Sunday, July 5, 2009
Thursday, July 2, 2009
DM'ing Philosophy
I initially submitted this to the forum, but Rob thought it might be interesting to include it here, too:
I've read some recent PP blog entries with great interest, as they (and some links) recount some of the North Texas RPG Con adventures. These, and some other recent comments in this forum have led me to some questions about DM'ing style.
What happens when you (e.g.) put Bottle City on the second level of Castle Greyhawk? Well, you might lose some incautious low level PCs, but what else happens? First and foremost, you undo their expectations that they will exist within a bubble of appropriately-scaled encounters. This might be quite a shock and maybe you'll lose those players, but this effect seems quite worth the risk. Wouldn't this lead to a much greater feeling of accomplishment when the players actually do gain levels and navigate successful adventures? After all, if they weren't actually smart AS PLAYERS, they would have touched the bottle, or charged the hill giant or tried to steal Smaug's golden cup. This must (I think) create the perception that the entire world is not only genuinely dangerous, but more "real" in the sense that it exists and changes not according to the level of the PC but according to its own internal logic. As much as the idea of putting Bottle City on the second level kind of shocked me, I really like the kind of player experience that sort of move engenders.
However, the thing I like about it most is what I'd call the "mystery and sublimity" factor. I recall two incidents in my own DM career that maybe were a bit similar (though I had no idea at the time why I did them, to be honest). The first was when the (relatively high level) party went back in time to the sack of Gondolin. Peering out of the ruined building into which they'd just transported, they saw a group of 6 balrogs run by on some errand of destruction. Wisely, the PCs kept low: "I guess that's the wrecking crew" one muttered. If they'd engaged them in combat, the PCs would have been easily slaughtered. The other incident was when I had a group going through the upper ruins of Morgoth's old stronghold of Utumno. Moving through the maze of echoing passages and vaults, they came upon a vast pit in the midst of which was suspended an enormous, elongated diamond-shaped metal artifact. They could only see the very tip of it, itself over 100 feet high -- the rest, they guessed must extend almost 1/2 a mile into the darkness below. I still don't know what that thing was or why it was there, but I did feel at the time that I wanted to symbolize to them the utterly mysterious and alien vastness of this place, of which they'd see only the tip of the iceberg.
Although I'm over analyzing things as usual, it seems to me that one further effect of meeting a Bottle City as a first or second level character is that it gives you a foreshadowing or embodiment of the vastness and mystery (and danger) of Castle Greyhawk and the kind of Greyhawk Campaign that was being run. It reminds me of an image Tolkien used in LOTR to the same effect (at least, this is what I suggested to my students). Most folks recall the well in Moria into which Pippin throws a stone? Isn't that the perfect symbol for how Moria and Tolkien's world in general works? We enter in to it, interact with it, and then hear a mysterious and distant answer (the tapping) which just enhances the feeling of mystery. As a reader, we're given the surface text, but it's full of images of a deeper, older, more mysterious reality -- think of Gimli's song in Moria, Sam's poem about Gil Galad. These hints of an ancient, independant "reality" abound in Tolkien -- and that effect of sublimity and mystery I think is really worth invoking.
Now, all that being said, I'm curious about the extent to which people pursue a similar or different gaming philosophy and, in particular, I wonder how you all might interpret EGG's words on page 2 of the "Storerooms" section of the Castle Zagyg Upper Works. To summarize, he talks about scaling encounters for PCs entering the area who are of too low (or high) a level. Is this kind of scaling a recent thing for him? Is it different somehow from (e.g.) putting Bottle City on level 2 (which seems intentionally unscaled, to me)? Did his DM'ing philosophy shift later in his career? Of course, you keep reading and he still sounds pretty hard core (suggesting it's good to put the fear of God into the adventurers and how important the "run for your life" tactic is and always has been). Gary says "Rash play will likely result in hard lessons" -- that's good, but balancing encounters? What happened to his DMG advice of "Let the dice fall where they may"? Shouldn't you just create the encounters and make sure plenty of hints are available about relative difficulty to the players?
Just some thoughts. I'd love to hear anyone's reaction to them or any other unrelated ideas about your own DM'ing philosophy.
Thanks for reading.
I've read some recent PP blog entries with great interest, as they (and some links) recount some of the North Texas RPG Con adventures. These, and some other recent comments in this forum have led me to some questions about DM'ing style.
What happens when you (e.g.) put Bottle City on the second level of Castle Greyhawk? Well, you might lose some incautious low level PCs, but what else happens? First and foremost, you undo their expectations that they will exist within a bubble of appropriately-scaled encounters. This might be quite a shock and maybe you'll lose those players, but this effect seems quite worth the risk. Wouldn't this lead to a much greater feeling of accomplishment when the players actually do gain levels and navigate successful adventures? After all, if they weren't actually smart AS PLAYERS, they would have touched the bottle, or charged the hill giant or tried to steal Smaug's golden cup. This must (I think) create the perception that the entire world is not only genuinely dangerous, but more "real" in the sense that it exists and changes not according to the level of the PC but according to its own internal logic. As much as the idea of putting Bottle City on the second level kind of shocked me, I really like the kind of player experience that sort of move engenders.
However, the thing I like about it most is what I'd call the "mystery and sublimity" factor. I recall two incidents in my own DM career that maybe were a bit similar (though I had no idea at the time why I did them, to be honest). The first was when the (relatively high level) party went back in time to the sack of Gondolin. Peering out of the ruined building into which they'd just transported, they saw a group of 6 balrogs run by on some errand of destruction. Wisely, the PCs kept low: "I guess that's the wrecking crew" one muttered. If they'd engaged them in combat, the PCs would have been easily slaughtered. The other incident was when I had a group going through the upper ruins of Morgoth's old stronghold of Utumno. Moving through the maze of echoing passages and vaults, they came upon a vast pit in the midst of which was suspended an enormous, elongated diamond-shaped metal artifact. They could only see the very tip of it, itself over 100 feet high -- the rest, they guessed must extend almost 1/2 a mile into the darkness below. I still don't know what that thing was or why it was there, but I did feel at the time that I wanted to symbolize to them the utterly mysterious and alien vastness of this place, of which they'd see only the tip of the iceberg.
Although I'm over analyzing things as usual, it seems to me that one further effect of meeting a Bottle City as a first or second level character is that it gives you a foreshadowing or embodiment of the vastness and mystery (and danger) of Castle Greyhawk and the kind of Greyhawk Campaign that was being run. It reminds me of an image Tolkien used in LOTR to the same effect (at least, this is what I suggested to my students). Most folks recall the well in Moria into which Pippin throws a stone? Isn't that the perfect symbol for how Moria and Tolkien's world in general works? We enter in to it, interact with it, and then hear a mysterious and distant answer (the tapping) which just enhances the feeling of mystery. As a reader, we're given the surface text, but it's full of images of a deeper, older, more mysterious reality -- think of Gimli's song in Moria, Sam's poem about Gil Galad. These hints of an ancient, independant "reality" abound in Tolkien -- and that effect of sublimity and mystery I think is really worth invoking.
Now, all that being said, I'm curious about the extent to which people pursue a similar or different gaming philosophy and, in particular, I wonder how you all might interpret EGG's words on page 2 of the "Storerooms" section of the Castle Zagyg Upper Works. To summarize, he talks about scaling encounters for PCs entering the area who are of too low (or high) a level. Is this kind of scaling a recent thing for him? Is it different somehow from (e.g.) putting Bottle City on level 2 (which seems intentionally unscaled, to me)? Did his DM'ing philosophy shift later in his career? Of course, you keep reading and he still sounds pretty hard core (suggesting it's good to put the fear of God into the adventurers and how important the "run for your life" tactic is and always has been). Gary says "Rash play will likely result in hard lessons" -- that's good, but balancing encounters? What happened to his DMG advice of "Let the dice fall where they may"? Shouldn't you just create the encounters and make sure plenty of hints are available about relative difficulty to the players?
Just some thoughts. I'd love to hear anyone's reaction to them or any other unrelated ideas about your own DM'ing philosophy.
Thanks for reading.
Sunday, June 28, 2009
Cimmerian's Blog...
...Here, has a pretty straightforward and extensive account of the 2nd party's adventure into my Castle El Raja Key at NTRPGCon, and some other tidbits on the con as well.
Herb Alpert and the...?
I am a strange bird sometimes. A few weeks back I was listening to Herb Alpert's "Rise" from his "Definitive Hits" CD (but here is the YT link) and I got this silly inspiration to have him drawn raising the dead with his music. Yeah. So I handed it off to ATOM and now here it is. Bloody well done, ATOM, old chap! Yeah, like I said, sometimes I am strange, but it did inspire me on another blog entry I will be making soon.
Drystaff Short Stories Update
Our editor, Dave Coalter, has finished editing my three Drystaff short stories which precede the novel, "The Twelve Labors of Drystaff." Eric Bergeron will be doing the front cover and inside art for this work. Dave now gets the remaining shorts I have, which include, "A Necromancer's 'Tale'"," "Acceptance," "The Jungle Temple," "People Die all the Time," and "Archeology 101," with the last two being straight SF.
Be on the look out for these shorter works in the near future.
Be on the look out for these shorter works in the near future.
Thursday, June 25, 2009
Various Jottings & Updates
I have been busier than a one-armed paper hanger with an itch...
And it's so blazing hot here in Racine, yarrgh. I need a cone of cold cast on me, or a cold shower.
Yesmar, the Royal Cartographer, just finished the map for DHALT from a rough I provided; we are moving onto the GH Levels give-and-take exchange on Monday; I updated the number of copies of CAS1 available (10); I wish to thank the folks who have been purchasing my special items, as that helps fund the many projects in the pipe-line, and I've added more to the list as well (doing this weekly, or thereabouts); I started drawing the ORCS LAIR map (in color, very large) in between writing breaks (I do about an hour a day on it). As mentioned it's very large and there are two such maps. Eric Bergeron, now fully recovered from his sickness, will have the art for Black Festival in a week. Starting Monday, I will be sending outlines and contracts to prospective writers and one other carographer. I have been trying to read a bit in between, but failing miserably.
I have been wanting to finish and post some more essays and columns on several interesting subjects, both historical and creative, but am finding less and less time to do so. Do I sound frenetic, yet? I hope so... So, if anyone has a subject to post, have at it. Please. :)
Stay cool!
Rob
And it's so blazing hot here in Racine, yarrgh. I need a cone of cold cast on me, or a cold shower.
Yesmar, the Royal Cartographer, just finished the map for DHALT from a rough I provided; we are moving onto the GH Levels give-and-take exchange on Monday; I updated the number of copies of CAS1 available (10); I wish to thank the folks who have been purchasing my special items, as that helps fund the many projects in the pipe-line, and I've added more to the list as well (doing this weekly, or thereabouts); I started drawing the ORCS LAIR map (in color, very large) in between writing breaks (I do about an hour a day on it). As mentioned it's very large and there are two such maps. Eric Bergeron, now fully recovered from his sickness, will have the art for Black Festival in a week. Starting Monday, I will be sending outlines and contracts to prospective writers and one other carographer. I have been trying to read a bit in between, but failing miserably.
I have been wanting to finish and post some more essays and columns on several interesting subjects, both historical and creative, but am finding less and less time to do so. Do I sound frenetic, yet? I hope so... So, if anyone has a subject to post, have at it. Please. :)
Stay cool!
Rob
Monday, June 22, 2009
So Many, Many...
As I sit here at Blake Avenue while sipping on a raspberry lemonade, it occurs to me just how much I have been doing. So, an update is in order, just so we all know, and so that I may keep track of it mentally as the lemonade sinks in.
We are sightly behind schedule to release many products, mostly due to our main artist, Eric Bergeron, being sick and in the hospital. He has recovered after a short stay and I've sent him well wishes, and he is now catching up on several pieces including the front cover and interior illustrations for my S&S novella, "Black Festival." It was recently edited by David Coalter and it is but awaiting the art to go to print.
Next, the reprint of "Tower of Blood," will coincide with the new releases. We expect to have around a hundred copies available.
And, the limited edition prints by Eric Bergeron, either separately or as a group of 3, all in color, only 200 of each being issued. Orcus, Merlynd, and Lord of the Green Dragons. The money generated from their sale will help fund those three projects, which are quite large or have more to them than the other LGC&C products.
And finally, DHALT. Atom finished the art (what a great ole chap, always spot on) and I finished the map, and am now frenetically tapping at the keyboard, crafting away.
In between there is always more, as in publishing one must stay ahead. Yesmar and I will be releasing a secret project very soon, he is also working on the Original Castle maps, and I have to issue projects to writers, cartographers and illustrators as it flows along... As well, my Drystaff short stories are now in the editing stage and I am thinking about finishing... Ah! The insanity of publishing...
Luckily it's Summer and there's lemonade... :)
We are sightly behind schedule to release many products, mostly due to our main artist, Eric Bergeron, being sick and in the hospital. He has recovered after a short stay and I've sent him well wishes, and he is now catching up on several pieces including the front cover and interior illustrations for my S&S novella, "Black Festival." It was recently edited by David Coalter and it is but awaiting the art to go to print.
Next, the reprint of "Tower of Blood," will coincide with the new releases. We expect to have around a hundred copies available.
And, the limited edition prints by Eric Bergeron, either separately or as a group of 3, all in color, only 200 of each being issued. Orcus, Merlynd, and Lord of the Green Dragons. The money generated from their sale will help fund those three projects, which are quite large or have more to them than the other LGC&C products.
And finally, DHALT. Atom finished the art (what a great ole chap, always spot on) and I finished the map, and am now frenetically tapping at the keyboard, crafting away.
In between there is always more, as in publishing one must stay ahead. Yesmar and I will be releasing a secret project very soon, he is also working on the Original Castle maps, and I have to issue projects to writers, cartographers and illustrators as it flows along... As well, my Drystaff short stories are now in the editing stage and I am thinking about finishing... Ah! The insanity of publishing...
Luckily it's Summer and there's lemonade... :)
Saturday, June 20, 2009
Sorting Through The Entrants
I am now sorting through the entrants for writers. This should take 2-3 weeks as I am assigning projects along the way that I feel best meet each and every individual's strengths. NDA and WFH agreements will then be sent, or addresses requested for same, along with my contact information and an expanded outline/notes/maps which relate to each. A turn around time will be attached, as well.
I thank each and every person who took the time to answer my request and wish luck to those who
at this time we felt it wasn't a match for us.
Rob Kuntz
I thank each and every person who took the time to answer my request and wish luck to those who
at this time we felt it wasn't a match for us.
Rob Kuntz
Thursday, June 18, 2009
Garden of the Plantmaster Map (Colorized) Part 1
I redid this map in color in SUPERPAINT for the MAC for an online version of the adventure way back when... It's now freely available for those who own the adventure in either form (CUStats or 3rd Edition D&D through the Kenzer version) to use. The image is not to be cross-posted to other sites, although linking to this article is fine. Image © 1993, 2009. Robert J. Kuntz.
Legend and Garn map to follow.
Wednesday, June 17, 2009
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