Friday, February 25, 2011

Glimmer: Orphan - start on a rough draft

The season comes at last, and with it, the monsoon clouds.  They sweep in from the southeast, rolling over the broad green Empire, the mangrove coastline, the terraced fields, the steep green hills and mountains, into the hinterlands, unloading torrents of warm rain as they go.  Life slows; animals are brought in from the fields and mud chokes the paths and roads.  Rivers swell and overrun their banks, depositing thick alluvial soil on fields, clogging irrigation ditches and drowning crops that are not prepared, or were planted late.

The rains always come - and with them, the monks.

Sliding and wallowing along choked roads, the wagons rumble down from the monastery.  Each is pulled by two buffalo; driven by a family that has had this job for generations.  In each is a monk, hidden from the weather by an lacquered wood awning, seated next to the driver, face serene.  Despite the awning providing shelter over the seat, their robes, like everything during the monsoon season, are soaked and heavy about them.  They travel to the orphanages that lie on the outskirts of the larger towns in the province, purchasing children.

**

Glimmer stands, his feet already soaked by a falling sheet or water running off the dormitory roof above him.  Across the courtyard of the orphanage compound, he can barely make out the girls standing in front of their own dormitory, obscured by a similar sheet of water. The rain is ten thousand tiny hands pounding on the tiles above him, day and night, as it always is in this season.  Weeks without sunlight have left the land both soaked and cold, but Glimmer knows better than to shiver where Mother can see him.

Mother is not his mother, of course - she is the headmistress of this orphanage, a member of an obscure sect of priestesses who have this calling and, if Mother is any indication, do not enjoy it.  There are times when she and her novices, two younger women, endeavor to teach the precepts of their faith to the children.  Glimmer does not understand any more than the other boys his age, but they know that if they listen quietly, they are fed.

He knows the wagon is approaching the courtyard because he hears the sudden lowing sound of a buffalo who has had enough of the rain.  The only animals near the orphanage are chickens and a few pigs - hearing the buffalo’s voice sends a thrill through his body.

He hears its hooves striking the cobbles, obscured under a layer of mud, as it enters the courtyard.  He sees them splash with each step, and one of the buffalo tosses its enormous head, snorting in the torrent, and shakes down the length of it’s body, shedding water which is immediately replaced.  

The look of awe he feels on his face is mirrored by the boys around him.  What a wonder!  Its shoulders would loom over him if he dared to come close to it; its horns would easily be the length of his arm if they were not sadly cut off just over its ears.

And behind the buffalo comes the wagon.  It is enormous - so large it barely fits through the large double doors of the compound, flung open before dawn in preparation.  Its wheels are as tall as Glimmer and studded with metal - the gleam is barely visible beneath layers of mud.  He sees a man sitting, holding the reigns of the pair of buffalo, his face obscured beneath a broad hat.  Seated next to  him is a figure Glimmer knows to be a Temple monk, layered robes plum and grey in color, her bald head gleaming like an egg.  Clinging to the side of the wagon is an older boy, seated on a small wooden seat and soaked to the bone from the rain.  As the wagon slows to a stop, he leaps down and fetches a stool from a shelf under the wagon and runs around to the side the monk is on, placing the stool on the swimming courtyard stones and producing a lacquered wood umbrella which he pushes open and holds out, as high as he can.

The monk leans down from her seat and climbs slowly and nimbly down.  Still, the time between the awning over her seat and coming under the umbrella is enough to soak her anew.  As she comes around the buffalo toward the boy’s dormitory, Glimmer stands straighter.  He puffs out his chest even though beneath it he feels his heart pounding so quick and sharp it is like applause.  He squares his shoulders the way he has seen soldiers do from a distance.  He is not tall for his age, but it helps.

He feels Mother’s hand come down on his shoulder, surprisingly gentle.  The monk’s eyes meet his.  There is a moment, like a flash of lightening, when he feels he may faint, but his vision clears and he is still standing.  The monk, umbrella still held over her head by the soaked older boy, is suddenly in front of him, looking him up and down.

Mother speaks up - her voice cracks slightly.  “This is the one - his name is Glimmer.”

The monk stares into his eyes and  he looks down after only a moment.  “He is small.”

Glimmer feels Mother’s hand tense on his shoulder like a bird’s claw.  “This is the boy.  He is the one.  He’s - “

“Very well.”  The monk leans down - she smells like something Glimmer has never smelled before, a mixture of otherworldly spices.  She smells like mystery.  “Boy.”  His eyes rise again to meet hers.  Mother’s claw on his shoulder tenses to the point of being painful, and he suddenly remembers to bow, deep and low, like he practiced.  “Boy.  My name is Sister Grey Sky.  Do you know why I am here?”

He tries to say something, still facing down in his bow.  

“You mumble.  Speak clearly.”

He glances up at her.  “You are...a monk.  You are here to take me to the Emperor.”

She shocks Glimmer by laughing at him.  “No, boy, I am not taking  you to the Emperor.  You have been chosen to serve the Emperor.  You are going to be his tool, to wield how he chooses for the betterment of all.  From amongst the other orphan boys,” - she gestures around him to the only family he has ever known - “you were chosen.”  She places a hand under his chin and firmly pulls him up out of his bow.  “I am taking you to a place where you will learn to serve the Emperor, with other boys and girls.  You will never come back here.  I hope you have said goodbye.”

Mother takes this moment to speak up again, addressing the silent gathering of orphan boys around her.  “The Emperor is our Father - he is Father to all of us, and he will be Father to Glimmer now.  It is an honor for Glimmer to be chosen.  Next year, another of you will be chosen to follow him and learn to serve the Emperor.”

The  monk glances at Mother.  “Even so.”

She turns to walk back to the wagon, and Glimmer realizes he is supposed to follow, rushing to catch up, and then at her hard glance, falling back a few paces, remembering his place.  A monk!  They are like soldiers - he has only seen them from a distance, along the road, while doing chores outside the compound, in their small fields or among the few animals.  Always in the colors of dusk, always shorn of all hair, traveling in small groups or alone.  His head fills with every story he’s heard of their magical powers - that their robes let them fly like birds, that the are as strong as ten men, that they can read your thoughts the way that a sage reads written characters.

None of these powers are apparent as Glimmer follows the monk to the wagon.  He steals a moment to glance back - Mother stands with the other orphan boys, still as a grey statue.  Like the rest, Glimmer was warned not to wave or to squirm to speak unless spoken to.  He cannot see if any of the others dare wave through the sheets of rain that separate them.  They are faceless, then formless, then gone.

He knows how proud he should be, but tears are hot on his face, mixing with the rain.

The monk - Sister Grey Sky she said her name was - leads him around to the back of the wagon.  Glimmer glances back at the driver’s bench, confused, but the monk continues, the parasol still held over her head by the older boy, and takes a ring of keys out of her robes.  There is a heavy iron lock on the rear doors of the wagon, and she unlatches it with a loud, sharp sound and swings one side open.

Inside are children.  At least a dozen - it is hard to see in the muted morning light.  The ones near the door shy back, pressing against the others, shielding their eyes from what is to them sudden brightness.  

Glimmer’s feet feel rooted in place.  He glances back at the boy’s dormitory, and can barely make out the shapes of the other orphans through the rain, filing back into the building.  It will be breakfast soon, vegetables and clumpy rice, and then chores, and then lessons.  Just like every day, until they are old enough to be sent on to find work in one of the nearby towns.

He takes a step back, but is stopped again by Sister Grey Sky’s heavy gaze falling on him.  They stare at each other for what seems like an eternity before, sighing angrily, she thrusts out a hand and grasps Glimmer by the front of his smock and pulls him toward the crowded wagon.

She leans down and speaks in his ear, her voice like a raincloud.  “This is not your home.  You belong to the Emperor now, mind, life and limb.  You are his.”  She holds his gaze, and he sees there the utter certainty of what she is saying.  “Get in.”

Blinking back fresh tears, he climbs into the back of the wagon.  It is dark, crowded, and smells like sick and unwashed bodies.  Someone in the back, far from the door, is coughing continually.  He shuffles awkwardly until he finds a place to sit, pressed between a larger boy and a girl who looks to be about his age.

The monk speaks to the children in the wagon.  “We’ll eat when we stop at midday.” She closes the rear door, and Glimmer hears the key in the heavy iron lock again.

***

Wednesday, February 9, 2011

Game Design Snapshot: Epic


African masks image taken from this site.

This is a bitch of a stitched-together, zombie project.  It started in 2003 as a collaboration and it wasn't all that long before it become a solo project.

Since then, Epic has become a bucket of things that I want to do that don't currently have another place, as well as some old skeletons of previous designs and worldbuilding.  It is me wanting to create another RPG setting where Africa is not depicted via the fever-dreams of submerged racism.  (In the Parsec setting, Africa is intentionally depicted in a way that I have never seen in any other RPG setting - positively and optimistically).  It is also me caught up in the idea of a Bronze Age fantasy setting that is not Rome.

It is, as always, me wanting to create magic systems that are not 1. superhero powers or 2. incoherent; something actually rooted in beliefs and philosophies and theologies and myths rather than spell points and damage dice.

I also like the idea of a post-apocalyptic fantasy setting set on Earth in the future.  I know this is not original, but I read things like The World Without Us and I actually get excited about incorporating that into worldbuilding.

So, that's all in there.

On top of that, I've since brainstormed and sketched out three other settings, which form a timeline stretching from a darker near-future Earth through far-future metaphysical horror all the way to a pseudo-Rennaissance New Weird 'reboot' of global human civilization.

Right now, my thinking is mostly going toward continuing to work on fiction in this setting/these settings.  I think that the way to approach all of this is to write my way into it.  It is not primarily a game, hasn't primarily been a game for some time now.  What it is, however, is a world that has held my imagination, to some degree, for the past eight years.  That should tell me something.

Saturday, February 5, 2011

Game Design Snapshot: Servants of the Secret Fire


Servants of the Secret Fire is my attempt to do something no one has done before (that I've seen) - design a Middle Earth RPG.

Don't get me wrong, there have been many attempts, including the many books published by Iron Crown Enterprises, Decipher and even Luke Crane (Burning Wheel is much more than an attempt to model Middle-Earth, but it has a hefty dose of Tolkien at it's core).  I think the best one I've seen might be Realm Guard, a hack of Mouse Guard, because it is a focused game that doesn't try to model everything in the setting.  There was also a person writing Song of Arda, a free game online that I liked when it was available but it's been gone for about four years now.  There are many attempts out there if you look for them, including one more I just found.  The overwhelming majority are one more crappy D&D ripoff with the serial numbers filed off.  Here and there one can find a sub-system that actually models something Tolkienian.

People tend to think of Middle Earth as being the source of D&D, but this is not the case.  The only ones who kick in doors to take peoples' stuff in Middle-Earth are the Orcs.  Middle-Earth's setting, assumptions, magic system and so on are entirely different from the 'standard' D&D settings, and the core D&D system has never modeled Middle-Earth, or was it intended to.  As a result of this, every single one of these D&D ripoff games fail entirely.

My thinking on this topic has actually been elevated by the Tolkien Professor.  He has posted many hours of his class lectures on the works of Tolkien - including The Silmarillion, Mythopoeia, Leaf by Niggle and so on. Prof. Corey Olsen does a great job of pointing out what makes Tolkien stand out as one of the best writers of the last century (a claim I'll happily defend).  He is willing to delve into Tolkien's theology and philosophy, and while I don't think he needlessly lionizes the man, he does treat the material thoughtfully.

It's a live question, frankly, of whether it is even possible to model Middle-Earth with a game of any kind.  Is it possible to create a game with rules founded in the mythological structures of the Elder Edda, the Kalevala and Catholicism?  Are fictional and mythological narratives too far removed from what actually happens at a gaming table?

I'm trying.  I have a rough playtest document at the moment, almost ready to run with a group.  This attempt is semi-simulationist, which I'm sure will make all the indie-types roll their eyes, but everyone knows the Forge was founded to complain about simulationism (said with a smirk).

Late addition:

In listening to The Tolkien Professor talk about the Ainulindale and the fall of Melkor discussion that followed, I like the idea of having attributes that change, becoming more limited, when a character becomes corrupted.  Melkor's splendor becomes contempt and arrogance; his understanding becomes subtlety.  I like that, in falling, a character is also constricted and constrained.  Both Gollum and Sam are strong for such small people, but what do they use their strength for?  What can they use their strength for?  Gandalf and Saruman have granted powers, but Saruman becomes obsessed and single-minded whereas Gandalf remains versatile and generous.

I just edited the playtest document to work that into the rules.  It felt good.

Tuesday, February 1, 2011

Game Design Snapshot: Heroes of Karia


Heroes of Karia Vitalus was a fantastic long-term campaign that I was a player in three years ago.  We ran it using a heavily-modified version of the Tri-Stat Big Eyes Small Mouth system (revised edition) from Guardians of Order - so heavily modified that it was a whole new system.

Since then, I've wanted to put this new system together officially, make sure that it is divested if the BESG clinging to it, and publish it.  It's the classic problem - wanting to make a gaming experience into a game system.

If nothing else, HoKV was an incredible creative engine, leading to the equivalent of over 200 microfictions and short stories set in the world.  We still have those stories in the blog we dedicated to that purpose, but part of me thinks that anything that inspired that much writing and creativity is something that is truly worthwhile.  As a gamer and a writer, I want to share worthwhile things.

Right now, though, HoKV is stalled.  I've run four playtests of a version of the system, and the short version is this: the setting is always a big winner with players, and the system models this to some degree.

I had the idea, recently, of making HoKV into a FATE-derivative system.  This might be the direction to go with it, ultimately.  I really like the skeleton of a system that I came up with it (dropping BESG as a skeleton necessitated something new to hang the sub-systems on) but in three years I haven't significantly ironed it out.  Maybe that's telling me something, and there are ways that I think we can adapt FATE to run Karia.