|
Last week, I talked a little about the corporate same-y-ness that overtook later editions of D&D, and how it differed from the kitchen sink, anything goes weirdness of 1st Edition AD&D. That post was written largely in response to a recent episode of Geek Gab, in which guests P. Alexander and Jeffro Johnson discuss some of the stranger, more overlooked aspects of the game. Once again, I recommend checking it out. The discussion is fascinating, lively, and in-depth. One of the meatier subjects they breach is the idea that AD&D's implied setting is inherently post apocalyptic. I had to spend a little time chewing that over, largely because I'm fairly new to the 1st Edition ruleset. I never had much exposure to it as a teen, aside from one group I played with after High School. Even then, it was just a handful of optional rules cribbed from Unearthed Arcana and Oriental Adventures, bolted onto a 2nd Edition chassis. In a nutshell, the argument is that—independent of campaign setting—the rules of AD&D imply the game takes place in the wake of some unspecified, civilization-ending cataclysm.  Credit: Photo Artistry By Melinda For what it's worth, classic sword and sorcery fiction tends to make this same assumption. Conan's Hyborian Age is perhaps the most famous, taking place thousands of years after "the oceans drank Atlantis." Clark Ashton Smith's Zothique tales are more properly classified as Dying Earth stories, but the effect is the same: the last vestiges of humanity cling to superstition and sorcery on the Earth's last remaining continent. Not to mention The Dying Earth itself, where technology and magic are both remnants of long dead empires, and are completely indistinguishable from one another. Simply put, without the collapse of some ancient civilization (or several), the landscape wouldn't be littered with ruins for the characters to go dungeon-diving in. But that assumption can hardly be called unique to AD&D. Later editions still feature plenty of ruined temples, lost cities, and dungeon delves, even if they are significantly less lethal than the old school variety. So what was unique to AD&D that made it inherently apocalyptic? What was missing from the later editions that pointed to a post-cataclysmic world? According to Geek Gab host Daddy Warpig, the answer is domain level play. For those of you weaned on newer editions, a quick definition: "Domain" was a word that had nothing to do with the Cleric class back in the day. Rather, it referred to the fact that at 9th level or so, characters would begin to attract loyal followers and build a base of operations. Furthermore, these weren't just optional rules, buried in an Appendix of the Dungeon Master's Guide. These were class features, listed in the Player's Handbook under each character class' description. At first glance, that might not seem too apocalyptic. But the rules for Territory Development by Player Characters (found on page 93 of the DMG) are written assuming a vast, sparsely-populated wilderness as the default setting. A wilderness controlled by monsters, and littered with the ruins of countless, long-dead civilizations. According to these rules, characters building a fortress go through considerable time and expense, selecting a construction site, clearing the area, paying and staffing a garrison, and conducting regular patrols to sweep for monsters. Once construction is complete, these strongholds attract settlers looking for safety and security. In Warpig's opinion, this doesn't just represent a post apocalyptic style of play. It represents a specific kind of post apocalyptic play. The AD&D apocalypse isn't Mad Max, Warpig says, with humanity dropping into savagery and barbarism. Rather, it's at the point where humanity is climbing out of savagery, retaking and reestablishing civilization in a monster-infested wilderness. Interestingly enough, I made a nearly identical point a few weeks back in my review of Rutger Hauer's The Blood of Heroes. In fact, a new DM trying to figure out domain play could do much worse than to look at that movie as a blueprint. The sparsely populated desert wastelands. The clumps of agrarian survivors gathered in Dog Towns. The powerful, governing elite clustered in the Nine Cities, demanding tribute and loyalty. The Juggers traveling around, engaging in ritual combat, and scouting new recruits. Add some roving monsters and some dungeon-diving, and you've got a pretty good representation of what the world looks like according to domain play rules. Domain play was still around in 2nd Edition, though I vaguely remember the rules for it being a bit more generic and simplified. I can't speak for 3rd, 3.X, or 4th Editions, having never played them. But in 5th Edition, it's entirely gone. Which means in terms of game mechanics, a 9th level character doesn't have any more responsibilities to his community than a 1st level one. In that sense, it's easy to see Warpig's point. 5th Edition doesn't presume the characters need to establish safe areas, because it assumes there are already enough safe areas. Whatever near-extinction event caused all those ruins the PCs are exploring, 5th Edition's rules imply it's far enough in the past that humanity's overall survival is no longer in question. But the argument for an "apocalyptic AD&D" doesn't stop there. The Geek Gab folks also spend a good amount of time on Vancian magic. I've written about the subject before, so I won't repeat myself here. Suffice to say, the Vancian Magic system might be the single strongest argument for an apocalyptic D&D setting. But not in the sense of "fire and forget" spells. In AD&D, the only way for a Magic-user to learn more spells is to find them, typically by recovering old scrolls or spell books from dungeons. Even then, there's a chance the character will completely fail to understand any spells they do manage to find. In other words, AD&D Magic-users are a cargo cult, parroting scraps of mostly forgotten spells they barely comprehend, and risking life and limb in the ruins of lost civilizations to find more. Granted, the "classic" Magic-user still exists in 5th Edition, as the Wizard class. But it exists alongside Warlocks and Sorcerers. And therein lies the difference. Vancian Magic implies a lot about the setting, but only if it's used in isolation. If an accident of birth or a demon sugar-daddy can grant the same powers as those lost scraps of magic, how lost were they? How fantastical and rare are they now? In the AD&D Dungeon Master's Guide, Gary Gygax spends several paragraphs stressing the the scarcity of magic spells, and how difficult it is for the Magic-user to obtain them. NPC spell casters should be reluctant to divulge their secrets, demanding exorbitant fees, rare magic items, and quests in exchange. It's advice that makes sense, but only if magic is a forgotten art from a lost golden age. And that's the thing. That lost and forgotten nature was a base assumption about magic in 1st Edition. Taken along with domain play, the sparsely populated wilderness, and the sheer number of ruins players were expected to encounter, it's obvious the core rules had an apocalyptic setting in mind. It's interesting reading through the AD&D rulebooks now. Like I mentioned last week, I don't have any personal nostalgia for this edition. So it's not like I'm viewing it though rose-colored glasses. Even so, it's hard not to come away with a feeling that something incredibly cool was lost in the transition to the slicker, more polished game I grew up on. Thank God for reprints and second hand stores...
40 Comments
  As I mentioned a few weeks back, I've been drafted to run a D&D game for a group of new players. We're getting close to running our zero session, probably by the end of this week. I have two players interested in elves, and a third that apparently likes to play healing classes whenever he plays MMO's. I'll lay out all the options and see if that changes come game day, but for now I'm going to run with the assumption that this will be the makeup of the party.
If so, it throws a small hiccup into my plan of using Lamentations of the Flame Princess as my base. In LotFP, only Fighters get an increase to their attack bonus as they level up. I actually think this is one of James Raggi's more inspired decisions. It clearly blocks off combat as a the sole specialty of the Fighter, which then encourages the group to work together. After all, you're going to need at least one character to get better at hitting things as the game progresses. Otherwise, your band of adventurers is going to have a very short career. That said, as much as I admire Raggi's design choice, I'm not about to force a first-time player into a class they don't want. But one of the wonderful things about OSR games is the ability to mix and match them until you arrive at just the right combination. So, my options:
However I do it, I'm still planning to use the LotFP encumbrance system, as well as swapping out the Specialist class for the Thief. I also plan to keep the D6-based skill check system. Anyway, I'm rambling a bit here. The main thrust of this post is about a weird feature of Old-school D&D, and just how I'm planning to introduce it to a bunch of new players. That's right. I'm talking about Vancian Magic. I'll admit, I absolutely hated Vancian magic back in the day. I could never wrap my head around the "fire and forget" nature of the spells. How could a character spend hours studying a spell each day, only to forget it once it was cast? It never made sense to me, and when I ran my games I used a house-ruled "mana" system instead. Granted, now that I've actually read some Jack Vance, my opinion on the matter has changed. And as in so many things, context is everything. Part of the problem is that none of the more experienced guys in my old D&D group ever ran magic as anything other than a character's superpower. In every campaign, spells were widely known. You got access to spells automatically at new levels (no studying or finding a mentor), and there were mid-to-high level mages operating public shops in every jerkwater little village. Before every adventure, we could buy magic items, potions, and scrolls to our heart's content. I distinctly recall abandoning +1 Magic Swords when we found them on certain adventures, because they weren't even worth the effort of bringing them back to town to sell. Compare that to this passage from Vance's The Dying Earth: "At one time a thousand or more runes, spells, incantations, curses, and sorceries had been known. The reach of Grand Motholam—Ascolais, the Ide of Kauchique, Almery to the South, the Land of the Falling Wall to the East—swarmed with sorcerers of every description, of whom the chief was the Arch-Necromancer Phandaal. A hundred spells Phandaal personally had formulated—though rumor said that demons whispered at his ear when he wrought magic. Ponticella the Pious, then ruler of Grand Motholam, put Phandaal to torment, and after a terrible night, he killed Phandaal and outlawed sorcery throughout the land. The wizards of Grand Motholam fled like beetles under strong light; the lore was dispersed and forgotten, until now, at this dim time, with the sun dark, wilderness obscuring Ascolais, and the white city Kaiin half in ruins, only a few more than a hundred spells remained to the knowledge of man. Of these, Mazirian had access to seventy-three, and gradually, by stratagem and negotiation, was securing the others. "Mazirian made a selection from his books and with great effort, forced five spells upon his brain: Phandaal's Gyrator, Felojun's Second Hypnotic Spell, The Excellent Prismatic Spray, The Charm of Untiring Nourishment, and the Spell of the Omnipresent Sphere. This accomplished, Mazirian drank wine and retired to his couch." In Vance's work, magic is mysterious, ancient, and virtually forgotten. Less than a tenth of the spells once known to humanity are left. Powerful wizards hoard them in hopes of getting one up on their rivals. Magic is the currency of power in this world, and great effort is spent to seek it out. Furthermore, the spells themselves aren't passive. Mazirian has to force them into his brain. Once there, the syllables and symbols struggle to escape his consciousness. Casting a spell in these stories isn't so much a matter of reciting words as it is releasing a chaotic force, one the magician is just barely holding in check. In this context, D&D's default "fire and forget" magic system makes sense. And while I can see why alternative spell systems are popular (like Sorcerers from the 3.X and later editions), there's a kind of pulpy weirdness to the Vancian method I really like. As for introducing it to the players, I'm probably going to kill two birds with one stone here, once again taking some inspiration from Vance. I'm thinking about giving the party a mid-level Mage as their patron/employer. He'll pay them on a freelance basis for recovering bits of magic for him. He's looking for anything at all: half-torn scrolls, pages from spell books, items he can research. In his quest to re-discover lost spells, he's spent decades tracking down minuscule scraps of them to re-assemble like a jigsaw puzzle. This also gives the PCs a specific reason to go dungeon delving, as well as reinforcing the overall mystery and rarity of magic. Plus it allows any magic-using PCs to have easy access to a mentor/teacher when it comes time to learn new spells. Sure, the set up has the potential to be a little railroad-y. But also I think it can give the PC's a little bit of forward momentum, provided I let the adventures themselves evolve organically. Hmm... I just might have to roll up a paranoid, power-hungry Wizard NPC along with the rest of the campaign splat.  Since its publication, much has been made of the connection between Schuyler Hernstrom's new post apocalyptic sci-fi novella and Ursula Le Guin's Hugo-winning short, "The Ones Who Walk Away From Omelas."
I'll touch on that connection in a bit, but if you're still on the fence about reading this, let me help you out. Do you like barbarians? How about motorcycles? Settings that feel like a combination of Vance's Dying Earth and Mad Max? Enjoy witty banter between two likable heroes? Do you like TALKING MONKEYS? Then stop reading this review right now. Go to Amazon immediately, and buy a copy of "Mortu and Kyrus in the White City." If I could describe this book using only one sentence, it's like somebody spilled Jack Daniels on a stack of old Heavy Metal magazines with Motorhead blaring in the background. It's random pages from Gary Gygax's Appendix N, screamed out loud over the analog hiss of a bootleg Manowar tape. It's D20s rolling across the cover of the Player's Handbook, with a blacklight illuminating the Led Zeppelin poster on the wall and Black Sabbath's Sabotage playing on the hi-fi stereo. It's the sort of gonzo, kitchen sink science-fantasy mashup that made old school D&D so balls-to-the-wall awesome. Bottom line, this story flat-out fucking rocks. And if none of that convinces you to buy this book, then gentle reader, I don't think I can help you. Like all of Hernstrom's work so far, "Mortu and Kyrus in the White City" is actually easy to summarize. Northern barbarian Mortu and his companion Kyrus—a human priest trapped in the body of a monkey—encounter a swarm of desert nomads attacking a caravan. Mortu swings into action, saving the caravan and its precious cargo. The pair are then invited back to the White City, the mysterious, ancient ruin the travelers have taken for their own. The barbarian and the small monk accept, grateful for the rest. But the seemingly utopian society the travelers have built in the White City holds a dark secret. If you're familiar with Le Guin's famous short, you can already guess at the nature of that secret. If not, well... I'm about to go into it, so from here on out the review will CONTAIN MAJOR SPOILERS, both for "Mortu and Kyrus" and for "Omelas." "The Ones Who Walk Away From Omelas" is more of a parable than a story. Wikipedia calls it a work of "philosophical fiction," which I guess is a good enough description. There are no characters, no conflicts, little else except the setting, and even that's kept deliberately vague. In it, an omniscient narrator describes the city of Omelas as a perfect society, one in which everyone is happy except for one small child. That child is kept in a basement, abused, half starved, and suffering. The suffering of the child is somehow tied to the happiness of everyone else. If the child is ever shown kindness, ever taken out of the basement, ever so much as washed to clean his or her own excrement off, then everyone else in the society will be unhappy. The narrator describes how the citizens of Omelas find various ways of justifying the child's suffering as "necessary." The exceptions, of course, are the titular "Ones Who Walk Away From Omelas," those who learn of the child's suffering, cannot abide it, and leave the city forever. Quite honestly, I never understood the appeal of Le Guin's piece. It struck me as a half-assed attempt at presenting an ethical thought experiment, like the trolley problem. And when I say half-assed, I don't mean the writing. Le Guin is pretty much beyond reproach in terms of prose. I mean it's half-assed in the construction of the ethical problem. The moral dilemma presented in "Omelas" is simple and straightforward: preserve utopia by permitting the unspeakable suffering of one, or relieve that suffering and destroy utopia? The problem I always had with "Omelas" is that those two things are in no way equal, at least not in the way the story lays them out. No indication is given that the citizens of Omelas will suffer genuine consequences if someone helps the child. No one will die. No one else will be tortured. The only consequence is that their idyllic perfection will vanish, and they'll somehow be "unhappy." I could honestly never see the moral dilemma there, even as a teenager. Choose between vaguely defined happiness and torture? What the hell is there to think about? Torturing the kid is wrong. Full stop. End of discussion. Jesus, how is this even a question!? Well, Hernstrom plays with a similar set-up in "Mortu and Kyrus." But in my opinion, he does something infinitely more interesting with Le Guin's premise. Scratch that. He does two things: The first is that he gives a reason for the citizens of the White City to engage in the horrific torture of the child, as well as real consequences for them should the torture ever stop. As Mortu and Kyrus learn, the ancient architects of the city left behind advanced technology. Chief among the relics is a machine capable of rendering those within the city immortal, but it does so by painfully draining the life force of one person over the course of several years. The citizens of the White City purchase orphans from nearby settlements to feed the machine, rationalizing that the life of one unwanted child is a small price to pay for their own god-like existence. If the machine ever stops, their immortality ends, the centuries will catch up with them, and they'll die. It's an important change. With something more on the line than "happiness," the torture and brutality take on a more realistic, believable dimension. The second interesting thing Hernstrom does is that he actually answers the moral question Le Guin never really got around to presenting. See, the trolley problem forces the subject to choose between two unspeakable wrongs. It's a true ethical dilemma: which of these equally awful things is the "right" choice? "Omelas," on the other hand, presents us with a clear right and a clear wrong, and then pretends its asking a deep question by rigging the answer. What do I mean by that? Le Guin only ever tells us about two groups of people: Those who stay in Omelas, giving tacit consent to the torture, and "the ones who walk away." The sight of the child shakes them to the core, they cannot live in such an awful place, so they leave. But the ones that walk away are just as guilty as those who don't. They're still allowing the torture of the child to continue, only they can partly absolve themselves of responsibility since they're not enjoying any of the benefits. Even so, given the choice between "vaguely-defined happiness for the many" and "objectively measurable torture and child abuse," literally everyone in the story chooses child abuse. This is another reason I've never gotten what people see in this story. For all that "Omelas" is touted as some deeply philosophical think-piece, it's really not much more than a nihilistic statement about human nature. Sorry, but I already get enough of that outside my fiction. Fortunately, there's absolutely none of that nihilism on display during the climax of Hernstrom's tale. Instead, the author gives the only answer to Le Guin's question that I ever really believed in. Not only does Mortu save the child and ensure the destruction of utopia, he gives that destruction a head start, taking up his shield and his battle axe, and killing anyone who comes within reach. Just prior to writing this review, I re-read "Omelas" to reacquaint myself with it. This quote particularly stuck out: "They did not use swords, or keep slaves. They were not barbarians." Contrast that quote against Robert E. Howard, one of Hernstrom's biggest cited influences. Howard's main recurring theme was civilization's corruption and decadence, as opposed to the savage but straightforward barbarians on the fringes. On this re-reading, Omelas struck me as the ultimate expression of the decadent, corrupt civilizations Howard's barbarian heroes rail against. A perfect and peaceful veneer, hiding a rotten core. But if Omelas is the ultimate expression of decadent civilization, the bloody path Mortu carves through the White City is the ultimate refutation of it. Schuyler Hernstrom sees our Ursula Le Guin. And he raises us a Robert E. Howard. "Mortu and Kyrus in the White City" is available on kindle for $0.99.  If you travel in pulp sword and sorcery circles long enough, sooner or later you're going to run into the name Schuyler Hernstrom. And with good reason. Few writers working today have grasped the pulp S&S aesthetic as throughly as Hernstrom. The stories in this collection deliver old-school action, weird fantasy, and hard-hitting heroes.
Originally appearing in Heroic Fantasy Quarterly, "The Challenger's Garland" is the only reprint. The story follows Molok, a ringwraith-like servant of the Death God, on his journey to challenge yet another champion in his lord's name. The tale is short, and there aren't any real surprises here. Especially not after we're introduced to Lobon, the champion. Even so, Hernstrom's telling is immensely satisfying. Rather than feeling predictable, the linear nature of the story gives the events a sense of finality, and portrays the characters as slaves to an inescapable fate. "Athan and the Priestess" is the story that gives this collection its title. Athan, warlord of the steppes, receives a vision from Thune, the tribe's dying wizard. Athan is tasked with crossing the magic wall separating the steppe from the lands to their ancient enemies, the Ullin. There, he is to lay with the Ullin High Priestess and father a mighty son. The following adventure is a fantasy in the classic Weird Tales mode, with strange sorcery, wicked goddesses, and ancient towers. "Movements of the Ige" is almost a science fantasy. The story details a ritualistic battle between the primitive, lizard-like denizens of an unnamed planet. The proceedings are interrupted when an otherworldly "egg" drops from the sky, bringing with it some alien explorers. Once again, there are few surprises here. But Hernstrom paints an exceptionally vivid and well-realized culture among the lizard-like Ige in this short tale. "The Ecology of the Unicorn" is more-or-less a Vance pastiche. While not explicitly set on Vance's Dying Earth, Hernstrom's work here recalls the earlier, loosely-linked shorts that made up the first Dying Earth collection, especially "Turjan of Miir" and "Mazirian the Magician." The plot is simple enough: the wizard Malathiksos seeks immortality, demanding the help of a captive fae creature named Rutu. The flourishes are what make this story stand out, and the flourishes are pure Vance. In other hands, this one would be a complete misfire, but Hernstrom pulls it off admirably. The ironic twist ending is a hat-tip the master himself would have probably enjoyed. The longest story in the collection, and probably my favorite, is "Adalwolf's Saga." In a pseudo-Norse/Germanic culture, Adalwolf must avenge his father's death against a rival warlord. The initial battle goes poorly, with only Adalwolf and his brother, Gasto, escaping the field. At first believing himself cursed, Adalwolf soon gains the favor of the All-Father. But his righteous quest for vengeance gradually twists into self-serving ambition, and Gasto questions whether or not the All-Father will be pleased. It's incredibly rare for me to buy a single-author collection and enjoy every story. Thune's Vision was an exception. If you enjoy reading the pulp greats of yesteryear, particularly Robert E. Howard or Jack Vance, then I highly recommend this collection. It might not be up to the lofty standards of those two masters, but it scratches that old-school itch in a way that most modern fantasy doesn't. Thune's Vision is available on Kindle for $2.99. There's also a paperback edition available for $5.00. |
AboutI'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. Archives
October 2019
Categories
All
|
RSS Feed