World Building: The Thousand Year Empire

I’m putting together a game for teens stuck in social distancing mode due to Covid-19, to be played over Discord. I’m using Exemplars & Eidolons, which I mentioned here. This is all being run through the auspices of the LARP camp where I work. I created this setting years ago, and have expanded it through several games since; for the quick and dirty version, think Romance of the Three Kingdoms meets Avatar: TLA, with a soundtrack by Lustmord and Dead Can Dance.

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The Thousand Year Empress disappeared 20 years ago. No matter what else they disagree on, everyone can agree on that. Some say she was murdered, others that she died of disease or old age, and yet others claim that she ascended into the Celestial Firmament and left the mortal realm to its suffering.

Another thing all agree on: the Empire has suffered ever since.

Without the Empress’ guidance, her vast Empire has descended into chaos. Provinces take up arms against each other, proclaiming themselves Protectors of the Empire or rightful people’s rebellions. Several provinces claim to have the Empress’ true heir to guide them: sometimes one of her children or more distant descendants, sometimes claiming to have the reborn Empress herself.

Drought, flood, and famine scour the lands. Bandit armies rise and maraud. Some provinces fall to plague. There are rumors of disappearances, of demons, and of other worse things. And it is known that in some places the dead themselves rise and set themselves against the living. Some even say that the dead walk at the behest of the Empress, whose talking corpse leads them to retake her domain from beyond the grave.

The Empire as it was is gone.

But it need not be so forever; there are still pockets of stability, and many struggle to protect the land and each other. Many members of the Empress’ ancient knightly orders—both honorable and disgraced—and many of her ministers still strive to prevent bloodshed, to restore peace, and to build upon what they saved from that which came before. Here and there provinces band together in amity, supporting each other against the dangers of the world. It is a dangerous time, but it is a time when a dedicated few may make a difference.

What will YOU do?

Cold War Spies in Blades in the Dark

Last winter I revisited a game idea I’d had: inspired by Saladin Ahmed’s suggestion to tell a spy story about spies from disadvantaged minor nations during the Cold War, I wanted a game that would push the dilemmas experienced by those intelligence agents to the forefront. How do you achieve your goals when you’re tiny pieces playing a much larger game? How do you make sure your nation isn’t simply eaten and discarded? How do you achieve your own goals, and how do you do all that while holding onto your humanity?

I knew that GURPS and a good storyteller *could* do all that, but I wanted something that felt more like Monsterhearts (more on my love for that game here) with mechanics that pushed those experiences to the forefront. I spent a while jotting down notes and trying to puzzle out how it would work. I came up with the idea of people choosing particular trainings for the characters, each relevant level of which would give them another die for a skill roll. I thought of measuring stress as a clock (Apocalypse World style) to denote the growing burden of keeping your cool while everything around you is going to hell.

And then I bought a copy of Blades in the Dark (and here) and realized that what I wanted had already been developed.

Now, admittedly, I don’t yet know of a BitD hack that does everything I am looking for. I also haven’t dug deep into the pile of BitD hacks out there, either in circulation or in development. But I no longer think I need to design all of this from the ground up. I think Blades in the Dark, with some modification, should work extremely well for what I want.

I still must find some way to reward continued player-player interactions, encouraging some collaboration without assuming that everyone is on the same side all the time. I don’t want to sacrifice the experience of questionable loyalties, self doubt, and second guessing your own judgement—but I also don’t want to make those things so grating or dominant in the game that it’s impossible to play without giving yourself ulcers. Similarly, as long as I’m letting player characters not all be on the same side all the time (or even all be part of the same Crew) I’ll need to find some way to either replace the Turf mechanic or modify it, and some way to alter the underlying Crew dynamic.

Suffice to say, there’s still a lot for me to figure out. But this looks fun, and maybe some of you would like to see it?

Please let me know if you’ve seen other Cold War spy BitD games. I’m thinking more Quiller Memorandum or The Witch Who Came In From The Cold, less James Bond.

Here’s a few of the other BitD hack resources I’ve found, though none do quite what I’m looking for:

(https://www.reddit.com/r/bladesinthedark/comments/8l5ysh/has_there_been_a_simply_spy_thriller_hack/)

(https://forums.somethingawful.com/showthread.php?threadid=3713405)

(https://itch.io/t/420201/share-your-projects-forged-in-the-dark)

(https://thysane.itch.io/the-spies-that-death-forgot)

And, of course, the Forged in the Dark forums:

(https://community.bladesinthedark.com/c/forged-in-the-dark)

Haunted Mines of Frozen Time

In the western hills, below the growing height of the volcano Tupol, ancient quarries etch the slopes and lay bare the stone beneath. Near their bases, where erosion paints runnels through the scarce remaining dirt and channels the upslope waterfalls into a well-fed river, tunnels gape like burst cysts in the quarries’ walls. These tunnels eat into the hillsides, following the thick sheet of soft, mottled blue-green glass which miners first sought ever deeper under the old, cold lava flows which buried it.

The trees which grow on the abandoned mines’ tailings twist in odd shapes, their forms uncannily human. The forests below, fed by the river which leaches those tailings, echo those uncanny forms over and over again. The forests are well-known for being haunted.

The glass those long-dead miners sought still lingers in the hills, precious and coveted by archaeologists, alchemists, and artificers. It shivers in the cold, and shimmers with a light from within that waxes with the dying of the moon. In the deepest dark of the new moon, the glass is even said to whisper, growing louder and louder as it Continue reading

Mining my boarding school experience for Cesium Deep

This one is going to be a little more personal. Also a little more disjointed.

I went to a mixed boarding / day school for high school. I was there as a boarder.

My time in my dorm was both great and awful. It’s part of where I’m drawing inspiration for the story I’m writing about Cesium Deep.

When I say that my time in my dorm was great, I mean that I met and made friends with some awesome people. I came to love living in a community, and felt close to some of my dorm mates in a way that is hard to explain. Some of those friendships existed because we were teens who were able to live in the same space and share our passions and interests in ways that I hadn’t really thought possible before boarding school. Sometimes, living in a dorm was a hell of a lot of fun.

But some of those friendships existed because we survived the awfulness together.

I don’t think it’s surprising that no one else from my dorm came to our 10th reunion.

When I say that my time in my dorm was awful, I mean that Continue reading

Trouble Writing Cesi

When I was first writing Bury’em Deep, the editor I was working with through my mentorship program asked me to write scenes from inside Cesi’s head. She wanted, ideally, for the book to include sections or chapters from Cesi’s perspective.

It was a good idea, and Continue reading

The Ballad of Black Tom, by Victor LaValle

the-ballad-of-black-tom-1

Victor LaValle doesn’t rehabilitate HP Lovecraft; he takes all the good, sheds the malevolent dreck, and adds to the horror a heart and depth that HPL never managed to find. The Ballad of Black Tom (on B&N and Amazon) is a far better imagining of HPL’s The Horror at Red Hook; it has a humanity to it that Lovecraft couldn’t write, and is in every way a superior story.

LaValle uses the story of a young black man to artfully tie the everyday horror of injustice, and humanity’s easy inhumanity, to the overarching themes of cosmic horror and the pursuit of power. He does so while retaining the wonder and strangeness of HPL’s more evocative works, even as he roundly and repeatedly critiques HPL’s own prejudices both implicitly and explicitly. This story is a treat.

If you ever found any redeeming quality in a story by Lovecraft, any frisson of horror that moved you, I suggest that you read this book. If you steered clear of HPL’s work because of its noxious toxicity, but are willing to give horror with heart a try, I recommend this book a hundred times over.

It’s a shame that so much of cosmic horror is tied to HPL these days. HPL’s large collection of ‘-isms’ are so inextricably tied into his stories that they are themselves a source of horror. But Robert W. Chambers wrote cosmic horror before him (with The King in Yellow), and The Ballad of Black Tom is proof that there’s good cosmic horror after him. I’m glad to have a story I can wholeheartedly recommend which doesn’t cover or ignore HPL’s awfulness, but instead acknowledges and rejects it completely.

If you want more other stories like this, there’s a collection of four novellas (including The Ballad of Black Tom) called Reimagining Lovecraft. I haven’t read the other stories yet, but I will soon.

All the Plagues of Hell, by Flint and Freer

AllThePlaguesOfHell

A little context: I’ve enjoyed the previous entries in the Heirs of Alexandria series, and I read All the Plagues of Hell right after reading a much worse book in a different series (which shall remain unnamed).

I thought All the Plagues of Hell was quite good.

There were a few elements to it that frustrated me, which I’ll detail later, but for the most part I had a great time with it. Better yet, it provided an exceptionally good counterpoint to Continue reading

The Music Behind Bury’em Deep

This is an incomplete list of the songs and artists that built the soundscape I tried to stay in while writing Bury’em Deep (and editing and rewriting it, and, well, you know).

The initial bulk of the music was industrial, with a few other genres tossed in. I think there was something about the frequently wordless, highly rhythmic, often distorted quality of that music that drove my sense of living inside a spaceship. My vision of those spaces was not the JJ Abrams Star Trek Apple Store feel of white, glass, and lens flares. It had more in common with World War 2 era submarines. Any gleam or shimmer came from the false realities of glasses’ environmental skins.

The next place I took musical inspiration from was synthwave. Something about the way those sounds combined with the more grating and grinding industrial music fused the feeling of large heavy machinery with complicated computers. Better yet, the synthwave often had a driving beat as well, something that mimicked and pantomimed the rhythms of the industrial tracks that had first sparked my imagination.

This means that alongside Front 242 (Tragedy For You), lots of VNV Nation (specifically tracks with fewer words), Foetus (Love, and (Not Adam)), and Ministry, I had heaps and piles of tracks from Makeup and Vanity Set (everything they made for Brigador, plus at least five other albums), Perturbator, Lazerhawk, Kavinsky, and Waveshaper.

Then, the more idiosyncratic additions and odder pairings, the ones that I couldn’t ignore:

VNV Nation’s song 4 A.M. flows seamlessly into the choral version of Barber’s Adagio for Strings that you find at the opening of the Homeworld soundtrack. I later discovered Edward Higginbottom’s choral version of that Adagio for Strings. I used the rest of the Homeworld soundtrack too.

I listened to two remixes of tracks from Star Control 2. They were Starbase – Under a Red Sky, and Property of the Crimson Corporation.

I listened to Holst’s Planets, and Clutch’s eponymous album. I cycled through several tracks off Tomoyasu Hotei’s album Electric Samurai (especially Dark Wind and Howling). I listened to SomaFM’s space mission station, and Science from the album Sounds of GE. Sometimes I listened to Orbital, primarily their Blue Album and In Sides. I used tracks from Receiver, by H Anton Riehl, and NASA’s Symphonies of the Planets: Voyager Recordings.

Sometimes I listened to one album or track on repeat for hours on end. My musical desires grow strange(r) while I’m writing.

If you have any of that music, I suggest playing it while you read the book. If you don’t have the book, I suggest listening to that music and imagining what it feels like to live trapped in a tin can in the far reaches of our solar system.

Tidbits from The Hacker’s Guide to D&D

One panel I was on, The Hacker’s Guide to D&D, offered up several good nuggets that I’d like to share.

These are mostly not elaborate system hacks; the focus, rather, is on Continue reading

Don’t Know Where the Story’s Going, Quick Thoughts

This post follows Be Boring and Be Hungry. It’s all about making characters for roleplaying games, and how to think about RPG character creation from the perspective of a writer.

Playing RPGs recently, one friend of mine was struggling with how to make and play her character. It was not her first time playing RPGs, but she felt less experienced than most of the other people at the table and was anxious to make a good impression and make good story contributions. She has a writing background, and is familiar with arcs and storyboards and how to make a good dramatic narrative. But she was foundering as we sat at the table, sinking beneath the weight of making a character who would be interesting enough to the rest of the players, a character who would have a complete story. She couldn’t see a way to do that, couldn’t see a way to tell the stories that seemed right for the character she had, and couldn’t reconcile her knowledge of how to tell stories with the structure of our RPG.

In a darkly funny sort of way, Continue reading