in the way” or “nothing can be done about it” can you conclude that location isn’t going to help meet that need.

How far should this be carried?

There are limits to how far you can go, and those need to be recognized. In a work of fiction, you can normally get away with a page of description at most, less is better; in a roleplaying game, the pages are generally larger, but the same limit in terms of word-count is about the same; it works out to about half a page, absolute maximum. What’s more, no paragraph should be more than about 5 lines and each subsequent paragraph has to justify its existence against ever-stiffer requirements. Experience has taught me that anything more simply becomes noise, or early details get lost when players concentrate on the newer information.

One of the biggest benefits of a more poetic approach to descriptions is the compression that results. Each statement, each line, serves double or even triple purposes, enabling a page or more of description to be delivered more quickly and succinctly.

If you can’t satisfy every desirable end because of these limits, there is clearly a need for careful prioritization. Here, once again, the procedural approach described earlier falls down; “the most important story need” is not sufficient definition, not by a long shot.

Prioritization

This inadequacy exists because “the most important story need” might be solvable using something other than location specifics, while some other slightly lesser need might be solvable only with location details, or far more easily with the location. There are two factors to take into account, therefore – the importance of the story need, and the degree to which that need can be solved by something other than the location of the scene. To complicate matters still further, these are not entirely independent factors, as later steps in the procedure make clear. You could try to map out a procedure to take account of these but it quickly becomes so unwieldy in articulation and implementation that it is even more worthless than the rough procedure outlined.

I don’t have any hard and fast rules that I employ with any regularity. There are so many combinations and permutations of the arrangement of story needs and the means employed to satisfy them that no one process will come even close to being universal. Instead, there are a couple of things that I try to keep in mind:

  • The #1 priority for each delivery method;
  • The overall purpose of the scene;
  • Any additional story needs that absolutely have to be met;
  • The principle of consistency;
  • The perpetual question, “Do I really need this?”; and
  • The reason for this location choice in the first place.

I will generally try the most obvious approach, and if that does the job, I move on to the next scene. Only if there’s a problem, an additional story need that isn’t being met, will I toss that away and try to find some other configuration of narrative, description, tone, participants, dialogue, and action that might be more effective.

Satisfying Specific Types Of Story Need through Location options

There are at least nine different story needs that can be satisfied through configuration of the location and its description.

They are:

  • Tactical,
  • Tonal,
  • Emotional,
  • Informational,
  • Contextual,
  • Expressional,
  • Philosophical,
  • Intellectual, and
  • Informative.

Each of these needs has a different way of impacting on the location. You’ll have noticed that I haven’t defined any of them. That’s because I’m now going to look at each in detail.

Tactics

There are a whole bucket-load of Tactical considerations that can influence a location, and often several can be accommodated. This is also the list that I apply (though not necessarily in this order) when I have to modify a general environment to get a specific location for a random wilderness encounter; in general, the more intelligent the creature encountered, and the more familiar they are with the region, the higher up this list my attention will be. The less relevance those two factors have, the more attention I will give to the bottom end of the list.

  • Target Objective (non-random encounters only) – when the scene contains a participant’s objective or target, that’s an overriding tactical consideration.
  • Defense Enhancement – a location that enhances the defenses of the participant with the choice of location.
  • Attack Enhancement – a location that enhances the attack capabilities of the participant with the choice of location.
  • Mobility Enhancement – a location that enhances the mobility options of the participant with the choice of location, especially if those mobility options are uncommon, like flight or swinging.
  • Defense Minimization – a location that subdues or negates the defenses of the participant without the choice of location, especially if this does not affect the participant with the choice as severely or at all.
  • Attack Minimization – a location that subdues or negates the most probable attack modes of the participant without the choice of location, especially if this does not affect the participant with the choice as severely or at all.
  • Mobility Restriction – a location that reduces the mobility of the participant without the choice of location.
  • Conflict Option – a location that offers the participant with the choice of location the ability to either force or avoid confrontation as they see fit;
  • Intelligence – a location that reveals the participant without the choice of location without exposing the participant with the choice of location.
  • Retreat/Escape Options – a location that offers options of retreat or escape to the participant with the choice of location that the participant without the choice probably cannot utilize.
  • Direct Defense – a location that provides natural cover to both sides is always preferable to one that does not, provided that the mobility and attacks of the participant with the choice are not compromised.
  • Location as a weapon – some locations are naturally hostile, and function as a weapon against one or both participants.
  • Flexibility Minimization – some locations do nothing but compromise the range of attack/defense/mobility options available to one or both participants.
  • Undesirability – a location can be undesirable because one or more of the above operate against the participant with the choice of location, but offer other advantages that compensate.
  • Inevitability – sometimes the location is simply where one participant catches up with the other. It might not be a choice that either side would have made if they had the option.

An example of a tactical enhancement to a location description is placing an encounter with undead in an unhallowed graveyard; in my campaigns, this gives them all sorts of benefits and advantages. In contrast, placing hallowed ground in or near an encounter with undead offers the participants the option of retreating to somewhere where they have the advantage.

The more control the participant with the choice has over the location of the encounter, and the more time they have to invest in exercising that control, the more benefits they will stack in their favor. This is something that I always bear in mind when designing a villain’s lair.

Tone

Modifying the weather, and the descriptive language, enables the location to establish the tone of a scene. Not only is this more compelling than simply stating what the tone is, it supports other elements of the scene that is to take place by providing a tonal context. Enhancing the location details can add to this effect – mentioning ‘stone gargoyles’ on window ledges adds to the gothic character of a location, provided that those are consistent with the other details. You don’t find many modern skyscrapers adorned with them, for example.

One more example before I move on: A modern skyscraper’s exterior is mostly glass. That means that you have three choices in descriptive language when entering one, and all convey a different tone. You can talk about what is reflected in the glass; you can talk about what you can see through the glass; or you can talk about a cold, immaculate, pristine, exterior facade. The first can introduce tones from the gothic (storm clouds and lightning) to the warm and comforting (a family playground); the second can expose lush greenery, martial efficiency, paranoia, an ant’s nest, a beehive of activity, a sense of panic within. The building is still defined only as a “modern skyscraper”, with no supplementary details, but tone is being set by the environment in which the skyscraper is located – which means that you can use the actual architectural details – shape, size, connections to other buildings – to convey something else to the players, ie to achieve or support some other story objective.

Emotion

You can use the location to evoke particular emotional reactions in the players, or in the characters that they control, once again by a combination of content and descriptive language. The entire gamut of human emotion is open to you, if you are ingenious enough to invoke it. A school playground is just a place until you dress it with the sounds of children playing. A building site is just an arrangement of girders until it’s shadow falls on a nearby building like a sinister giant spider. An empty sporting ground invokes a sense of competition and a sense of teamwork and camaraderie at the same time; populate it with 10,000 screaming fans (or 100,000) and a close game in progress and you hint at passions and primal emotions. A park is just grass and trees – but throw in someone walking a dog, and someone else flying a kite, and you start evincing a sense of freedom and carefree existence, as well (perhaps) as a tinge of 50s nostalgia for those who were around then. A couple walking a baby in a stroller completes the wholesome scene. Now throw in some sort of a threat that they haven’t noticed yet, and it’s not just the people who are threatened; the emotional content is that the values – freedom, casual contentment, etc – are also threatened, and the players will react to that emotional content.

Information

Harder to achieve is the delivery of essential information through location detail, but it can be done. A billboard. A corporate logo being replaced by crane. A newsstand shouting the headlines. A news ticker. A media scrum. Proximity of two organizations (Lost & Found Rings, Inc., is located in The Saruman Tower!). Association: if strange things have been happening to the weather and the PCs have tracked the possible source to a particular location, a strange antenna pointed skywards provides information through the confluence of “strange” things. Even negative locations can provide information, as when the police go to the address of Elwood’s license in the Blues Brothers – it’s information about Elwood’s personality.

All these are so much better in a game than omniscient narration that I always look for any opportunity to incorporate into the location description any information that the scene is to convey – unless that leaves the scene itself an anticlimax, of course.

Context

Harder still, but even more rewarding, is the conveying of context via the location. This too, is possible however, depending on what the context is in reference to.

Consider a hotel of very specific style. If someone chooses to stay there when they have the choice, it establishes a connection between the location and that someone, which can place the individual’s personality, mindset, ambitions, and actions into a context.

We are all products of our environment to at least some extent. How normal would Friday have been if she didn’t grow up in the Addams’ Mansion, surrounded by the other members of the Addams Family? Even if they react against that early environment by going in the exact opposite direction, the description of that environment is still providing context to the personality etc of the person.

In fact, there are times when it is not only possible to convey context by location, it is the most efficient and interesting way to do so. It follows that if the scene is to provide context, considering the possibility of doing so by location is a very high priority.

Expression

Some locations are more expressive of the personality of the designer/constructor. Consider that hotel of specific style again. Someone had to think that it style was appealing, or at least a good idea even if they personally didn’t like it.

A villain’s lair should speak volumes about the villain. A good way to make the villain distinctive is through the decoration of his lair. If he has hundreds of species of bat stuffed and mounted on the walls, is he a Vampire? A Batman freak? Or simply fascinated by the species? Or perhaps he’s really interested in sound, or hearing, or sonar. Or maybe the room’s purpose is just to spook uninvited visitors. Even though you don’t know what it is, you can tell right away that the villain has bags of character.

This isn’t the only thing that can be expressed through location detail. Awe and Wonder are two of the most common expressions that a location can invoke. Grandeur and Might are right up there, too.

I have heard the expression used from time (in reference to both RPGs and Comics) that they have an unlimited special effects and sets budget – but have to be more careful how they use it as a consequence. It’s not really true when it comes to RPGs, as the section “How Far Should This Be Carried” explains; if you consider words to be the currency of an RPG, you are closer to the mark. You can have any special effect or set that you want – so long as you can explain it within the budget. That makes Awe, Wonder, Grandeur, and Might easy to do, but that the sort of very fine detail that distinguishes a period movie, for example something set in the Elizabethan period, can be a challenge. So, when there’s something that you need to express for a scene or adventure, locations can definitely carry their share of the burden.

Philosophy

Possibly hardest and most profound of them all, it is nevertheless possible to express a philosophy in architecture, which is one of those manipulable quantities in a location description. It’s a little easier when the philosophy in question is something that has been established in the real world, because you can research the real-world expression of that philosophy. It’s both harder and easier when you’re moving beyond the bounds of terrestrial reality; harder because you can’t lean as heavily on others, and because you may have to represent skills like architectural design that you don’t possess; easier because you have a great deal more freedom, and while there is no-one to tell you that you’ve got it all wrong, you can tell when you’ve hit the nail on the head.

For more on this subject, I refer the reader to my article, Creating the World Of Tomorrow: Postscript – The Design Ethos Of Tomorrow, in which I discuss the changing design styles of the twentieth century and they way they were reflected in everything from architecture to furniture design to the design of teapots. While this article concerns itself with extrapolation into the look-and-feel of the future, its a solid launchpad for the techniques of incorporating a particular philosophy into an environmental description. You can get more help by checking out any DVD extras that talk about set design, especially for Fantasy & Sci-Fi TV shows and movies (including police procedurals that use special effects in a fancy way like Numb3rs and the CSI franchise.

Intellect

Continuing to ascend the ladder of difficulty, we come to the communication of intellect, or ideas, by means of location details. There are two ways of achieving this, depending on the nature of the ideas to be communicated.

The first subcategory concerns ideas that the players will recognize even if their characters won’t. Inserting a Fascist Realm into a D&D campaign for example. It is easy to simply insert a swastika flying above the castle battlements – perhaps too easy, because that might get them wondering about time travelers and other distractions from the main point that you’re trying to make. The right way to go about this is to extrapolate the fundamental principles of Fascism into the technology and society of the era to determine how life, behavior, technology, and design would be influenced. I would start by hitting Wikipedia for some research, trying to identify and enunciate the basic tenets of this pseudo-fascism, and then trying to interpret them within the scene. The architecture, the clothing, the behavior, the insignia and flags, etc.

The results are likely to be less recognizable than the simple swastika idea, but will seem less tacked-on, feel more original, and be far more realistic; and will sell the concept far more effectively when the big reveal actually happens, probably as a result of the leader spouting a few unmistakably characteristic phrases.

The second subcategory is the communication of ideas with which the players will be unfamiliar because they are original or aren’t part of the real world. The key to communicating original ideas to the players by means of the location is to consider the consequences and ramifications of the idea to be conveyed. What does it make possible that would otherwise be impossible? What does it make impossible? What does it make desirable, and what does it make undesirable? The general principles closely resemble those of philosophical exposition through location, described in the preceding section; but instead of a system of thought, you are attempting to communicate an aspect of the physical ‘reality’ in which the location ‘exists’.

Take my Shards Of Divinity campaign, for example. In the past, a couple of unnatural buildings (and one flying city) were created. Now, magic is failing; some of those buildings are on the verge of collapse, and have been repaired in relatively ramshackle fashion (due to the urgency of the repairs when they became necessary, and the lack of practical skills on the part of those who dwell within).

Information

And, one step beyond the dissemination of ideas comes the dissemination of facts in exactly the same way.

Consider my Fumanor campaign, in which an excessive concentration of magic can yield what is known as a “wild magic” zone, within which all magic will twist in unexpected and unpredictable ways. Any building crafted to incorporate Epic Magic (and there are some) are therefore surrounded by Wild Magic zones – unless the mage is especially skilled and knowledgeable, and can build a suppression effect into these spells, ramping up the difficulty enormously. Too many spells cast in s specific location risks creating a dead magic zone, in which all magic fails. Each location therefore has a capacity for magic; exceed it, and your fancy magical building will collapse – and magic will cease working in the vicinity – and there is no known way of knowing how close you are to the limit. One spell too many, and the fairy castle comes crashing down.

Identifying a consequence and then applying it to the location description may not educate the players in the idea, but it will lay the groundwork for the idea to appear as an explanation for what they have seen at a later point. The result is an internal consistency that adds massively to the realism of the world.

Communication through Location

It can be difficult to communicate something to the players or to their characters through the choice of location details, but there are many-fold rewards for doing so. Verisimilitude, suspension of disbelief, depth, nuance, subtlety, and concision are just a few. Additional requirements can serve as a starting point for inspiration. But you have a practical limit and not an unlimited budget; so expend your capital wisely to get the greatest ‘bang’ for your ‘buck’.

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Places to go and people to meet: The One Spot series from Moebius Adventures


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For today’s entry into the Blog Carnival, I’m going to review a series of new products from Moebius Adventures – one free, and two at the low, low price of $1 (US) that collectively offer a trio of locations to drop into your campaigns.

The candy bar of RPG Supplements

Tiny PDF game supplements are the candy bars of RPG supplements – cheap to buy, consume ’til there’s nothing left, and discard when you’re done. They are also often lacking in substance, just like candy bars, with content missing that has to be written in by the GM before they can be used. You can’t apply the same standards to judging them as you would to something costing $5, $10, or $20+.

But, like the real-world range of candy bars, there is a lot of variety out there. In addition to unadulterated confectionary, you also have your health food bars, and a few products that explore a middle ground, and a whole bunch of products that claim to stand astride both camps. As always, value comes down to the actual content on offer.

The One Spot series: What are they?

The One Spot series is a collection of three (so far) system-neutral locations for RPGs. Each location gets its own 2-page PDF supplement. The front page is information that will be readily accessible by the PCs, so it doesn’t matter too much if it’s visible; the second page is DM’s info, to be shared out in the course of play and only when the GM thinks it appropriate.

Sidebar Disclaimer: Who are Moebius Adventures?
Before I go much farther, I should tell you about the publisher, .

MA were started in the Mid-90s by Brian Fitzpatrick and his buddy Sean Bindel. Sean was killed in an auto accident in 2000, but Fitz is carrying on alone to complete various projects the pair had started as a lasting memorial. (This appeals greatly to me as a sentimentalist, and regardless of the verdict below, I wish him every success in the endeavor).

Fitz is also well known as a writer/reviewer at and a long-time supporter of Campaign Mastery and myself. Although we have never met in person (Colorado is a long way from Sydney!), I also consider him a buddy.

The review copies were provided free.

I’ve tried not to let any of that sway me while writing these reviews, but you have been warned. Hopefully Fitz will still be talking to me after reading these reviews!

The three locations currently on offer are:

  • One Spot #0: “” – Hand’s Goods is a mixed business/pawn shop specializing in (used) general produce and refurbished knickknacks, operated (and probably owned) by Taylor Hand, an ex-thief who was caught once too often.
  • One Spot #1: “” – The Painted Man is a hole-in-the-wall tavern with a colorful, ever-changing clientele.
  • One Spot #2: “” – The Magic Shoppe offers “Tomes and Trinkets”. Nothing gets sold without a thorough investigation by the owner, Angar Bossz. In particular, it focuses on tomes, toys, and interesting illusory items.

Let’s take a closer look at each:

The Content Of One Spot #0

For a small PDF, there’s an awful lot of content delivered. In fact, there’s so much that it’s spilling over into a ribbon running around the frame of the second page.

On the front page, you get:

  • An exterior description detailing access to the store;
  • A first impression / initial encounter with the proprietor;
  • A description of the proprietor, Taylor Hand;
  • A picture of said proprietor;
  • A general description of the interior and the ‘shopping experience’, with some general impressions of the merchandise on offer;
  • The prospects for employment in the store; and
  • An image of the entranceway/exterior of the store.

On the second page, you get:

  • A map of the store;
  • An introduction the location;
  • A history/backstory for the proprietor;
  • Commodity availability, pricing, and handling instructions for the GM;
  • Ten encounters that might take place within Hand’s Goods; and
  • A set of nested tables describing 12 general encounter hooks for when those ten are used up. This is the content wrapping around the rest.
Yes, but tell me about the content

It’s all well-written, as you would expect from an author of Fitz’ experience. The front page is presented in a two-column format to give emphasis to the artwork, while the GM’s section is in three columns, making it easy to read each paragraph as a self-contained whole.

I would quite happily expect to be able to drop “Hand’s Goods” into any RPG campaign, with no prep whatsoever. Though you could spend some time generating a list of exactly what’s for sale at the current time, for the most part there will be better things to spend your time on.

But that’s only scratching the surface of what it has to offer.

A trio of campaigns?

There are two paragraphs in the GMs section that really enticed me. The first covers Taylor Hand’s relations with the local constabulary and thieves’ guild, with both of whom Hand manages to maintain a cooperative co-existence. Hand’s Goods is a place where these worlds intersect. The other local authority that gets mentioned is the local mage’s guild, who Hand keeps on-side without seemingly receiving much (beyond cash) in return.

Those two paragraphs immediately suggested three complete mini-campaign ideas to me.

  • Campaign One: The first idea was for Hand to be framed for some serious crime (or possibly even be guilty of something that goes too far), or simply need to travel to somewhere distant ‘for his health’. Rather than selling the store, he hires the PCs to run it on his behalf while he goes into hiding. This means that instead of getting to change Hand’s policies, the PCs simply have to implement them, maintaining the fragile peaceful relations Hand has established between the authorities and the local Thieves’ Guild in the face of their growing suspicion that he is their man, and also maintaining his good relations with the great and powerful of the local region.
  • Campaign Two: The 2nd idea is for the PCs to be members of the local constabulary maintaining a sometimes-friendly sometimes-adversarial relationship with Hand. Every time they think they have the goods on him, he is able to offer information on a more serious crime, or call in a favor from someone else he has helped to get the charges dropped. From time to time, he may even offer a free tip to the PCs just to keep them on-side or mend fences. This is essentially a police-procedural campaign with Hand as a recurring NPC.
  • Campaign Three: The final idea was for Hand to come into possession of something that he tries to sell to the local Mage’s Guild, as is his usual practice, but which lands him in the eye of a tempest of circumstances. Someone else wants the item for themselves, and the people it was stolen from want it back, and the whole thing is part of some bigger plot against the established authorities. This could either stand alone or be tied into idea one as the dénouement of that campaign.
The Biggest Overall Flaw

For my money (all $0 of it, since this is a free supplement), the biggest flaw in this offering is that it is just a little too compressed and compacted. It would have been better expanded to three pages in size – half a page for the map, which is just a little too small to be completely clear and self-explanatory, especially without a key. The extra space could have been used to lay out the “spillover” content in more user-friendly fashion, and to expand the Important NPCs section: a regular seller, specific contacts in the constabulary, thieves’ guild, and mage’s guild, someone powerful who owes Hand a favor or vice-versa.

But really, this is nitpicking.

One Spot #1 in review

So here’s what you get when you plunk down your $1 for a copy of One Spot #1, The Painted Man, taken directly from the RPG Now product description:

  • An introduction, location description, tavern map, and image of the tavern sign.
  • A bit of background on the Painted Man himself, his mannerisms, and a picture.
  • Descriptions for the other NPCs involved in operating the tavern, from the bubbly barmaid to the secretive owner.
  • A suggestion of what items might currently be on the menu and on tap.
  • A list (10 items) of potential facts and rumors to kick things off.
  • A list of hooks (4 tables of hints) for how one or more of the PCs may have interacted with the tavern before.
Inns, Bars, & Taverns are always useful

The first thing I have to say is that inns, bars, and taverns are ubiquitous locations within RPGs, regardless of genre. You can never have too many of them written up, ready to drop into a campaign.

Lots of them out there

This ubiquity means that there are lots of them out there. Most city sourcebooks and game settings will have details of several for you to draw on, not to mention all the ones that have appeared in game modules over the years.

The extra necessary mile

The combination means that to offer value for money, an inn, tavern, or bar has to go an extra mile, offer something the others don’t, in order to stand out from the crowd. In this case, that extra comes in the form of the backstory of the proprietor and his relationship with the secretive owner. Rife with potential interest, an entire campaign could be built around that relationship. I would actually tie that campaign into Campaign Two from Hand’s Goods above, giving me a second location and source of adventures to draw on, adding some depth and variety to the mix, and offering the potential of cross-fertilization of ideas between the two.

The Shortcomings

Unfortunately, in addition to the same overcrowding described previously, that backstory is slightly vague and contradictory – or, at the very least, missing some key details. In particular, the relationship between The Painted Man and the Owner changes midway through the second paragraph of the “Important NPCs” section. There’s nothing there that can’t be resolved with some additional backstory and editorial tweaking – mostly changing the word “owes” to the past tense and filling in the blank spot in the evolution of the relationship that this change implies (I’m being deliberately vague to avoid giving secrets to any player who reads this). At least there’s a key with the map, this time.

So there is more prep work needed before this supplement can be used. Once that prep is performed, though – and it should only be the work of a few minutes – I would be comfortable dropping this location into a campaign as a one-off.

Still more prep work is needed to flesh out the history and activities of the owner before this could be used as a recurring location, though much of that can be done in the course of prepping subsequent adventures.

And, once again, there’s material that could have been included to fill out the empty space if this were three pages instead of two: one or two regular customers, a couple of contacts, and the material that I’ve suggested the GM needs to generate, described above.

Some perspective

On the other hand, how much do you really expect for just a buck? There’s a bucketload of potential in the location waiting to be tapped, and the work that needs doing is quick and not all that difficult. It could also be argued that its absence creates a broader contact patch in which to interface this product with an existing campaign. Its value-for-money quotient remains very high, more than enough to justify the price of the product. I’ve spent more for supplements that have delivered a lot less.

One Spot #2 in review

Like One Spot #1, this product will set you back a buck. For that investment, according to the DrivethruRPG product page, you get:

  • An introduction, location description, bookstore map, and image of the sign on the window.
  • A bit of background on Angar Bossz himself, his mannerisms, and a picture.
  • Descriptions for the other NPCs involved in operating the store, including his assistant Radu and the store cat Iago.
  • A suggestion of how Angar operates, what he can offer, and how he deals with customers.
  • A list (16 items) of strange books and items Angar may have in stock.
  • A list of hooks (4 tables of hints) for how one or more of the PCs may have interacted with the bookstore before.
Magic Shops in general

The very concept of a Magic Shop is less universal than the ubiquitous inn or second-hand goods shop. I rarely employ them in my campaigns, because the economics don’t make a lot of sense to me:

  • Sales will be infrequent, though they will generate a lot of revenue when they happen. The number of customers who can afford multi-thousand-plus gold-piece items will be few.
  • Costs are high if offering new items for sale. They will still be high, if not quite so ruinous, if the store deals predominantly in used merchandise.
  • That means that the owner will have unrealistically-vast sums tied up in inventory.
  • Shoplifting of even a single item can wipe out a decade’s profits.
  • To buy items, the owner will need to have vast sums of ready cash on the premises. A minimum of 100,000gp in D&D terms.
  • That demands a high level of security, and that’s a heavy overhead on top of the operating costs.
  • Players expect no hidden surprises in their purchases. That takes away one of the GMs adventure-generation options.

There aren’t many such establishments on offer, though the occasional supplement will include one. The key to how well such a location works for me is how well it answers these problems. I’ve never seen one that does the job satisfactorily without capping the value of the items on sale to one or two thousand GPs – and 300% markup over list price.

Bad Associations

On top of all that, I have a number of bad associations from past gaming with such locations. In particular, they seem to be a favorite of munchkins and Monty Haul campaigns. I once saw a game in which a magic shop was just inside the door into the Dungeon, so that loot brought out could be exchanged without the bother of hauling it back to town – because the GM had found that to be inconvenient when he was a player.

So I openly admit that I’m prejudiced against Magic Shops in general. It’s not like Harry Potter, where magic items are relatively cheap, commonplace, and relatively low-powered; in most FRP campaigns, they are very expensive, and that doesn’t make sense unless they are also rare, and both of those argue against the practicality of the Magic Shop as a concept.

How does “Angar’s” stand up?

Not well, but no worse than most other examples of this type of location, in that not one of these concerns is addressed. In fact, just the opposite – the proprietor prefers to keep his purchases and sales activities as separate transactions rather than bartering exchanges of goods. And he looks far too much like a middle-aged Harry Potter in the illustration – the whole thing screams “cutesy”. He’s also far too helpful/useful to the PCs.

On top of that, it suffers from the same problems as the other offerings in the series. In particular, the map is so small that the key is barely legible, and it would be difficult to design a layout with worse security.

None of that matters if you’re GMing for children, and I would happily use the location as written if that were the case.

Salvaging Something

That’s not to say there’s nothing worthwhile. With a little tweaking, the proprietor could become one of those NPCs around which an entire campaign could be framed, someone who starts out as the PCs friend, becomes their employer in order to achieve his own goals, and then emerges as the ultimate villain of the campaign.

If you start with the premise that the layout is so poor for securing the goods that it’s an open invitation to shoplifters, and that this is by deliberate intent on the part of the owner, you could generate a quite interesting adventure from the raw materials here. Especially if this is happening despite the uneconomic nature of the business in general. Ladies and Gentlemen, start your conspiracy theories now.

The real treasure here is the list of current wares. These are interesting and creative, though I would want to adjust some of them before turning them loose in my campaign, in particular the Mirrored Box of Davos. The ability to hide “anything” from the view of “anyone” except the owner of the Box seems way too powerful to me, taken at face value. But most are far better than this example, and these are worth the $1 price-tag on their own. Anything else of value that can be extracted from the supplement is gravy.

The extra necessary mile

The shame of it all is that this offering has so much missed potential. Make the proprietor more sinister and more learned when it comes to illusions, without much change to the superficial personality. Replace the image, which is inappropriate to most fantasy campaigns. Give him some source of funds that he can exploit to keep the shop in operation despite turning a constant loss on every transaction, justifying that with his darker purpose (conquest?) using the Codex he seeks. Apply some magic to deal with the security problems and make the location more wondrous, such as shelves which are all-but invisible except directly in front of a customer, so that the proprietor can see any attempt to steal from him. Employ another clever deception to protect his liquidity – maybe that’s what the cat really is? And enlarge the map. Those sex steps are all that would have been needed to make this an absolutely killer product.

The conceptual problems I raised are not insuperable, but the solutions demand a little more creativity than usual, and this is one occasion when the extra necessary mile is a journey on which the supplement does not set forth.

Some perspective

Having criticized it mercilessly, I have to reiterate that I think this supplement worth the asking price even though it fails to achieve the stated objective of the One Spot series, of being locations ready to drop into any campaign.

And you might not have the same obsession with plausibility that I do, or the same negative associations; you might have no conceptual problems with dropping a magic shop into your campaign.

An Alternative Application

Of course, all these problems go away if we’re talking about an industrial civilization. Recasting the Magic Shop into a high-tech context solves all the problems. You can even still have Angar searching for a spiritual relic, if you want, minimizing the necessary changes. The overly-helpful and altogether too cute graphic remain, of course; but the major problems will have been solved.

Which shows, of course, that there’s nothing wrong with the execution, just a problem with the underlying assumptions.

Overall verdict

So, to sum up:

Content Quality

This varies from average to excellent, and there’s enough of that excellence in each of the offerings to justify the price tag.

Production Quality

I’d really like to have seen these done in a three-page layout, with a little extra content and a little more white space, and most especially, slightly bigger and more legible maps.

Conclusions

If I didn’t know about the excellence of the ideas in the “current wares” I probably wouldn’t have bought the second of these supplements if I came across it while browsing, but would have taken a chance on “The Painted Man”. But the real prize, and the standard-setter for the series, is the free product, “Hand’s Goods”. With that as the baseline, I would have been happily minded to buy the others in the series, and slightly disappointed that the others didn’t quite achieve the same luminescent standard. As a set, they are nevertheless more than good enough to convince me to await eagerly the next in the series, whatever – or should that be “wherever”? – it might be.

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52+ Miniature Miracles: Taking Battlemaps the extra mile


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Some Background

There was a time when I never used miniatures in my gaming. This was for three reasons: they were expensive, they needed painting (which I wasn’t very good at doing), and I didn’t have any, anyway. Then a friend bequeathed me his Cardboard Heroes collection (Paper miniatures from Steve Jackson Games) and little by little, they began to seep into my games. Genre was largely irrelevant – I would quite happily use a character to represent an Orc one week and a supervillain the next.

Most of these encounters took place on a plain white hexgrid, or no hexgrid at all. Measurements were mostly by eye, though a plastic ruler might be used to determine whether a character’s line of sight was blocked. This gave the advantage of having no fixed scale, or – more to the point – of being able to use whatever scale was most useful for the encounter. Some printed map-pages got added to the mix, starting with some that I had from Marvel Superheroes modules, and supplemented by some from The Lord Of The Rings. The whole thing was very make-do, but it worked.

Over time, I developed a repertoire of techniques for extending the functionality of the collection. I’ll come back to that point in a moment.

Then collectable miniatures games came along. I never had the money to invest in them, but one of my friends did, and he started wheeling out his collection when a miniature was called for. Unless they were facing something unusual for which he knew he had both the figure and where it was in his collection, the PCs were represented by chosen figures from his collection while we continued to use the Cardboard Heroes for the villains and monsters.

With the figures came tiled battlemaps.

In the early days, there weren’t very many of these, and almost universally, they were fantasy/D&D oriented. This is not a problem when that’s what you’re playing, but is a little more problematic when you’re doing superheroes on a space station or a mad scientist’s lair. But we found that a number of the techniques that I had developed, mentioned a couple of paragraphs ago, worked a treat to dress up and extend the usefulness of the battlemaps.

These were followed by dungeon tiles. Another friend amassed a substantial collection of these which he loaned to the cause of a better game, and they have become the mainstay of the miniature representation of my game worlds – but not always used in the most obvious manner, and still supplemented by the old techniques.

In this article, I’m going to share some of those techniques with you, and vastly increase the scope of what you can depict on your battlemaps. Some of these may be obvious, some may never have occurred to you. They come in two categories: Found Objects, and Made Objects.

Found Objects

I’m always on the lookout for objects which have a particular shape that can be used to represent something on the battlemap. I haven’t used all the following, but here are some of the most useful ideas:

1. Paperbacks & CD/DVD cases

These are a great way to add elevation to your map. Paperbacks are often uniform in dimensions other than thickness (though this is less true now than it used to be) and cut flush to the edges. CD & DVD cases are more uniform in size in all dimensions but aren’t completely flush. Place some tiles on the top and – if necessary – stand some more up, leaning against the sides. Use a little Blu-Tack to anchor them if you feel that necessary. Using a couple of small tiles stacked to a height half that of the ‘shelf’ constructed in this manner makes a great 3-D staircase. See also “cardboard steps” under ‘made objects’, below.

2. Tissue Boxes (unopened)

When you need a little more height, these can be useful, used in the same way as paperbacks and CD/DVD cases.

3. Tissue Boxes (opened)

I’ve only used this trick once. I built up the battlemap so that the whole thing was flush in height with the opened tissue box, and made sure to put a tile over the opening. When a PC stepped on the centre of the box, I removed the tile and pushed the miniature half-way through the opening as a dramatic representation of the quicksand he had stepped into. It would also work great for a pit, pushing the mini all the way into the box.

4. Tissues

Thick clouds or spiderwebs can be simulated very effectively simply by dropping a tissue over the top of the miniature; the softness of the tissue means that it will roughly conform to the shape of the victim. You can even poke an arm out through the tissue paper for additional realism and shock value. But there are even more effective techniques in the “made objects” section that I would use in preference – unless I wanted a particularly thick effect, in which case I would use cotton wool if I had it – and tissue if I didn’t.

5. Electric Motor innards

I pulled the rotor out of the electric motor from an old toy. Including the shaft, it’s about an inch-and-a-half long. I actually grabbed it because the shape reminded me of a sci-fi spacecraft. I’ve used this to represent everything from a weird gadget to a diesel generator to a nuclear bomb in games.

6. Cheap Takeaway Containers

These often have slightly oblique sides. Turning one upside down and placing tiles against the sides looks great. Alternatively, cover one in a brown gift-wrap or aluminium (“aluminum”) foil to represent a bunker or a large sci-fi machine, respectively.

7. Salad Bowl and/or Colander

Domed structures are common in sci-fi. Taking a large salad bowl and inverting it gives you something that’s close enough to a 3D representation of one. An inverted colander gives a slightly smaller example. You can also use a large salad bowl, right-way-up, to represent a crater, especially if you sticky-tape some heavy cloth around the edges to form a skirt (stuff the hollow with old scrunched-up newspaper or something). Build up the region around the outside in height using the paperback trick so that the bottom of the crater is below “ground level”. Ten minutes work produces unbelievable realism.

8. Strainer or small Tupperware/plastic bowl

The fact that these are translucent or see-through and come in various shapes and sizes makes them great for representing force-fields when inverted. They can also be used as sci-fi “set dressing”, missile silo hatches, or petrochemical tank farms in a refinery.

9. Measuring Cups

These are cheap, come in various sizes, and usually will sit flat on the battlemap when inverted. They are just the right size to represent various small vehicles, especially in a sci-fi game environment. Alternatively, use them right-way-up and you can fit the minis representing the passengers actually inside the container.

10. Spray Cans

Tall cylindrical shapes. Great for sci-fi furniture, missiles, and rockets. Less often useful but still occasionally warranted as stone columns.

11. Soft Drink Cans

Not quite as tall, but about the same size in diameter, you can alternate with spray cans to form crenellations. Build up the area behind them using DVD box sets standing on their sides or a tissue paper box on paperbacks and you can have minis stand “behind” the crenellations and look down on the battlemap.

12. Spray Can Lids

The lids on their own, inverted, are useful for sci-fi furniture. And you can stack one on top of a mini to represent a character flying overhead.

13. Gummy Snakes

When you really want a snake to look like a snake, use a snake! Bonus: you can eat them afterwards.

14. Jelly Babies

When you have to depict fourty cryogenic sleeper capsules, jelly babies work a treat. Bonus: a snack at the end of play!

15. Blu-Tack and string/colored cotton/wool

A few small blobs of Blu-Tack can be used to affix string or died cotton to the battlemap, permitting the outlining of various strange shapes and persistent effects like electric-eye beams. Throw in some slight 3D work on the “walls” using the techniques suggested above and you can set up a high-tech laser security system. By holding down one end and picking up the other, you can also simulate a laser firing at random. It adds a whole new layer of verisimilitude far in excess of the effort involved.

Taking this a step higher, string can be used to depict electrical cables, fire hoses, and the like. If you’re careful (to make sure that it can be cleaned off afterwards), you can even attach one end to the hand of the miniature “character” wielding the hose.

16. Tiddlywinks counters

Place these on the map board in random positions before the players arrive to simulate land mines. Take a couple of photos from various positions, then remove the counters. When the PCs step in a location that the photo shows used to have a tiddlywinks counter, the mine goes off – put the counter back on the board. Faster, easier, and far more graphic than anything else you can do.

17. Glass Ball

A few years ago, I bought a glass sculpture at a street fair. It has colored glass “streaks” through it but is mostly transparent. I’ve used it several times as a game prop for a crystal ball, and on one occasion used it to represent a dimensional portal on the battlemap.

18. Unusual small electric torches

I have a couple of these. One has a triangular shape, another has rounded edges, a third is all soft curves. They all make great sci-fi vehicles and stage dressings.

19. Abstract-print wallpaper, kitchen-counter surfaces, and gift paper

There are times when I want to depict a strange surface that the battlemaps don’t provide. A sheet of one of these with an appropriate pattern/color/texture can work a treat. Black for deep space; Blue for the ocean; and so on.

20. Adult workman’s boots

Put these on the battlemap to represent the feet of a really BIG opponent and watch your players’ eyes pop. Heck, one is probably enough! But it also works to represent the full “miniature” of a creature when you don’t have one that’s the right size, or the foot of a giant statue. Blue-tack a cutout illustration to each side for additional verisimilitude. If Ragnerok had ever been played out in my superhero campaign rather than occurring between campaigns set in the same game world, I would have used this technique, or something like it, to depict Fenris.

21. Children’s gumshoes

For something in-between a large mini and the BIG boot, use a child’s boot.

22. Artist’s Dummies

A further step down in size are poseable artist’s dummies. I have a pair about 10″ tall. These can be expensive, but I got them for their intended purpose – this function is an added bonus.

23. A long purple or black cotton sock

I’ll use something to wedge open the mouth of the sock without obstructing that mouth – a frame made from paddle pop sticks broken in half and held with Blu-Tack and sticky-tape will do, but I tend to use an egg-ring. The result is a purple worm big enough to actually swallow minis whole and that looks a bit wormlike. Don’t use ankle-high socks for the purpose, the proportions are wrong.

24. Plastic Toys – Dinosaurs

It doesn’t matter too much if these are to the right scale or not. They are close enough, and dinosaurs came in all sorts of sizes anyway.

25. Plastic Toys – Military Vehicles

On the other hand, there are a number of tanks and jeeps that are fairly close to the right scale out there, and quite cheap.

26. Toy Aircraft

It’s so much easier to describe an aerobatic maneuver using one of these as a model. Scale doesn’t matter – the ones I have are about 5 inches across and from WWI.

27. Sculptures & Unusual Cigarette Lighters

I have a small sculpture of a Horus head (about an inch-and-a-quarter tall). I have a sculpted cigarette lighter in the shape of a dragon about 8 inches long. The first screams “Ancient Egypt” as soon as you plonk it down. The second screams “trouble”. I’m always on the lookout for this sort of thing.

28. Blister Packs of Batteries

When you put these down on the battlemap, you get a row of cylindrical shapes about 8′ long (in scale), perfect for LPG gas tanks, modern missiles, etc. Vary the battery size to alter the dimensions of the “tanks”. Bonus: you get to use the batteries afterwards.

29. Large Screwdrivers

Something else that I’ve used to represent alien tech are screwdrivers. I’ve also sticky-taped a matchbox to the blade end to form something rather like a largish cannon. Or tell the players to ignore the shaft and blade and just use the handles to represent bigger storage tanks.

30. Boardgame Boards

There are times when a boardgame board makes the perfect replacement for a battlemap because of what is depicted on it. I’d love to get my hands on a couple of Robo Rally tiles for factories, for example.

31. Boardgame figures/counters

The more modern the game, the more likely it is that these will have a shape that can be used as a miniature. But I have a game from about 15 years ago (I forget the name) that used miniature tanks and army vehicles in different colors, only about 1/6 of an inch long, that work wonderfully as a rat horde, or the little bots from Star Wars. Whenever you find a boardgame at a Garage Sale, it’s always worth a look, and asking yourself “what could I use these for?”.

32. Large Post-it notes

This doesn’t always work perfectly. Covering the parts of the battlemap that the PCs can’t see preserves the mystery of what you’ve emplaced there. If one character has better vision than the rest, you can lift the non-adhesive flap to give them a sneak preview while concealing the contents from other players with a hand, clipboard, or whatever.

33. Toothpicks & Blu-Tack

These make great spears. The Blu-Tack lets them stand upright at an angle for added realism.

34. Aluminium Foil (“Aluminum Foil” in the US)

You can make all sorts of things out of this just by folding it, and alter the appearance of a lot of things by covering them with it. Take advantage of these facts. Heck, scrunching it up into boulders is worth thinking about and about as easy as it gets.

35. Cling-wrap

Some GMs may be reluctant to risk damaging their Dungeon Tiles and battlemaps with Blu-Tack. If you’re one of them (and I am, because I don’t own most of them), cover them in a little cling-wrap first.

36. Plastic Fan

I have a plastic battery-operated 3-bladed fan. It stands about 8″ tall. Which makes it close to the perfect scale for a ship’s propeller.

37. DVD Towers

These can serve as anything tall and cylindrical, from a lighthouse to a nuclear power-plant cooling tower. They are often stackable for extra height. Gift-wrap them with the pattern on the inside if you want opaque white.

Made Objects

Most of the found objects are usable “as-is” with little or no prep-time. But there are a few objects that require more prep.

38. Conical Jelly Containers

Over the last decade or so, Asian jellies have become commonly available in many supermarkets here in Australia. Some varieties come in lovely conical containers, each holding one mouthful or so of jelly. Wash them out afterwards and spray-paint them to create sci-fi window dressing, space capsules, or even generators. I once visited the Snowy Mountains Hydroelectric Plant (a school excursion) and the visible part of the generators were cones about this size rising from the floor).

39. Matchbox

Another method I’ve used to represent a dimensional portal is a matchbox with holes cut in front and back, and the whole thing wrapped in Aluminium (“Aluminum”) Foil.

40. Old Circuit Boards

These frequently have all sorts of wonderful electronic components on one side to use as “furniture”. The problem is that the other side, which has wonderful high-tech “patterns” on it, also has protruding wires that can be quite sharp and can damage tiles or battlemaps. Solve this by cutting a 1/4″ (1 cm) sheet of foam to the right dimensions and placing it underneath the board. You will also want to remove any wires or cables leading away from the circuit board.

If all you want is the “high-tech surface” of the underside of the device, use a soldering iron and pair of pliers to remove all the electronic components from the other side.

PS: You can get a great “fusion reactor” by finding an old-style TV and extracting the yoke (goes around the picture tube). Leave the wires attached to the yoke (cut them from the far end if you have to). Then stick the thing face-down on the game-board, with the “cables” running off the game-board.

41. Cardboard Steps

It can be useful to cut up an old, heavy-cardboard box into 1″ x 1″ and 1″ x 2″ shapes. You can then stack several of these, holding them together with sticky-tape, to create steps of any required thickness, or arena-like seating, or whatever.

42. Gift-wrap Excerpts

Some gift-wrap has sparkles and fireworks. Other gift-wrap has long streamers or ribbons. Cut these out and use them to represent special effects on the Battlemap.

43. Paper Clouds

I’ve lost count of the number of ways I’ve used these. Torn by hand in a pinch, they have since served as everything from a small pond to a petrol spill to radioactive cloud to trees (actually, that was what they were originally created for). They are just a more-or-less round shape, with somewhat-puffy protrusions, like a thought-bubble, in various sizes. Remember, meaning is whatever you assign. Paper and scissors does the job.

44. Plain-Lace Clouds

But an even better solution for some effects is to get some plain, unpatterned white lace, and cut it into rough circles of various sizes, and then given the “bulbous edges”. That’s because this stuff is semi-see-through, so you can drop it over the minis and still see what’s beneath.

Bonus: they also work very well for swarms of insects!

45. Patterned-Lace Spiderwebs

A similar approach using patterned-lace gives really incredible-looking giant-spider webs. WAY better than simply using tissues.

46. Patterned-Lace Trees

Take some of your spiderwebs and spray-paint them, or soak them in food coloring, or coat them in acrylic paint and water – not so thick that they become too stiff and have the stuff flake off onto the battlemaps. Heck, even washing them in warm water which contains the innards of water-soluble texta will do. The objective is to stain them green – you can then use them to depict trees.

47. Patterned-Lace Ice

Similarly, do some in a sky blue and you’ll get “cracked ice”. Maybe hand-coloring a patch in the centre to represent a hole in the ice.

48. Patterned-Lace Pits

The same technique applied to black lace gives very realistic Pits. Instead of putting the pit under the character, drop it over the top of the mini to show that he’s “in the pit”. You’ll have to explain it to your PCs the first time; after that, the simple act of dropping a “pit” onto someone should tell its own story.

49. Paper Dragons

On one occasion, I needed a large Chinese dragon. So I drew a crude one (outline only) that I could drop on the map-board and cut it out. If I were doing it again, I would then slice it across the flat “mini” at major joints in the neck, tail, & wings so that I could articulate it. I’d also use some cardboard instead of paper and try to find some suitable texture or gift-wrap to glue on it for more realism. Add some Blu-Tack holding a bead or two for the eyes, and you’d have something that could be reused time and time again. Store it in a sandwich bag to keep the pieces in one place.

I’ve also made paper rivers, jungle vines, rope bridges, And hovercraft.

50. Lightning effect, various lengths

Get a sheet of paper and lightly draw some sort of rough lightning bolt from one corner to another, no more than about 1/4″ thick. Trace the outline in a light blue texta. Cut it out, and then cut to various lengths. Do the same thing on the leftover paper until you can’t get any more from it. You should easily be able to make 100′ worth of lightning bolt in fifteen minutes.

The advantage of this is that it preserves the visibility of whatever the details are on the underlying battlemap.

Do the same thing with different colored texta for variations and other special effects. Use brightly-colored cardboard for still more variations. Fluero Yellow works especially well, but you will need a red texta not a blue one.

51. Fireballs from Gift-wrap & Red- or Yellow- tinted translucent contact plastic

Some gift-wrap has nice abstract patterns on it, but it’s rarely the right color for a fireball. So cover it in tinted contact plastic. Then cut out circles of different diameters, using salad bowls, plates, etc to get a round shape.

As a variation: Sandwich some patterned white lace between two layers of tinted contact plastic, glue side inward.

Five-to-ten minutes work gets you some custom fireballs that you can simply drape over “ground zero” without removing the miniatures.

52. Pipes from gummy snake and plastic straw segments

Plastic straws have been used to simulate pipes in models for decades. This often involves a lot of careful cutting and gluing to create bends in the “pipes”. You can do the same thing far more quickly by stretching an inch-long segment of a gummy snake until it’s just thin enough to fit into the end of the straw segments. Hint – stretch the snake before cutting the segments, it’s a lot easier.

In the old days, I might have used the runners from Airfix model kits – used to hold cast components together and left over after assembly of a model – for the same purpose. Easy to work with, but they still would have needed gluing. The only advantage would have been relative solidity and rigidity.

Conclusion

A lot of everyday objects have simple “primitive” shapes that can be used to represent all sorts of things on the game board. Heck, I once used a wall thermometer to represent the business end of a particle accelerator. When you have to represent a location or environment that doesn’t quite fit anything you’ve got in the form of a battlemap, or when elevation is going to be especially important, think outside the box – and then look around you. You might be surprised at what you find.

What is Blu-Tack?
At the last possible minute, I realized that Blu-Tack might be named something else in some countries. While a brand name, it has been generalized to a whole range of similar silly-putty type temporary adhesives here in Australia. So I thought I had better throw in an explanatory note, just in case. And if there’s anything else you don’t recognize, feel free to ask me.

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Location, Location, Location: Nyngan


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Nyngan (pronounced Ning-gan) is the small town in central New South Wales where I grew up, so I know it well – at least as it used to be. It’s so remote that I haven’t been back there for years. In the following passages, I hope to bring it to life for my readers, then adapt the general description to various game settings.

The Real Nyngan

To begin with, let me acquant you with the real settlement, the township of Nyngan.

The Nyngan Environment

Technically, Nyngan stands astride the desert line, but compared to most towns in central and western New South Wales, they are very lucky in that they have ample water supplies most of the time, though minor water restrictions are permanently in place, and water rates are very expensive. Wooded stands are common, but the general natural ecology is scrubland.
Nyngan Collage

Nyngan in Summer

The heat sucks the breath from your body, and it is all the casual visitor can do to pant and think of something cool and moist. It’s so hot that the bitumen softens to become sticky tar with gravel in it, The earth seems flat as a pancake, and the roads are so straight that they can be hypnotic. It rarely rains, droughts alternating with rare flood years, when sheets of water fifty or more kilometers across sweep over the landscape. In dry years, clouds of thick red dust that sticks to everything like glue occasionally choke the town. When it rains, this turns into a cloying, clinging mud that is more than enough to unbalance tires. Flies are common irritations, most are small in size but occasionally you will find one a centimeter or more in length. The record temperature is 47°C (116.6°F) in the shade, the average is 33°C (91.4°F).

Nyngan in Winter

There are colder places, but there are few that feel so chilly when the southerlies blow. They seem to ferret out any opening and insinuate themselves between coverings and flesh. At night, the temperature plunges, and thick frosts are not uncommon. Fog is infrequent but not unheard-of. The lowest temperature on record is -4°C (24.8°F), but the mid-winter average is about 8°C higher than this (39.2°F).

The Dwellings

Most houses stand alone on sizable blocks of land with front and/or back yards fully large enough for a second or even third dwelling. These tend to be individually fenced. When water restrictions do not force them to burn a withered yellow-brown, they are a vibrant green in summer, a little less so in winter. Burrs and weeds are common. Many have their own water-catchment tanks attached to supplement the town supply. Few homes these days don’t have air conditioning, though a few still make do with electric fans. Many of the homes now have solar panels on the roofs.

Houses all have screen doors in addition to more typical wooden doors. Homes are often unlocked when someone is at home, or even when nipping down to the shops to buy something; crime is relatively low. Many would fit the description, “spartan but homey and comfortable”, but over the years domestic improvements have accumulated. All told, the urban population numbers roughly a couple of thousand people.

Most of the streets are wide; some have gravel shoulders, others are bitumen all the way to the curbs. Trees are commonplace, and their shade provides welcome relief from the summer sun or the winter wind.

The Dangers Of Nyngan

In the surrounding lands, occasional wild dogs and wild boars may be encountered, but the most prevalent dangerous wildlife is the Kangaroo, predominantly the Eastern Grey and occasional Red. These can weigh as much as 90kg (200lb), stand 2m (6’6″) tall, and can leap more than a meter in the air to clear fences. They have sharp claws on feet and paws, and the former especially can be dangerous when the wild animals are confronted.

Black and Brown snakes are uncommon but can occasionally be found in gardens and yards even within the town boundaries. These are highly venomous. The browns are rarer, but often more aggressive, or maybe it’s the other way around – I honestly don’t recall.

Redback Spiders are a menace that children are taught to beware of from an early age; they like to crawl into cool and sheltered locations, under homes and into garages and tool sheds, and will often make a home in any opened can left lying around for long enough, or the undersides of toys.

Nyngan At Night

The stars are breathtaking, especially just outside of town, removed from the glare of streetlamps. Even within the town boundaries, the view is hundreds of times sharper and more densely-populated than the best city view. In summer, a chorus of insects fills the air. Mosquitoes are an ever-present nuisance in the hot seasons, especially at night; the locals avoid standing directly beneath streetlamps and overhead lighting in the open to avoid being (metaphorically) eaten alive.

The locals generally hate daylight savings; it frequently does not grow dark in midsummer until 8:30 or 9:00 PM. The gap between closing time for the businesses (generally 5:30) and darkness is when the town is at its social height (barring weekends). There’s really no excuse under such conditions for parents not spending time with their kids, though it still happens. Casually visiting friends and relatives is frequent during these hours, whether it be for 5-10 minutes or half-an-hour.

The Shopping Centre

Entering the settlement from the direction of the city, almost 600 kilometers away, one is almost immediately within the commercial district. A short distance into town, the major highway turns left to cross the railroad line, though the road itself continues straight ahead; this involves climbing an artificial hill to the not-at-all-level crossing. A system of flashing lights and bells warns when a train is approaching the intersection, but is rarely needed these days; passenger trains now stop at Dubbo, the nearest city, 170 kilometers away (this trip supposedly takes less than 2 hours but most drivers would consider that a good time, 2½-3 is more common, especially if part or all the travel is in twilight or at night). From Dubbo, you take a coach to Nyngan. However, the line remains open to freight trains.

Twilight travel requires both driver and passengers to be constantly alert for wildlife, especially Kangaroos, on the shoulders of the highway; hitting one at speed can write off a car or severely damage it, to say nothing of the potential consequences to vehicle occupants.

Some commercial properties lie along the original route, but it is only across the railroad crossing that the real town centre is reached, as the highway turns right and heads west. Secondary operations exist elsewhere in town, but 95% or more of retail operations occur along this stretch of road, or one of the side-streets branching off to the south, almost all within a block of the main street. Nyngan has the usual shops, but is oversupplied with taverns, pubs, and clubs for a town of its size. It is probably undersupplied with cafes, cake shops, and takeaways relative to most similar towns.

The people

In many ways, Nyngan is the same as any small town anywhere in the world – people are friendly, if not immediately embracing of strangers. The locals generally divide into two groups: those who live on farms and sheep/cattle stations (“ranches” for the American readers) outside of town, and the urban population. The latter like to think of themselves as the reason the town exists, but the reality is that everything local is infrastructure to support those who support the non-urban population.

A vital secondary function relates to the towns positioning on the major connection between Sydney and the capital of South Australia, Adelaide.

As well as sheep and cattle, Nyngan has a large and growing farming industry. Wheat, barley, oats, and canola, are the most commonly crops. This is a very costly and unrewarding occupation; if the rain does not come at the right time, farmers are lucky to cover their expenses, but the odd good year is enough to keep them trying again and again. Another new industry that has emerged in recent years in the area is mining. Nyngan currently mines copper ore only, but there has been minable gold discovered in the region too. For the immediate future, there are no plans to exploit this last development, but eventually it will almost certainly happen.

If this gives the impression that the residents are all optimists, it’s not far from the truth, though they can complain as much as anyone anywhere else. Most of the residents love a gamble but few risk to excess. “You have to be in it to win it” is very much a Nyngan philosophy that extends to all aspects of the lives of the population. Another characteristic is a steady, unwavering determination; no matter how bad the times are, economically, for the region, there is always a new prospect on the horizon that will keep the settlement ticking over.

Most Nynganites are very keen on sport. Rugby League is the most popular and men travel up to 200km each way to compete in both Rugby League and Rugby Union competitions. A local touch football competition is also very popular with high participation and strong local attendance. In summer there is a local cricket competition and both lawn bowls and golf are played all year round. Every few years, Tennis rises in local popularity.

Amongst families, little athletics is very popular and parents think nothing of taking their children long distances each weekend to compete with the “neighboring” towns.

Of course, given the summer temperatures, swimming is a popular recreation. This is not usually organized competition; its more about getting cool and wet, splashing around and having fun. Hundreds have been known to pack the municipal swimming pool at a time.

Leaving Town

Small roads leave town to the north and south. The main routes out of town are to the east (already discussed) and to the west. Taking that westerly course, you cross a bridge across a large, reasonably slow-moving river, the Bogan. Beyond this bridge is another park which provides access to the river for swimming and boating. This has only one advantage over the swimming pool: it’s free to use. Once or twice a year, major events draw hundreds of people to the site.

Facilities

The town has a library, a hospital, 3 churches, and an Olympic swimming pool. There’s a primary school, a catholic school, a high school, and a kindergarten. There are a few parks, a couple of ovals, and an aerodrome suitable for light aircraft. In recent times it has been announced that a huge solar energy farm will be constructed in the region that is expected to generate a lot of employment.

I still have aunts and cousins living in Nyngan, and other relatives who visit regularly so I had some of them review the above for accuracy and comment. I need to thank them for their contributions before I go any further.

The Nyngan Of The Past – a personal impression

Discounting recent developments such as the farming and mining, there’s been very little change in Nyngan over the years. A major event a decade seems to be the average; the pace of life is slower there. Beyond that, only minor differences divide one year from the next.

In part, that’s due to the dependence on the rural economy; if there’s a bad year, you cope and wait for the next in hopes of improvement. In part, it’s due to the isolation, which also insulates against whatever is going on in the wider world. Both of these elements attract a certain kind of personality, those who might list perseverance in the face of adversity in a profile – if they went in for such nonsense, which they don’t.

Roughly twenty years ago (give or take a couple of years), the town was at it’s lowest ebb. That was when the town was at the heart of the worst flood on record. Desperate attempts by the locals to reinforce levee banks failed, and the entire town had to be evacuated by helicopter. The rural economy had been failing for some time, and for many, this was the last straw. I was told that up to 1/3 of those evacuated did not return, and did not intend to return; this was an opportunity for a fresh start elsewhere. Many of my relatives felt the town was dying. And yet, the lure of the easygoing people and the cheap real estate and the homesickness factor has led many of those who departed to creep back in ones, twos, and threes, over the years, and the population level of the settlement is now almost exactly what it was in my youth.

25-30 years ago, passenger rail services to the town were stopped, producing the rail-bus arrangement described earlier, except for increasingly rare exceptions each day that eventually stopped completely. A few years earlier, the public high and primary schools had separated and the primary moved into a new complex. That happened the year before I entered Secondary Education (school years 7-12).

Fourty-five years ago, more-or-less, the swimming pool and municipal library opened, at close to the same time. I think the swimming pool came first by a couple of years, but couldn’t swear to it. I was just starting school.

That’s the pace of events and changes in Nyngan: slow to develop, slow to change, one day much like the next, and even more like the same day the year before. The town preserves, conserves, and encapsulates some of the best attributes of society in a more golden era. Think 1950s, but without the 1950s attitudes. There’s an unhurried pace to life, and the sense that there’s always time to pause and say hello to the people you know and have a chat about whatever. It’s a product of gritty determination, a hardy optimism that rarely if ever relents, a hostile climate, and a relative isolation that spares it from the volatility, the highs and lows, of much of the modern world. They have just enough contact to avoid becoming insular, to remain relatively cosmopolitan in outlook, and avoid living up the cliché of the country hick.

The Isolation Of Nyngan

It’s worth mentioning a trend that has continued for decades: In olden days, when cars and roads weren’t very good, there used to be a lot of country towns half-a-day’s travel or less from each other. As transport and infrastructure improved, people didn’t need to stop as frequently and undertook longer journeys. Travel to Sydney by car used to be a ten-hour all-day trip, departing early in the morning and arriving late in the afternoon; that has now been cut to six or seven hours.

The difference has been small but has accumulated, and many small country towns have withered and all but died. The same is true of many of the smaller settlements that surround Nyngan. This has led to the contact between the town and the outside world being diminished except for when special occasions prompt one or more locals to make the trip to “the big city”.

Prices In Nyngan

Every commodity seems to cost more in Nyngan, largely because it has to be transported to the town. Fuel prices are very high, and enough to invoke slightly bitter laughter when urban dwellers complain about the price of fuel going up; whatever the landmark valuation is, it was old news in Nyngan more than a decade earlier.

Balanced against that is the price of land and housing, which is a fraction of the city or suburban pricing. What would be a million-dollar home and block of land in a cheap Sydney suburb is a tenth that price in Nyngan. At one point I calculated that it would have cost only $5-$10 a week more than I was paying in rent and utilities to buy a house in Nyngan and commute by air to the city and back every weekend.

A lot of services that more populous centers take for granted just don’t exist. I remember it causing a minor sensation when Nyngan first got a taxi. At times there have been a couple, at other times none; whether or not there’s one at the moment, I don’t know. There’s no internal public transport aside from school busses, which collect kids from the surrounding country properties each morning and deliver them back at the end of the school day. You either provide your own transport, or you walk. The town is small enough that you can do that.

Nyngan in Fantasy

Nyngan can be used as a model for any isolated community without much change. The architecture would be different, and perhaps the wildlife that occasionally reminds the citizens that they are surrounded by nature. The climate would need to change to match the surrounding environment. The primary requirement would be to explain the isolation. This can be done with geographic distance, or with geographic difficulties. It’s not a place of high adventure, but it is the sort of place that might lie along an invasion route, or to which a dark evil might escape to lick its wounds in hidden shadows after a defeat. You could change the threat of floods to the threat of a volcanic eruption and never miss a beat.

Nyngan in SF

The same need has to be accommodated to use the town in an SF setting. It could be transplanted to become a small lunar colony, established to extract minerals from the lunar subsurface, an industry that has given way to hydroponic farming, for example.

You could easily scale up the township to provide the model for an agricultural world within some galactic federation or empire. The trick is to expand and analogize the elements that make up the town to the same scale – the major travel route passing through, the relative isolation, and so on.

Nyngan in Pulp & Horror

Nyngan is not the sort of town to feature in either of these genres unless the isolation was somehow unusual, the people trapped in a twilight zone where change hasn’t kept pace with its surroundings, and the citizens live in ignorance of the lurking horror or alien invaders amongst them. The township is even more isolated than the community that is the initial point of contact in “The Puppet Masters” by Robert A. Heinlein, so much so that there would be no need to disguise the spaceship of the Titans as a schoolboy publicity stunt; there wouldn’t be any media attention to begin with. It’s probably the least-likely place in the world from which to launch a bid for global domination – and that in itself makes it an attractive setting for the headquarters of such a bid to a GM.

Of course, it would only take a small exaggeration of the ‘friendliness’ of the locals and their willingness to go the extra mile to speed a stranded traveler on their way to make the township assume subtle but really creepy overtones.

Nyngan in a Western

If there is one genre for which Nyngan seems naturally suited, it’s that of the Western. Some municipal elements might need to be downgraded, and the technology regressed, but the town itself barely needs to change.

Nyngan in Cyberpunk

The internet reached Nyngan a long time ago, but even there it is relatively isolated by slow speeds, something that is only slowly changing. The latest generation of internet-enabled Smartphones have probably had a very big impact – something I hadn’t thought of when talking to my relatives about the content of this article, or I would have asked about it specifically.

What that means is that Nyngan is a surprisingly-good and interesting fit when viewed as a model for a community in this genre of game. You have the physical isolation, you could easily have a backwoods sub-society of cybernetically-enhanced toughs and hillbillies, and yet the township could easily form the nexus for a plot aimed at domination of the Net. Most of the town would be ignorant of this role, but the isolation and the small size of the community would provide a number of natural defenses to such an operation. Strangers would stand out from a mile away, and as I said in a another context a few paragraphs ago, this is the last place you would look for a plot aimed at global domination.

Nyngan & Superheroics

In one way, Nyngan and Superheroics just don’t mix. There’s nothing there to attract the sort of vile menace that four-colored heroes are prone to tackle. In another, since superhero campaigns can borrow plots from just about any other genre, the town is an easy fit. In a recent adventure within my superhero game, a corporation had set up a ‘facility’ for hiding people they wanted to bury away from public scrutiny, disguised as a hospital and attached car dealership. While the township itself was a small community set in Canada, I was all set to use Nyngan as my model for it – but the PCs never went there. It was that idea that initially led to the subject of this Blog Carnival.

The Wrap-up

Nyngan is a strange hybrid of isolated country town and cosmopolitan centre, of friendly folks and a distinct personality, that makes it a useful conceptual model for a wide range of communities in gaming. It is a chameleon, large enough to be used as an urban settlement and small enough to simply be the focal point of a region dominated by primary industry.

With the exception of a year or so back in the 80s, I haven’t lived there in more than 30 years, but it continues to exert an influence over my way of thinking and my personality; in many ways it is the wellspring from which I have sprung. Would I ever move back there? Almost certainly not; I’m too well-adapted to the larger urban environment in which I reside. But you can take the boy out of Nyngan, you can never take Nyngan out of the boy. It’s been a privilege to share my impressions of it with you.

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Location, Location, Location – How Do You Choose A Location?


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How do you choose a location? Where do events transpire? What considerations should you take into account, and what is the process and the chain of logic that gives the best answers most rapidly? These are questions that Blair and I will have to tackle repeatedly tomorrow, as I write this, because our next pulp adventure has reached the point of being almost ready to improv; we need some places and descriptions, and then some names, some history, and perhaps a couple of pieces of canned dialogue and then we can move on to writing the adventure-after-next – and that’s exactly the order we plan on tackling these requirements.

The Application Of Logic

The usual starting point is to ask if there is anything about the scene’s content that mandates where it is to take place.

The Logic of Events

If the previous scene had the heroes discovering the Secret Lair™ of the villain, and this scene is a raid apon that villain’s base of operations, then it has to take place either at the villain’s lair or just outside it (depending on where we want to pick up the action).

If the scene involves dealing with the wounds inflicted by a battle, then logic dictates that events occur at the scene of the battle, nearby in a medical vehicle such as an ambulance, or at a hospital (or equivalent).

The Logic of Tactics

If the scene involves battling with a Demon, most PCs will seek the advantage of hallowed ground – so look for the nearest church or graveyard. Of course, the enemy will seek out ground on which they will have an advantage – is there such a thing as “unhallowed ground” (or some plot equivalent) and where is the nearest piece of that?

The Logic of Transit

If the scene takes place while characters are in transit, there are generally only three options: Departure, Arrival, or somewhere in between.

The Application of Persona

Basic logic of this sort will generally sort out two thirds of all required locations, or at least restrict them to a manageable subset of the entire range of options. It’s that last third, plus any cases where you still have a choice amongst members of a small set of options, that remain to be dealt with. Basic logic will only carry you so far, and then you are into the non-logical realms of style.

There are a number of factors and considerations that get incorporated into deciding the choice of locations for events when logic is not enough. These are usually not applied in any set sequence; sometimes there’s an elephant in the room that makes the impact of one or more considerations paramount over all others. At other times, these considerations serve to restrict the range of options available, or simply influence the decision, or be not obvious or applicable. Even though they are broadly grouped below, and (of necessity) presented in some sort of order, that’s simply a convenience for communication within this article; don’t take this order as a prioritization of any sort.

I have assembled the first group of considerations under the general heading of “Personalities” or “Persona”.

(Almost) All Events Have An Instigator

A fundamental consideration that should made be clear from the outset: it becomes much easier to make choices of locations if you can point to some one individual who has caused the event to occur at that particular time and place, some one person who has the choice of whether or not that is when it occurs. Of course, chance and opportunism and destiny can all play their part, but even then, some individual has to make the choice to take advantage of such factors when they present the option. Identifying who is responsible for the choice of location of the action within a scene simplifies every other decision regarding the location.

It’s a mistake to think of this only applying to straightforward confrontations, though they keep coming to mind as I write this text. For example, let’s say that the question is where the PCs are going to be, and what they are going to be doing, when they hear about some action that someone has performed (which required a decision to perform that action), or some decision that has been made. The making of the original decision, and its consequences, form one parameter of the location choice. The next parameter is the speed of communications, which dictates how quickly the news can travel. From there, the news has to reach some individual who makes the choice to disseminate the news, and the PCs have to make the conscious decision to engage with the purveyor of that news. So, viewed in context, three agencies can be considered to be the instigators of this simple sequence.

But, more practically, it is a question of opportunity, and the decision to take advantage of that opportunity, or the decision not to. The news in question exists, and there will be various opportunities available for people to hear it. If it’s the sort of news that sets tongues wagging, each person who hears it becomes a further distribution channel for the information. At some point, the set of locations in which the PCs would have the opportunity to hear the news will intersect with the set of locations that define their lives without this information – at which point the PC who becomes aware of the opportunity becomes the instigator. “You’re passing down the street when you notice a crowd gathered around a gossipmonger.” “Escorts blow a fanfare to draw attention to a Herald.” “The innkeeper asks if you’ve heard the news.” “The merchant wants to gossip.” “A town crier rings the bell he carries, announcing without words that he has news available for those who wish to buy it from him.” The circumstances create the opportunity, and the decision to take advantage of the opportunity belongs to the PC. If not taken up, another opportunity will eventually present itself. It’s easy to set up a prioritization list based on who is providing that opportunity, their mobility, and how they will hear the news.

All events within a game can be viewed as the interaction (however removed) between two characters, even if they don’t even know of each other’s existence, or are functioning through proxies. And that means that the choice of a location is dictated by one or both parties.

The Influence of Initiative

The Instigator of the action generally has the choice of where the action will occur, unless it is their choice to go to or confront the Target of the action within the scene – sometimes Mohammed must go to the Mountain, other times he can wait for it to show up.

Not as fundamental as advantage, that comes under the heading of Logic, previously; this requires some analysis of the personality of the instigator and a determination of how that personality will bear apon the choice of location.

The Influence of Timing

The more abruptly and forcefully the instigator is reacting to previous events, the more likely it is to take place either at a Decisive Location, or at somewhere close to the location of the previous scene.

The Influence of Inertia

People’s lives have an inertia. They can be prodded into a particular direction by any number of things, discussed separately below, but in the absence of any of those things, the inertia of past events on both Instigator and Respondent restrict the opportunity for the two paths to overlap to a few occasions. This is especially true early in a story or adventure, and less influential late in a story or adventure when conscious decisions play a much larger role. If neither side is bringing about the action of the scene through conscious and deliberate choice, then the location of the scene must be one of those intersections in the personal histories of the participants, so look for common ground in habits and activities.

The Influence of Comfort

People will naturally seek out places and circumstances that reassure them, even if their confidence boost is the only benefit that they accrue with this particular choice. So the instigator of a scene will tend to make choices with which they are comfortable unless they gain a clear benefit through their own discomfort or are forced into a less comfortable choice by some other factor.

That means that not only can thinking about what location choice would be most contributory to the comfort of the instigator offer a clear and compelling choice, or restrict the range of options, but that subsequently thinking about why the instigator would not choose such a location can serve as a touchstone to guide you through the many options open to you.

The Influence of Discomfort

Equally, characters will tend to avoid situations that make them uncomfortable unless they have strong reasons not to do so.

The Influence of Arrogance

It’s overconfidence if not warranted and arrogance if merited, but ego and hubris can play a definite role in the choice of location by the instigator. The stronger this element of their persona, the more likely they are deliberately override comfort factors, or even go to the opposite extreme of deliberately choosing a venue that places them at an apparent disadvantage. You should always think carefully about the level of arrogance in the instigator’s makeup.

The Influence of Circumstance

Sometimes there is no choice about where an event will occur even if this decisiveness is not founded on strict logic but on some other factor relating to the participants. This often relates to practicalities concerning what the instigator is doing immediately prior to or following the event.

Time is one circumstance that can have a profound influence, especially if one participant in the scene is feeling the pressure of time. This generally produces a situation in which the instigator has fewer choices open to them, and initiative shifts to whatever the respondent is doing in the absence or in ignorance of the scene that is about to transpire.

The Influence of Opportunity

I’ve already preempted a lot of my thunder under this subtopic with my earlier example. An instigator can simply be taking advantage of an unexpected opportunity that presents itself, which means that the inertial activities of the respondent dictate the location.

The Influence of Need

If there is something that the Instigator personally or professionally needs, or needs for the respondent to do, this need will often be a factor in determining the choice of location.

The Influence of Outcomes

Finally, the more of a planner and plotter the instigator is, the stronger the role that the desired outcome of events will play in determining the location of an event.

The compounding of Influences

Like many decisions in life, the totality of influence of personality on decisions is a compounding of many different smaller influences, some of them contradictory. The act of making a decision as to location when personality is a factor is actually roleplaying on the part of the GM; the more successfully he can put himself into the shoes of the instigator, the better will be his choice of location.

The Application of Genre

If only it were that easy! Every factor mentioned so far, from logic to personality, has to be filtered through the Application of Genre.

The Creation of Options

Specific genres can create options that simply don’t exist in other genres, or that can exist only by being reinterpreted.

Fairytale Castles can exist in cartoonish genres; can be given a more realistic rendering (with losing the fantasticality) in high-fantasy; and have to shed most of that extraordinariness in low-fantasy. They are less likely to be encountered in the pulp and secret agent genres, are still more infrequent in realistic genres, extremely infrequent in science fiction, and virtually unheard-of in western and oriental genres – though the latter have their own unique variations on the concept. Arguably, the superheroic and horror genres are the most generous, capable of encompassing locations from any other genre with varying levels of credibility that are more strongly related to internal consistency with the individual adventure than anything else.

Another example, left to the creativity of the readers as an exercise, is the Space Station (try it – you have the genre list in the preceding paragraph).

When considering locations, you always need to be aware of the additional creative options that the genre is offering. What’s more, there is no small validity to the arguement that giving preference to these options reinforces the presence of the genre and thereby benefits the game.

The Restriction of Options

As is made clear in the preceding section, for every door that opens, another closes – at least in most genres. Skyscraper office blocks and suburban shopping malls are rare in Westerns – I’m tempted to say they are unheard of.

The presence of a location that is contrary to the genre is almost a demand that it be given prominence. I may have argued in the past against the principle of Chekhov’s Gun, but this is one occasion when it absolutely applies. That in turn means that you should never introduce such a location without making it central to the plotline from the moment it first appears, even if it’s only an indirect influence at first.

The Shaping of Options

The rules of the genre may not rule a location out, or create the opportunity for a genre-specific location, but even in a more general context, they can shape the options that you have available. Warehouses may be commonly found in several genres, but in the Pulp genre they should have a particular ubiquity and a particular look and feel. It’s almost not going too far to describe them as the “gothic architecture” of the Genre. Almost.

The Application of Style

You also have to consider the stylistic overtones of the adventure/story that you’re working on, and how to use your location choices to reflect and reinforce that style. The next adventure in the Pulp Campaign, which I mentioned earlier in this article, has a very Film Noir feel to it, and that’s going to shape every other decision we can make. I’m even thinking about giving some of the primary NPCs soliloquies through the “fourth wall”, and trying to figure out a way for the PCs to respond in kind. Thankfully, it’s usually more straightforward than that.

The Application of Meaning

It is sometimes possible to add additional depth of meaning to a story with a choice of location. Stories that begin in a morgue or cemetery, or other location symbolic of endings, for example – though that’s perhaps a little heavy-handed. If you can’t communicate it any other way than being preachy, try using a location symbolic of what you want to say. (I had a great example to offer at this point, but it’s gone completely out of my head). Irony, Pathos, Melodrama – they can all be added, sometimes, to a scene by the choice of location.

The Application of Icons

Every city has them, though only a few are famous enough to be known to outsiders the world over. Iconic locations that represent the city in question. Big Ben, The Eifel Tower, Mount Fuji, The Statue Of Liberty, Mount Rushmore, The Sydney Opera House. Some national capitals seem to have more than their share – The White House, Washington Monument, Pentagon, Arch de Triumph, Buckingham Palace, 10 Downing Street.

Especially in a scene early in an adventure, or shortly after the characters first arrive, its a good idea to show or mention one of these iconic locations if you’re in a city that has one – it simply helps establish in the player’s minds that this is where they are. That means setting such a scene where the iconic structure is at least visible in the distance.

The Application Of The Mundane

On the other hand, when the events within the scene are supposed to be especially dramatic or surprising to the players, it can often be a good idea to make the setting somewhere ordinary or mundane – so that they aren’t too busy looking at the scenery to pay attention to the action.

If players are expecting something weird or supernatural, you can sometimes get extra mileage from a mundane locations – especially if you keep emphasizing how ‘ordinary’ everything is. Because after they get used to this, use of the terms ‘typical’ or ‘ordinary’ can really give players’ paranoia a workout.

The Application of Illustration

Sometimes a location will be chosen simply because you can, or have, found some particularly tasty eye candy that meets the general requirements. This is a perfectly valid justification.

The Application of Representation

Still another factor to take into consideration is whether or not you can represent it on a battlemap if that’s necessary. I intend to provide a future article for this Blog Carnival on ways to extend the functionality of battlemaps using props and other tricks and techniques which will expand your scope and reduce the significance of this factor somewhat, but it can still be a valid concern.

The Application of Inspiration

Never neglect the value of a location that inspires you. Your descriptions will be better, and the presence of the point of inspiration will even help with the writing of surrounding passages of text and interaction. Inspiration can persist for a surprisingly long time. And hopefully, it will also provide a factor of “cool” for your players to enjoy in the game.

The Application of Artistry

In some scenes, the location can do more than one job. Providing inspiration is an example, but is so significant that I’ve separated it out to stand alone, but there are other functions to consider – clues to future adventures, for example, or even clues to the solution to the current problem. Deeper meanings and in-jokes can be buried within locations. It just takes a little creativity.

Even more usefully, verisimilitude can be built into the choice of location. I have a theory that any given adventure needs a certain amount of plausibility as a base, plus extra to offset any lack realism about the action or the participants. That plausibility has to come from somewhere – some of it can derive from believable character reactions, some from dialogue, some from the application of an in-game physics, and some from the choice and description of the location.

That doesn’t mean that a location can’t be fantastic or amazing or awesome to behold; this simply means that the burden is transferred somewhere else. Extra realism in one location can counterbalance fantasticality in another. I always try to keep this balance in mind when choosing locations.

The Absence Of Application

Using these guidelines to what you require from your choice of location will deal with 99 cases out of 100, or more. But sometimes, even these are not enough, and you simply have no clue in what sort of location your scene should transpire.

When that happens, let your players decide – without even being asked. You should know what you want to have happen; simply let events develop from the previous scene until one of the PCs goes somewhere that presents an opportunity for that plot development to take place.

The only reason this is in last place is because there’s no capacity for prep, and that can mean inadequate descriptions or visualization and more work for the GM. So the odds are low that this will be the “Best” answer and even lower that it will be “Easiest”.

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Breaking Through Writer’s Block Pt 6: More Translation Blocks, Crowding Blocks, and Final Advice


This entry is part 6 of 7 in the series Breaking Through Writer's Block

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We all suffer from the occasional bout of writer’s block. This series started with the premise that different types of content meant different kinds of writer’s block, and needed different solutions to the problem. The immediate success of listing so many different solutions while outlining the article showed the validity of the approach; so far, no less than eighty solutions to thirteen types of writer’s block have been delivered, and this article is going to add sixteen-plus and seven to those tallies!

A quick recap:
Content can be thought of as consisting of layers, each layer providing a means of execution and development of the layer above it. From overall plot to specific scene, from specific scene to the setting in which the scene takes place, to the persona required, or to the narrative or dialogue required to achieve a specific outcome that propels this scene into the next, following the path dictated by the overall plot, writers sometimes have trouble translating known content from one layer into the next layer down (in fact, as the diagram in part 5 showed, the real situation is a little more complicated, but let’s not get bogged down). These types of problem are called Translation Writer’s Blocks, and there are lots of them.

If you have plenty of time, the solutions described for generating content for each layer independently (the Primary types of Writer’s block) can usually do a better job of solving the problem. But when you need a solution in a hurry, or just want a quick answer to get your mental gears unstuck, these problem usually take on added dimensions, and that’s where the solutions currently being discussed enter the picture.

Translation: Specific to Dialogue

Quite often, the only reason for two characters to have a scene together is to permit character A to give some information (or misinformation) to character B. This type of writer’s block occurs When you know what the dialogue is to convey but it sounds forced or unnatural.

Solution 1: Small Talk

People rarely get right to the point. Find a subject about which the character can make small talk and look for a way to segue into the information you want to convey. Don’t try to force the phraseology; use the small talk to find the natural voice of the character, then use that voice to convey the information in the dialogue. If you’re writing rather than improvising at the game table, you can even write and then delete this small talk, entering the scene at the point where things get interesting, but having found that character’s personal voice and mode of expression – though I would argue that in most cases, the extra verisimilitude and definition of the character’s personality that results from keeping it in is usually worth the price.

An exception is usually found in military and emergency services during an actual emergency or official report, in which case there’s no problem with it sounding forced, just be careful to have the character’s intelligence and expertise (or lack thereof) correctly portrayed within the dialogue.

Solution 2: Cut the jargon, cut the slang

One of the chief reasons for dialogue to sound forced is because the mode of expression you are using to surround the dialogue is forced. Don’t use jargon unless you know what it means and how it is naturally used by the type of person doing the speaking – in which case, it should sound natural.

Don’t use slang unless you can make it sound realistic. And be especially careful when it comes to profanity – uncensored it can become more important than the substance of what you are trying to deliver, poorly-censored it can just become muddy and confusing.

If you have to, cut these elements and use plain English. This sacrifices verisimilitude for clarity – sometimes a necessary evil.

Solution 3: A Third Party

An excellent solution is to introduce a third party who needs to have the jargon translated into plain English. After the first serving of jargon, to establish the primary speaker’s manner of speaking, focus on the translation as though the translator was the person delivering the dialogue. “If we maximize the over-under delivery of reducables the 702s will be executed with minimal losses within the context of retroactive split-board trading shares” – means absolutely nothing because there’s way too much jargon and assumed knowledge, but it establishes what the primary speaker is saying and how. The meaningful part of the dialogue is the translation.

Solution 4: Use Accents and selected phonetics sparingly

Writers often spell accented words phonetically to ensure that the audience hears the accent of the speaker. It’s easy to go way overboard on this stuff, and the more there is of it, the harder it is to execute it ‘cleanly’. Each phonetically-spelled intrusion of accent sacrifices a little clarity for verisimilitude and risks making the delivery seem unnatural – so be sparing. Accent the first word in a line of dialogue or the last, and perhaps one key word, and that will usually be enough. As the dialogue progresses, accent even less frequently than that. It can often be useful to insert or append a word or phrase that is essentially irrelevant to the content of the line of dialogue that can carry the accent – starting a line with “Mon Ami,” or “Mademoiselle,” immediately delivers a French accent; “Oh, I Say!” does the same for a British accent. The more of these stock phrases you have on tap, the more choice you have for utilizing this technique. The same trick also works for slang, but usually fails when it comes to jargon. If your dialogue is sounding unrealistic, try cutting some or all of the accents and phonetics.

Whenever I have a passage of dialogue that is to be delivered by an accented character, I always try to write it in plain English first and then insert the accent selectively. It saves a lot of wasted effort.

Sidebar: Foreign Language Text
In olden days, it was very difficult to render anything in a foreign language unless you happened to speak that particular language. These days, internet translation can deliver what sounds, to lay ears, like a reasonable rendition of text in a foreign language. For anything permanent, these translations are worth the paper they are printed on – when they are viewed on a screen. No internet translation will ever be as polished or successful as the real thing. But you can fake it. Here’s the first line of this paragraph in a selection of languages, generated using Google Translate (I’ve replaced characters that wouldn’t display with something visually equivalent):

  • French: Dans les temps anciens, il était très difficile de rendre quelque chose dans une langue étrangère à moins que vous arrivé à parler cette langue en particulier.
  • German: In alten Zeiten war es sehr schwierig, etwas in einer fremden Sprache zu machen, wenn Sie auf die jeweilige Sprache sprechen passiert.
  • Hungarian: A régi idokben, nagyon nehéz volt, hogy tegyék valami idegen nyelven, ha nem történt, beszélni az adott nyelvet.
  • Polish: W dawnych czasach, to bylo bardzo trudne, aby uczynic cos w obcym jezyku, chyba ze sie mówic, ze dany jezyk.
  • Swedish: Förr i tiden var det mycket svårt att göra något på ett främmande språk om du råkade tala om att visst språk.
  • Turkish: Eski günlerde, bu söz konusu dili konusan oldu sürece yabanci dilde bir sey islemek için çok zor oldu.

I could stumble my way through most of these, no doubt mispronouncing horribly, without practice; but given a few minutes advance warning (and having a prepared phrase in the required language prepared for use) and a little practice at speaking it aloud, I could do a much better job of mangling whatever language was needed. Proof of the mangling? Try reverse-translating the above back into English. The French comes close, but the German totally inverts the meaning by offering “In ancient times it was very difficult to make something in a foreign language if you happen to speak the language”. The Polish is near-perfect, but the others contain fundamental problems of various magnitudes. My favorite is the Turkish, which manages to be almost lyrical in its failure to deliver the meaning of the original sentence: “In olden days, it was out of the question unless you speak the language, foreign language, something that was very difficult to handle.”

In a nutshell: DON’T use an internet translator for any foreign-language material that is to be published, you’ll only embarrass yourself with anyone who actually speaks the language (individual words may be OK); and if you’re in a spoken-dialogue situation (at the game table) where the goal is to capture the flavor of the language without saying anything that you don’t mind being garbled in translation, try to practice in advance.

Translation: Specific to Narrative

Narrative text is used to describe something. It could be a place, an environment, a machine, a special effect, a state of mind, a perception of reality – anything from metaphysics through to the most objective of realities. Most of these are relatively straightforward, but there are times when nuance or context appears to get lost.

When you know what the situational context is but can’t describe it clearly, the problem is defined as a Specific-to-Narrative translation block. In effect, the meaning of the situation is getting lost, or your descriptions of that situation are confusing or inadequate. This can be amongst the most frustrating forms of Writer’s Block, and is amongst the most frequent in an RPG; but it can also be a blessing in disguise because it is often caused by muddled or vague thinking, or by trying to tell and not show.

Fortunately, it’s also a problem with a bucketload of solutions.

Solution 1: Through The Eyes

Pick an NPC (or a PC) and examine the scene through his eyes. What does he see? What does it mean? Why is it happening?

Solution 2: Mouthpiece

If you are trying to convey some insight into what’s been happening, or some implication or understanding that has escaped the players, pick an NPC who might be able to make that observation and put the words into his mouth as dialogue.

Solution 3: Personal Revelation

If there are no NPCs capable of having that insight, take a player aside and let his PC have a private revelation – in writing, so that it can be accurately conveyed to the other players. Make your choice based on the character most likely to have the insight, rejecting any who have already committed themselves to one specific interpretation of events because they will color the information you provide with that interpretation. That often means giving it to the player who has had the least screen time in the last few minutes, which is a side-benefit.

Solution 4: A public voice

A great standby is to have a reporter show up (or town cryer if that’s more appropriate for the era) and let them describe events – incorporating the situational context that you’re having trouble conveying.

Solution 5: Clarity

If none of these solutions work, the problem is most likely to be muddled or vague thinking. There’s a gap in your thinking that you have instinctively or intuitively jumped over, and when you are trying to communicate that thought process, you keep running up against that gap. What’s worse, running over it multiple times in your head often gets your thoughts stuck in a well-worn rut – straight to that chasm.

To solve this problem, you need to stop and take five. Dscribe the situation to a non-participant and explain the contextual point that you want to make; often you will identify the gap and plug it yourself, but if you don’t, your sounding board will usually be able to set you straight.

Solution 6: Live to fight another day

And if that doesn’t work, leave it unsaid and find a way to make the context clear in retrospect by showing the consequences in a later adventure or scene.

Translation: Specific to Narrative

A second form of this type of writer’s block occurs when you are attempting to describe some effect or image that you know is taking place, but which you are having trouble seeing in your own head. “The two realities intersect.” “Space and time begin to shred.” “A glorious sunset is unnaturally calming.” “The overlocking frammistat begins to tear itself apart.” Knowing in an abstract way what is happening doesn’t automatically mean that you can describe it in literal, non-abstract, terms.

This is also a very common problem. Actually, it’s several different specific problems, each exemplified by one of the examples offered, and – once again – each has a slightly different solution.

Metaphysical impacts on the Physical world

“The two realities intersect.” Something metaphysical is happening, and you need to describe what is being perceived by a witness, real or hypothetical. The key to this is the selection of the frame of reference; you would use very different narrative if describing this from the point of view of a witness within one of the realities instead of from outside observer looking on.

In the first case, you have to translate the metaphysical protrusion into the reality being observed; the solution here is to use terminology appropriate to actions that could normally take place in the normal reality. Use physical terms like “stretch”, “distort”, “ripple”, “swirling”, and/or “spinning”; use physical forms to depict the intersection like “a point growing”, or “a perfect ellipse in midair”; use physically transformative phenomena such as “boiling”, “condensing”, or “splintering”. Above all, keep the description dynamic and not static; you aren’t trying to describe the phenomenon, you are describing the transformations caused by the phenomenon. Identifying the phenomenon itself is an act of interpretation, and that should be conveyed either in the first person by the thoughts of the witness in the course of the narrative, or conveyed in dialogue at the end. If we’re talking about an RPG situation, interpretation should be left to the player; let him make skill checks against whatever skills he thinks appropriate in order for the character to interpret the phenomenon.

From the outside observer’s perspective, abstractions and symbolic representations are the order of the day. Identify some way of symbolizing a “reality” and then use that to describe two of them joining, fusing, blending or intersecting. Keep the language more impersonal and remote; personal and subjective reactions should be conveyed separately. In an RPG, it might be necessary to fuel the fire – “[character name] can’t help imagining what it must feel like to those poor souls who feel the fabric of their existence being mangled and twisted; you can’t see how any unprepared mind could experience such shock and remain entirely rational and sane” – but make sure that any such prompts are appropriate to the character to whom they are directed.

It is often helpful to find some real physical-world process that can be used as the foundation of such a narrative. The sudden condensing of a cloud of vapor where nothing was visible; the effect when ink-drops fall into a glass of water; the time-lapse growing of a plant or a crystal; animations of cell colony growth; even camera wipes – any would make a suitable metaphors apon which to base a description of the example phenomenon.

Physical impacts on a Metaphysical reality

“Space and time begin to shred.” Here we have a defined physical transformation – “shred” – being applied to a metaphysical or emotional object. “As the words penetrated, his heart turned to ground glass in his chest” is another reasonable example from an entirely different context. The key here is abstracting the metaphysical reality or object into something physical that can serve as a metaphor, and that can be subjected to the transformation.

This is a useful technique because the abstraction-to-reality effect of the metaphor is subconsciously and emotionally balanced by an unstated reality-to-abstraction effect symbolized by the physical transformation. The trick is making sure that all of these elements work in harmony with each other – if the metaphoric object is not symbolic enough of what it is supposed to represent, or if the physical action is not in keeping with the physical transformation (“the marshmallow shatters”?) then the whole thing will fall flat. If you’re having trouble employing such a narrative technique, it’s almost certainly because one of the elements that you’re employing is out of synch with the others. Where the metaphor is common enough, you might be able to get away with it (we’ve all heard of a heart shattering or being broken, and that’s why the second example works, even though hearts don’t physically transform into ground glass), but it may still feel just a little clumsy.

One word of warning regarding this narrative technique: many abstraction-to-reality metaphors are pretty universally understood, but some may be culturally-derived and meaningless to those from a different culture. Be careful you don’t get too clever.

Sidebar
Deliberately choosing an unlikely metaphor can be a great way of symbolizing an alien perspective – so long as you can find a way for it to make sense in the context of the society, personality, etc of the alien in question. “My minor heart soared with hope, but my major heart was still solidly grounded in the real world” works as an alien symbol of pessimism, for example.

Induced Emotional Context

“A glorious sunset is unnaturally calming.” “The sounds of nature are unusually disturbing.” Narrative often exists to induce an emotional reaction or convey an emotional context. Some come easily, others are difficult, because they are extreme or unnatural. The usual problem that people have in writing ordinary narrative is that it is easy to slip into cliché, and that is solved by finding some original metaphor that can be used to connect the perspective with the emotion that is to be induced.

The cause of most problems when attempting to induce an unnatural or extreme emotion is getting too quickly to the emotional point that they are trying to make; the result seems forced because it is. To solve this problem, the narrative needs to start with an emotional association that is reasonable for the perception and then develop or transform, step-by-step, into the distorted emotional context that is to be conveyed.

The first example is about an unnatural extreme. To make such narrative successful, start with a reasonable emotional tone and continue to layer appropriate descriptive terms until the accumulation becomes entirely too overwhelming to be natural. “The sunset is glorious, full of the promise of a new day and the optimism of hope. Golds and Reds and Purples wrap themselves around the landscape like silk sheets. The breeze is warm and pleasant and clings like honey. A faintly saccharine tinge colors the scent of flowers that fills the air; even the cesspool smells sweet, perfumed, perfect. You have never felt so sheltered, so calm, so safe and secure.” By which point the reader – or the player – is feeling anything but sheltered, calm, and secure. “Caged” probably comes closer, because they have gone on a journey from a reasonable emotional tone to something so extreme as to be unnatural – and that means that someone has done or is doing this to them, and the reality will bear little or no resemblance to the perception. If I had stopped at “warm and pleasant”, the description could have been taken at face value; “clings like honey” is the point at which the description goes just a little too far, and each phrase thereafter carries the reader further into discomfort. The payoff is the four-fold statement of emotional reaction; again, any one of these placed just after “warm and pleasant” would be utterly plausible, but the final statement that exists goes entirely too far to be accepted. If I were to use this in a game, every time the character tried to do something, I would mention “a wave of comfortable drowsiness” that had to be overcome, or something similar; by the third or fourth time, at the very latest, the character’s confinement would be a confirmed if unstated fact in the player’s mind.

Taking the reader on a trip to an unusual emotional destination is a little harder. Start with a general overview and a normal emotional context; then focus on details that can be associated with the desired destination emotion, and describe them in a neutral tone. Next, move to exaggerated details – things the character could not possibly sense – again with a mainly neutral tone with at most just a tinge of the desired emotional end-point. Finally, deliver the reader/audience to that endpoint, having layed the foundations through the earlier parts of the narrative. “The sounds of nature surround you; the burble of a brook, the whisper of a waterfall, the song of the birds, and the whistle of the wind surround you and make you feel intimately connected to world, vital and alive. Carried on the breeze comes the sound of a lion gnawing on a fallen zebra, while jackals circle impatiently waiting for the leftovers. Elsewhere, a great cat stalks its prey, the soft sound of its shallow breaths a barely perceptible presage to the bloodletting to come. Two dogs fight over a bone. Insects scream their outrage as each races to deny the others of its kind their share of the abundant food. One of the dogs bites the other, the whimper of pain melding with the angry growls of the aggressor. Even the waterfall and brook grind inexorably at the rock, slowly devouring it. Everywhere is the sound of one life seeking the destruction of another for its own gain, and the spilling of blood, and you feel a sudden wave of revulsion at the savagery and horror that surrounds you as you realize that everything that exists is a predator at heart, filled with violence and need.” The idea that the sounds of nature are a compounding of the violence and inflicted pain and misery of everything around the person is the perspective-shift needed to go from feeling a “part of nature” to being emotionally disturbed by the horror implied by the elements of that compounding. If I were to visit a Druid’s grove and had this description read to me, I would have a very different view of the druid in question afterwards! (PS: This is a very toned-down version, I could have been far more graphic and extreme!)

Ill-defined physical reality

“The overlocking frammistat begins to tear itself apart.” The problem here is probably that the GM/author has no clear idea of what an “overlocking frammistat” looks like when it’s NOT tearing itself apart. Picturing the device whole, and then what it looks like in proper operation, is an essential requirement for being able to describe the parts flying off as it disassembles itself. I can describe a spectacular engine failure because I know what an engine looks like, I can imagine the parts moving inside it, and so on.

Of course, form follows function; in order to be able to describe that form, I need at least some notion of the way the thing is supposed to work.

Another trap that a lot of writers fall into is describing a machine in isolation. Cables and pipes and hoses tearing loose do a great job of enabling the description to be more dynamic and engaging. And never forget the showers of sparks!

Translation: Scene to Action

All of which provides the perfect segue into our next category, which is all about dynamism. When the location and the action don’t seem to gel, you have the Scene to Action Translation wrong. Trying to set a barroom brawl in a china shop doesn’t work. The “bystanders” don’t fit, and the action you want to take place doesn’t fit.

Solution:

Presuming that it’s too late now to change the setting, what you need to do is to modify the action to have it interact with the environment, and modify the participants other than the protagonists of the action scene to make them appropriate to the setting. Instead of breaking mugs over people’s heads, have someone start throwing china. Which immediately suggests a shrieking housewife, maybe armed with a broom. Have the people who should be there chase out the ones that don’t fit, then have them turn on the PCs – who also (presumably) don’t fit the environment, either.

Translation: Action to Narrative

Describing Action scenes is an art unto itself. Some people can do it fluently and effortlessly, others struggle. I naturally have one foot on the dividing line and the other firmly planted in the “difficult” category. When you can see the action in your head but can’t describe it fluently, you have an Action to Narrative Block.

Solution 1: Game Aids

The best solution to this problem is usually to use some sort of game aid to take some of the descriptive burden off your hands, enabling you to focus on the rest. This doesn’t have to be miniatures and a battlemap; it could be a photograph or piece of art that you’ve found on the net, or it could be a quickly-sketched map on scrap paper. There are times when I’ll dig out “Orbit War” for its counters and game board, or 2038, or some other board game. Fancy contact plastic or stick-on kitchen-surface coating or even scraps of unused wallpaper or carpet can all assume radically different meanings when miniatures are placed on them (green shag-pile for jungle, anyone?)

Solution 2: Divide and conquer

Sometimes it can be helpful to break one big action sequence into several smaller ones, and describe each separately. In an RPG, you don’t really want to focus on one participant for that length of time while excluding the other players, though, so this is an approach that’s better used in writing fiction.

Solution 3: Strobe Light

The final technique is to strobe-light it into a series of freeze-frames. A game aid can be especially helpful in providing continuity to the description.

The ‘Divide and Conquer’ procedure can be extended to permit the recombination of separate action sequences into one massive sequence.

  1. Divide scrap paper into as many columns as you have separate action sequences.
  2. In the first column, break the events in that combat/action sequence down into discrete actions, reactions, and consequences. Choose the one that is most likely to have a disruptive impact on the environment.
  3. In the second column, break the events of the next combat/action sequence down into discrete actions, reactions, and consequences. Take due account of any environmental changes and distractions resulting from the first combat.
  4. Ditto the third column, and so on.
  5. Locate the shortest column. As soon as that action sequence is complete, any participants not rendered inactive are free to join another action sequence, which will need to be revised from that point on.
  6. Compare the recovery time for each character rendered inactive with the remaining steps in the longest combat sequence. It’s possible that they might reenter the action, starting a new combat sequence at the point of their recovery. Or they might be able to escape while everyone’s distracted.
  7. Now comes the recombination: going across the page, describe the first action/reaction/consequence set from the first battle, then the first from the second, then the first from the third, and so on.
  8. Repeat for the second, then the third, and so on.
  9. Or you can use an intermediate arrangement: describe one action sequence up to the point where it influences a second. Then describe that second one up to that point. By flagging or highlighting the points at which one sequence influences another, you identify the natural break-points in the narrative. Crossing off those that have been reintegrated makes sure that you don’t miss any.

Sidebar: The Strobe-light technique in RPGs
Although it might not seem so, an analogous technique can be very useful in an RPG. When the party are divided, and one has a battle or action sequence, make sure that they ALL do (even if these events are not occurring simultaneously). Then you can run each as one big combat taking place in multiple locations at the same time, giving everyone their normal combat screen time. Trust me, it works. The key to success is take each character’s independent plotline to the point where they are about to enter an action sequence and then switching attention to the next plotline. Rapid interchanges between plotlines in a non-combat mode (I try for 2-3 minutes a plotline, 5 minutes at most) achieve the same function outside of an action sequence. Use a stopwatch or egg-timer if you have to. Don’t be afraid to split conversations in the middle. As soon as the end of allocated time begins to approach, look to get that plotline to a point where it can be interrupted. The time required to achieve that is the source of the variability.

Translation: Persona to Dialogue

The drunken cowboy bellied up to the bar and announced, “Proton decay in the antimatter sheath. Should’ve seen it coming,” and burped noisily, reaching for the whiskey bottle. The space pilot opened his comm. channel to home base and solemnly announced, “The fairy queen marches beneath a banner of blood surrounded by fell magiks.” The high priest fell to his knees and prayed loudly to his god, “Why howdy, partners. Who’s got a deck of cards? I got me a powerful itch to play me some poker.”

Smile; you’ve just been bitten by the Persona to Dialogue Translation Block, where the dialogue doesn’t seem right coming from the character speaking. Okay, so these are extreme (and extremely unlikely and obvious) examples.

This type of problem occurs when you have a character saying something that the plot requires be said – but the character is all wrong for the dialogue. Marginally more subtle examples might be a sociopath offering a victim’s perspective, a hard-nosed cop discussing the poetic allusions in Byron, or a bumpkin offering a cogent mathematical arguement. A still more realistic offering might be someone offering a helpful suggestion to a person with whom they have a blood feud.

There are multiple solutions.

Solutions 1-4: Massage the dialogue

The same as described above under “Translation: Specific to dialogue” at the start of this article.

Solution 5: Someone Said

Have the character doing the speaking quote the parts that don’t seem appropriate as having been said by someone else.

Solution 6: Party for three

Introduce another character (who probably has some connection to the character doing the speaking) who can offer the dialogue that doesn’t fit the first character. Depending on the circumstances, this could be a wife, a family member, a friend, a lawyer, whatever. Try to pick someone appropriate to the information that you want the ill-fitting dialogue to convey.

Solution 7: Emphasize the incongruity

One final solution to consider is making the character more complex. This won’t always work, but a policeman who’s useless at interpersonal relations and generally incompetent – except at deducing the events at a crime scene – can be an entertaining character. Just make sure that their personal and professional lives carry the scars of their failures.

Crowding: too many ideas

It’s happened to most creative people at least once – you have so many ideas that by the time you’ve finished articulating one, another that was there has completely evaporated.

Solution Part 1: A Quick Synopsis

When you have an idea, jot it down somewhere as quickly and succinctly as possible. Try not to expand on the original premise too much. More than a line or two is probably too much, unless you can set aside whatever you’re doing and devote time to the idea. More to the point, when you have several ideas, write them down as quickly as possible before you get distracted; you can always discard rubbish ones later.

Try to limit the development time you spend on an idea until you intend to use it. I’ve lost count of the number of times I’ve had an idea and spent time developing it, only to throw all that development away when a completely different need came to light for which the original, undeveloped idea would provide a perfectly acceptable solution.

I keep a file of plot ideas for each campaign that I run. Despite the vast number of plots already integrated into my current superhero campaign, I have already amassed 15 more that I have on standby. Some I might integrate into the main plot where my current planning simply tells me I have a metaplot development that needs a plot to happen in, others might never be used. And note that I’m not actively trying to come up with ideas for the campaign, it’s already pretty chock-full.

Once you have the idea written down somewhere, try to connect it with other ideas you might have. Don’t actually put the two together, simply note the possibility of a connection. While you’re at it, list anything else that the new idea might be good for. That’s because some of the ideas that I have had are extremely incomplete, and this new idea might be exactly what I need to plug one of the gaps.

It’s useful to code and number the ideas. That gives you a means of referring to the idea without replicating the whole thing.

Solution Part 2: Consequences, connections, metaplots, and ulterior motives

When you come to the conclusion that you need an idea from your ideas file, for example as a plot vehicle to introduce a new NPC, what you really need is a means of choosing the best idea for the job from amongst those on file – or rejecting all of them and beginning to hunt for something new.

For example, let’s say that I need an adventure to introduce a new high-tech villain. I have a name and a profile for the villain, but no idea what he is up to. I go through my ideas file looking for ideas that have the right sort of consequences and connections. I need the plot idea to integrate with the overall metaplot and to address any ulterior motives that I might have for the adventure. I might come across an idea “stress fractures in the supercooled memory cores of super-computers giving wrong answers”. The team’s base relies on an AI running on just such a supercomputer. So do a couple of high-tech research facilities, and a global security oversight computer. Maybe the latter develops rationality flaws due to this problem and begins inserting a fictitious villain that it has created for systems testing into the live records as though he really exists; his autonomic functions then detect the intruder and sound security alarms, to which it responds by focusing conscious attention on the scene, distracting him from the delusion and causing the ‘intruder’ to vanish into thin air. So, no crime has taken place, no living person has ever seen the villain, no-one knows who they are or what they are up to – but there is ‘incontrovertible proof’ that he exists. Attempting to rationalize and understand what is going on, as its systems degenerate, the AI begins ‘uncovering’ criminal acts that were not noticed on first analysis. These start off being credible, but become more and more unlikely, and the team come to realize that the whole thing is a computer-generated fiction. Why? Who’s behind it? Is someone testing the defenses? Is someone tampering with the AI? And then, more or less at the same time, an accident of some sort downloads the fictitious criminal “identity” into an android body at the same time as a genuine criminal decides to take advantage of the hype and paranoia being generated by this mysterious identity and adopts it for himself – leading to a conflict over who really is the owner of the criminal identity, and to the team being embarrassed when the ‘computer glitch’ shows up somewhere in real life.

I would probably never run this adventure; I don’t want the PCs to mistrust the AI at the Knightly Building, their base of operations. But his combines five mini-ideas: “Virtual criminal in cyberspace”, “AI inadvertently downloaded into android”, “AI has delusions”, “two criminals claim the same identity”, and the original, “stress fractures in the supercooled memory cores of super-computers giving wrong answers”. Instead, I would probably go with the notion that the criminal was somehow inducing these fractures for his own benefit, so that this becomes a plot about a potential threat to an ally of the team – the AI at the Knightly Building.

Crowding: the fallacy of memory

Inevitably, when you look at an idea snippet that you jotted down months or years earlier, sometimes it will be just a cryptic jumble – you’ve forgotten what it means.

When this occurs, you have two options:

  • Try to recapture the meaning, or
  • Ignore the original meaning.
Recapture

What might the idea mean? Clues may be offered by considering the idea just before it, or by considering any connections or consequences noted. Any of the terms mentioned might be the key to recapturing the original thought. But, if you try all these, and still can’t remember what you meant by “Gilgamesh the Serpents” or something equally strange, you can move to option B:

Ignore the original meaning

If you can’t remember what you meant, and have failed to recapture the original idea, take what you have as a suggestive phrase and try to construct a new interpretation. On rare occasions, this will actually permit the recapture of the original notion – giving you a choice of interpretations. If that doesn’t happen, there are still two outcomes possible: success or failure.

A meaning is found

Regardless of whether the interpretation you come up with is the original or a new idea inspired by the cryptic phrase, the first thing to do is to add a add a contextual keyword or phrase to avoid the problem next time. If you are lucky enough to now have two interpretations, put them both down. Expand and clarify.

Failure

Discard the idea by crossing it out or color-coding it, NOT by deleting it. The answer might come to you hours or days later, or next time you look through the ideas file.

The End Of The Road

That’s almost it for the article series. But I have some parting advice to conclude the series:

When All Else Fails

The ultimate solution to writer’s block, when everything else suggested has failed to solve your problem is this: Retreat a step, change something, and try to go forward again. It’s better to take one step back for three steps forward than it is to be stuck.

Above all, don’t stop working on it for any length of time. There’s always more going on in your head than the part that’s giving you trouble; if you stop, all that will get lost. I’ve occasionally had success by ignoring the problem and starting work on the next section, having made a note about the problem. Sometimes you can work backwards from a future point to solve the problem – and break through your writer’s block.

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