On the Etymological Sources in Some of EGG's Fictional Names

In recent discussion with David Witts (in my estimation one of the, if not the only, true researchers and scholars of Dungeons & Dragons and related TSR game historians active today) and Allan Grohe (himself a Greyhawk enthusiast with many years of accumulated knowledge on the subject) the topic turned towards EGG's battle report published in Wargamer's Newsletter #116, "THE BATTLE OF THE BROWN HILLS."  This was a Chainmail/Fantasy Supplement battle played by LGTSA members, myself included, in EGG's basement on our constantly maintained 6' x 10' sand table (of which many of those battles, not only Chainmail but also Tractics and others I discuss in depth in my upcoming memoirs; and as played there and as later played at Don Kaye's garage where the table was eventually transferred to in order to make room for EGG's shoe repair equipment).

In going over the text I noted at least 3 interesting names that Gary had chosen, one of which only, out of courtesy to the ongoing research being done, will I post here.

One side has a giant leader named Verdurmir, which I recognized right off, and I actually laughed at the joke-reference EGG was using here:

Etymology of "verdur-" is simply a foreshortened "verdure" meaning "green" or lush.

"-mir" has Germanic and many other cognates, but overall may be translated as "leader," "lord,"  or grosse (large) or "big," etc.

So we have a giant named Verdurmir whose name means:  "Big & Green Leader," or a variation of such.

This is where I laughed at the exposed matter, as the most popular giant in media during those days was of course the Jolly Green Giant.

Once again exposing Gary's proclivity (and creativity) in adapting what was around him into whatever matter he was treating with at the time.  It also exposes his tounge-in-cheek manner and disguised punning for which he was famous.

THE MACHINE LEVEL: SPECIAL WEB INTRODUCTION

I finished the essay-introduction for The Machine Level on 10 October.  Here it is with some inset images.  The latter images, excepting perhaps for Andy Taylor's fine image, above, will not be included in the printed version. Some of the text as used for this web introduction will be omitted from the final printed version as well.

Special Note! Kyrinn Eis (aka TIMESHADOWS) and I are also sculpting a fantasy-sf adventure which I am quite excited about as it includes a very unique creation of mine called the Whools and incorporates her intense and imaginative writing in a shared plot we devised.  Not sure as yet who we might publish that one through when finished.  But for now, the MACHINE LEVEL!

Prelude:  In Dragon Magazine #17 James Ward penned an article entitled, "BOREDOM AND THE AVERAGE D&D DUNGEON."  Here is the reverse-highlighted extract wherein he reveals some details on the Machine Level:

Also note that James, a regular player in our campaign then, makes a sidelong reference to my large level he'd adventured on, "Horsing Around," otherwise known as the "Greek Mythos Level."

That gives some historical grounding for the level from published matter.  What follows is the full, first draft introduction...

The Machine Level – A Glimpse at the Machinations of Fantastic Fiction in the Original Campaign

©2010.  Robert J. Kuntz.  All Rights Reserved.

A long time before Expedition to the Barrier Peaks was published, EGG and myself had been experimenting with machinery and science fiction in the Original Campaign.  Our aim was to always befuddle our ever-wary players and to keep the sharp edge of suspense and expectancy rising within the story. Both of us deemed suspense to be a high mark in adventure storytelling; and it is no wonder, looking back, that both of us appreciated the films of Alfred Hitchcock that we were to watch together quite often whenever they were televised. 

The Master of Suspense, Alfred Hitchcock.

On top of that, EGG and I were both naturally creative individuals whom as co-DMs sought out expansion (and expression) of concepts and ideas as these gathered to us.  These ideas were often spawned during game play, by reading a book the night before an adventure, through scouring our ever-growing notes and sometimes were derived from voiced, but errant, surmises on the players’ parts, such as … “I bet it’s a…”  …or … “It seems like a watcha-ma-jigger” or, more emphatically, “It’s a (fill in the blank for a monster or situation)!”

It was all fantasy to us and so there were no holds or stops put on the range or type of experimentation used in furthering our stories. To our glee this measure was satisfactory for our gamers. They had not only grown to expect anything from us, they indeed looked forward to change.  I sometimes suspect that they knew that we were going to do what we wanted to as DMs anyway and upon that realization also knew that it meant we were having as much fun as they were.  And believe me, OUR players wanted us to have fun, for a grouchy DM was in no way wanted sitting across from them at the gaming table!

So before EGG was about sending his son’s PC to Mars, I had been creating for Castle El Raja Key a level with machinery.  But it was to be no ordinary level, as it was to soon host EGG’s PCs.  His “grouping” of PCs (described in various works related to the World of Greyhawk) were started in my Castle El Raja Key and only by creative transition through the melding of parts ERK and parts WoG did they then root themselves in the latter setting. I soon started co-DMing in the original Greyhawk home campaign; and this became a catalyst, by great urgings from EGG, for moving many of ERK’s original levels into EGG’s and my own 2nd Castle Greyhawk.  The Machine Level (also known as EAST 8 in our original campaign terminology) is one such level from ERK that made the transition soon after being adventured upon by EGG and crew.  Such luminaries as James Ward’s PC, Bombadil, were to later venture into its precincts.

What is (and was) to be expected within this level?  Pure and simple:  mayhem.  It was designed to continue challenging EGG’s voracious play, so therein is the real clue to its design intent.  It was not meant to challenge other players, though it finally did so by its later inclusion in Castle Greyhawk.

But, “Why machines,” you ask?  Gary and I would have simply answered back then,  “Why not?”  This was a time when the literature we read was a mix of many subjects and genres:  fantasy, horror, noir fiction, history, military history, science and science fiction.  Therein lies a clue to the richness of our adventures, a richness which I often feel is now partly lost to succeeding generations of DMs and gamers.  And that is:  A story is a story, no matter how you wrench the mechanic to make it fit into a game.  Gary and I were well read storytellers.  Our players were well read gamers.  Storytelling and story “acceptance” was a natural state between its then participant groups.

Even though our genre inclusive game experience was soon to be fragmented into several RPG types—with medieval fantasy claiming sole rights in the original version of the game--this initial segmentation was a weighed choice made for D&D’s immediate commercial introduction only.  We had previously felt that the game had more range and infinitely more possibilities than what the lone S&S element produced.  

While perusing the DMG’s sections for including different genres within the expanding game, one does not feel that these are hurried attachments of after-matter by EGG. To the contrary, EGG’s up front insistence of Barsoom’s relevance in his original foreword had already paved the way for Hiero’s Journey in Appendix N.  This “addenda” was in fact the natural outgrowth of both our realized views as experienced through play, 1972 onward. While EGG honored Jack Vance with his Dirdir level, I did the same for C. A. Smith & Lovecraft with my Lost City of the Elders (which more recent convention-players have experienced and where mutated creatures and hovering metal devices were seen and fled from).

After D&D’s release, Gary and I continued to experiment with SF and other genres, but this time by way of both play and through publication: We were to co-create Expedition to the Barrier Peaks; we encouraged the creation of Metamorphosis Alpha and adventured upon the Starship Warden; there could soon be found my mysterious and wily visitor from the stars known as Cosmodius that Ward’s Bombadil contested with for his vast knowledge of technology; select items of a SF nature were placed at key locations in both our castles; and there would be some inclusions of M.A.R. Barker’s Tekumel “magic” and creatures in the Bottle City level and upon the outdoor. I created many SF-variant creatures and sluiced them into our city, one by the name of “modern man.”

Extracted Cosmodius page from the RJK Collection.

Further, horror would often closely meld with SF and S&S elements to promote a cosmic terror by way of alien locales, their technologies and an ancient, arcane magic, all of which was realized through play in secreted settings (ala A. Merritt, C. A. Smith or Lovecraft). One such place was Fomalhaut, yet another large adventure I designed to keep the adventurers quite curious of their newfound surroundings just prior to terrifying them. As you can note, EGG and I were very diligent in keeping our adventures, and the adventurers, fresh.

These were not meaningless contrivances by us; and neither of us lacked the creative verve for producing solely mundane or earthly elements or situations.  We knew the players would not only be intrigued through such imaginative story matter, but they would be wondrous about where it derived from.  Through these relations we were promoting story by introducing several elements that good storytellers use:  intrigue and suspense.

Because of our openness to elements that could be easily fitted into any storyline Gary and I never lacked for stimulating or compelling story matter. We were both willing and able to include whatever it took to keep the story interesting for the players.  And that’s the real answer to the question, “Why machines?” Just as important, and from a design view, this kept us constantly fresh as DMs, as we were always alert to the possibilities of creative inclusion of any type of material, however varied in content.

So.  Now is the time to strap on your gear as EGG did back in 1973! And forget your prayers.  For upon this level there reside no gods of flesh…

Rob Kuntz

10 October 2010

Dungeons n Dragons: Cartoon Ideas Worth Using

In Greyhawk Supplement #1 (TSR, 1975, Gygax and Kuntz) to the Dungeons n Dragons game there can be found some magic items that were influenced by cartoons, most notably the portable hole and the bag of tricks.  Though I assume that most informed fans might be aware of this, I include hereafter those two inspirational cartoons:  one is a Looney Tune, "The Hole Idea"; the other, "The Magic Bag" from Felix the Cat.  EGG was influenced to create the portable hole name and in combination with the effect/item described in Jack Vance's Dying Earth story, "Chun the Unavoidable"; and I was so inspired by the Felix' cartoon to create the bag of tricks.  Note that both were changed substantially from their original idea base.  Also note that one can easily re-imagine different creative matter from these, as I am now doing for a couple of projects.

The Hole Idea
After years of futile experimentation, Professor Calvin Q. Calculus astonishes the world with his amazing invention, the "portable hole." Unfortunately, the Prof's invention is stolen by a shadowy criminal, who uses the mobile hole to rob a wide variety of banks and jewelry stores, ultimately "graduating" to Fort Knox. Meanwhile, Prof. Calculus comes up with a devilish method of escaping his eternally nagging wife. Watch for the "inside" references to Denver, Colorado, home town of director Robert McKimson, who always regarded The Hole Idea as one of his favorite cartoons. ~ Hal Erickson, All Movie Guide.

The Hole Idea
Uploaded by cartoonexpert. - Check out other Film & TV videos.

Felix the Cat 1959 The Magic Bag

Remembering...

"I would like the world to remember me as the guy who really enjoyed playing games and sharing his knowledge and his fun pastimes with everybody else." - E. Gary Gygax

I'm not eulogizing or anything to anyone. But, let's take a moment today and reflect in a positive way with respect to a man who has made such a big difference in all of our lives.

There are some good suggestions here: Jeff's Gameblog

I am finally going to build that Dragonchess board I've always wanted...

Ciao!
Grendelwulf

Up on A Tree Stump™ #5: Creative Exceptionalism & Asking "Why"?

Up on a Tree Stump™
(or) All I Know about D&D™ I Learned From Life


©2010 Robert J. Kuntz

"The root cause of any problem is the key to a lasting solution." -- Taiichi Ohno, pioneer of the Toyota Production System in the 1950s. Link to full article.

I have the greatest respect for SF/Fantasy writers and their past and future involvement in the craft. It is indeed they along with the historians and other great artists and authors who have given us by adaptation Role Playing Games, for without their ideas, their time devoted to such imaginative and enlightening subject matter, none of it would exist, there would not have been an RPG, or at least not as we now know it. These authors made leaps in exposing new ideas and in challenging stereotypes in all fields of knowledge and social context, and often with a critical eye brought us profound concepts and new ways of seeing the world through the focused lens of their stories.

The majority of good literature has stood upon a spacious ground of perceptive social critique and in this case SF/Fantasy, in the main, has been no different. By transference, then, we can rightly assume that RPG designs that in whole or part emulate speculative fiction have at least that same range of possible articulation. Even though we can choose to separate an RPG from speculative fiction to the point where it becomes a mere vehicle of entertainment amid flourishes of creative addition by its author (in this case, the game designer and/or GM), there is no denying that pushing the bar of its application can expose ranges that contribute to honoring its fullest potential just as any piece of fiction can.

Thus the creation of more challenging forms of design that reach beyond tired and over-tested varieties indeed marks solidly the reason "why" they are conceived of and then produced to begin with, as these literally go hand in hand with the progressive ideal of design. But it also makes for a unique challenge to take fiction and games and weave them together into a unique tapestry that makes not only sense to the designer but to the players of such scenarios or games. And every great designer, and for that matter, great player, loves a challenge.

We have noted a plethora of titles and themes from past and present authors of speculative fiction, so we know that "whys" in our cousin-market can vary tremendously and often do. Such diversity not only promotes a wider range of interesting product but introduces a wider range of readers while expanding these boundaries. In essence it feeds the industry with new blood through fresh approaches which in turn furthers continued sustainability of creative exchange. That is then good for the industry that such writers or designers are deeply involved in.

However, what is important to some may not be so for others. This re-poses the "Why" in a different light, for a truly intransigent creator looks to outdo past designs to make his or her mark. They are the ones who will ultimately, in many cases, deserve the accolades of informed fans and valued critics. Unfortunately, most beginning writers and designers often fail to realize that ongoing homework is needed to succeed in such markets. Homework can here be roughly defined as necessary planning but takes into effect an ongoing challenge he or she envelopes themselves in. This includes innovative story, plot and character development; and in the case of RPG scenarios this will include what might be unique among its parts and how these do or do not compare to previous designs. In either case, creating unique inroads may require more planning and/or reading past examples or primary texts depending upon the proposed story's/scenario's specifics and depth.

To successfully pursue a career in speculative fiction or with any of its related by-products attaching to the RPG industry, writers should not cast their works in a mould that will more often be viewed as mere imitation. Indeed the challenge for those intransigent few who see such investments as a continued test of their creative metal is to continue outdoing themselves and others, and by correspondence greatly influencing all of what they value.

The Lake Geneva Tactical Studies Association as a group had a no holds barred approach to design. We were all very opinionated--I argued with EGG over points that I fet strongly about. I was in fact looking for "Whys". His previous tutoring of me when I was age 13 finally found purchase around age 16 in exactly the entire realm as he had projected it, which was to be unique, not just to follow his example only. EGG was a strong supporter of investigating possibilities and absracting "what ifs" from anything before him. Given that mindset we were as a whole disposed to sliding this way or that on issues of creative departure but more often found ourselves in agreement through such exchanges. Don Kaye, his childhood friend and co-founder of TSR Rules, summarized his perspective on this differently but with the same open respect for EGG: "Rob, I argue with him not so much because I think he's wrong, but just to keep him honest."

This working idea of open discourse which always fed creative rumination and critical departures from the norm or "fashionable" worked itself into D&D's play-test and design, as I've noted elsewhere, and became a very important notation for me when considering how this now relates to the whole idea of design and thereby learned artistc processes of that time. In consideration of this ongoing impact, I feel that designers should look as hard at their sources for inspiration as many like myself have done: EGG was a prolific writer, inspired game designer, trenchant humorist, avid and informed critic, amateur artist, animated story teller, superlative editor, and the list goes on. But above all EGG was an outspoken individual, and that added continuous depth of expression to his designs. There was no middle ground as he always attempted to go beyond what was being presented. When faced with design hurdles he was not shy (that word does not figure into his make-up at all) to call upon the LGTSA members to discuss options, or to play-test an idea. When faced with creative challenges (as in his Alexander he Great board game) he advanced innovative system design. Throughout all of his creative phases his voice was heard and his opinions were felt loud and clear and were for the most part respected (except by certain fragile and sensitive egos); and he was highly regarded as a designer who pushed the limits of design.

Part of the reason why this played out so was in fact due to a non-competetive arrangement between us. We were not competing with one another but in fact contesting to see who could contribute to making whatever design was before us better. In essence no one then had any time to be offended or put off by all of the flurry of debate and criticisms and play-tests and the holistic parts that were constantly being interchanged. This wasn't outwardly about ego, though of course ego is vested in design at some level, but most certainly about creation and the creative ideal. As Dave Hickey points out in my recent video post, creators, especially truly unique ones, should be allowed to express their opinions in open discourse without somebody being offended. Creativity is about reaching outwards and beyond and that is done at a sustainable level which is as unique as the artist doing so.

When we were refining D&D through play-test--in fact when we play-tested and developed all games then--we were in DEEP and open discourse. Creativity and transformation cannot occur between others in closed discourse and every artist knows this. On the personal level I have always noted that strongly creative people have equally strong opinions. It is intrinsically part of their natures, or else they could not separate from a community standard and choose their own unique paths for expression. And if anyone believes that true creativity can aspire and grow and implant itself on one's doorstep and in their hearts, otherwise, they are mistaken. D&D separated from the wargames community and formed a totally new game concept and game type; and while doing so, it was at first ridiculed, misunderstood and often vilified. But its adherents stuck with it and proved that creative exceptionalism is the rule, not sameness.   What made RPG possible were select designers and play-testers who became responsible for the unlimited possibilities of human expression in a game where people, not standards, had recourse. In comparison, one cannot look at an artistic product because of this, and as Hickey noted in that video, again, and not see the artist or his kin. And in doing so, I might add, you cannot look at the best of these either without seeing, if only in some degree removed, what inspired that art, design, or writing.

Co-equal with that, certain art can be imitated, but artists cannot be. There will always be distinctions in this by their very acts, natures and beings; and more importantly, the fire of individual creation is not found in "grouping principles" but in standing away from said group and building one's own fire. Gary Gygax was, and still is, the prime example of outspoken individualism in our industry, and so too those whom he encouraged along such paths. It is a fundamental truth that an artist must have absolute freedom to be uniquely creative. This sometimes requires the interjections of others, but in the end, it most certainly requires that a true creator take his or her hammer and smash home the nail of self expression. Otherwise designers and writers adopt another's truth and with that lose their individual creativity and trim their capacity. And the latter in no way embraces what we--prior to and during the years of TSR--promoted while upon the unending search for creative exceptionalism.

Gary Con II, Honoring the Memory of The Father of Role-Playing Games

Greetings Seekers,

The Gary Con II Event catalogue is posted on the website (www.garycon.com/registration/2010_catalog.pdf). Check out the Distinguished Guests (including Robilar himself!) and the featured events. Everyone that pre-registers will be able to reserve 2 slots before the doors open. Featured events will fill up quickly- so don't delay.

For those that don't know, Gary Con II will be held 19-21 March at the Lodge at Geneva Ridge in beautiful Lake Geneva, WI. Go to the Gary Con website to pre-register (www.garycon.com). It is only $20 for all three days!

I look forward to seeing you all there, playing games and honoring the memory of The father of Role-Playing Games.

Luke Gygax

Up on A Tree Stump #4: The Value of D&D's Early Creativity, Improvisation and Play

Up on a Tree Stump™

(or) All I Know about D&D™ I Learned From Life

The Value of D&D's Early Creativity, Improvisation and Play

©2010.  Robert J. Kuntz

{An edited first draft extracted from my combined essays}
…
There was an acute difference in game-rules being used in David Arneson's First Fantasy Campaign and in our corresponding Lake Geneva Campaign under the leadership of EGG and myself and their participants. As has been historically noted, each "Campaign" had different rules, those at first initiated by David and his players, then as revised and rewritten by EGG as we play tested the D&D game in its soon to be published form.

Though there is a distinction of how the adjudications evolved in each game group, there is a thread of similarity in both which ties them tightly together:  they both relied on improvisational and creative play.

As there were no rules, but only notes and whatever existed in the minds-eye of each creator (or DM), spontaneous play WAS the course served.

The (role)-play tests evolved to reform the rules as published, and to this day folks may still believe that this was necessarily the form we adhered to during these play tests. To that I will say:  yes and no.  Partial rules were always being implemented and added as the play tests discovered a new set of challenges and areas as yet uncovered, and this lead to a furtherance of the rules as written by EGG to cover these circumstances, until, one might say that he, sitting back, finally said:  "This is enough, this is the core of what we’ve experienced and what is needed for gamers to experience what we just played."

So, what we experienced during the play tests was the growing act of Being and Doing.  The play test was a promotion of ideas that had various forms given to it by the acts themselves that varied inside our group conception of interchange.  This of course continued to free us as the actors and designers within the play; and this, more importantly, allowed for a constant progression of creative and playful nuances to occur.

Let me pose a simplified example of what occurred many times in that manner. Imagine wanting to climb a wall and there are no rules for it, as there were none for accomplishing this in-game task then.  Let’s take a look at how we may have handled that circumstance then during the course of play (the following is a recreation only):

R:  1) "I want to climb the wall."  NOTE:  The need is established here but not the instrument (the rule is not yet understood, and that is in turn understood on the surface by the player, as their PC has no such ability but assumes that he may be able to accomplish the feat notwithstanding).  This may have been couched similarly: 2) "Can I climb the wall?"  Both instances beg the DM's adjudication.  The DM is the arbiter of this event as dictated by the inputs forthcoming in interchange...

G:  1) "How do you accomplish that?” NOTE: or 2) "Yes, you can try." This is the first input field.  This establishes "yes" it is possible, but not HOW, as we have not as yet deduced that from the inputs.

R:  1) “Well, I look for jutting spots on the escarpment to cling to as I climb and I shed my armor. I climb slowly and use the hammer to lodge spikes into the wall to create perches.  I proceed cautiously.  Before ascending I tie the rope about the armor and attach its free end securely about my waist.”

G:  “Okay.  What's your Dexterity?”

R:  “12.”

G:  NOTE:  This is where the DM makes adjustments (+1/-1 to the inputs).  As the escarpment has been described as 80' high and straight up with some protrusions, we now have a base for ascertaining an on the fly ruling.  Here the DM decides to use 2 six-sided dice to ascertain the difficulty range, though in different circumstances in the LG Campaign this choice was easily substituted for different types and numbers of dice to expand or contract the numerical ranges.

+0 for dex
-1 for length of climb (would have been higher if the PC had not noted that they were proceeding slowly and cautiously)
+0 for armor being shed.  This may have been an extremely high minus if it had not been shed

Thus a +1 input on 2 six-sided dice.

G:  “The base is 7 and you need an 8 or better on 2 six-sided dice.”

R:  Rolls:  “9.”

G:  “You make it to the top of the cliff, but your armor is still below, which I imagine you pull up.”

R:  “Yes.”

G:  “That takes a minute--there you go.  Well done.  Give yourself 100 experience points for good planning.”


Note that this probability sequence, once used and re-used, became second nature with us.  In this instancing exchanges occur quickly and deductions become normal in respect to inputs.  This progresses matters for which there are no steadfast rules, or in turn belays the use of books and their referencing, expediting in all cases the action of the event and the participation of the players (both DM and PC) on a primary level.  This creative improvising can be tracked from these first occurrences during play to their printed forms in the DMG’s many tables, but in my opinion, the latter provides an incomplete idea of how we in the LGC conducted such matters and to which EGG never totally adhered.

…The New D&D:  The Lessening of the Play Experience

The built in safety net in the newest RPGs only exemplifies what is already known in that regard: Even if the rigidity of form is adopted, as in numerical expressions and tables and endless charts for myriad events or perceived game driven engagements, even if the players "feel" that there is fair and equitable treatment being proposed, in the end, the DM, however rigid and defined the system may be, can always call upon the fantastic if he or she is unfair or unyielding or selfish, breaking all barriers of pretense with but one summoned monster from the ether which demolishes said party of PCs anyway.  Players may scream in the end about equality of CR levels or what not, but done is done.  In retrospect OD&D assumed a standard of fairness of adjudication as its core principle in DMing the game.  Thus I find that this sacrifice of play in the new D&D—and supposedly in answer to player demand or a perceived design need--has never held water with me; and it appears beneath the surface as a red herring implemented to justify new rules favoring a finite structure that in turn explode PC-dominant positions within the game.

In turn, this new RPG “safety net” creates and sustains a totally manufactured and assumptive way of imagining a player and thus their regulated environment, making sure that they are not over-wounded (disfavored) in the game.  This of course does not present a realistic portrayal of any event driven fiction (role) and its backlash is the need driven participation of the player to succeed time and time again.  When faced with challenges or loss, they can point back at “balance or fairness,” the very things that have in fact been worked out of the game play due to structuring it in this manner. In essence, the apparent reason for this conceptual deletion of value-driven accomplishment is due to marketing and grooming of the play environment to keep players, like in computer games, happy as larks with their perceived rewards and gains.

Now let's take a look at a different way of viewing this from the other end of the telescope.

Immersive play furthers creative thought.  When a player substitutes intuition and creativity for game mechanics only, they are not immersing themselves in a growing experience through which they become better decision makers or strategists.  This very lack summons a ground of clay that makes any stance for learning or achieving beyond a redundant and non-immersive pattern impossible. Such participants instead comfortably root to where and when they will choose to implement powers and repeatable set in stone strategies.  They may reach for dice with the knowledge that they have achieved a numerically advantageous position as they have before them all of the inputs in print to arrive at that calculation, so they are assured in most respects of a positive outcome.  This is like opening a door.  It takes little thought or planning.  It's like eating a bowl of noodles.  Some may dangle, but the fork can rearrange them.  It is in a word boring; but the consequences for those who limit play under such a premise is more than just boring, it's frightening.

If we attempted to construct a specific mechanic for each or any one of our real world actions and/or specify or attach relative times and other values for doing so based upon a multitude of raw and variable inputs, we would soon need a computer to arrive at such extrapolated deductions and also a wave of corresponding experience to make fair assessments in arriving at the derived principles.  That is not possible as we are not the sum of human knowledge and worldly existence, so we must seek comparative improvisation to reach expansiveness in play rather than seeking models with built in limits that bar such creative extrapolation.

The further one closes off their mind to experience, the less they participate and in turn the less value they derive from such experiences.  Only value-added achievements spur growth.  EGG used to welcome players at conventions to test their metal in Greyhawk Castle, especially those who claimed to have higher-leveled and well-appointed PCs. These types who were never challenged to produce efforts equal to gains in their DM's campaign soon found, much to their consternation, that their flimsy "strategies" were nullified in a DM's game where real thinking was involved.  This close-mindedness often, and unfortunately, always goes back to the DM, for it is he or she who sets the examples and difficulties for their players.

A closed, or oftentimes, routed mindset, allows very little expansion for abstract thinking.  The more one sides with a finite approach as opposed to an open-ended play environment the more one will become reliant upon a structure that codifies itself within a box.  This is fine with many game designs as all reach superimposed limits at some point, but when applied as a model on top of an RPG which in its conceptual range is based upon playing out broadly expanding fictional situations and forms, it is anathema and is in contradiction to the inherent honesty of design relating to the matter overall and on sundry understood levels.

Within an open model as OD&D presents, players and DMs can choose what they need and ignore or discard the rest. They may even change what they need from within the selections and even come back to those they did not think worthy at first to re-examine them.  There is always a creative flow at work within the mutable parts. Attempt to do that with closed models and their static forms are always broken if not challenged as their entire event and statistical stream must be re-imagined and re-codified.  Once an RPG loses a model of play oriented expansiveness it, in my estimation, becomes at best “role assumption,” as the PLAY in the most inclusive and creative use of the term is no longer considered important to its titular description.

Thus each game/rules form dictates the mode, the mode dictates the expression, and this as a combined cycle dictates the outcome. Within these there may be variances, such as what to add to any given sequence, but if these particles as a whole are on the front end designed in to perpetuate the ending cycle, then outcomes are assured no matter the available sources for input (re:  as in a computer program). This is true with all devised systems.  OD&D’s system was there to implement and to improvise as one experienced it. This remains its absolute strength to this day.

In summary one might break down the aspects of the D&D game in its initial stage, and then the D&D game in its current stage, thusly:

OD&D 1973 play test and forward: Play grows out of games and play-fiction.  War games>miniature games>parlor games>make believe>story-telling.  Rules mix with play but do not burden them.  Play becomes the focus, to the point where EGG discards major rules as published to concentrate on his home-brew style that we both adopted in the play test version. In bringing the game to consumers this aspect is stressed more than once as a fundamental theory as there is no way to "formally" adjudicate every instance of play as play is seen as forever open-ended. Through AD&D 2nd edition this finds purchase and is on many levels adopted, spurring creative implementation of home-brew rules even in the face of TSR's attempted rules codifications for IP reasons.

3rd Edition onward to present: The game goes through drastic changes producing a new rules structure and eliminating in-house rulings.  The play aspect is foreshortened, being replaced by skills and feats.  The creative aspect of playing and thinking is routed into a statistical mode of balance siding with the players.  The DM's use of rules improvisation is depleted as rules dependency becomes a reality due to overt, formal structuring.  We no longer have open-ended play but what is now a semblance of a computerized flow-chart implemented on the table.  Part miniatures game, part role-playing, but with no real extenuation of imaginative input as this is all deduced up front for the player and the DM.  We now have a formula-based RPG.  ADA has arrived.

Now....

I climb the wall.

Roll your dice...

I succeed.

OK, you're up.  And with your feat of quantum carrying, you did so with your armor on.

Don’t I get experience for negotiating that very deadly obstacle?  It says so here in the book.

Right.  Is 500 enough?...
…

…RJK (Somewhere near Betelgeuse)

Garycon 2, Right Around the Corner

Allan Grohe and I were exchanging emails today on good ole GARYCON 2 which is forthcoming in March.

Here's where it is being held.

Here are the directions.

And here is their website.

See you there! :)

Image Copyright, Garycon 2010.

An Interesting Greyhawk Link

Here.

Gary Gygax in Europa Newsletter 1975: On D&D and Castle Greyhawk

Extracted From Europa WEB ARCHIVE, issues 6-8, April 1975.

Page 20 

E 6,8, page 18 GABT GÏGAX: D&D 

HPV TO SET UP YOUR DÜNGEONS & DRAGONS CAMPAIGN -AMD BE STOCK REFE- 

RËEING If SEVEN SAÏS'pSU ÏEËK PTOL TriE WEE HOURS OP THÈ MOKMÏNÏÏF 

Part II of a Series by Gary Gygax (USA) 

Let us assume that you have shelled out the requisita number of

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dollars to purchase all of the materials necessary for a DftD cam- 

paign - rules, dice, reams of various kinds of paper, pencils, and 

so forth. Several persons have expressed a desire to play the ga- 

me, so all you really need now is the game! That's right, folks. 

The referee of the campaign must structure the game so as to have 

something to play. He must decide upon these things: 

1) The overall setting of the campaign; 

2) The countryside of the immediate area; 

3) The location of the dungeon where most adventures will take 

place; 

4) The layout and composition of the nearest large town; and 

5) Eventually the entire world - and possibly other worlds, times, 

dimensions, and so forth must be structured, mapped and added. 

This might seem to be too large a task, but it isn't really IP you 

and your players are enjoying the game (and it is odds-on you 

willl). Furthermore, not all five things need not to be done BEFO- 

RE play commences. In fact, most of the fine referees I know of 

work continually on their campaign, adding, changing, and expan- 

ding various parts continually. A thorough discussion of each of 

the five areas of campaign play is necessary before considering 

how to go about involving players in the affair. 

Step 1 is something you do in your head. Now fantasy/swords & sor- 

cery games need not have any fixed basis for the assumptions made 

by its referee (my own doesn't) except those which embrace the 

whole of fantasy. This sort of campaign can mix any and all of the 

various bases which will be mentioned below — and then some-. 

Regardless for what setting you opt, keep it secret from your play- 

ers, or else they can study your sources and become immediately 

too knowledgable, thus removing the charm of uncertainty. Settings 

based upon the limits (if one can speak of fantasy limits) can be 

very interesting in themselves providing the scope of the setting 

will allow the players relative free-reign to their imaginations. 

Typical settings are: Teutonic/Norse Mythology; Medieval European 

Folklore (including King Arthur, Holger the bane, and so on); The 

"Hyborean Age" created by R E Howard; Fritz Leiber's "Nehwoh" with 

Pafhrd and The Grey Mouser; Indian Mythology; and Lost Continents 

such as Atlantis or Mu. Regardless of the setting you can have it 

all taking place on an 'alternative earth' or a parallel world. 

In this way minor variations can easily be explained/justified. 

When the setting is decided upon some good books dealing with it 

should always be kept handy. The time has come to begin working on 

the campaign« 

Step 2 requires sitting down with a large piece of hex ruled paper 

and drawing a large scale map. A map with a scale of 1 hex = 1 «ai- 

le (or 2 kilometers for those of you who go in for recent faddish 

modes of measure)(yes, I often use rods, chains, furlongs, and lea- 

gues tool) will allow you to use your imagination to devise some 

interesting terrain and places, and it will be about right for 

player operations such as exploring, camping, adventuring, and e— 

ventually building their strongholds. Even such small things as a 

witch's hut and side entrances to the dungeon can be shown on the 

map. The central features of the map must be the major town and 

the dungeon entrance. - 

Page 21 

Step 3 ! involves the decision, aspe et already mentioned a,nd the ac- 

tual Work of sitting down and drawing dungeon levels. This is very 

difficult and time consuming. Each level should have a central the- 

me and some distinguishing feature, i.e. a level with large open 

areas swarming with goblins, one where the basic pattern of corri- 

dores seems to repeat endlessly, one inhabited.by nothing but fire-

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dwelling or fire—using monsters, etc. 

As each level is finished the various means of getting to lower le- 

vels must be keyed and noted on the appropriate lower levels, so 

that if a room sinks fours levels it will then be necessary to im- 

mediately show it on 4 sheets of graph paper "umbered-so as to in- 

dicate successively lower levels. A careful plan of what monsters 

and treasures will be found where on each level is also most neces- 

sary, and it can take as long to prepare as the level itself, for 

you may wish to include something UNUSUAL (a treasure, monster, 

and/or trick or trap not shown in D&D) on each level. 

(Before the rules for D&D were published 'Old G-reyhawk Castle1 vras 

13 levels deep. The first level was a simple maze of rooms and cor- 

r.idores, for none of the participants had ever played such a game 

before. The second level had two unusual items, a Nixie pool and a 

fountain of snakes. The third featured a torture chamber and many 

small cells and prison rooms. The forth was a level of crypts and 

un'dead. The fifth was- centered around a strange font of black fire 

and gargoyles. The sixth was a repeating maze with dozens of wild 

hogs (3 dice) in inconvinient spots, naturally backed up by appro- 

priate numbers of Wereboars. The seventh was centered around a cir- 

cular labyrinth and a street of masses of ogres. The eigth through 

tenth levels were caves and caverns featuring Trolls, ¡triant insects, 

and a transporter nexus with an evil ?izard (with a number of tough 

associates) guarding it. The eleventh level was the home of the 

most powerful wizard in the castle. He had Balrogs as servants. The 

remainder of the level was populated by Martian White Apes, except 

the sub-passage system underneath the corridores which was full of 

poisonous critters with no treasure. Level twelve was filled with 

Dragons. The bottom level, number thirteen, contained an inescapa- 

ble slide which took the players 'clear through to China', from 

whence they had to return via 'Outdoor Adventure'. It was quite 

possible to hourney downward to the bottom level by an insidious 

series of slanting passages which began on the second level, but 

the liklihood of following such a route unknowingly didn't become 

too great until the seventh or eighth level. Of the dozen or so 

who played on a fairly regular basis, four made the lowest level 

and took the trip: RobKuntz, now a co—referee in the campaign 

went alone; and three of his friends managed to trace part of his 

route and blunder along the rest, so they followed him quickly to 

the Land of China-.- Side levels included a barracks with Ores, Hob- 

goblins, and Gnolls continuallying warring with eachother, a museum, 

a huge arena, an underground lake,, a Giant/s home, and a garden of 

fungi.) 

Step 4 should be handled concurrently with designing the first 

three or four dungeon levels. Here your players will find lodgings, 

buy equipment, hire mercenaries, seek magical and clerical aid. 

drink, gamble and wench. The town would do well to resemble some of 

those in Howard's "Conan" series or Leiber's city of "Lankhmar", 

Strange towers, a thieves quarter, and temples of horrible deitie:; 

add greater flavor to play. The 'Thieves Guild ', a scoiety of evil 

clerics, a brotherhood of lawful men, and so on bring a bit more 

interest also. If a few warring nobles from the surrounding terri- 

tory also send large parties of men into the place occasionally 

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some interesting brawls can occur. Honest and. dishonest merchants 

should be indicated. Taverns which drug patrons should likewise be 

indicated, and so on. In any event be sure and leave room for addi- 

tional things and expansion. 

Step 5 is, as noted, something that you won't immediately have to 

worry about; but it is a good idea to have a general plan in mind

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worry about; but it is a good idea to have a general plan in mind 

immediately. The general geography of the 'world' should be sketch- 

ed out. If you plan to make it possible to visit other worlds, ti- 

mes or places the general outline of all such areas should, also be 

sketched out. For example, you might wish to have the Moon an in- 

habitable (and inhabited) place which can be traveled to by means 

of a Flying Carpet, A deseciption of this lunar world should be lo- 

cated somewhere as well as a raeans of getting there, but only AFTER 

you have something solid in the way of maps and the like. 

Having accomplished those parts of the five steps which Te immedi- 

ately necessary (probably taking a week or so), you are ready to 

begin to- play. 

Let us further assume that there are four prospects. These players 

should begin together and for a time at least operate as a team if 

possible. Each in' turn rolls three dice to record the various sco- 

res for the makeup of the character they are to play and. how large 

an initial bankroll the character begin vrith. This accomplished, 

players decide »hat class of character thoy wish to play, the type 

(human, elf, etc), a,nd the alignment of the character (the la,tter 

can ba secretly told the referee, with an announced alignment be- 

ing false). At this stage each player locates his base in some inn 

or the like, and then they can set forth to explore the town and 

purchase their adventuring equipment. Those that are careful and/ 

or lucky might also be able to hire a few men—at—arms to accompany 

them also. The latter is particulary true if players pool their 

funds. In a short time the first dungeon expedition can be made, 

but that is the subject of Part III of this series, so we will re- 

turn to it again later. 

There is one further subject to be dealt with here, and tha,t is 

selection of character type. It is pretty obvious that high base 

scores in the areas of Strength, Intelligence, Y'isdom, or Dexteri- 

ty indicate that becoming a Fighter, kagic-User, Cleric or Thief 

(see the upcoming D&D Supplement "Grayhawk" to be released someti- 

me before the summer of this year). But what about those players 

who roll just average (or worse) totals? They are the ones who 

should take advantage of the non—human types, for these have 

built—in abilities despite the general handicap of being unable to 

work up as high as humans. If the character is poor anyway, will 

he ever bo worked up very high? Possibly, but the odds are against 

it as a human, but as an Elf, Dwarf, Hobbit, Half-Elf or even some 

other creature some interesting', possibilities exist. It is up to 

the referee to help bis players in this area by pointing out the 

advantages and disadvantages of each type. ?/hat do you do if a 

player opts to become a Golden Dragon? Agree, of course. Allow the 

player to adventure only with strictly Lawful players, and normal 

mon—at-arms would never go near even a good dragon. He would be 

Yory Young, siso being determined by a die roll. Advancement in 

ability would be a function of game time (the dragon would normal- 

ly take about four years to grow to its next level) and accumula- 

ted treasure - let us say that for every 100 000 pieces of gold 

(or its equivalent) the dragon in effect gains an extra year of 

growth, counting magical items which go into the horde ,p,s fairly 

high in gold vaine. While the pLayer will be quite advanced at 

first, those who are playing more usual roles will surpass him ra- 

ther quickly, and in this way you'll not find a G.D. dominating. 

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********* ******** ************************ **** ****** ** if ****** ***** 

DÜNGEONS & DRAGONS 

wlh. : D&D seems to get more and more popular; some quotations and 

remarks (out of letters and other zines) may prove it: 

STEPHEN M TYMESON (Hawaii, USA): In our Rame club,"right now, Mi- 

cro Armor 1/285, Third Reich and D&D are the most popul.ar (...). 

Greg Hines and his group has a set of D&D clarifications, correc- 

tions and additions that are terrific. Their dungeons must be the

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most elaborate around. Much of this stuff will bo published in a 

new magazine, they hope this summer. Their system covers the loop 

holes and makes play faster and. easier inspite of adding about a 

million new things." 

NICKY PALMEIt (Danmark/UK): In his zine "Battleground" (in which se- 

veral PBM-CoSira—games are played) he started a PBM-D&D-Kame also. 

He explains: "There are two possibilities: a single expedition, or 

a series of special rules combined with the solo rules ¡¿ iven in 

the "Strategic Review" (l,l). Probably it'll be the first; I have 

been trying the second., though, with Graham Buckell, and it works 

marvellously — he sends me 50 or so sealed bits of paper, and I 

open them in accordance with my actions ("If you take the left 

turn then open no. 21"..."If you try and break open the box, thon 

open no. 33", etc). He may combine the two. So far there are 4 

players interested in playing; we should get a couple more nearer 

the date." 

(Nicky shortly reviewed D&D also in BG 11,3). 

KEVIN SLIMAK (in "The American Wargamer" II,7: 12): "St Louis ap- 

pears to be one of the few areas that isn't hooked on DSD at pre- 

sent." 

GEORGE PHILLIES (in "The American Wargamer" 11,8:8-9): "To judge 

from published accounts in-wargaming magazines (and I see a lot of 

local magazines) D&D (by Gary Gygax) seems to be the most popular 

gaming title in some time. The explanation must in some sense be, 

psychological, since D&D is entirely unlike any previous sort of 

wargame (if it is one, a thing of which I am not convinced). No- 

velty has its effect, but the novelty has worn off, at least local- 

Previously, there have been three sorts of wargaming efforts: 

boardgames, miniatures and Diplomacy (...) It would appear that 

Gary Gygax has added a Fourth dimension to the wargaming scene." 

"D&D is not a competitive game in the usual sense, at least not as 

played here. It is more, in the old sense, the game of life - you 

vs the world, as represented by ;the gamemaster and the dice." 

"In a sense the popularity of D&D arises from its ability to ap- 

peal to the 'Rommel syndrome'*- the feeling that one actually is 

the character represented in the game." 

"In D&D you are one character (perhaps a few characters, but usu- 

ally individual ones) with a set of strength determined in the ga- 

me. This is a very seductive approach; it is ¡>ju 

sion oneself as .a real person in some other world, than it is to 

believe that one is all of the German eastern front commanders. 

Furthermore, many wargaraers are also SF fans, and D&D can appeal 

to the imagination — the notion that one can create one's own 

world." 

( (Cf also: Flying Buffalo's "WargaroerJ s_Inf qroiation" 1,1; "Ab- 

wehr" 11,8:5; then the reviews mentioned in "Íhe__Guide to Warga- 

ming Periodical Literature" 111,4, No. 951-9H3; and, of course: 

Europa 3,14; 4/5,17.61)). *• cf Orvw^s a . <-, \ 

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E 6-8, page 22 ! GART GYGAX / SANDY EISEN: D&D 

**********************i****************************************** 

RE; SANDÏ EISEN ABOUT D&D (by Gary Gygax, USA) 

((wlh. In E 4/5, p 61, Sandy np.de some remarks about D&D, especial- 

ly he mentioned: "This has impressed me as very good indeed when 

I started playing, but now the shine is wearing off as I see that 

it is not really as open—ended as it seemed to be. Nevertheless it 

is still good- fun.")) 

I am first of all interested in knowing who it was that introduced 

the D&D campaign to you I More, importantly, however, I ^ould like 

to know what caused you to find the "shine" rubbing away ~nd the

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game not "as open—ended a,s it seemed to be". The campaign does 

rest very heavily upon the referee, but if he is doing a proper 

job it will be completely open—ended. The usual fault is a tenden- 

cy to make a D&D cajnpaign into a give—away, with dungeon levels re- 

sembling a magical department store. Players progress so quickly 

that 20th level becomes a run—of—the—mill thing, and where can it 

go from there? (On the other hand there is .a campaign I know of 

where I am informed by a player that after eight month of constant 

adventuring there is an 8th level Magi'c-U'ser as the highest level 

in the game, .and that is tough but good). 

Those who find their campaign in a too-much, too-soon fix can try 

to rectify it by including desi—gods, super-powerful supernatural 

types and the like. This isn't the way D&D was me'ant to be played, 

but it is a fantasy game, and if it saves a game so much the bet- 

ter. There are all sorts of other things that can be done also. 

Other-world adventures can be staged, .and by getting into a semi- 

science fiction situation some of the power of high-level players 

can be negated. Devines, and tricks can be used to nullify and take 

away magic items. Tricks, geases, and quests can cause levels tò be 

lost. Monsters which drain levels can be sot so as to surprise and 

have a good chance of draining players. As a last resort you can 

begin again, and avoid the mistakes originally made. Let me know . 

the specifics if you think I can be of any help. 

SANDY'S REPLY TO GARY (by Sandy Msen, UK) 

I was introduced to D&D, and I a,m currently living in a, campaign 

being refereed by Roger Lighty from Pasadena (now living in Chur- 

chill College Cambridge, UK). I founr the first few games intensely 

enjoyable and exiting; I really lived the part and ny 'willing sus- 

pension of disbelief' found myself there — in the dungeon. My ac- 

tions (and of course my thoughts a,bout these actions) were dicta- 

ted by real-life considerations and no thought of Wargame mechanics 

entered my head to distract me from the 'events' going on. 

However, on my first games, by browsing through the rules booklets 

and pastering Roger with questions, I picked up a rough idea of the 

game mechanics and it was this knowledge that, with its attendant 

realisation thp.t D&D was just another minitures combat system 

(abeit a highly imaginitivo and distinctive one) broke the spell 

of perfect involvement.I had been under until then. Thus when I 

spoke of D&D not being so open—ended, you misunderstood mo. I ^ id 

not mean in terras of the long—term course of the campaign and the 

lifcs of the characters, but rather the possibilities inherent in 

each fight, encounter, discovery, etc. These are still wide, but 

inevitably when you are awarr of the rules, you play out each si- 

tuation with an eye to obtaining best odds/chances of survival,etc. 

considering the rules rather than the situation you are in. 

To avoid this I have decided that when I design and run my own dun- 

geon I will not permit the players (people who do not know about 

D&D yet) to discover the rules. Of course this will put them at a 

great disadvantage, and I feel I may have to put over quite abit of 

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information in the form of legend/folklore/tales so that they will 

have some idea of what they are up against and what to try, but all 

without-disclosing the game mechanics. Although learning-by-your- 

mistakes will be a harder way, I feel that it will be more enjoyable 

both for the players and the referee. 

I can appreciate your concerns over too-rapid progress and possibi- 

lities for hra.nching-out after characters have made it to the top, 

but it does not really apply to us, as the campaign I'm in seems