This blog is the third in a series, in which I'm examining the relationship between rules and setting in D&D. The chosen setting? Fantasy Fucking Vietnam: a hellhole region on the borderlands, in which humanity is locked in a bitter, dirty war against goblins, orcs, and other creatures of Chaos.
If you're just joining in, here's a quick link to Part 1, and another link to part 2.
Before I jump into this week's topic, though, I wanted to say a brief word about the "Fantasy Fucking Vietnam" trope, and exactly why I'm approaching it this way.
Over on the OSR Reddit board, user charlesedwardumland pointed out that the trope was never originally intended as a 1:1 analogy of the Vietnam War. It was more an observation about a certain style of play, one that combined the high lethality of old school dungeon crawling with "combat as war."
Specifically, he felt that starting Level 1 characters off with a lot of Hit Points—as outlined in Part 2 of this series—ran counter to that play style.
Here's his comment in full:
It's an excellent counterpoint, and I want to thank him for bringing it up.
The main reason I'm aiming for a 1:1 analogy here—or as close to one as I can get—is that Goodman Games' Dungeon Crawl Classics already did a high lethality game with a bunch of low HP, press-ganged noobs. And as far as I'm concerned, they knocked it out of the damn park.
Bottom line, there was no reason for me to retread that same territory. If I was going to write anything on the subject at all, I wanted to try and bring something new to the table.
So started thinking about the idea of a Fantasy Fucking Vietnam in more literal terms, to see if I could come up with something a little more interesting. I started approaching it from the other side—the survivors, rather than the KIAs—to see if that would yield some more interesting results. That got me thinking about things like long term exhaustion, and battle fatigue.
And then then I started to think of Jimi Hendrix, Huey Cobras, and weird shit.
Which brings me to today's post:
Purple Haze All in My Brain
For once, you drew the short straw. The other adventurers—normally prone to ribbing you and giving you a hard time when you pull a shit job on missions—won't even look you in the eye.
Not this time.
The other short straw goes to Bregan. The gruff dwarf doesn't say much. But then, he never does.
There isn't much to do except sit and wait at the ambush site while the others hike the three miles to the tunnel's main entrance. If all goes according to plan, in a few hours' time, they'll be flushing the gobbos out to you—and to your "allies" in the trees.
You settle in, keeping eyes on the gobbos' burrow. Your companions slip though the underbrush, silent as ghosts.
"You see Kruppa?" Bregan asks.
"Yeah," you respond. "Bastard didn't even shake. First time I've seen him eager to go back underground."
The dwarf almost laughs. "You blame him?"
You risk a glimpse up. You think you see a winged shape, flitting between the high branches. You suppress a shudder.
Bregan leans close. "I tell you this, boy. I don't trust those tree-toppers. They're worse than the Chaos-damned elves. You hear me? Worse."
In the months you've known Bregan, the only thing you've ever heard him call worse than an elf was a goblin. And even then, he said the distinction was small.
You press him for reasons.
"Their magic is different," he says a last. "It gets inside your mind, boy. It'll drive you mad."
Hours pass. You take shifts watching the burrow for any signs of life. You even manage to get a little sleep.
You're on watch when you hear the sounds. They're faint at first. Distant. Hollow. A clash of steel. A shout. A flash and boom. Then, closer and louder, the noise of scurrying feet and the gibbering, croaking sound of the gobbos' language. You're up on your knees and drawing your knives before you're even conscious of the thought.
In the next second, the burrow is alive with activity. Dozens of goblins burst forth, crawling over each other like ants in their mad dash to escape. In seconds they're scurrying and running through the underbrush, scattering in so many directions you can't even begin to track them all.
It's a tactic, of course. One they use to overwhelm and confuse inexperienced hunters.
It's then that you risk another glance up. A stupid, stupid risk...
You just barely catch a glimpse in that half-second. The tree-topper has a slender, child-sized body. Its wings are large and colorful, like those of some exotic butterfly. And it seems to be scattering some kind of bright, purplish dust from its hands...
Bregan drags you to the ground, shouting in your ear. "Cover your eyes, damn you!"
You do as you're told. An instant later, you hear the goblins' agonized screams. You smell their burning flesh. You hear them frantically thrashing on the ground, trying to beat the flames out on their burning bodies.
It's several long seconds before you risk opening your eyes again. Bregan is already up and swearing oaths to his dwarven gods. You're inclined to join him, if only because you aren't sure yours are listening just now.
The entire hillside is littered with blackened goblin corpses. As if fire rained down from the heavens.
Only nothing else is burned. The trees and logs are still whole. The leaves are still green. In places where the morning sun hasn't reached, the grass is still damp and cool to the touch.
Gods... a phantom fire? One that only burns the flesh if you look at it?
Just what kind of "allies" did the King make in this war?
Up in the trees, you hear the sound of fluttering, butterfly-like wings.
The first thing I want to break down here is character alignment. If you're a player that came to the game anytime after AD&D 1e hit the shelves (read: after 1977), you're probably most familiar with the nine point alignment system. For better or worse, this has become the "classic" D&D alignment system, having survived through every subsequent edition of the game except 4th.
Rules Cyclopedia, however, is a compilation and refinement of the various BECMI boxed sets. Meaning it uses the simpler, single axis, Law vs. Chaos alignment system. While I have a lot of personal nostalgia for that nine point system, in practice I find this is the better of the two. That said, I still think it can use some tweaking, and for that we're going to once again return to the indie OSR movement, and their interpretations of the rules.
Page 10 of the Rules Cyclopedia defines alignment as a "code of behavior which guides the actions and thoughts of a character or monster." It gets into specific examples, but generally reduces alignment to nothing more than a simple moral code, with very little to distinguish it from the average person's definition of good and evil.
Compare that to James Raggi's definition of alignment on page 8 of Lamentations of the Flame Princess:
"Alignment is a character's orientation on a cosmic scale. It has nothing to do with a character's allegiances, personality, morality, or actions. Alignment is mostly used to determine how a character is affected by certain magical elements in the game."
That last sentence is important, and we're going to come back to it. But first I want to jump to Dungeon Crawl Classics, and its take on Law vs. Chaos.
Dungeon Crawl Classics breaks down the three alignments on page 24 of the rulebook, and it combines "moral outlook" approach of Rules Cyclopedia with the "cosmic orientation" of LotFP. While I'm planning to disregard the "moral outlook" part, I do want to call attention to this snippet from their example of a Lawfully aligned character:
"Fundamentally, Lawful characters choose the path of mankind over the path of supernatural dominance."
This sentence serves as a good, succinct breakdown of the entire war on the borderlands, which in my mind is an updated, nastier version of the one in Poul Anderson's Appendix N classic, Three Hearts and Three Lions.
Quoting from page 25 of my Doubleday hardcover edition:
Holger got the idea that a perpetual struggle went on between primeval forces of Law and Chaos. No, not forces exactly. Modes of existence? A terrestrial reflection of the spiritual conflict between heaven and hell? In any case, humans were the chief agents on earth of Law, though most of them were only so unconsciously and some, like witches and warlocks and evildoers, had sold out to Chaos. A few nonhuman beings also stood for Law. Ranged against them was almost the whole of Middle World, which seemed to include realms like Faerie, Trollheim, and the Giants—an actual creation of Chaos.
In this setting, goblins and orcs aren't Chaotically aligned because of how they see the world. They're actual creations of Chaos, whose warring and raiding against human settlements ultimately serves the purpose of universal Entropy. No expense must be spared in the fight against them.
At least, that's going to be the King's justification for it.
But to a bunch of conscript adventurers, none of it will much matter. Their primary concern will be outsmarting and outlasting those goblins long enough to go home. As such, the majority of player characters in Fantasy Fucking Vietnam will probably be Neutral.
There are two class exceptions, though. Both Magic-Users and Elves must be Chaotically aligned.
This has to do with the second part of James Raggi's alignment definition, above, and with Poul Anderson's explanation of the war between Chaos and Law.
The basic idea here is that Arcane magic involves temporarily violating and reshaping reality. That's an inherently Chaotic act, no matter how you slice it. Anyone doing so is tapping into forces they don't fully comprehend, gradually speeding up the Entropy of the universe with each spell, whether they intend to or not.
And if we're treating alignment as cosmic orientation rather than moral outlook, then this fact is far more important than whether or not they believe in the actual cause of Law over Chaos.
But remember, rules (and rules changes) should imply something about setting. So let's apply that to this PC alignment restriction.
If magic involves messing with Chaos and Chaos energies, let's say the elves were the ones who invited it into the world eons ago. Maybe back when the elves still built and lived in cities, they did the whole "Pandora's Box" thing, unleashing a power they thought they could control. It completely destroyed High Elven civilization, scattering the survivors into small wooded enclaves. Now, as an act of atonement, the elves' descendants have agreed to help humans in the war against the Chaos they helped usher into the world.
Not that this promise has done much to earn the trust of the humans, dwarves, and other races fighting the Chaos hordes on the borderlands. I'm imagining Elves would be mostly shunned outsiders, likely having to work to overcome severe racism and hatred on the part of their adventuring companions.
Human Magic-Users, too, would be characters messing with forces they don't entirely understand. They'd be under great suspicion, and only a few would ever earn enough trust to become bonded kingsmen. The rest would probably be treated similarly to Elves, shunned if not outright hated, until they managed to prove their mettle under fire.
Fairies Wear Boots, and Ya Gotta Believe Me
The second thing I want to talk about this week is the character class I'd introduce as a replacement for Clerics: Tree-toppers, aka Fairies.
The fact is, if you're going to enhance the Fantasy Fucking Vietnam vibe, you need flyers of some kind. Vietnam was the first large scale "helicopter war," with helos serving in attack, transport, and medevac roles. It changed the entire nature of the battlefield, and you need to put that capability somewhat within the PC's reach, if only for the occasional "combined arms" missions with allies.
I also wanted something a bit hippie and trippy feeling, and last week's viewing of Ralph Bakshi's animated, post apocalyptic acid-trip Wizards certainly provided some inspiration here. If you've never seen it, my full review can give you a run-down, but I highly recommend seeking out this underrated gem of 70's animation yourself.
As to how I'd run a Fairy class, I'd probably start with the Halfling class and begin tweaking from there. I think keeping the rough physical characteristics and woodland abilities makes sense. Likewise with the combat bonuses against bigger creatures. I'd bump the average weight down from 60 pounds to about 30 or 40 at most, to account for flying ability and slender build.
Speaking of the wings and flying ability, I'd take them from the optional Phaelim race, from the Basic Fantasy Roleplaying Game. An unencumbered Fairy can fly for 10 rounds, but must rest for the same amount of time afterward. A lightly encumbered Fairy can fly for five rounds, but must rest for twice that amount of time afterward.
As for prime requisites I'd keep Dexterity, but swap out Strength for Wisdom.
In order to give the PCs some more spell-casting options, I'd also use Fairies to re-introduce a subclass from AD&D 1e, one that I felt got the shaft in later editions: Illusionists. Back in 1e, Illusionists were highly differentiated from Magic Users, with a spell list that had very little overlap. I'd have my Fairies take their spells exclusively from this list, while following the XP and Spell Progression table of the Elf class.
I also wouldn't have them follow the Chaotic alignment restriction of the Elves and the Magic Users. Whereas Arcane magic is temporarily altering and reshaping reality, thereby breaking down the natural order, Illusion magic is simply altering the target's perception of it. Sure, a powerful enough illusion can convince the target he's falling off a cliff or burning alive. But the same forces aren't at play on a cosmic scale.
And besides, in practice it's mostly going to be smaller-scale stuff: causing the target to hallucinate things and hear noises that aren't there. You know, like this completely real chemical weapon that's been in U.S. stockpiles since 1955, and has allegedly been duplicated and used by several countries in years since.
Told you all I've been thinking about weird shit...
Anyway, that's about all I've got for this week. Next time I'll have some more thoughts on the Thief class, skills, and skill resolution. And maybe some stuff on the makeup and organization of the Chaos side of the war.
Until then, stay careful out there. Keep collecting the bounties. And for the love of Bahamut, if you hear fluttering wings in the trees, don't look up. The tree-toppers are on our side. But accidents happen. And we don't need anyone hallucinating three-headed purple tigers or some shit, and screaming off into the woods.
Welcome back, Wastelanders!
Since I've picked up a few new followers in recent weeks, a brief word of introduction: this is a regular column on the blog, where I do in-depth reviews of post apocalyptic films and books. Here's a quick link back to my general mission statement, and another one for my overall rating criteria.
Now for my regular readers, a fair bit of warning. Today's entry is a bit on the trippy side. We're not dealing with Road Warriors, Rampaging Wrestlers, or Rodents of Unusual Scientific Acumen. We're not even dealing with the late, great Rutger Hauer.
Today, we're taking an electric slide into the animated side of the apocalypse. And we're doing it with a healthy side of funky guitars, WWII stock footage, and rotoscope.
I'm talking about Ralph Bakshi's 1977 cult science-fantasy phantasmagoria, Wizards.
The film opens with a live-action shot of a large leather-bound book. The camera slowly pans down the title page, as the feminine narrator's soft, soothing voice croons out the words for us.
Then, to make sure we don't get bored with all the fancy book learnin', we're immediately treated to a shot of the entire goddamn world exploding!
It's at this point, Wastelanders, that snark and humor completely fail me. What follows is one of the most exquisite and beautifully realized opening sequences in the entire apocalyptic genre. Combining pen and ink artwork by Mike Ploog with live-action background effects like smoke and lava, the narrator delivers the history of the post-holocaust earth.
According to the story, five terrorists set off a nuclear blast that plunges the earth into a worldwide atomic war. For over 2 million years, radioactive clouds keep the world in darkness, driving nearly all human life to extinction, and turning most survivors into hideous mutants. In these scorched and poisoned lands, radiation causes each birth to be a new disaster in a never-ending chain of mutation.
But in the good lands, fairies, elves, and dwarves awaken from their long sleep, and begin bringing life back to the planet.
Millions of years later, Queen Delia of the fairies gives birth to twin wizards, one good and one evil. Avatar, the good wizard, spends his childhood around his bedridden mother, trying to keep her entertained. Blackwolf, the mutant wizard, never visits, and spends his time torturing other creatures. When the Queen eventually weakens and dies, the two brothers fight for control of the fairy lands, but Avatar wins and Blackwolf goes into exile.
But before he leaves, Blackwolf throws out an ominous warning. "The day will come, my brother, when I will return and make this a planet where mutants rule."
I should point out this "history" sequence clocks in at around three and a half minutes. It's a testament to Bakshi and his crew that it never quite feels that long. In fact, the only reason Bakshi and company manage to get away with this kind of gratuitous info-dump opening is that they paired it with some truly stunning visuals.
At any rate, the story begins 3000 years later in the irradiated wasteland of Scorch, with Blackwolf issuing orders to his assassins to begin destroying the leaders of the free states. We're then treated to a succession of merciless killings across the hauntingly psychedelic landscape, as the action follows one assassin in particular, the stoic and brutally effective robot, Necron 99.
The action then cuts to the deep forest, and a pair of mounted elven scouts. They're taking a short rest and allowing their animals to graze, but the lead elf—Weehawk—says they need to push on. Avatar must be warned of what they've seen.
Just then, Necron 99 ambushes them, killing Weehawk's partner. Weehawk attempts to escape, but it's no use. At last, he's forced to throw himself at Necron in a desperate, kamikaze-like fury, launching them both over a cliffside and into the river below.
Meanwhile, back in Montagar, a sort of war council is going on. Avatar, the President, and the President's half-fairy daughter, Elinore, are all waiting for the elf scouts to report in. The President wants to arm the free states against the growing threat of Blackwolf, but Avatar urges against it, pointing out that science and technology were both outlawed millions of years ago.
Avatar tells the President and Elinore that he spent years searching out his twin brother, trying to learn what ever became of him. He knows that Blackwolf has been trying unsuccessfully to mold the mutated creatures of Scorch into an army. Balkwolf's frustrations have been driving him to dig deeper and deeper into the past, searching for the secrets of warfare among the ancient, pre-holocaust ruins.
Tales have reached Avatar of new war machines being built in Scorch, and of a great and ancient power that will enable Blackwolf to control his armies.
"What do you know about war?" Avatar asks them. "About bombs that could turn a planet molten and liquid? To think it could start again, ten million years after the last one..."
Just then, a burst of gunfire takes the President in the chest. Necron 99 has arrived, unseen by everyone. Avatar reacts, frying the robotic assassin with a blast of magic. At the same time, Weehawk bursts in through the door, sword drawn and ready to fight. But it's too little, and far too late. The President of Montagar is dead, and Elinore's cries fill the night.
Meanwhile, in Scorch, Blackwolf steps out onto the castle balcony to address his soldiers, calling them the "leaders of tomorrow's master race." He tells them the time has come to share the ancient secret of war, the key to creating hysteria and fear.
He then uncovers the secret relic he's found: an ancient movie projector, which he uses to play an old, Nazi-era propaganda film against the sky. German army marching music swells. Swastika flags flap in the breeze.
Below the balcony, the mutants stare, awestruck. The new uniforms they're wearing, Blackwolf's new war machines. The new weapons. All of it looks like the strange old images in the sky.
The movie whips the mutants into a frenzy. Battle footage from WWII joins the propaganda reel. Explosions. Gunfire. Artillery. Soon the mutants are screaming and chanting "seig heil," and clamoring to get to the front.
In East Elfland, an army is already manning the trenches, preparing for Blackwolf's invasion. We get a short exchange between an older elf and young recruit, the standard war movie trope of the scared private confiding in the old veteran. The old veteran reassures him that the last time Blackwolf invaded, the evil wizard lost over a million men. He says the goblins and mutants look mean, but they're cowardly, they always run when met with resistance. This time will be no different.
Blackwolf's armies approach, and the elves prepare to meet them. But just as they get into range, the wizard activates the projector. As soon the propaganda film begins playing, the elves stop and stare at the sky, frozen in abject horror at what they're seeing. The mutant army steamrolls into them, pouring into the trenches and slaughtering the defenseless elves in droves.
Back in Montagar, Avatar reads Necron 99's thoughts, learning of the existence of Blackwolf's movie projector. He says that it must be destroyed, and that the robot assassin—who he renames Peace—can lead them to it.
"I'll reason with him when he wakes up," Avatar says. He urges the others to go and prepare for the trip.
Weehawk spends the night saying goodbye to his tribe, and instructs them to name a new chief if he does not return. Elinore holds a funeral for her father. Then she promises the fairies that she will avenge his death, and that when she returns it will be as a full-fledged fairy, one ready to take her place as the Queen of Montagar.
As far as Avatar's reasoning with Peace, whatever he said must have been successful. Come morning, the ex-robot assassin has agreed to help lead them to Blackwolf's projector. But before the group sets off, Avatar offers Peace a final word of warning:
"You let me down, you hurt my friends—especially the broad—I got stuff planned for you that will take 20 years to kill you. And you'll be screaming for mercy in the first five seconds."
This is our first real hint that Avatar is more than the simple, kindly bumbler we've seen since the end of the "history" portion. There are some fangs beneath that bushy red beard, Wastelanders. Sharp ones.
For their part, Weehawk and Elinore aren't quite ready to trust their former enemy, either. Weehawk even goes as far as reassuring Elinore that he plans kill Peace the second the ex-assassin shows them the projector.
Preparations complete, our four heroes mount up, and they're off.
Meanwhile, back at Scorch, Blackwolf is attending his pregnant mistress. He's asking if the birth will be soon. She says it will. He says she is young to be queen—a statement which draws a look of shock from the girl—but if she delivers him a son, she will help to rule the planet.
The mistress tells him she doesn't want to rule the planet, that just their kingdom is enough. But this seemingly innocent statement sends Blackwolf into a rage.
"Enough! Enough for mutants to stay in their place, huh? Live with radiation so our bodies crawl with hell? We will live in the good lands! My son will grow where there isn't death in the very waters we drink, and the air we breathe!"
He then asks the wise men whether his son will be born mutant or human, to which the wise men reply "mutant." Blackwolf turns away in disgust.
"The next one won't be," he says coldly.
As he stalks off to attend to the business of his war, the mistress runs after him, crying and begging him not to have their child killed.
Back on the trail, Weehawk warns the others that Peace is taking them through the mountain fairies' domain. He urges them to go around. But Avatar and Elinore overrule him. They can't afford to lose time, Avatar says, and the fairies may have useful information. But according to Weehawk, the fairies and the elves are bad-blood cousins.
True to his warning, this direct route gets the group in trouble. This misadventure sees Elinore captured by the mountain fairies, as well as seeing the rest of the group separated, lost, half frozen, and—in Weehawk's case—nearly eaten by a monstrous spider.
However, the group successfully reunites after this ordeal, and resumes their journey toward Scorch. But unexpectedly, they run into an elf patrol armed with guns like the ones Blackwolf's army carries.
Back at the elves' camp, they learn the patrol is a part of a larger army, under the command of General Abdul. Abdul—an old friend of Avatar's—tells them the guns are captured Scorch weapons. Now, with weapons to match Blackwolf's, Abdul plans to sail across the sea and attack Scorch directly.
Avatar, still hoping to avoid all-out war, tries to talk him out of it, but to no avail. General Abdul is convinced the only way for elvenkind to survive is to take the fight back to Blackwolf's doorstep. And the warriors following him agree.
Late that night, a demon attacks the camp, attempting to take over Peace's mind. Avatar successfully fights the creature off, but it almost appears to be a decoy, as a tank comes speeding at them along the beach.
As Peace raises his rifle to protect the others, Elinore stabs him in the back with her sword, killing him. She then jumps into the tank, which immediately speeds away. Avatar chases after it, calling her name, but the tank disappears into the distance without so much as firing a shot.
In pre-dawn darkness, General Abdul's ships begin crossing the sea for the attack on Scorch. Avatar stands alone on the deck, lost in a depression and muttering to himself. Weehawk stands away, speaking to General Abdul. He says that Elinore's betrayal has broken the old wizard's heart.
Weehawk takes charge of the mission, practically forcing Avatar along the rest of the way, dragging the old wizard to shore ahead of the rest of the fleet. He still intends to sneak inside the castle, find the projector, and destroy it before Blackwolf can use it again.
The two sneak their way into the lower city of Scorch. There, the mutants have wholly adopted Blackwolf's propaganda film, as we see mutant officers in full Nazi regalia. We hear audio recordings of Hitler's speeches being broadcast over loudspeakers, and captive fairies being forced to sing songs in German. The mutants have even begun referring to Blackwolf as "the furher."
Avatar, still in a deep depression, finally snaps. He attempts to beautify some of the lower city with his magic, in a last-ditch attempt to prevent the war. This draws the attention of some mutant officers, and forces Weehawk to take action. In a lightning fast, three-on-one battle, the elf warrior kills the mutants, before being blindsided and knocked down by one of Blackwolf's little toadies. The toady then claims victory, and scurries off to claim rewards and praise from Blackwolf.
Avatar, looking on the bloody aftermath of the fight, comes partly to his senses again. He at last realizes what kind of bloodshed the world is looking at if the two of them don't finish the job, however distasteful it's going to be.
Following the trail of Blackwolf's scurrying little toady, Weehawk and Avatar make their way into the castle. As they walk, Avatar commends the elf warrior.
"You know, the world owes you much, kid. Even if we don't take another step."
Meanwhile, General Abdul's fleet pulls to shore. The alarms goes up, and Blackwolf's army takes the field to meet them. Another set-piece battle begins, but with the heavily-armed elves on the offensive this time, it's an even match.
Then the ancient film projector begins rolling. Once again, the sight of the ancient propaganda film horrifies and paralyzes the elves, leading to a shift in the battle, and Blackwolf's forces begin to gain the upper hand.
Back in the castle, Avatar and Weehawk find Blackwolf in the throne room. They agree to split up, with Avatar confronting Blackwolf, and the elf warrior seeking out the projector.
On his way through the castle, Weehawk finds Elinore. In a rage, he leaps to kill her for betraying them, but he's stopped at the last moment by Blackwolf's mistress. Grieving her mutant son's death, the mistress says there has been too much bloodshed, and begs him to stop and think before he swings his sword.
In that moment, Elinore explains that Blackwolf took over her mind and possessed her when they were on the beach. He made her attack and kill Peace. She had no choice. Weehawk realizes he must run back to the throne room and tell Avatar, before the old wizard throws his life away.
Meanwhile, Blackwolf urges Avatar to give up. "Brother, there is no need for me to destroy you. Surrender. Surrender your world."
But Avatar, snarky as ever, only gives his twin brother a round of applause. He then begins loosening his sleeves in the classic "nothing-up-here" motion typical of performing stage magicians.
"I ain't practiced much magic in a long time. But I wanna show you a trick mother showed me when you weren't around. To use on special occasions like this."
He then produces a 9mm Luger pistol from one of his sleeves, and shoots Blackwolf in the chest.
As Blackwolf dies, castle begins to crack and crumble around them. Avatar tosses the pistol away, ready to just be buried along with his twin. Right then, Weehawk runs in with Elinore, screaming that she's no traitor, that she was possessed. The three of them run for their lives, barely escaping as the castle falls behind them.
With the projector destroyed, the mutant army collapses into a disorganized rabble. Most scatter and run. The elves mop up the few resistors. There is some brief celebrating, but mostly the elves are eager to return home.
Outside, Weehawk asks Avatar and Elinore if they are ready to ride for Montagar with the others. But Elinore says tells Weehawk he will ride home alone, and rule as king. She plans to start a new kingdom somewhere else with Avatar.
A word of caution, Wastelanders. If you grew up on a diet of anime and newer, post-90's western animation, don't look for lavishly detailed or choreographed fight scenes. The battles in Wizards are stylized. But they're done in a style that really has no other equivalent, except maybe in Bakshi's other fantasy works.
Even then, I'd venture to say Wizards stands completely apart.
Bakshi combines live action newsreel footage with rotoscoped and hand-drawn animation, the latter using creatures with a distinct "head shop" aesthetic.
The collage-like result is a bunch of elves and mutants swinging swords at each other while Adolf Hitler screams in the background, artillery explodes, Messerschmitt fighters soar through the air, and rotoscoped warriors from movies like Zulu and El Cid stalk through the battlefield like otherworldly wraiths.
In sum, it's not really a depiction of a battle. It's more like a weird, psychedelic hallucination of one.
It's also a wonderfully effective and ballsy move on Bakshi's part. The Battle of Helm's Deep it ain't. But damn if it also doesn't capture the confusion and disorientation of the modern battlefield better than it has any right to.
Fact is, as unconventional as they are, the battle scenes in Wizards are a genuine artistic achievement, and the movie would be worth the price of admission for them alone.
Man's Civilization Cast in Ruins -
Hardly any, but Wizards earns a free pass here for plot and world building reasons. Millions of years have passed since the apocalypse, so it's unlikely there'd be any standing ruins left from modern-day society. If anything, the opposite is true. Scorch aside, the world has grown into an exotic and lush place in the wake of its destruction.
The one notable exception is in the short and somewhat heavy-handed "religion" sequence. The inside of the temple is filled with kitschy remnants of 20th century American culture: cola signs, pinball machines, juke boxes, and an old Oscar statue.
Naturally, none of it offers any salvation when Blackwolf's troops come calling, which is precisely the point. Neither do the two goofball priests, who would much rather spend their time engaged in hours' long ceremonies than in helping the needy prisoners right outside the temple's doors.
Dystopian Survivor Society -
I mean, sure, it's basically just Mordor with the serial numbers filed off. But so what? If you're going to go with an expansionist dictatorship ruled by an insane magician at the heart of a blasted wasteland, it's best to wear your inspiration on your sleeve. Bakshi—who went on to animate a Lord of the Rings adaptation a year later—does so here with pride, and the movie doesn't suffer one iota for it.
If anything, Bakshi leans into Tolkien's anti-industrial metaphors even harder.
If Montagar and East Elfland have returned to a state of pastoral, almost tranquil wilderness, Scorch has bypassed the early industrial revolution entirely, to become a full-on, mid-20th century industrial power, with 1940's-style assembly lines turning out planes and tanks for Blackwolf's coming blitzkrieg.
Futuristic Bloodsports -
Nada. Granted, it wouldn't be much of a stretch to imagine the mutants of Scorch would have some among their decadent pastimes, but the story never suggests or hints at it.
Barbarian Hordes -
The mutants of Scorch definitely qualify. In fact, one of the film's biggest plot points is that they're such a barbarian horde, they're utterly incapable of fighting as a cohesive unit until Blackwolf rediscovers the secret of 20th century propaganda.
And frankly, it's the fact that Wizards takes this "war for the mind" approach to building the enemy horde that makes it stand out from most of the genre.
Where so many films made in the wake of the gasoline crisis of the '70s focus on things like physical shortages and civil unrest to create the wasteland hordes, Wizards really feels more like a belated product of the 60's.
Hell, there's barely a wasteland here, let alone a wasteland horde. The world of Wizards is a hodgepodge of hippie counterculture, Cold War paranoia, and environmentalism, filtered through a weatherbeaten old copy of Lord of the Rings.
This isn't the Lord Humungous promising his followers gasoline and human chattel, folks. This is Mordor meets MK-ULTRA. This is about what the people in charge can make you think. What they can make you believe. And by extension, what they can make you do.
Heady stuff. And sadly, never more relevant.
Badass Warrior Women -
The Half-Fairy Queen, Elinore.
The half-fairy queen, Elinore. And no, I'm not being snarky.
While she doesn't do much in the way of actual fighting, Elinore shows plenty of grit in swearing to avenge her father's murder, and in undertaking a dangerous quest into an irradiated hellhole to dismantle the enemy's doomsday weapon. When she believes she's cornered by assassins on a frozen mountaintop, she's more than willing to face the them head on with her sword drawn and a battle cry on her lips.
Does she get quite as many chances to prove herself as The Blood of Heroes' scrappy, tough-as-nails underdog, Kidda?
No. But let's be real. If I start judging every Badass Warrior Woman in the genre by that criteria, this category will probably have to go away altogether.
Watch Thou For the Mutant -
This being an animated feature, we can expect Wizards to deliver the goods when it comes to mutants. And it does, with the caveat that most of them conform to the "head shop" aesthetic mentioned in the Violence entry. It works just fine, provided you don't mind your slavering, inhuman beasts bent on murder and conquest to look like they'd rather be chilling somewhere with a bag of 'shrooms.
While most of the mutants in Wizards serve as the film's off-brand orcs, special attention should be called to the subplot involving the Blackwolf and his young mistress.
Blackwolf—himself a mutant—has gotten his mistress pregnant, and apparently not for the first time. He's hoping for a pure-blooded child, and he consults the wise men for an augury. They inform him the child will be born a mutant, and the mother immediately begins pleading in vain for its life. But Blackwolf has already written the child off as worthless, and is already telling himself that "the next one won't be."
Which means for all his bluster and rhetoric about seeing the mutants as "tomorrow's master race," Blackwolf clearly holds mutant life—even his own, one suspects—more cheaply than he does pure human life.
It's an interesting dichotomy. One that adds a bit of dimension to Blackwolf.
Right out of the gate, Wizards won me over by using one of my all-time favorite storytelling tropes: the return of magic in the wake of an apocalyptic event.
It's a trope that's largely fallen out of favor in the last forty years, thanks to the gradual segmenting and separation between science fiction and fantasy. I groused a little about this subject a couple of months back, when I talked about the awesome, science fantasy weirdness found in earlier editions of Dungeons & Dragons.
Expanding on that post slightly, 1977 can be seen as something of a watershed moment when it comes to viewing science fiction and fantasy as two separate genres. Not only was Advanced Dungeons & Dragons published, bringing an already popular game to an even wider audience, but Terry Brooks' The Sword of Shannara also appeared, proving the economic viability of the Tolkien clone. The explosive, runaway success of both products can almost be seen as a "twin Big Bang" event, one that largely drove "pure" fantasy to form its own separate publishing category.
Ironic, considering that both Shannara and Advanced Dungeons & Dragons are almost certainly post-apocalyptic science fantasies.
All this is to say that Wizards, being released in 1977, managed to hit the market just before this kind of wild genre-mixing went out of style. And man, does it ever show.
We've got wizards shooting lightning, orcs flying fighter planes, and lizard-imps working computer consoles. We have mutant armies with machine guns and tanks battling elf armies with bows and arrows, while giant pterodactyl-birds screech through the sky.
It's a glorious, post-apocalyptic fantasy kitchen sink, rendered in funkadelic 70's color with every animation technique Bakshi and company could find the time or budget for. Simply put, this movie is a feast for the eyes, folks. One I heartily recommend to all fans of animated storytelling.
That said, the film isn't entirely without flaws.
There's a certain disjointedness to the narrative. Some pieces of the film never quite feel like they come together to serve the coherent whole. The scenes in the mountains are unevenly paced, and the later "betrayal" and reveal about Elinore come a little too close together to have any real emotional impact. Likewise with the separation and reunion of the traveling party. Both are obviously attempts to ratchet up the tension as we near the film's climax, but both end up falling a little flat.
Speaking of the climax, Avatar's willingness to use a gun against Blackwolf was undoubtedly one of the film's biggest and most satisfying payoffs. Bakshi shows us that for all Avatar's ideals about magic versus technology, and his genuine desire for peaceful solutions, the old wizard understands that sometimes there are no easy or clean answers. Sometimes a violent solution is necessary to stop a truly evil threat.
Avatar tosses the gun away at the end, clearly feeling like he's irrevocably dirtied himself by using one of the ancients' death machines. It's a very human reaction, and one the audience immediately empathizes with.
Admittedly, the idea of an apocalyptic fairyland is one that's stuck with me ever since first seeing this film, probably because it's just so damned weird. But looking at my outline for my current work in progress—and at the few chapters I've already drafted—I'm just now seeing how deeply that idea took root.
I'm seeing my post-holocaust world with its re-born magic. I'm seeing my gun-toting elves and my illusion-casting fairy. I'm seeing my warlord obsessed with digging into the technological secrets of the past. I'm seeing my killer robot with the--
Hmmm... A few surprises should be left on the table, I think.
The thing is, Wizards has long been a favorite of mine. I've always been a fan of the amazing visuals, the science-fantasy genre mixing, and the wide range of animation styles Bakshi plays with to tell his story. But I've never realized until now what an influential film Wizards is to me.
And for that, Mr. Bakshi and company have my deepest and heartiest thanks.
The Rad Rating:
While part of me feels like I should give Wizards a lower score for not having a tighter and more carefully structured plot, the other part of me feels like doing so would be missing half the point. Wizards is at least as much a purely visual experience as it is a traditional animated movie.
If you don't believe me, go back and watch that opening "histories" segment again. But do it with the sound on mute. See how much of the story you manage to pick up just from Mike Ploog's wonderful pen and ink illustrations, and the carefully selected background effects.
Bottom line: although it sports some undeniable some flaws, Wizards is a genre-defining classic, one that arguably represents the high-water mark of apocalyptic animation in the West. It's a criminally underrated film, one that's never quite gotten the wider recognition or the audience it deserves.
Until next time, Wastelanders!
Last week, I mentioned the idea of running a "fantasy Vietnam" campaign: treating the adventurers as mostly unwilling draftees, gathered up from disparate villages across the kingdom, and trundling them off to hot-spots on the borderland to serve in a rapidly-escalating war agains orcs, goblins, and other inhuman creatures. A dungeon-crawling dirty war, conducted with fire magic and bloody steel.
As a brief side note, a fellow gamer on the OSR Facebook group politely informed me the proper term for the trope is actually "Fantasy Fucking Vietnam." And that the first use of the term might actually be on this Dragonsfoot board from 2005.
He also shared a ton of useful links that I'm still pursuing, which means this idle little thought experiment of mine might expand in scope as I keep working on it.
Anyway, there isn't really a "perfect" edition of D&D to do this with, which means I'll be kitbashing one together, stealing rules from various editions and other OSR systems as I go.
That said, there is a method to the madness, something I'm hoping will become clearer in this post.
As I previously mentioned, one of the guiding principles I'm exploring in this blog series is that the game's rules should imply something about the setting. As such, all of the tweaks and twists I'm making should create a specific effect, either evoking the tropes found in Vietnam war movies, striving to re-create something found on the historical battlefield, or some mixture of both.
One quick admin note before I roll onward. Up until now, I've been working with various B/X retro clones. Some of them are fantastic, particularly James Raggi IV's Lamentations of the Flame Princess. I've talked about how much I love that system before, and I'll stand by that statement. In fact, expect to see more than a few of his ideas of make an appearance in this kitbash.
But from here on out, I'll be using the D&D Rules Cyclopedia as my base document. I just ordered a POD copy from DrivethruRPG. In my not-so-humble opinion, the Rules Cyclopedia is the best edition of D&D ever produced, and arguably the single best product TSR ever made. If you want to follow along, but don't feel like buying a copy, Dark Dungeons is a available as a free, "close-as-you-can-get-it" retro clone.
MASH on the Borderland
It's been three weeks, and four missions down in the tunnels. That smiling little swordsman from Dragonfall was the first to die. A rusty gobbo spear through the gut, then swarmed and hacked to death by a dozen of the little devils. He died crying for his momma.
Bastards didn't even leave enough of him to box up and send back to her.
You still haven't written home. You aren't sure what you can say. The borderland isn't anything like your old militia service back home. Twice-yearly pike drills in the village square didn't do anything to prepare you for this.
How could it?
Last mission, you ended up separated from the party. A gobbo caught you and tried to pin you with one of those poison-tipped knives. You wrestled with him, staring into those hateful red eyes, smelling that rank breath. You only lived because you became more animal than he was. You sank your teeth into his neck, biting until you tasted his black, oily blood.
"Dear Mom" your unfinished letter reads. You haven't gotten any farther.
Easing yourself out of the bed in the adventurers' barracks, you decide to go down to the infirmary. Stitches pull tight beneath blood-crusted bandages, bringing a wince of pain. Some of the newer wounds rip open again. The older ones hold tight, thank the gods.
Three of you made it out of that last tunnel. The healers took good care of you, as always. They even found a bed for Kruppa, the party thief.
Kruppa... He was in bad shape when you got back. Almost didn't make it. The healers managed to stabilize him, but that was about it. Rumors said he stopped breathing last night, and one of the Sisters of Mercy had to perform their sacred "Kiss of Life" to revive him.
Fact was, Kruppa probably didn't have much time. And while forming attachments wasn't smart on the borderland—your first trip into the tunnels taught you that—you found yourself liking him.
You see the gathered crowd from halfway across the courtyard. Off duty kingsmen, civilians, tradesmen... everyone not otherwise engaged in their duties is crowded outside the infirmary building.
You spy Bregan the dwarf, standing on a barrel and cursing to himself, trying to see over the crush. You approach and ask what gives.
"They brought in one of the healing Clerics," the dwarf says.
A healing Cleric? Gods...
You've heard them. Holy beings, so the stories go. Mortals so touched with the divine they could call on miraculous healing powers.
You only half believed they were real.
You only half believed they'd be here, in this gods-forsaken hellhole.
All at once, a ghostly hush goes over the crowd. Something's happening. You try catch a glimpse through the infirmary's stone archway.
What you see is something that looks so out of place you still aren't sure your mind didn't make it up. The woman is saintly-looking, with platinum hair and perfect features. There isn't a speck of dirt on her. For the briefest second, she locks eyes with you. They're the deepest blue you've ever seen. Like the sky itself...
She lays a hand on Kruppa's forehead. She whispers something you can't hear. Then there's a flash. A white light like nothing you've ever seen. It will be weeks before you can even describe the feeling of warmth and love you feel in that moment. For a time, the memory of it almost makes the Hell of the borderlands seem tolerable.
"Kruppa's going to be okay," Bregan says. The crowd's beginning to break up now. You hardly even noticed.
The dwarf nudges you. "Come on," he says. "Patrol's headed north in an hour. Some FNG's out of Hooktooth. Told them we'd tag along. Should be an easy day's work. Earn earn enough for a bed and another meal."
A bed. Another meal. Gods. You remember when life meant more.
"An hour," you say absently. Your voice sounds hollow to your own ears.
You're tired. Your wounds ache. You know you need at least a week to recover. But you don't have it. Right now, you have about forty five minutes. And you need all of it to sharpen your knives, pack your kit, and tie everything down so it doesn't make a sound when you walk.
Because right now, you have to go down into the earth and collect goblin ears.
One of the things I believe a "Fantasy Fucking Vietnam" campaign needs to do is portray the gradual degradation of the PCs from fresh-faced, raw recruits into haggard, bone-weary short-timers. But BECMI simply isn't built that way. Like all editions of D&D, it's built around the idea that your PCs will start out as weak 1st level characters, and get progressively stronger and more powerful through their adventures.
So the first change I'd make is to the way starting Hit Points are generated. The method is one I'm cribbing from Goblinoid Games' awesome Mutant Future, by Daniel Proctor and Ryan Denison.
After rolling 3d6 in order to determine stats—no cheating here—use the player's CON score to determine the number of hit dice the player rolls. Fighters and Dwarves use a d6. All others use a d4.
So for example, a Fighter with with a 13 CON rolls 13d6, coming up with 46 HP. An Elf with with a 15 CON rolls 15d4, coming up with 38 HP. A Thief with 10 CON rolls 10d4 coming up with 27 HP, etc.
Those hit points are all the hit points the character will ever have. Or rather, they're the character's permanent max. No more hit points are gained from leveling up.
It's also important to note that when rolling, you shouldn't apply ability score adjustments for high or low CON scores to the die rolls. Those bonuses and penalties will come into play later, but not at character generation, and not for determining total hit points.
Other benefits to leveling up, such as THAC0 (or Base Attack Bonus if you're kitbashing with a different system), spells, skills, and saving throws, are all still in play. But in Fantasy Fucking Vietnam, characters start with all the HP they'll ever be able to accrue.
The next major change I'd make is that I'd remove Clerics as a player character option. In fact, I'd remove healing magic from the field altogether, except for at rear-echelon, MASH-type units. It would only be available in limited supply, and reserved for the gravest extreme. Most of the time, PCs would simply have to do without.
This gets back to a point I made in the introduction, about how rules—and rules changes—should imply something about the setting. By striking Clerics from the list of available classes, I'm not just removing a bunch of player options. I'm saying something about the way the world around the PCs works.
Clerics themselves could be rare individuals, to the point where no one would ever risk sending them out into the field on a combat operation. There may only be a few dozen of them in the theater of operations, and twice that in the entire world. They'd be highly protected, with 24 hour security details wherever they went. The death just of one would be a crippling blow to the war effort. If one ever fell into enemy hands, a rescue mission would be the area commander's top priority.
And if a long range recon mission happened to learn of the existence of Druids—another class I would disallow for the players—it would have far-reaching consequences. More healing magic, and potentially limitless ability to strike at he goblins on their own turf? Area commanders would undoubtedly hire the PCs to escort them deep into Druid territory, in an effort to negotiate an alliance with the Neutral Druids, hoping to gain a powerful ally in the war against the Chaotic goblins.
Of course, the Druids might not be too happy to see the intrusive humans from the borderland keep, with their unchecked logging and hunting practices. The Druids may see them no differently than they do the goblins.
So what does this mean for healing, then, if magic is effectively cut out of the equation?
The way I see it, they have two options. The first is the Healing skill, detailed on page 83 of the Rules Cyclopedia. In short, a trained character can render first aid and heal 1d3 points of damage on one set of wounds, usually defined as Hit Points lost in one combat situation or encounter.
The second option is recovering hit points through rest. Swiping a bit from Lamentations of the Flame Princess, the characters recover 1d3 HP per full day of rest. But to put a house-ruled spin on it, this rest applies only when not in field conditions. Characters must be in a relatively sanitary and safe location, with the ability to keep their wounds clean and protected.
This is also where the bonus ability score adjustment for high or low CON score comes into play. Apply this modifier to each d3 roll as the PCs are recovering, but only when resting in the rear.
For example, let's say you have a thief who lost a total of 22 HP on his last mission. First aid in the field helped him recover 3, so now he's only down 19. Back at the infirmary, the Healers clean and bind his wounds more throughly and put him on bed rest, aka "three hots and a cot." On his first day, he rolls a 2 on his 1d3. But his CON score of 14 gives him a +1 bonus, bringing that up to a 3. So by the end of day one, he's only down 16 HP.
On the other end of things, the thief's wizard companion lost a total of 12 HP. Back at the Infirmary, the Healers again do their best, binding and cleaning his wounds and putting him on bed rest. But the wizard's CON score of 5 applies a -2 penalty to all rest and recovery rolls. Rolling a 1d3 for his first night, the player comes up with a 1. Applying the -2 penalty, the result is that the wizard's wound festers, and he actually takes an additional point of damage overnight.
Taking all of these rules changes together—high HP at character generation, rare or nonexistent healing magic, and slow natural recovery times—what happens is that a very different sort of play style emerges.
You have PC's who gradually get better at fighting, even as they're being physically ground down by the grueling operational tempo. To help maintain the effect, I'd be careful not to allow too many R&R days in between missions. The idea is after that first mission into the tunnels, at least half of the adventuring party would begin every dungeon crawl as "walking wounded," sometimes missing as much as 10 HP or more.
The other idea is that for a grievously wounded character—one who's been denied magical healing—it can take up to a month to fully recover from injuries. And characters with a low CON score may just fester and die in the hospital altogether.
Admittedly, the changes made in this segment of my kitbash experiment are big ones, but that's because they're intended to produce big effects. The PC's in a Fantasy Fucking Vietnam campaign shouldn't be eager adventurers looking for increased fame and fortune. They should be wary survivors facing mounting exhaustion and eroding ideals.
I still have more rules changes to talk about in the coming weeks, most of them smaller and far less dramatic than this one. I have some thoughts on using simplified crit tables in conjunction with exploding damage die, for example. And I'm still noodling around with how to mess with skills and proficiencies.
Anyway, I think you've all earned some R&R. Go ahead and kick back, drink a cold beer, and blast some Hendrix tapes. Do your best to forget the world outside the wire.
Also, be careful who you let into your hooch tonight. Scuttlebutt says the gobbos caught and tortured an illusionist last week. Patrol found his body just north of the Ogre's Fist. What was left of it, anyway.
But they didn't find his spell book. Consider yourselves forewarned.
So against all odds, my regular D&D group will apparently be meeting up for a session this weekend.
On an entirely unrelated note: at this time, I will not be answering any questions regarding my whereabouts during the recent Blood Moon. Nor will I discuss the fiendish and ululant cries heard from the ancient monoliths in the shunned circle by the Old Whatley farm.
Jokes aside, adult life just has a way of making it difficult to keep up with a game sometimes. Responsibilities and obligations come up, couples travel, people get sick, and sometimes it all happens at once.
Bottom line, we haven't had the chance to sit around the table and throw some dice together in about four months, and I'm looking forward to it. We've been running through a heavily house-ruled version of Curse of Strahd, and we're within spitting distance of the endgame.
That said, one side effect of all that down-time in between sessions is that I've been wondering what I'd do next time I had the chance to run a game. As much as I've been enjoying running Curse of Strahd, part of me just wants to dial it back to something simpler.
In particular, a couple comments on Twitter got me thinking about what my "perfect" D&D would look like:
As I mentioned in this post a couple of months back, I've always played the game by cobbling rules together from various editions. But I'm going to give Demilich Jim a big hat-tip here for borrowing the perfect term for it from the model-building community.
Demilich Jim also wrote an awesome thread about a month ago, one that's well worth a read for anyone with plans to do some D&D kitbashing. The meat of Jim's argument is that the rules of the game imply a great deal about the setting, whether you're using a published setting or not. I made a similar point around the same time, when I argued the implied setting of the AD&D core rulebooks was inherently post apocalyptic.
So with Jon Mollison's "Fantasy Vietnam" as an implied setting, and the B/X ruleset a jumping off point, lets get bashing!
WELCOME TO HELL
My first assumption about a "Fantasy Vietnam" would be that it's just going to be stupidly lethal.
I'm imagining groups of player characters gathered from their home villages by the local king, each selected on the basis of "general fitness for service to the forces of Law."
While not inducted into the army per se, each adventurer would be given a signed warrant, authorizing them to use force against orcs, goblins, and other creatures of Chaos. Then they'd be gathered into groups of four or five, tossed into the back of a wagon, and unceremoniously trundled off to some far off keep on the borderlands, where the local authorities would proceed to treat them like FNG combat replacements.
Of course, as the new guys, they'd be given the shittiest details and the worst assignments. The crusty old sergeant in charge of the local garrison would be some guy missing fingers, with one dead eye. He'd offer up only one bit of smirking advice to the new arrivals: the gobbos can see yer body heat down there in the dark. Best to slather up with grease paint before goin' down in the earth. Messes with their vision.
The only other thing he'd say before kicking the PCs out of his office would be that one pair of goblin ears per day buys a warm bed in the adventurers' barracks. Another pair of goblin ears gets them a hot meal at morning reveille. Any others they collect, he'll pay a three copper bounty for.
Welcome to Hell. Don't worry. Most of you won't be staying long.
BUT D.I.D. HE DIE?
With the setting briefly sketched out, it's time to think about the rules I'd use to help bring it to life. I have a few in mind I'm planning to detail in the coming weeks, things like critical hit tables, trap result dice, and a setting-specific redesign of skills checks (and the Thief class).
Most of it is going to be geared towards making this setting much more lethal, or at least giving the damage results a little more flavor. But what I wanted to talk about today is one of the most important parts of a "fantasy Vietnam" campaign, or of any game dealing heavily with war and warriors: the all-important near miss.
To that end, I have a house rule I plan on using for this hypothetical game: the Divine Intervention Die, aka the Final Death Save.
So... real talk for a minute. I'm a veteran. I served a few tours in Iraq.
I generally don't spend a lot of time talking about my military experiences, unless I'm around other guys that were there to share them with me. It's nothing personal. It's just the way it is. What I've noticed about guys that have actually "been there" is that most of them tend not to talk about it. This is especially true of most of the Vietnam guys I've met.
But wars produce war stories, and a significant number of those stories are bullshit. Vietnam, in particular, seemed to turn stolen valor into a fucking cottage industry for a time. Iraq and Afghanistan would have been on track to follow suit, but social media and the internet have made it easier to call out fakers.
Anyway, a huge number of war stories—both real and bullshit—center around some last-minute, million-to-one escape from certain death. The aforementioned near miss. I'm sure you've all heard the old one about the soldier who got shot in the chest, but survived because the Bible he was carrying in his front pocket stopped the bullet. Or maybe you've heard that same story, but with a flask of whiskey in place of the Bible.
Personally, I believe both of them are one hundred percent true, and I believe they've both happened more than once. I've personally seen a man survive being shot because the bullet got caught in one of the grenades he was carrying in his web gear.
You see that kind of shit, folks, and you start believing anything is possible.
Bottom line, I wanted a mechanic to simulate those tiny, last minute turns of fate. After all, when everything else is gone—hit points, spells, and saving throws—what's left but sheer chance and divine intervention?
In game, the mechanic is simple: When the PC is reduced to 0 HP, or when they've failed a death save, the player rolls a d20. They MUST roll a natural 20. No modifiers apply.
If a 20 is rolled, the character survives, and the DM narrates how, doing his best to make it something worthy of a good war story at the local tavern.
If the result is anything else, the result is failure, and the character is dead.
Of course you can use any d20. But for my own table, I picked up these 2001: A Space Odyssey-inspired HAL d20.01s, from Gio Lasar Design. They cost me around $9.00, plus shipping. Honestly, I like the idea of a character's final fate resting on a die covered in mostly blank and meaningless faces.
Seems a perfect metaphor for Mollison's fantasy Vietnam.
Anyway, I'll have some more on this in the coming weeks. In the mean time, go out and draft a bunch of Fifth Edition players, crank "Fortunate Son" on the boombox, and force them to roll 3d6 in order.
When they say they want to play an Tiefling Hexblade Sorcerer, tell them they only rolled good enough to play a Fighter or a Dwarf. And tell them they'd better decide quick.
The goblins upriver are getting restless. And the next patrol is starting in an hour.
I'm an award-winning science fiction and fantasy writer based out of North Carolina. This is where I scream into the digital void. I like cookies.