Household Objects (or MacGyvering Non-D&D Ideas into my Games)

So, the other day my younger daughter’s boyfriend’s car broke down.  During the diagnosis and repair process, it was discovered that the belt for the “Harmonic Balancer” had to be replaced.  Now, I have no idea what a “Harmonic Balancer” is or what it does and I don’t care to Google it to find out.  Yet, I cannot help, but to want a “Harmonic Balancer” into my games.  This is not the first time that I have been inspired to create something for Rilmorn from a non-fantasy/non-D&D object or idea.

Before I get into some of my odd inspirations, let me talk about Listerine.  This one is a cheat; it had a D&D idea in it.  In 1992, Listerine put out some great ads; including one with a bottle of Listerine wielding a sword inscribed with “Plaque Slayer” on one side of the blade and “Germ Killer” on the other side.  This, perhaps not surprisingly, led me into creating a like-named sword that was dedicated to slaying oozes and slimes.  It seemed a bit silly, at the time, but it came in quite handy when my PCs encountered Juiblex and its minions.

Men at Work, an Australian band, had a hit called “Down Under,” which was all about people from Australia, but I saw it different and created the Morloi.  The song has a chorus that changes slightly each time it sung.  I took inspiration from two of those choruses:

And she said, “Do you come from a land down under? Where women glow and men plunder? Can’t you hear, can’t you hear the thunder? You better run, you better take cover

And he said, “I come from a land down under Where beer does flow and men chunder Can’t you hear, can’t you hear the thunder? You better run, you better take cover”

From this, I envisioned a race of humans that dwelt underground.  The men for heavy drinking raiders and the women were farmers that had visible auras about them.  I learned from Casey Kasem that “chundering” was an Australian term for “chugging beer,” thus my heavy drinking plunderers.  The idea that women were glowing farmers came from me misunderstanding one of the later choruses and believing that the line sang was “I come from a Land Down Under; where women plow and men plunder.”  How was I to know that they didn’t rhyme the words “plough” and “glow?”  I created their name by combining the two races of humanity the future presented in H. G. Wells The Time Machine, the Morlocks and the Eloi.  The last time I used the Morloi, they were traveling through time to escape a disaster that was destroying their homeland.

I don’t remember if I was using a Bulletin Board System (BBS) or was on Internet Relay Chat (IRC), but one day this GM posted asking about local businesses which had names that would make great D&D names or ideas.  He had such a name, but his Players all knew about the local business and it break the suspension of disbelief if he used it.  The name was “Lunghammer.”  I took that name a created a dragon slaying orc out of it.  “Lung” is the transliteration of the Chinese word for “dragon.”  “Lunghammer” is something that hits dragons.  He became an orc, because Lunghammer sounds like something that orc would do…”I hammer your lungs!”

So, what will the “Harmonic Balancer” be?  Is it a magical ritual that keeps intrusions from the Elemental Planes contained?  Could it be a bardic singing sword?  Does it have anything to with controlling the elementals that are being summoned within the Bazarene Circuit?  Could it be a device needed to keep the engines of Bazarene from exploding?  What would you do with such a named device?

Until we meet again, Game On!

Advertisements

Maps, Maps, and More Maps (or Art or Artifact?)

So, I wrote a Live Journal post with nearly the same title in January of 2014 and bragged about my map of the continent of Moytonia.  I’ve made or was given multiple maps over the years.  I really enjoy maps.  As I mentioned a while ago, I wanted to build up my map collection (Item #2).  This campaign is giving me just that.  I’ve got 6 major cities and towns on the Bazarene Circuit to map out.  There is a monastery and a halfling village to work on.  If the PCs want to explore beyond the Bazarene Circuit, I have maps for Constantina, Barovia, and Neverwinter.  I am working on a map for Majipor.  This is a good time for maps and me.

I like maps that Players can make their own.  I like maps that have Player notes on them.  It gives the Players a sense of ownership of the campaign.  My first map was the map to Mythgold; you can see the marks the players made on it as they figured out how long it would take them to travel from the edge of civilization to Mythgold and where they should and should not camp.  My pre-GIMP versions of Moytonia had many marks put upon them by my Players.  Kingdoms were drawn in.  Islands named.  It made Rillmorn more than I could have done on my own.

I will use the map of Neverwinter that came with the campaign setting, but I will not be able to let my Players mark it up, because it more art than artifact.  I cannot reproduce the Neverwinter map and if my Players spill something on try to mark which house is the mage spy’s house and which house is the cleric spy’s house that map will be ruined.

In my newest campaign, I had originally planned on making a single copy of each map and show it to my Players, as needed.  I fully expected them to mark it and turn it into something that I could use in later games.  My wife convinced me to make multiple copies of the maps of Duvamil and of the larger area in which the game is set for each of my Players.  This lets each one of them mark his or her the way he or she wants.

So, here are the maps so far…

Northwest Moytonia – This map is a combination of a section of my big Moytonia map and a map I created for my Sanderzani Campaign.  I will be focusing on the towns and cities on the Bazarene Circuit, but I hope to make or steal maps for all the areas marked there.

Duvamil – Since I first ran the Sanderzani campaign in 2004 and 2005, I have had the town of Duvamil marked on multiple maps.  I have sent PCs to Duvamil multiple times, but I never had a map for it…until now.  Using GIMP, I took pieces from the maps of Red Larch from Princes of the Apocolypse, Brindol, Greenest from random image sites, and the Village of Orlane from N1 Against the Cult of Reptile God.  It has a patchwork quality to it and I am good with that.  Yes, there is a lot of blank space on the map.  The map only shows the largest of structures in Duvamil and none of those marked items have names.  I am bad at naming things and won’t give places names or, sometimes, even purposes until the PCs go looking for a specific person or place.

Heppra – This is my latest creation is.  It is two maps of Hamunaptra from Green Ronin’s Mythic Vistas series mixed with other elements using GIMP.  This one is being numbered, so I can give Christina a copy of the key, since Heppra is the home town of her Character, Shery-kem.  It is a work in progress.

Maps do not have to be perfect.  They have to be usable.  They have to be touchstones to the Reality in the Game.  These maps of mine are examples of that.  What do your maps look like?  Are the pristine or damaged?  Are they more art or more artifacts?

Until next time, Game On!

Beltane

Today in the Northern Hemisphere, we acknowledge the Vernal or Spring Equinox.  On the continent of Moytonia on the world Rilmorn, where the celestial movements are much more clockwork in their precision, they are celebrating the first day of Aires, AKA New Year’s Day, AKA the Vernal Equinox, AKA Beltane.

While I have admitted (5th paragraph) that I was wrong when I placed the four Great Druidic Celebrations on the equinoxes and solstices, I do not have any desire to change this part of the established history of Rilmorn.  These Celebrations have held sway in active game play since 1984.  Also, I intend to start my next campaign (the Duvamil Campaign) on 1 Aries 2016.  Had all went as planned, we would have started this campaign today; thus linking calendars in the Game World and in the Table World.

I had planned on the PCs encountering various Beltane traditions.  As the suns set, they local druids would reenact the fight between the Holly King and the Oak King and all would celebrate the Oak King’s Victory.  There would have been the driving of the cattle between the Bel Fires to bless then and protect them from the attentions of the Goodly Folk.  Maybe the PCs would have participated in Fire Leaping.  The children of Duvamil would have tried to rope them into games of Eggs and Hares.  If any of the PCs were unmarried, but of marrying age, they would have been cajoled into joining a Ring Dance around the Oak King’s Tree.

Of course all those ideas and plans will still happen, but I won’t have the personal joy of starting a Campaign on the Vernal Equinox while playing the inaugural game on the Vernal Equinox.  So, dear readers, do you have any special events set up for holidays in your game worlds?

Game On!

Namoria and Terah (or How I Failed at Modules Between Editions)

When I was working on a post about Retrocontinuity , I discovered that I could not find a post to which I wanted to link.  It turns out that I never finished or posted that particular post. Here it is.

In late 1999 AD, my Players and I finished up my latest campaign – the one where one PC was a werewolf, who didn’t know he was a werewolf and another PC was a midwife working to keep her vampiric step-father’s condition a secret and my Oriental Adventures campaign had never really gelled and taken off.  We were all psyched up for 3E, but we didn’t want to wait until August 2000 AD to play again.  I didn’t want to start a new campaign in Rilmorn that I would have to convert for the new edition, so I decided to take up an idea from Mike Magee.

Back in the 80’s, Mike suggested that, since I owed so many modules, I should run a game using only modules.  The idea was for me to run the modules as written; I wouldn’t create my own plot lines.  As we played through each module, I’d place any maps in the module contiguous to already existing maps, ignoring any anomalous terrain issues.  Thus, I’d create a mosaic world made up of Greyhawk, Forgotten Realms, and Krynn.  It was a cool idea, but since I had been running a continuing Game World in Rilmorn, I never took the time to try it.  The downtime between editions seemed like the perfect time to try it out.

I had B2 – Keep on the Borderlands and Return to the Keep on the Borderlands, so I decided to use that as the foundation for this campaign. I had two solid versions of a great sandbox-style game module, a copy of B1 – In Search of the Unknown (a site which was marked on the maps of both Keep on the Borderlands modules), and a group of self-directed players.  Once I dropped a few plot hooks in, this campaign should have rolled itself right out.  I flopped right out of the starting gate.

I just could not run a campaign ex nihilo.  I felt compelled to create an empire, so I could have borderlands into which I place the Keep.  So, I came up with the Namorian Empire.  Namoria was based on Rome with a strong Celtic influence.  I wrote up a historical timeline.  I designed a calendar with 12 months, each one named after one of the first twelve emperors.  I also went on to adjust some of the history written into the module about Kendal Keep (the name given to the Keep in Return to the Keep on the Borderlands). No matter how hard I tried, I just couldn’t do it.

I use other modules and adventures, but rather than run them mosaic style, I tried to blend them into the campaign seamlessly.  It became a rather fun campaign, but personality issues and a storyline that got out of hand led to the demise of the Namori Campaign.

Skip to several campaigns later, we are well versed in using 3E and I am running my Sanderzani Campaign.  I am trying to add a bit of Lovecraftian horror to my store and quietly insert Yog-Sothoth into the background.  I, then, begin to attempt to draw the PCs across time and space.  I take modules, The Sunless Citadel by Bruce Coredell and The Standing Stone by John D. Rateliff (author of Return to the Keep on the Borderlands, by the way) and blended them and their maps to create an adventure for my gypsy band.  I tied it to the characters and adventurers of the previous campaign.  It went over well, but I never really got to reveal all the secrets I wove into that adventure setting.

But, my tale of woe doesn’t end there.  I got the D&D Next Play Test materials and attempted to run them for various Players.  I decided to put those materials into this world.  I ended up creating a weird map that was supposed to be changed as more play test materials came out. Unless the objects and places appearing on the map were labeled and oriented correctly, they didn’t actually exist.  Everything else on the on the map was in flux and subject to change.  I tied some of the adventures to the Isle of the Dreamers from my original Namori Campaign and would later use some of this material as background for my short-lived gnome campaign.  Now, I’m using this material and setting to expand on the Isle of the Dreamers.  It never ends.

Game On!

C is for Coin

Adventures rush to loot the dragon’s bed, after the dragon is dead.  Heroes, they may be, but they all run toward the demon cult’s treasury.  Before they save the princess from her fate, they must, the fee, negotiate.  Why, because money is the grease that lubricates the gears of a civilization and it is part of the Players’ reward for their PCs succeeding. (2015.04.16) (2015.05.28)

In many ways, gold (also called gold pieces, g.p., GP, or gp) is simply a score card for D&D.  The more money the PCs have, the more “magic stuff” (magic armor, enchanted weapons, raise dead spells) they can afford.  David Noonan, in a D&D Insider podcast, once said that there was no real economy in a Dungeons and Dragons Game.  The silver pieces given to the NPC baker for a loaf of journey bread are not then given to the NPC miller, so that the NPC baker can get more flour.  This is true in any Player/GM encounter.  Coin only appears in a game when the PCs have it.  (I do not count treasure listed in monster/NPC write-ups to be “in play,” since their only purpose to tell the GM what to give the PCs, if they “win.”)  It is a counter and nothing more, but it doesn’t have to be... (2015.04.16) (2015.05.28)

Each version of D&D has had a monetary system that consisted of coins of various metals and denominations.  Each version of D&D has used the gold piece (gp) as the standard unit of measure for wealth, but the rates of exchange between coins have changed.  In 1E, there was the copper piece (c.p.) which was valued at 1/10 of a silver piece (s.p.) which was equal to 1/10 of an electrum piece (e.p.), which had a value of ½ of a gold piece (g.p.), which carried a value of 1/5 of a platinum piece (p.p.).  Thus (to lift the example from page 35 of the first edition of the Players Handbook):  “200 c.p. = 20 s.p. = 2 e.p. = 1 g.p. = 1/5 p.p.”  In 2E, the ratios between the coins remained the same, but the abbreviations for the coins changed to CP, SP, EP, GP, and PP.  Money in 3E was simplified.  10 cp was equal to 1 sp, 10 sp equaled 1 gp, and 10 gp was worth 1 pp.  4E numismatistics gave use a new currency: astral diamonds (ad) and changed the conversion ratio between gold and platinum.  1 pp was, then, equal to 100 gp, while an ad was equal to 10,000 gp.  4E, clearly, saw the PCs running around with LOTS spending cash.  5E has also had its hand in fiddling with the value of a gold piece.  Now, 100 cp = 10 sp = ½ ep = 1 gp = 1/10 pp.  Sweet mercy, this is a boring paragraph.

Despite the obvious snooze factor in the previous paragraphs, coinage does not have to be simply a scorecard or boring.  Coins do not appear ex nihilo, they are products of the civilizations and cultures that produce and use them.  They are artifacts that can be used to tell stories of a lost people or give PCs clues to possible dangers in the area where the coins were found.  Differing monetary systems between neighboring nations could offer Players roleplaying opportunities.  I have tried and will try again to put such devices to use in my games.

During my 1E days, Lewis Pulsipher, in Dragon #74, suggested changing from the sometimes arcane D&D gold standard to a decimal-based silver standard that dropped electrum coins and changed the size and weight of coins, so the number of coins went from 10 to pound to about 216+ to a pound.  I changed to a silver standard and decided that there were 100 coins to pound.  Mike Magee (Gareth Eybender’s Player and designer of Elethar) took this idea and created a currency system for the elven kingdom of Elethar.

Base currency: Pyramid (silver piece)

Coinage:  1 argentel Gareth = 10 platinum Castles = 100 gold Crowns = 1000 silver Pyramids = 10000 copper Tenthmids = 100000 steel Centimids (often referred to as “cents”)

 

Eletharian currency is noted throughout Rilmorn for its purity. Counterfeiting is a capital crime in the Kingdom, and Elethar’s Intelligence Service works diligently at home and abroad pursuing those who would forge or debase the kingdom’s currency

Robert Hegwood provided some images of coins used by the Empire of Xshathrapat.  I’m going use some of those images (slightly altered) in my Pellham campaign.  I don’t know if I will attempt a return to the silver standard, since my present players seem fairly attached the standard system, but I am going to start making coins from different countries unique and attempt to use those differences to improve the feel for each region and give more depth to my setting. (2015.04.16)

I am not the only one who works on making their world’s coinage more than a counter on a scorecard.  D. at Fluer de mal has a post about currency on his world here and here and here.

Do any of you, my good readers, make use of coins to spice up your games?

Game On!

From Tree to Letter to Month (or How Does Gregory Make a Place Unique?

Some years back, Todd Jordan and I were discussing our game worlds and, in noting that each city or region of Rillmorn was unique, Todd said to me, “Your world is like Indiana Jones leafing through a tome of onionskin pages, while mine is like that guy who finds the singing frog.”  To this day, I am uncertain if Todd was trying to say that my games were more serious than his or that because I put more effort into attempting to make each area of Rilmorn distinct that it made my games feel more real.  Whatever he meant, I took it as a compliment and have continued to work hard and give each campaign site a special twist.  Something for my Players to hang on to and work with to give them a sense that this place is different from where the last campaign happened.

Iolta is much like my original continent Moytonia.  Moytonia was originally boiled out of Witch World, Middle Earth, and B1-In Search of the Unknown.  It was later spiced with the works of Katherine Kurtz, various issues of Dragon magazine, other modules and settings books, and finally a good dose of Player and PC creations.  Iolta uses many similar sources.  So, in an attempt to make Pellahm distinct from Kardon, Spellguard, and the Storm Kingdom, I am going to design a new calendar.

When I originally named the Months of the Year for Rilmorn, I decided to go with something different than January, February, etcetera or “Hot Month, “Growing Month,” and so on.  I chose the names for the twelve signs of the Western Astrologic Zodiac.  I did it as much to be different, as I did for it to be familiar.  I did not want my players to struggle with month names in addition to the other Rillmorn specific features: two suns, three moons, and such.  In addition to designing the months to keep track of the passage of time, I created four seasonal festivals for that would be nigh universal across Moytonia.

I have long had an interest in Celtic myth and history.  I remember writing a paper in my History of the English Language class at USM on druids and got to use the 1E Players Handbook as a reference.  Despite my interest and study, I did not know as much as I thought I did.  So when I picked Beltane, Lamas, Samhain, and Yule to the festivals and placed them on the vernal equinox, midsummer, autumnal equinox, and midwinter, I did not know that these were not events celebrated on the equinoxes and solstices nor did I realize that I had didn’t even get all the names right for the festivals that used.  Despite all that, the Four Feasts of the Year as celebrated by the druids of Rilmorn have become a deep part of the myth and lore of my world.  So, I am pleased to keep them, use them in Pellham, and add a lunar calendar to help with the verisimilitude of the setting.

I am basing my new lunar calendar on the Celtic Tree Calendar.  My sources for this are The Celtic Tree Oracle by Liz and Colin Murray and Celtic Tree Magic by Danu Forest.  While some dispute the historical validity of such a calendar, it is irrelevant for Rhillmoran.  Rhillmoran is not Earth and history and myth unfolded differently there than it did here.  The Druids of Iolta count the beginning of the Year on Samhain the first day of Beith or Birch.

The people of Pellham don’t use the largest of the moons (with its 38 day cycle) in their calendar, because legend holds that The Eldest Sister no longer watches Rhillmoran.  Her gaze is turned outward from world to watch for the return of Bazel, so that The Three Sisters may be ready do battle with him and prevent his return.  So, the Months are only 36 days long, since the two remaining moons have a 9 day cycle and 4 day cycle and they synchronize once every 36 days.  This will have little effect on my Players’ perceptions, but I hope to use the magical significance of each month’s tree to shade the adventures taken during those months and hopefully that will affect my Players’ perceptions.

So, dear readers, what do you do to make your settings distinct to your Players?

Game On!

Sticks and Stones (or What Special Materials Have Appeared on Rilmorn)

D. over at Fluer du mal posted about the materials used to make magic items in his games. It got me thinking about the special materials that have appeared on Rilmorn.  Here is my post on those thoughts.

Way back in the day, I was seventeen and not nearly as well read or knowledgeable as I thought I was, but I knew enough about copyright and plagiarism that I didn’t want to do it.  Even back at the beginning I wanted to publish my game world, so I couldn’t use “mithril,” since that came from Tolkien’s Lord of the Rings.  Thus, I named my star silver metal argentyl.  Since those early days, other materials have made their way into my games, but argentyl is still the most likely to appear.

Ages ago, I read H. Warner Munn’s Merlin’s Godson and Merlin’s Ring and from it I got the impression that orichalcum was milky-gold in color, extremely strong, and had not magical properties, but magical affecting properties.  Thus, I introduced two forms of orichalcum into Rillmorn.  The first was simply swords made of an orichalcum and iron alloy that had “pluses to hit and damage,” but were not magical.  A +2 orichalcum blade would retain its attack and damage bonuses even if its wielder were in an anti-magic zone.  The second way in which orichalcum appeared was in the form of “spell breakers.”  Spell breakers were magical daggers that could be used to “kill” incoming spells.  If a spell breaker wielder had his weapon ready when a spell was cast, the wielder could make an attack roll against the spell’s armor class, if the wielder hit the AC in question the spell “broke.”  Spell breakers were useless in combat.  Spell breakers haven’t been seen since before my USM days and the last orichalcum blade to appear was the one found by Alkin du Fey Duncan and it was rumored to be a pure orichalcum (a +5 weapon) blade.

I do not remember when I came up with the idea of trollsilver, but it was wildly popular for several games.  Before there were spell foci in D&D, a spellcaster using an object made trollsilver to cast a spell could roll a d6 to see how the trollsilver empowered the spell.  On a 1 or 2, the duration of spell increased threefold.  On a 3 or 4, the range and area of effect increased three times.  On a 5 or 6, the “power” of the spell increased by three: IE – 6th level fireball would do 18 dice of damage instead of 6 dice.  Trollsilver faded into the background after a just a few adventures.

One of the rarest of all gemstones on Rilmorrin is the prismate.  Prismate is a gem forged stone.  Gem forging is a psionic/magical art that blends two or more precious or semiprecious stones into a single stone.  Prismates are made up of the dust of numerous gemstones and when completed each facet is a different color.  Only one magic item ever has ever been found with a prismate as part of it.  A flawed prismate was the pommel stone of the sword Policrom.  Prismates still appear occasionally in treasure hoards around the world.

While I’ve used other materials in Rimoranic history, but I think these are the best.  What materials have you created for your games?

Game On!

Reoccurring Themes (or Gregory, Don’t go There Again)

I’ve been working on where I expect or hope my Pellham campaign is going and I’ve found myself looking at some familiar territory.  There are types of stories that I like.  I like alternate dimensions stories.  I like time travel stories.  I like Faery stories.  I like to use them in my games, too.  I like them a lot.  In addition to ideas and themes for my games, these stories also connect to places in Rhillmoran; places I have used again and again.  My Pellham campaign has seeds of these stories it and they are leading me back to my favorite, but possibly overused, stories and places.  I wonder if I need to break away from my favorite stories.

Castle Timeless has been a staple of my games since the 1980s.  It has been a rare campaign that did not see at least one trip to Castle Timeless.  During the Giants in the Earth and the Tasque Elzeny campaigns, Castle Timeless got a makeover.  I’ve been thinking about using Castle Timeless, because of a few throw away lines and plot point in the backstory of C5: Llywelyn’s Bane.  It, also, doesn’t help that C2: The Ghost Tower of Inverness (one of the other modules slated for use in the Pellham campaign) has an often missed time travel component.  Going to Castle Timeless certainly places Pellham in Rhillmoran, but it opens up a whole can of wyrms in that it will tempt me to run a time travel mini campaign and I’ve done that time and time again.

Faery locales are going to be part of this campaign.  I’ve already placed Ardenmore in Adran Silverleaf’s back story.  So, how do I keep from retreading old ground?  My fey folk and fey realm should be different than they have been before.  This is going to be hard, since I like my fey to have a Celtic sensibility and Pellham is a Celtic-style setting.  It doesn’t help that I’ve got a “Hollow Hills opening on the Night of a Full Moon” idiom running with this, too.  I guess I’ll just have to turn these fey “up to 11” and go full bore with them.  Make them the Fey of the Fey and play it for all that it is worth.  They are capricious, enigmatic, and dangerous benefactors and patrons.  They are brave, valiant, and noble allies and villains.  Their plans and their beliefs are not easily understood by mere mortals, even if those mortals are their elven descendants and cousins.  It should be great fun, if I can play it right; I’ve misplayed this style of NPC multiple times before.

I don’t see how I can get away from alternate dimensions in this campaign.  If the PCs follow through the entire plot as devised by the modules, then they must enter an alternate dimension.  I’ve did a lot of development on this alternate dimension for a failed campaign (outside forces pulled Players away), so I may be able to make this work for me.  The provided storyline only has the PCs there for a relatively short time and the alternate dimension is completely unlike the rest of the setting, so this could easily work to my advantage.  I’ve got an “alien,” but not lethal environment into which the PCs can adventure.  It plots well and is part of the module collection, so if I use it and it alone, then I should not get caught up in a plane hopping campaign, which can really be fun.

Having covered my “big” flaws in the previous three paragraphs, I must now move on and discuss a harder drive in my gaming themes.  I want to connect this game to other games that I have run.  I’ve been thinking about placing a connection to the Shadowfell Road in Pellham or Inverness; this would open up a connection to Moytonia and I would be tempted to pull things from Barovia and the Walking Wood into Iolta and that might dilute this setting.  I really want to place a connection to Castle Timeless and I’ve already explained why that is a bad idea.  While I have not yet designed them, I know there are magical trees in Pellham and they could easily be connected to the Quan.  Even though this campaign takes place over a thousand years after Giants in the Earth and Tasque Elzeny, a connection to the Quaan would let me access Feldspar, E3 Trading Company, and Spellguard.  While a link on Thrain to the World of Terah would allow me to bring threats from the Caves of Chaos and possibly connect the PCs to the Isle of Celestia and the Dreamers, it would be bringing in alternate dimensions.

Want to know what reeks in all of this; writing out this post has given me a half dozen or more ideas that I now am interested in dropping into the Pellahm campaign.  What do you think I should do?

Game On!

NPCs for Iolta and Thrain

Persons of Interest

  Being a Limited Listing of People and Beings In and Around Pellham

  Persons One May Find in Widdershin

Amena – proprietor of the Blue Lantern

Antha – owner of the Flower Shop, her florists moonlight as                Green Gowns

Argus – secretary and valet

Aspen – member of the Sovereign Council

Caleb – runs the Amorous Congress for discreet ladies and                 gentlemen

Gwidon – Seneschal of the Sovereign Council

Morgance – owns the Bunny House, a drinking                                          establishment that holds rabbit races and offers                      companionship for lonely gentlemen

Nessa – Priestess of the Temple of the Tuatha

Robert Mortimer – Lord Marcher and member of the                            Sovereign Council

Silvern – keel boat captain

Thug – half-fomori mercenary enforcer

Travis – riverside merchant

Valentrue – member of the Sovereign Council

People in Dun Daegal

Adric of Clan McMurdock – Ri of Dun Daegal

Pwyll mac Adric – Adric’s heir

Connor mac Cormac – farmer

Dairmaid mac Owen – vintner Donnall mac Airt – farmer Gallar Garmson – skald

Jon Kelsogson – blacksmith

Lughdal mac Dughal – farmer

Markus – Priest at St. Brendan’s Kirk

Njal Merrikson – brownsmith

Paulus – Priest at St. Brendan’s Kirk

Yorik Gimnerson – whitesmith

Sidhe of Ardenmore

Eldarlieth, Lady of Castlerock

Gramine, Lord of Castlerock

Ardlanth, Oracle of Thoan

Dvegar of Durvandell

Balin – Prince of Durvandell, Lord of Ormhall, Master of                   Clan Uldra

Alvis Allwise – Balin’s First Councilor

Wanderers

This is a list of NPCs my Players have encountered or have reason to know about.  It will be an ongoing work-in-progress.  Unlike my other posts, when I update this list, I won’t use a green font to denote corrections, updated material, or additions.

From the Ashes of Past Campaigns

Back in the mid 1990s, I tried to run a non-Realmorin campaign.  It was going to be based in Celto-Nordic setting with Greco-Roman invaders as the sometimes allies/sometimes enemies.  I had made many lists of important persons, each list based around a culture or or location.  I had a Bard NPC, who was the lynch pin to the campaign plot.  I got to pull ideas and uses from my Chivalry and Sorcery books.  It was great!

It ended with the first game.  It was not as quick an ending as the “Thirty Minute Campaign” (If you really want to know about this one, comment and I’ll try to develop a decent post about it), but it ended quick enough.  The game ended when one of my Players got it in his head to kill off the Camber McGregor – the Bard that my plot hinged upon.  The game folded at that point, because I saw no way to move the game forward and it seemed obvious that my Players didn’t care for this campaign.  It was sad; I was really invested in that campaign setting. (2013.11.23)

Twenty Years Later – I can make use of the lists of NPCs that I created so long ago.  I don’t even remember the plot line of the original campaign, but that doesn’t matter.  What does matter is the setting.  Iolta and Thrain is a Celto-Nordic setting.  I’ve got my reclusive dwarven kingdom and my hidden elven realms.  Norn is Viking-central.  I am thrilled to have players invested in the setting and since I am not thrusting a plot upon them, I can fill in the Spaces of Setting and enjoy it as much as my Players enjoy playing in it.

Yea!

Do any of my fellow GMs have tales of getting to use things that they failed to use before?

Game On!