Wednesday, May 26, 2021

DH5: beyond the map

At the risk of reintegrating everything that I'd explicitly decided not to bother with as I transitioned the older Timischburg "megasetting" into becoming DH5, I thought it worth while to think again about the lands beyond the three main regions I'm developing: the Hill Country, Timischburg and Baal Hamazi. I still reaffirm that I have no intention of developing these territories or spending any time on them other than to think about very roughly where they are and how that has contributed to the setting, where they can be referred to in off-handed references to help build verisimilitude with the notion that something exists besides just blank space beyond the map. But, like how Tolkien had people from far Harad and the Easterlings of various stripes that all came from beyond the map (not to mention Near Harad and Khand, which were just names on a blank space), I think there's some value in at least knowing very vaguely what is beyond the map. He was always able to keep it consistent because although he wasn't interested in developing those areas, he clearly had an idea of what was there.

Let me first reaffirm my list of races, the peoples of the three regions, and see what is kind of... missing.

  1. Humans, coming in at least four different varieties in the three regions, the 1) Drylanders who are natives of the Baal Hamazi region (and presumably the stock from which the kemlings sprang once they acquired some fiendish admixture), the 2) Tarushans, who are the natives of Timischburg from before the Timischer ethnic group established itself as an upper caste in the region, which are meant to be a combination of Gypsies and eastern Europeans like Vlachs or Romanians under the Austro-Hungarian regime, the aforementioned 3) Timischers, who are like the Austrians, except there's no Austria here in this Austria-Hungarian analog, just the part that feels like Transylvania, and 5) the Hillmen, or people of the Hill Country, who are explicitly linked to the Robin Hood era British. I say British specifically so I can make room for some kind of Welsh or Cumbric and Scottish, but really they're mostly English. And even then, specifically mostly Anglo-Saxon. 
  2. Skraelings are the descendants of fallen Atlantis, and although they tend to look like a somewhat exotic and primitive ethnic group of humans, the curse of Atlantis which still follows them sets them apart from that race. They are kind of scattered in small numbers in quiet and forgotten places all over the map; the deserts and steppes of Baal Hamazi, the woodlands of the Boneyard, and the Haunted Forest, most especially. But smaller tribal enclaves of them linger elsewhere too. The Tazitta Death Cults might be a kind of human/Skraeling hybrid. (Haven't decided for sure yet.)
  3. Orcs and Goblins are spread in small numbers across the setting, and they even have a few small towns of their own, but mostly they are an intrusion from outside. Their homeland is Gunaakt which is not shown on the map.
  4. Cursed are from Zobna in long-lost Hyperborea, but their descendants in exile live in Lomar. Lomar is a city-state shown on the northeast border of the map. I haven't really done any development of it other than to mark that its there, and I had vague ideas that it may have been merely the most southerly point of a larger area. Cursed also live in Timischburg in some communities of reasonable size, like Inganok.
  5. Jann are also from outside the map, although as the Baal Hamazi section developed, and used a few Kurushat names too, I decided that they were the places where the jann came from. Subsequently, Kurushat, I guess, had to be to the immediate north of Baal Hamazi, and the southernmost edge of it was still on the map. In the past, the jann's empire extended further south; the tremendous battles between a waning Kurushat and a waxing Baal Hamazi in the past centuries are what gave the Boneyard region its name.
  6. Kemlings are from Baal Hamazi, of course, and that region is now an integral part of the slightly expanded DH5 (expanded from it's Hill Country + Timischburg roots, that is.)
  7. Nephilim don't have a homeland, and don't appear commonly enough to be anything other than an exotic oddity no matter where the go.
  8. Woses are native to the area, and are especially common in some of the forests of Timischburg and the Hill Country, especially the Bitterwood.
Going back to the first entry, humans, it's reasonable to assume that the Tarushans and Drylanders are truly autochthonous, but the Timischer and the Hillmen, who seem to be linguistically and culturally somewhat related to each other, are by definition intrusive. The Timischer because they are a recently installed overcaste of conquerors, and the Hillmen because by definition they are relatively newly arrived settlers to the Hill Country, and with the exception of the large cities of Waychester and Dunsbury, most of the Hill Country is still wilderness and frontier. This implies that they come from somewhere else, probably in two waves separated by several centuries, but from a common source of pseudo-Germanic peoples, such as you'd expect from the common source of Austrians and Anglo-Saxons. As it happens, I do have a few nations named (yet never really described) that would fit this bill: Carlovingia, a kind of Holy Roman Empire from the Carolingian period, Normaund which is a kind of Normandy (these names aren't meant to be subtle, have you noticed?) Brynach, a kind of British Celtic kingdom of lingering non-Anglicized Scots and Brythonic peoples, and Skeldale, and kind of faux Viking Scandinavia.

Anyway, because I kind of wanted to have this information handy, just in case I wanted to make the aforementioned off-hand reference to it, I thought it'd be nice to have a consistent image in my head of where the map is in relation to these regions. The map itself is the black square, with the colored ovals representing (in super stylized fashion) the relative size and position of the other nations mentioned. Nizrekh is the only nation mentioned that I haven't mentioned yet, but I have no intention of doing much with that either, other than to point out that it's a kind of an evil undead and vaguely ancient Egyptian themed country; possibly even the remnant archipelago that was left over from the sinking of Atlantis. Actually, I just thought of that right now as I was typing, so take that statement with a grain of salt. In any case, the Nizrekh heresiarchs come from here, which is really all that matters for the most part. Other unusual stuff could be from here too, like Medusa, the original template on which medusae were made, given the snaky imagery associated with these guys. 


EDIT: Deja vu! I said that I just now thought of linking Atlantis and Nizrekh, but looking at some my old blog posts about Nizrekh, I realize that I had thought of that before and then forgotten it. Either the idea is good enough that it keeps popping up, or my memory was seeping through there. Not sure which. I had specifically linked the Nizrekh Heresiarchs with the idea of Skull-face from the Robert E. Howard novella of the same name (go read it; it's really good! Even if deliberately imitative of Sax Rohmer's Fu Manchu stories, and it has an interesting nod to Lovecraft in it too!)

A mapmaker's nightmare

After spending most of an evening drawing a map only to ink in a couple of features that look terrible, out of scale, or otherwise not pretty. Sigh. And then apply liquid paper to it, only to find out that your liquid paper is a bit old and clumpy rather than smooth, not to mention blueish and discolored compared to the paper that it's sitting on. I was ~85% or so finished with this map, and now I'm wondering if I should just go ahead knowing that I can fix it in post (i.e. digitally) but I'll always hate the paper version, or start over (what's a few hours?) knowing that I've learned my lesson about sketching in pencil first?

The map in question was a re-doing of the Baal Hamazi region of my map; i.e., about a third in the northwest of the main map. I was pretty happy with it, although to be honest with you, the Gorgelands wasn't turning out ideal either. I'm just not good at those canyons yet. Maybe I should bust out some scratch paper and practice more, and do the whole thing over again. Sigh.

That said, I was quite happy with the forests. I'd returned to a less belabored version of them, more like how I drew them years ago on the big posterboard Dark•Heritage Mk. IV map. But a few minor tweaks to the process were added, mostly because with the varied width tips of the Pixma Micron pen set, I could. In fact, I need to really remember to only use the Pixma pens; I had used my gel pen for some of it, gotten an icon that I'd drawn transferred to the side of my little finger because the gel pens bleed, and then retransferred that same icon back on the map at a place I didn't want it! That was easily enough fixed; I guess I'm just adding another ruins site or something. But again, I think I want to just start over. Kind of a shame; I spend a good three-four hours on this, and the only reason that I didn't spend more was because I already knew the layout of the map, mostly. Sigh again.

The map was capable of standing in for either a regional focus on the Baal Hamazi (+ Boneyard  + the edge of Kurushat up there at the far north) or for the MIND-WIZARDS OF THE DAEMON WASTELAND campaign either one. The replacement will as well, I presume. I'd also added a few new features to the Boneyard specifically. While I said earlier that the majority of it would be represented by a rough pinyon-juniper woodland biome—a relatively high altitude semi-desert semi-forest eocsystem with loads of red rock formations—that's pretty difficult to represent in this kind of map, so I'm mostly just putting in my "rolling terrain" hash marks with a few Monument Valley style rock formations. I did, however, have the forest actually turn into a legitimate, thick forest for part of the map. This forest was going to be filled with bandits and cannibals. In my mind it was Cannibal Forest, although that's just the first thought that came to me, not exactly what I expected to end up with. Maneater Forest? Long Pork Forest? I dunno. Do I really need to make this forest so unfriendly? The DH5 setting doesn't have any lack of forests that are seriously bad news. The Bitterwood further south in Timischburg is famous for xenophobic woses and even werewolves, the Thursewood further east is obviously full of maneating thurses. The Haunted Forest has angry Skraelings, Lovecraftian horrors and necromancers and other undead. The Wolfwood further north is the closest thing to a friendly forest; it "only" has bandits and loads of natural predators like wolves, bears, sabertooths and giant red-furred lions. Yeah, well. Land of adventure, right? I'm also thinking of putting a society of intelligent apes and baboons in this forest. It'll be a little cooler than their habitat normally is, but they'll manage. After all, they're intelligent; they can wear additional furs in the winter months or something.

I had also added a thin, snaky mountain range I was going to call the Dragon's Spine or maybe the Serpent's Spine (after I checked to see if that totally obvious name had already been used somewhere or not first.) It is meant to be less like a normal mountain range and more like an enormous and curiously curving dike that stretches for many leagues. And I thought a big solo mountain somewhere in that region, like a Mount Shasta or Mount Hood or something like that (or a Lonely Mountain, for that matter)

Iger

I've been saying two things for quite some time:

  • The people who deign to call themselves our leaders are mediocre at best, and really quite stupid more often than not. Not to mention fragile and brittle in their self-regard, and thoroughly steeped in evil and hatred of normal, white, Christian, males. Or any two or three of those four traits.
  • Kathleen Kennedy is a disaster, yes, but she isn't the real problem. Get rid of her, and you still have the entire woke edifice of Disney remaining. It's kind of like being completely ridden with cancer, but thinking that taking a benign skin tag off is going to fix something. And the person most responsible for that is Bob Iger.
Anyway, it's hardly a revolutionary or revelatory declaration to say that getting rid of Bob Iger would be better for Star Wars than getting rid of Kathleen Kennedy. Although few people are able to see past Kathleen Kennedy, I'm not the first or most clever or well-informed to have noted that Disney is just as bad as Lucasfilm, if not worse, so Kathleen Kennedy's replacement is unlikely to be much better than she's been. Of course, the reality is also two-fold: you have to get rid of both of them, and you also have to get rid of the toxins that they have bumped into the corporate structure of Disney and Lucasfilm while you're at it. And that's a bigger picture too; the reality is that almost every corporation is pretty toxic. Disney under Iger is a good candidate for worst and most evil corporation in the world, but Facebook and Google and Twitter give it serious competition.

Anyway, the so-called Dark Herald discusses some of the ramifications of Iger, his unlikely and unwanted rise, and signs of his long-overdue possible ouster.


And randomly; another socio-political thought: If Trump is jailed as part of the ongoing Deep State witch hunt against him, all that the Deep State will have managed to do is to turn him into the white American version of Nelson Mandela.

And even more random; I've misheard the lyrics to Aerosmith's "Walk This Way" for years. If the internet is correct (ha!) then a section of the second verse says "hey, diddle-diddle, with your kitty in the middle." I've always heard that as hey diddy-diddy, put your titty in the middle." Granted, I don't know that either one of those lyrics makes more sense than the other, but it does make more sense that they'd actually play it on the radio if it is kitty instead of titty.

Tuesday, May 25, 2021

A few new mapmaking styles

While I'm still not 100% sure what my next mapmaking steps are going to be, I know that I'm going to draw smaller maps. Whether they will be campaign proposal specific ones, or simply smaller, more detailed regional maps is TBD. I'm sure I'll eventually do both to the degree to which they don't overlap anyway, but the question is which one will I do next? Either way, I have a few notes, both about some changes to the setting and some changes to my map drawing styles.

First off; a change to a major feature. The Boneyard is a large wilderness that offers some separation between the Baal Hamazi region to the northwest, the edge of Kurushat at the very north, the Hill Country to the east (in it's initial form, it was part of the Hill Country, but still remained a barrier of sorts) and Timischburg in the south. It's almost like a hub to which all of the other constituent regions are connected, but because it was a vast desert meant to remind you of the American southwest, but maybe the least friendly parts of it: dry, hot, rugged, dangerous to cross, full of bandits and savage tribes, and with wildlife that would have been common at the end of the Ice Age (think of the La Brea Tar Pits museum.)


Pretty bleak; and honestly, that was the point. I'm actually leaning towards making it less bleak yet more rough. Think of the North Rim of the Grand Canyon. Or Bryce Canyon. Or Sedona. It's desert, but not nearly as dry and sandy and "cactusy." Rather, you have low, scrubby forests over rough hills, canyons, cliffs and rocks. The forests are dry, but they're not as dry; pinyon pines and Utah junipers is what makes up this biome. I doubt I'll refer specifically to Utah junipers, because that makes it sound less like a fantasy world to refer to a real-life location, but the California juniper, Sierra juniper and western juniper are also part of the classic pinyon-juniper woodland biome.



I'll replace the dryness and emptiness as a barrier with actual barriers; rough country that's difficult to pass. (Dryness is still an issue, but not as much of one.) This allows me to feel a little bitter about stuffing the Boneyard with gangs of bandits and tribes of savages and more wildlife; because the biome is more productive than that of the original incarnation up above.

Maybe in the long run that doesn't make as much of a difference as all that. I'm not quite sure how to map that; I'm not interested in drawing a gigantic forest with buttes and mesas and cliffs in it, but I'll figure that out before I get too far into this. Most people see forest on a fantasy map and they're not thinking about this kind of open forest, with short, shrubby trees that are only 5-10 ft. tall, and widely enough spaced that you have good views most of the time; they think of thick forest under a leafy canopy. Probably by putting in some scattered bushes and shrubs in the area, along with the buttes and spires of red-rock sandstone. It's also still notable for the large number of bleaching bones laying on, or partly exposed to the ground. Most of these are leftovers of battles fought by vast armies of the jann and kemlings and their human (and other) auxiliary troops when Baal Hamazi was sweeping away the last remnants of the older Kurushat Empire, back when it still stretched as far south as the Boneyard. 

Speaking of which, I'm revisiting in my mind some of my techniques used on my last big map. While I'm happy with it still, it is important to keep in mind that I hadn't used the Pixma pens before, and having the large number of tip thicknesses made me maybe a little too over-eager to use them all. My forests in particular are looking, I think, a little too belabored compared to forests that I've done in the past, such as on my Mk. IV version of the setting on posterboard (check out the MAPMAKING tag to see some quick snapshots of that on an older post. I think I may stick with a hatched shading on my mountains too, rather than hard black shading, like I've always used in the past. Although I do note that if I draw the maps and then switch to the brush pen, I can probably get that darker look easier, quicker and maybe even prettier than I've done in the past. One more think to mess around with on some scratch paper before I start, I guess.

I like my coastline approach too, but it sometimes looks a little belabored too; maybe the wavy rippled effect would look better. I like having a few different styles here too as I do this. It may take quite a while before I settle on what my favorite styles really are, especially as I'm experimenting with new styles that would potentially replace what I've been doing for decades.

I have picked up some art pencils. They're soft pencils, which probably isn't exactly what I should have picked up, but they also are not all "black" in color, so I can use three shades of gray, including one that's quite light, for my drafting. That's another thing that I was unhappy with; my regular No. 2 mechanical didn't erase quite as well as I'd have liked because the lines were too dark and hard-pressed into the paper.

Monday, May 24, 2021

DH5 Calendar

I've said before that I didn't want to mess with the calendar for my fantasy setting, because I think that trying to get people to remember fantasy month and day names is too much effort. What you gain in some nice fantasy-sounding touches you lose in coherency, because when you say that something happens on Far, the 4th of Olarune, that means very little because I doubt even Keith Baker himself would be able to immediately associate that with Friday, the 4th of February. He'd have to stop and think and do the calculations in his head. This is exactly why I get irritated with globalists and other morons who run around in America using the metric system. It doesn't mean anything to anyone. Who cares of meters are easier to use than feet, yards or miles from a mathematical perspective if you have to translate it into your head every time you see them before it actually makes any sense to you? Unless you don't mean to imply anything, like the time of year and the weather, or something, with your dates, then don't use fantasied up names for the names of the months and the days of the week.

However, I have thought of one way to do a different (and therefore cool) calendar for Dark Heritage that doesn't cause confusion in all but the most stupid of people; instead of being based on months, it's based on the seasons and weeks, and it uses the good old-fashioned English words for each of the seasons. This will lead to a few differences from our calendar, but not in such a way that it will confuse anyone. 

I'll also note that for convenience, I'm "rounding" and not worrying about the weird little things. Our year is 365 days, except for Leap Year when it's 366. Neither of these numbers is divisible by anything sensible, which is why we have a calendar where the exact number of days in each month varies. Years work better with weeks, in which 52 weeks is a year, although even then you're one day short. I'm not putting together a Dark Heritage calendar so that I can go around carefully tracking the passage of time in the setting, though—I'm doing it so I can round to something that's sensible, sounds different from how we do it here so it gives it that slight bit of "otherness" but which is easy to follow for those who may need to make a reference to a date.

Anyway, there are four seasons in a year, obviously, starting with Spring, Summer, Autumn and Winter. You'll note that this means the year starts more or less on March 1st rather than January 1st. Because the ancient world, and even many cultures of the Medieval world, still did this, until the adoption of the Gregorian calendar in the 1500s, that shouldn't feel too odd. And it doesn't really matter too much anyway. 

Lacking months, people refer to the date as the number of the season, i.e., the 45th day of Summer, for instance, which would be about halfway through it. Each season has 13 weeks, which are also sometimes referred to (just like we occasionally refer to the 3rd week of March), but in a more informal capacity. Now, this isn't exactly true that months don't exist; merely that the calendar isn't based on them. Months become a reference for four weeks, just like a fortnight is a reference for two weeks. We know that fortnights exist, and we use the term (I use we loosely; obviously fortnight is common in most of the English speaking world except America, where it's used very infrequently, and often in an attempt to sound British or old fashioned). We don't talk about the 5th fortnight of the year, but we may say that "You have a fortnight to come up with the money before I break your kneecaps." Months are used in the same fashion, but there are no formalized months in this calendar.

You'll note that if each season has 13 weeks, then they also have 91 days. The 91st day of each season is traditionally the last day of each season, and often the start of a holiday that lasts for the two days on either side of the changeover from one season to another. This doesn't exactly add up to 365 days a year (although it's only one short, so I'm not sweating it) and worrying about Leap Day is silly in a fantasy setting unless for some odd reason it's important to the plot. Like I said, I'm not trying to exactly match up the passage of time in the fantasy world and the real world; I'm trying to come up with a system that's easy to use and which, when rounded a bit here and there, still corresponds to a year of our time so that a year of Dark Heritage and a year in the real world aren't vastly different. 

While I don't know that there's necessarily any value in attempting to match up the real calendar to the fantasy one exactly, but one can exist completely without reference to the other, but I'll do it anyway, just for kicks. Spring corresponds more or less to our months of March, April and May, Summer to our months of June, July and August, Autumn to September, October and November, and Winter to December, January and February. I'm not making any references to solstices, or anything like that; I suppose that I could, but I prefer to go with a more "average weather" pattern; the changeovers of the months that correspond to the ends of the seasons tend to be, on average in the continental United States, when you start to notice the weather has consistently switched from one season to the other. There's obviously some variability here, depending on latitude and elevation and just the yearly variation you get, but that's mostly true that by the time September rolls around, you don't have to wait  until the equinox to notice slightly cooler temps and shortening days. Again, going with the principle that rounding rather than exacting calendars make more sense, I like this.

People refer to the actual day of the season, as mentioned above (i.e., the 57th day of Summer) or to the day and the week; i.e, the 3rd day of the 9th week of Winter.

I am not going to do anything to change the days of the week. There really isn't any change that can be made to them that isn't going to just cause confusion in everyone involved.

As an aside, I'm tempted not to worry too much about this, because I already know that I have as a bad habit the tendency to get caught up in hyper-detailing some dumb little esoteric detail of something that literally nobody cares about. But in this case, I think it's good like this, and I like the idea of being able to just refer to the third week of autumn, or the first day of the twelfth week of winter or whatever. Everyone will know what that means in terms of weather, climate and what's going on.

Saturday, May 22, 2021

Campaign planning, part II

OK, after a bit of a chaotic part one where I came up with no fewer than three campaign briefs and new tags while trying to figure out what I wanted to do, I figured it was time to take a step back, slow down just a bit, and figure out how to do this with a little bit more planning. Luckily, this is all theoretical right now rather than real, although doing stuff theoretically makes me wish it was real; maybe I'll stretch out my stiff, unused GM muscles and try to round up a group again. I doubt it'll be the people I used to play with; we're just too scattered to the four winds in more ways than just geography, so I'll have to reach out and find new players. Which isn't an impossible task; I do know a handful of other friends that I know game, although we've never gamed together, and I know where to go to meet potential new players too. I'll worry about that at some point a bit further down the line, though—for now, I'll continue to go through this exercise as if I were writing a column about planning campaigns rather than as if I'm actually planning a campaign. If that makes any sense.

Because I like all three of the campaign briefs, I will probably actually develop all three of them. After all, my campaign development is a format that doesn't require tons of extraneous work; most of what I develop for one could, if necessary, be easily adopted to another campaign if it comes down to it. Plus, I want to do so anyway. But I've got these three campaign briefs; let's assume that I'd pitch all three of them as options to a group, and let them discuss among themselves and decide which one they would want to do. What else would they need to make an informed decision and be ready—upon deciding—to show up, make characters, and start playing?

The first thing I note is that I've migrated a bit away from requiring my group to read the rules. Because the game is 1) of my own authorship anyway, and 2) quick and easy, I think it'd be a lot easier if I didn't require them to read it, and only made it available in the "endnotes" if you will of the pitch, for those who really want to dig into the details. I wouldn't have any expectation that anyone necessarily would, though. Because of this, I think I need another one pager, that describes at a very high level the game and the setting, and gives them enough information to at least pick a race and class and know what it means in the context of the setting. This 1-pager would be a setting and game 1-pager, and would not come in different versions, but would rather be the same regardless of which of the campaign briefs the group favored. 

I also think that I need to provide the smaller maps for each of the campaign proposals. I'll need it anyway to play, and why not let the players see it, so they can have some basic geographical context that their characters should have? Plus, I know different people get excited about different things, but there really don't seem to be a lot of fantasy fans who don't think a good map is fun to look at, as well as something that stirs the imagination and gets them excited wondering what the names and images and icons would be like "on the ground."

An easy way to keep this stuff organized would be to create a wiki or website. Luckily, I have a Google Sites page that I'm not using for anything really that would fit the bill perfectly. I know; the name isn't perfect; I named it a bit on the early side, but still—it was always meant to do basically what I would be using it for now anyway; I just never got around to it. I'll go ahead and add the link, with the caveat that it doesn't have any new content on it yet at all, and the content that it does have is a bit out of date. But still; here's the link. If nothing else, it'll remind me to go update it if I see it linked here: https://sites.google.com/site/timischburg

So, I'll update the wiki; for now, it'll be a quick and dirty introduction to the setting and the game, offer links to the game rules, and offer links to the campaign briefs and (once they're available) the maps. From a player-facing perspective, that's probably all that I want for now, although once campaigns were to ever start, I'd want to add links to the characters, and quick and dirty session summaries. I'd turn it in to a proper setting wiki. 

One this is done, I can regroup again and start doing fronts and planning adversaries for the various campaigns, as well as a few bullet points on what I think are likely events that would happen later down the road in each campaign, assuming that I have the ability to predict any of that. This material wouldn't really be player facing, at least not yet until they've uncovered enough information in play that they would know it. 

EDIT: For whatever it's worth, I've updated the rules to a new rev level, by adding a brief rule for using combat advantage, as I've discussed here, as well as cleaning up a number of other little minor details that were either rambling and unnecessary (especially in the opening words) or out of date, or unclear. I've also made minor tweaks to the campaign briefs by not having any of them use hardcore mode after all. And, I've updated the front page for the wiki, although right now that's all it is: an introductory one-pager to the setting and game. I'll add links to the campaign briefs too, and that's probably all I need to do for now; it'll be updated sometime in the future once it's actually being used for a real game instead of a theoretical one.

Friday, May 21, 2021

Quick notes

Three quick notes, neither of much serious consequence. So I'll throw this cool although randomly non sequitur image in too, just so the post isn't totally useless. Neal Adams' famous cover art for the version of Tarzan of the Apes that I own. Neal Adams and Boris Vallejo illustrated the entire series if I remember correctly, mostly alternating between titles. Vallejo is OK, and he did some good art for some other series here and there, but I always greatly preferred Adams for Tarzan. Curiously, Frazetta did covers for most other Burroughs works, but his Tarzan stuff was only sketchy stuff that he did that never graced any cover, was mostly line art, and he was always personally disappointed in it. 

Anyway, the three notes: I've decided to do an unusual thing with my mapmaking future for Dark Heritage. I'm not going to redraw the entire map after all (flip-flop again, I know.) Rather, I'm going to draw smaller area maps of portions of the map, that would be appropriate for a single campaign rather than showing the whole shebang. I'm also as I do this, and this is the part that will probably sound strange and unusual to most, not going to worry overmuch about getting the details exactly the same. In fact, I'll deliberately distort some elements. Thinking about the epilogue or reboot, if you will, of CULT OF UNDEATH that I'm currently working on, I can see that drawing a map for that campaign specifically would be one that is abnormally long and thin. Not like a piece of paper turned landscape, but two or three pages turned landscape and laid end to end. A 5x1 ratio map, or something else ridiculously long and low. So rather than maintain the same proportions as the original map, I'll distort it so that it fits landscape on a smaller yet normally ratioed piece of paper. Rather than worry overly much about which is "right", I'll say that whatever the version I'm using for my campaign is right for that campaign, but the original map (or original maps; I have three that aren't even the same as each other, fer cryin' out loud) will always be the ones that I turn to for reference when creating a campaign specific map. And any changes that need to be made to accommodate that campaign will be in a kind of quantum, Schrödinger's canon interpretation, where what is and isn't in the "canonical" DH5 setting isn't defined, and doesn't ever need to be defined. The changes for any given campaign vs the original map could be just as canonical as the original, but I have no interest in addressing the paradox or clarifying which is more "canonical" than the other. 

This is in strict contrast to how Tolkien did it. He messed around with all kinds of details with his setting, up to his death, even, but once something was committed to print, he felt bound to honor it as "correct." An interesting example of this is his origin of orcs. Now, granted, the Silmarillion wasn't actually published until after his death, but the Silmarillion had a very specific and definite origin of the orcs spelled out in it. However, Christopher Tolkien himself was later unhappy with having defined that (among many other details). We can see from The Peoples of Middle-earth that Tolkien had actually changed his mind and did not necessarily favor the interpretation that he had written in his notes for The Silmarillion after all. Although he passed away before completing the change, so the Silmarillion was published with the older origin story included. Had that happened while Tolkien was still alive, he'd have felt stuck with it, even though he no longer actually favored that approach.

Meanwhile, I'm deliberately suggesting that I reject hard and fast canon for my own setting, and whatever I feel is correct in that moment is correct... in that moment. But it may not be in another moment in the future.

Second note: I'm going to do one more campaign brief. In fact, I already know most of what it will have, so maybe I should have taken the time to just write it up rather than post about how I'm going to, but I'll have that ready soon. Why three campaign briefs? I actually kind of like the idea that if I were on the verge of running soon, which I'm not so it's an academic, theoretical discussion for now, then I'd like to have three different campaign proposals ready to pitch, and the group could pick together which concept sounds most interesting to them. Now, granted—they're all still in the same setting, and will have mostly the same tone and themes—albeit with subtle variations and tweaks. This third one will, if anything, be the least dark and potentially more gonzo and absurd of the bunch, as I'm getting the main theme of the campaign itself by riffing off the main theme of the movie The Hangover and proposing that the characters are missing a week of their lives, and they don't know what happened, but it's clear that they did a whole bunch of really crazy and out of character stuff that they now need to reconcile to. This will be challenging, because they have no idea what it was until someone confronts them about something that happened while their memory was gone, so they'll be bouncing back and forth from one bizarre surprise after another. UPDATE: Here it is: https://drive.google.com/file/d/1gj81zwHv6lqvi9Ym2eNpwKrODS7UHUv4/view?usp=sharing

If I'm calling my reworking of CULT OF UNDEATH by it's original name; just reworked for a new vision of how it should have been done all along anyway, then I probably need labels for these other two campaign précis too, and I'll go through the same exercise with them eventually. The original campaign brief should be called CHAOS IN WAYCHESTER and this third one can be MIND-WIZARDS OF THE DAEMON WASTELAND. Those actually make Cult of Undeath sound kind of tame in comparison. Well, whatever. I can always rename it if I ever actually run it and want a more gratuitously exciting pulpy title.

Third note: I've spent the last few days, after blogging about the three main influences and best descriptions of my GMing style, re-reading the Ray Winninger run of the Dungeoncraft column. And reading it again now, I realize that while he had some great ideas that resonated with me because I did those things too, and liked having them specifically articulated rather than intuitively felt, that there's much more that I don't like about how he describes his running style too. I still think that it's a good run, with some good advice, but I guess I'd filtered it more than I remembered; I found it somewhat less compelling to re-read again after not having done so for quite a few years. Fer the heckuvit, I'm going to re-read the Chris Perkins column too. It's not nearly so prescriptive or organized; it just talks about a whole bunch of random ideas. I never considered myself a follower of his "discipline" because I have no idea exactly what it is, but I sure like an awful lot of his specific ideas. Let's see if after a number of years I still agree.

Friday Art Attack

We tend to think of genies as helpful and friendly, or at least useful. It's nice to remember once in a while that most of these folkloric creatures were not, however, in their original form.

Classic art with a scene of the classical era. Because fantasy is so Medieval and Northern European most of the time, it's nice to remember our southern European neighbors sometimes too, who after all, contributed one leg out of three to the makeup of Western Civilization. Two out of three if you consider them the vector by which we got Christianity too.

Everyone knows that sabtertooths had cubs, fo course, but it's nice to see them in play.



Two very nice undead themed older works by WAR.



Two recent, and dare I say it, modern in style illustrations from the Silmarillion. While of course the Silmarillion doesn't read as easily as an actual novel, like the Hobbit or The Lord of the Rings, that isn't to say that it doesn't have some absolutely awesome material in it that rivals anything writting by Sturrleson, Hesiod, or Bulfinch.


Sneaky 4e goblins. I never much liked or cared for goblins, but this art kind of made me reconsider a bit.


While no Frazetta piece, this is still a pretty dramatic confrontation with a banth.


Exciting fantastic landscapes, like I mentioned last week, is still an important part of any good fantasy story, in my opinion. It just makes the whole thing pop and come alive.


Sometimes there is more than one kind of nice scenery to look at. This kind of goes back to the gratuitous vibe of the pulp era.


Gorgonopsids were the top predators in the late Permian, right before "the Great Dying." I've always thought they were pretty rad; the largest type we know of was grizzly bear sized.


Fantastic locations don't always have to be dramatic, sometimes they can even by cosey. I'd live in this cottage in the woods, quite honestly, if someone offered it to me.


Can't forget the space opera too.



 I think this is called an albino elf in the file name, or something like that. With normal ears, it wouldn't be a bad representation of a Cursed from Dark Heritage, though.

Thursday, May 20, 2021

On second thought...

Yesterday, I started a new series; how would I actually approach setting up a campaign?  I discussed my campaign brief (and wrote one) and what I'd do before and during the first session before play actually began. But then, this morning another thought occurred to me: I've already talked about potential campaigns for some time. (Heck, although I haven't updated it in a few weeks, I'm in the middle of one right now!) While I ultimately decided that I wasn't terribly happy with the final result of CULT OF UNDEATH project, because even trying to trim and rework published adventures just isn't my style of running the game; how can I have this material prepared if I have no idea that the PCs will ever get to that direction anyway? It's just not my style to prepare games very far ahead of time. But... if I did want to run Cult of Undeath, focusing more on the set-up and less on the plot beats that the adventure path that it's very loosely based on (Paizo's Carrion Crown), how would I do it? And for that matter, wouldn't that be a fitting ending or finale or epilogue or whatever you want to call it to the Cult of Undeath? Finding out that I'd never run an adventure path, even heavily reworked, because it still implies a level of pre-written expectations for the campaign that is out of synch with how I work—but how would I take the same material and actually use it, then? Well, now we're cooking with gas!

I do like the campaign brief that I wrote yesterday, but I've whipped up a second one focused on this newest idea. I could potentially run both of these campaigns in my setting, seriously. But let's shift from the first idea to this resurrected Cult of Undeath project. If I'm not going to relying on the actual modules that I read, because modules are nothing more than raw material that is only useful to someone who runs like I do if taken completely out of context. Even then, I can't plan too far ahead on using any of that raw material, because it depends on the direction the campaign goes as driven by the players. But what I would prepare is the following campaign brief, then I'd dedicate the first hour or so of the first session to being a kind of "session zero" phase, as described yesterday. Following the link, I'll rework the details of how I'd do that.

https://drive.google.com/file/d/1GJJsv0l-7RN1YIv5tdIyQGAgxP5TXDK-/view?usp=sharing

I also yesterday said that I'd send the rules system out with the brief. I've actually changed my mind. Because the rules are easy to explain and I can help anyone play the game, I'd rather just say that the rules are available upon request. It'd be great if my players read them thoroughly before the game, but I don't want to ask that of them; I want them to want to do so, otherwise, we'll do without, and we won't miss a beat doing so.

The number one task to do when sitting down and getting everybody settled in and ready to go is to have them build characters. You'll notice that in my prior campaign brief, I had them choose from patrons that may be their reason for being involved; in this case, I have instead a brief background sketch that would connect the PC to the deceased Professor Lechfeld that they can choose from instead. As before, I'd go through the character ties exercise, which will make for an immediate hook for roleplaying and investment on the players' part with the group. 

I do want to keep the initial set-up, which is based on a pretty heavily reworking of the first two modules though, and maybe create out of them the "fronts" that I want the game to eventually focus on. The haunted house that makes up much of the first adventure should be a "Grim Portent" from the first Front, which will be around Grigore Stefanescu and his attempt to unlock one of the Primogenitors. More on that in my next post on this topic when I create the fronts.

The second module, which is about the murders associated with a Frankenstein monster can be tied to the second front, and will be a "Grim Portent" for that one, which also highlights that things are moving before the PCs even know much about the nature of the threats facing them. This will be where I rework Otto von Szell, who will be the former protégé mentioned in the new campaign brief. Here, I'll decide that he was a Timischer noble, who has since become a vampire. In the past, he worked with Prof. Lechfeld on an exciting yet forbidden project that became the monster. Once it came to unholy life, and von Szell let slip his ambitions to become undead, Lechfeld cut off communication with him, and eventually fled Timischburg entirely to set up here in Cockrill's Hill. However, the professor had a crucial piece of the research that made the monster experiment successful, and von Szell has finally felt confident to come for it in a more direct fashion. I like this front, because not only is it important to the story of the campaign, but it would be a pretty big (and dark) twist if any of the characters picked the background that they were related to von Szell, and thought they were coming on a peaceful mission of reconciliation. If nobody picks that, I'll almost certainly still use it, but I hope that they do, because I love that connection.

Although too vague for me to tell you how I'm going to end up working these, I'd like to have two additional, albeit somewhat smaller in scope and threat, fronts based on geography. The Tazitta Death Cult lands are located nearby, and I'd love to find a way to use them. I did mention in my old Cult of Undeath outline that there could be signs of ghoulish activity in the cemetery where the Professor is to be buried, and maybe that can be the first clue that points towards these sinister tribesmen. Secondly, you can't get from Cockrill's Hill to Mittermarkt (unless you go way out of your way) without going through the Eltdown Pass, including the foreboding small town of Eltdown itself, and the Eltdown Fens where the lost, sunken city dedicated to Bokrug is hidden. And the malevolent Eltdown Shards themselves should make at least a cameo appearance! I haven't yet determined what this front would look like, but it seems pretty obvious to include it somehow since it begs the question otherwise; the PCs will almost certainly have to travel right past it. Plus, it gives me the opportunity to potentially use some of the thematically similar Deep Ones stuff from the adventure path.

A final thought that's noodling around in my head; of course, I expect this to be limited in scope relative to the campaign setting's full geography, but it's a bit unusual in that it pulls from a Hill Country hinterlands village towards Timischburg. I wonder if I shouldn't use the "main" setting map as a template, but then draw entirely new, more regionally relevant maps for each campaign? Huh. Lots of work, but then again, I like drawing maps anyway, and I've got loads of sheets of sketch paper and few immediate plans to use them. Why not, other than that I might get tired of doing it before I'm done? When has that ever stopped any of my hobby endeavors before, though?

Wednesday, May 19, 2021

Starting a campaign

For whatever reason, I'm having an extremely productive day of blogging today. it's kind of ironic, as gaming has not been a super active hobby of mine for a couple of years now, since my old gaming group kind of just drifted apart, and I've been busy enough with other things that entertain me enough that I haven't been motivated to try and assemble a new one. But I still keep a foot in the door through my online activity, and currently my enthusiasm for gaming related topics and activities is a bit higher than normal, so I'm going to run with it while it lasts, even though I'm not actively gaming right now. 

I've been giving some thought to how to start a campaign. I've written stuff in the past about that, but that was all from a very different context; when I was running a d20 game that was very heavily house-ruled. Much of what I spent time on at that time was how to communicate the rules, and worrying about facilitating chargen in a system that made chargen clunky and very time-consuming. I favored a campaign brief to hand out to the players. I still do, actually—although I've rather dramatically altered my expectations of what that campaign brief looks like. I favored a so-called "session zero" before play actually started; we'd get together like for a session, but the main goal would be to create characters and get them primed and ready to go; if we actually played very much at that session zero, that would be a bonus.

I suppose if I was playing D&D as written, I might still have those preferences, but most of them are no longer necessary in my current context, and since it's not the most exciting way to kick off a campaign and my stripped down rules-lite game doesn't require nearly as much of an investment in time to get ready to play, I no longer favor the session zero at all. The "session zero" will take forty-five minutes to an hour—and that's if the players are chatty and unfocused, but realistically they probably will be—and then we're ready to play. My habit has always been 4-5 hour sessions. That was a bit long, but because several us had to drive up to 45 minutes from various directions to get to the game and we rarely were able to play more than once or twice a month, so having longer sessions was necessary, or we never would feel like we were getting anywhere. Granted, that group is long gone; dispersed to the four winds—but given my age and station in life and the people that I'd likely be willing to play with when I try to reassemble some kind of group or other, I expect that similar circumstances would prevail.

Anyway, I've put together a new sample campaign brief, based on the updates to the game system and setting that have had a drastic impact since the last ones that I did a number of years ago. https://drive.google.com/file/d/1hAoT0N6baWWrQaqaobmvPka14iu-gzoG/view?usp=sharing

Along with the campaign brief, I'd have to send the rules: https://drive.google.com/file/d/1adD5NZ9b7b7Xwbe4ffcHpyNmKP2csROy/view?usp=sharing

That seems like a lot if they're not already on board with my system, but I'm taking for granted at this point that they are. For that matter, if they don't read the rules, it's not a deal-breaker; they're easy enough for me to explain as we go that they could show up cold. It might make the chargen section of the first session take a bit longer, but no biggie. Even if they do choose to read the rules, there's no reason for them to read the Appendix, which is for GMs, or the monster list, or for that matter, probably not the magic section either. That means the whole game that they would need to read is only about 20-25 pages long.

I'd probably pass along the map for the setting too. Actually, this "big" map is not the one that I'd pass along, but I don't have my smaller regional maps yet with a few additional modifications that've come up since I drew this—my next mapmaking project. Whatever. This is what I have right now, so I'd probably pass this along. 

You'll notice from my campaign brief a few guidelines, which I think I followed pretty well. They aren't hard and fast rules, so if you need to bend them, you shouldn't feel like that's any kind of issue, though. Bend or even break away as needed. But I'll explain the reason for the guidelines, so you can at least bend or break from a position of understanding the purpose of the rule.

  • Keep it short. I've always had this rule, but I've since decided that it's better to be a single page of text max. This is easier with rules lite system and few if any houserules, because my prior campaign briefs took the better part of half a page or even more sometimes explaining which rules were even in play. Here it's only two short sentences. Still, regardless of how you do it, keep in mind that you want your players to actually read it before they show up, and there's something psychological about a single page of text; especially if you can keep it from looking too dense. More than that, and it's intimidating to the subconscious and it greatly increases the chance that they'll blow it off.
  • Give them some setting context. The 5e books use about half a dozen or so dot-points; I think a more elegant (and civilized) way to do it, not to mention it feels less like a powerpoint from some boring work meeting, is to use text that has the same ring to it as the Star Wars opening crawl. You don't need nearly as many details as you think; look at the first little section of my campaign brief to see what I mean. With that, you've got a pretty good idea of what's going on the setting at a macro level and what the big concern/problem that they'll somehow get caught up in is going to look like.
  • Tell them what you expect the PCs to do. All of that is good, but for PCs to understand how to make characters that they're not unhappy with as the campaign develops, they also need to understand the role that their PCs will take. Here, telling them in a very non-spoiler type way what I expect the PCs will at least start the game off doing gives them some guidance to make characters with confidence that they'll actually fit the game well and not be characters that will have to be scrapped and redone because they just aren't working out, at worst.
  • Give the players some options to choose from as they create characters. I don't mean stuff like races and classes, although that might apply. Is there a patron or organization that they need to belong to? Are there perhaps different goals or objectives that the PCs could choose from? Different origins that they could have? I decided to give them a list of potential patrons, each with their own subtly different take on the same basic goal. This isn't the only thing that could have been chosen, obviously, but one of the reasons I did it is because intrigue and skullduggery is meant to be one of the main themes of this campaign. If the PCs all have different takes on exactly what the goal is, there's room for some tension and possibly even conflict between the patrons that the PCs are working in behalf of. For a game where the PCs are expected to work more cooperatively, I'd expect them to all have the same patron, or the same goals. I tend to believe, however, that the cooperation is between the players in creating a fun experience, and that does not necessarily mean cooperation between the characters, who may in fact butt heads frequently through the course of the campaign. As long as the players are cooperating to make sure that this is fun, then I don't have any problem with that at all. In fact, I've usually found it vastly entertaining for all involved.
  • Set some expectations on tone and theme and gameplay style. If the players are expecting a bright and polite brony-themed fairy tale, and end up getting served Call of Cthulhu in fantasy drag, there's a serious mismatch between expectation and reality that will  probably disappoint somebody if not everybody. (I know I'd be disappointed if any of my players ever wanted to play a brony fairy tale, unless it was some kind of satirical short-term joke.) This is also a good time to set the stage on what kind of game it's going to be; if they expect to be led around by the nose in an adventure path environment, and you're expecting to run a hexcrawl sandbox that you just drop them in with no direction—again, mismatch. Spell it out. Although my brief didn't address this, because my gameplay style is such that I wouldn't really know this right off the bat, the scope of the campaign might be good to spell out too. Are you meeting once a week for three hours at a time, and going from 1st to 10th level over the course of two years? Or are you meeting as you can, and wrapping up the campaign in 10-12 sessions or so regardless of level? Or something else entirely?
This document doesn't have to (and couldn't really be expected to) do all things for all people, but it needs to establish enough context that the players feel like they can generate characters and get started playing with confidence that they know what they're doing and what the campaign is going to be like. There will probably be questions and clarifications asked for. That's OK. You've got time before you actually start playing, either through email as you're gearing up for the first session, or during the first part of the session when you're doing set-up and not playing yet.

As I said, I actually like the concept of the session zero, but in the case of a Dark Heritage game, it only needs take a portion of the first session, and you can still get a good half to three-quarters of a regular session in afterwards. Or, at least that's my estimation for how long it'll take players to create their characters and go through the full chargen routine. The options are simple and somewhat limited compared to full-bore D&D, so there's little reason to agonize over choices. This isn't unique to my game, of course—playing a lot of Old School games like OD&D, or an emulator like Swords & Wizardry would give you the same experience, and you could probably pull it off with a B/X emulator too. And outside of the D&D-o-sphere, there's loads of games that are rules-lite enough to do this as well. In fact, they may be more common than the alternative. 

When everyone's there and the Mt. Dew is broken out, and people are happily snacking and chatting, you start them building their characters. This shouldn't be a secretive thing; they can talk with each other about how to do it. Although some people think that a balanced party is super essential, I'm strongly of the opinion that it's passive-aggressive to make the game punish the players for not making the characters that the GM wants them to, so I'll make that clear. That said, most players still probably want to know what the rest of the group is thinking of, and it will have an impact on how they make their characters too.

After characters are all made and equipped, Dark Heritage makes sure that they go through a little minigame, if you will, where they tie their characters together so that they're not just random strangers. I got this system years ago from FATE, and I think it works very well. It's officially part of the Dark Heritage chargen system now. Fiasco has a system that could be ported over that works even better, although it's more time consuming and involved, which is a good reason not to do it, unless interparty tension and secrets and dramatic revelations is something that you particularly want to emphasize.

At this point, I'll probably call a break, chat with the players about their characters, let them noodle around with some backstory elements if they want to take a few minutes doing that, encourage them that if they do I'll find the most interesting and fun way that I can to be sure and integrate that into the game as it goes on, and maybe pull groups aside of everyone who picked a specific patron so I can give them a bit more detail about what they are asking for and what they say to the characters. Not to mention letting the characters ask any questions before it all starts as part of that backstory.

And then, everyone sits back down, and I tell them to roll for initiative. Well, I'm just kidding (maybe). I may not start the game in media res with a combat, but regardless of how I start, the game starts, and we've still got (presumably) a couple of hours at least of our regular game session time to get the game kicked off.

Anyway, that's how I'd do it if I were to run this in the next little bit. Some of this stuff only works because of the type of system that I use and its specific Spartan structure in terms of mechanics and character definition. Next time I come back to this topic, I'll talk a little bit about how I'd plan this campaign to go, and some "fronts", like I mentioned in the last post, that I'd develop for it.

Mara Jade

By and large, Star Wars fans are pissed off that Luke Skywalker was turned into "Jake" Skywalker, a strange, pathetic loser hiding on an island in the middle of nowhere for no reason. Suddenly, a reason was provided, and now I kinda empathize with Luke. 

Rumors are floating around that Brie Larson is being considered to play Mara Jade... best known for becoming Luke Skywalker's wife in the old Expanded Universe. Hell, I'd hide on an island too if I thought that was inevitable.

How to run


Who, indeed, runs like that?

My style of running a roleplaying game is probably best described as "intuitive tempered by experience" but over the last many years, I've stumbled across a few resources that describe many elements of my style in a way that not only summarizes the way I do it pretty well, but also does a better job of getting past the intuitive way of doing it, examining and analyzing the nuts and bolts, and spelling it out in a somewhat more formalized and procedural state. This is both good and bad, I think. Good in the sense that if you understand why something that you know intuitively works for you, you can probably do it better and more consistently, because you actually know it at an intellectual level too. Bad in the sense that they may put a spin on it that doesn't work as well as you do, and sometimes having too hard and fast a set of rules on how to do something creative isn't a good idea anyway. But given that I am and always have been a tinkerer, that doesn't bother me too much; I take what works and if it improves my game, I implement it, if it doesn't, I discard it. Let me first talk about three sources that I think are great texts for kind of absorbing a lot of aspects of my running style. I've mentioned two of them a few times before (although not in a few years now, geez) but the third one is a new discovery of mine, and is currently a good font of ideas for tweaks to my rules and my style as I go through the content available there.

The first good source for how I like to run is the old Ray Winninger "Dungeoncraft" column from Dragon Magazine back... oh, quite a while now. They can be found archived online here, although just in text only form. This series started late in the Second Edition era, so the late 90s, fer cryin' out loud, when I wasn't even paying much attention to D&D, but they did overlap with the launch of 3e. I was buying Dungeons for at least a few years of the early 3rd edition run, and on top of that, this entire series was archived online at the official website. I was wise enough to figure that it probably wouldn't be forever, so I saved the articles and converted them to a pdf (again, text only; I got rid of most of the graphics) but as far as I know, the Darkshire archive has been online without interruption for years now, and it still is. Some of the stuff he talks about is specific to D&D, and even to AD&D for that matter, but most of it is more broadly applicable. I also don't have much interest in his homebrew adventure design, because it's very site-based, dungeoncrawly in nature, which is quite often a flaw of game-mastering advice in general. Although to be fair, when the assumption is that the game being played is D&D, maybe its advice that most potential game-masters actually want. When I first read this stuff in the early 2000s, my thought was that it was like a light-bulb; he was describing a lot of stuff that I did intuitively, and he actually understood why he did it and why it worked! Prior to that, quite honestly, I don't think I'd really ever even given any thought to how to run the game, I just did it by what felt right, what was working, and what yielded a game result that I liked.

The next source is Chris Perkins' column "The DM Experience" which also ran in Dragon (or Dungeon. I can't remember anymore which it was) and which also was posted in full online on the official site at the time. Which is good; this run happened during the 4e era, when I was once again not really paying a lot of attention to D&D anyway, and certainly wasn't buying their magazines. I wasn't too proud to go to their web site and read articles that they were posting, though. Because I had seen the Ray Winninger articles get disappeared when Wizards of the Coast decided they didn't want them hosted publicly anymore, I suspected that this would happen to this column too, so I was pretty diligent in making sure I grabbed all of the articles as they came out and archived them as pdfs. You can, still, get the whole thing on Scribd if you're willing to sign up, but otherwise this stuff is long gone now. Obviously, some of his advice is specific to running 4e, which I didn't and won't, but again, most of it is very broadly applicable to any RPG system. His approach was obviously much less systematic; whereas Ray talked about stuff in a rational order in terms of how you would go about creating a homebrew campaign, Perkins just talked about whatever topic piqued his interest that week. This scattershot approach is good, because it got a lot into the nuts and bolts of little nooks and crannies of the DMing experience that otherwise might not have ever been covered in a more systematic approach, but it also means that you just really kind of need to read the whole thing and hope that you were able to absorb it sufficiently well that you could replicate the stuff you wanted to; finding a specific tip or practice again wasn't always easy because it was so scattershot. I had, again, already thought this when Chris said it in his column, but he really talks repeatedly about how mimicking some of the structure of episodic TV shows like The X-Files or Supernatural (my go-to examples, not necessarily because they're the best shows out there, but because they're shows that most "genre" people will know, and their structure is perfect for emulation, even if the specific content isn't always. Well... minus The X-files tendency to not ever have intended to end, as near as I can tell. That would be a major flaw to imitate that structural element in your game.)

The last source, and a much more recent discovery of mine, is one that I've mentioned a few times in some recent posts; Sly Flourish. It's a website full of useful articles, it's also a YouTube channel, and it is a webstore for ebooks too. I have one of the books, The Return of the Lazy Dungeon Master, and I've read a number of his articles and poked around on his YouTube channel. (Speaking of which, I notice he made one for "safety" which is basically the same topic as my recent Consent in Gaming post. While his approach is more reasonable than that of the Monte Cook publication that seems to have sparked this ridiculous movement, it's still based on a majorly flawed premise, or set of premises: namely that dysfunctional people feeling sad about something said to them at a gaming table is a "safety" issue—do people not actually understand the definition of safety?—or that this blatant and caricaturish feminization and infantilization of our interactions with people should be encouraged in any way shape or form. And, perhaps ironically, or perhaps not, that seems to be the only YouTube video in which he turned off comments. Dislike.) In spite of the name, that's just an attempt to be cute. This technique doesn't have anything to do with laziness and rather focuses on recognizing what actually makes a difference to the quality of your game and what doesn't, even though we might be tempted to think that we need to spend more time on it. I will say that I sometimes find his advice comes across as too process oriented, but that's OK to take stuff out of the strict process that he describes it and see how well it works for you. On the website, his articles are less about the strict process and rather focus on one-off topics quite frequently, and that's where I sometimes find some real gems. But the whole Lazy Dungeon Master book is a decent read. Given that it's the third time I've been exposed to similar concepts in print (or digital print, as the case may be) the concept itself is less eye-opening to me, and the specific details are where I find it interesting to think about how or where I'd want to implement some idea. And, as with the other two, he gives all of this advice from a specific D&D edition context, which automatically means that it needs some occasional tweaking by me anyway.

Rather than do any of these processes strictly, I kind of synthesize and syncretize them all into my own GMing style that also has two additional pillars to it: I'm a rules-lite, rulings not rules, tools not rules junkie, and I hate dungeoncrawls or site-based exploration and focus more on the kinds of stories that the aforementioned TV shows, or any non-D&D based fantasy fiction would tell. That has a huge impact on any advice that is about mechanics specifically and how to implement them, as well as much of the adventure design stuff. 

Anyway, Sly Flourish did mention a specific tactic, which was picked up from another game, which I quite like, called Fronts. I don't really love the way it was implemented in the original game, but given that it adds a bit more structure to something that I was doing already, as well as something that Chris Perkins described in his column, its an obvious one for me to talk about how I would like to see it implemented in my own games going forward. Here's the place where it's described in detail at the original source. I've described this in the past as just having villainous individuals or organizations with their own agendas just marching around in the world doing their thing, and the PCs reacting to that vague threat, which gets less vague and more specific as they interact with it. If they completely fail to interact with it for whatever reason, then it will eventually get around to achieving its goals, and the players hopefully feel like chumps for ignoring an obvious threat, but in my experience that's a theoretical concern, not a real one.

The way Dungeon World describes it is also way too rigid and rulesy for me, but the idea is certainly on the right track. I also don't believe in Campaign vs Adventure fronts, although I do see some value in fronts that are meant to last the entire campaign vs some that are smaller and are meant to be interspersed through a campaign, like a minor story arc, or one that pertains to a specific character of the ensemble cast that is the PC group, and advances the characterization of that character in some specific way. I dislike the way that this description creates labels and very strict process rules for how to implement it, but even without that, most of what it calls for really kind of needs to be done; What is this specific threat? What is it trying to accomplish? Who are the people and organizations that make up the threat? The Grim Portents part is important, because its what raises the stakes as the storm front advances. Personally, the more I read about it, the more I think Sly Flourish's attempt to strip the front concept down to its most essential elements is better than the overly systemy original version. 

For my games, I'd have two or maybe three if I wanted an especially intricate campaign with lots of legs to last a long time fronts that were meant to last the entire game. And then I'd gradually implement a smaller front for each player character that is derived mostly out of either his character background or something that happened in game that had a significant impact on the "arc" of the character's development. This isn't meant to imply that these smaller fronts wouldn't be meaty enough for the entire group to enjoy dealing with them, merely that their genesis comes from one character specifically, and probably has more character-driven and higher stakes for that specific character than for the rest of the group. Again, it's not well organized to pull this topic out specifically, but if you read the run of Chris Perkins' columns, you'll see where he did something very similar to this in his groups to great effect. 

The benefit of using fronts, or something that works similarly, is that it gives you structure to plan around without any railroading. It allows the PCs to eventually drive the game, once they get a handle on it after a few sessions, but still gives you something to work on so that you've got material ready to go when the PCs finally figure out exactly what they're doing and go off in some direction that you never would have foreseen. It's a great tool for a more passive, improvisational GM style that gives the PCs more control and more of a leadership role in the way that the campaign turns out and what happens, certainly and especially compared to pre-written adventure-path type campaigns. At the same time, it's much less random and disjointed than a sandbox, where what happens is kind of just based on what's in the location that they go to. Without having the specific terminology or specific encoded tools for how to do this, I've been running my games using a more intuitive version of this same process for years now, and I think it works great. I also think spelling out some of the things like the Grim Portents and the specific NPCs and groups that make up the front makes it run more smoothly, though—so thanks to discovering this little slice of GMing advice, I'm able to fine-tune a process that I already use, already know that it works, and already prefer to get the kind of game that I like. Now, I should be, again, able to get the best results more consistently because I've got just enough structure to work with that I'm not going entirely by the seat of my pants with a vague idea.

Tuesday, May 18, 2021

Indo-European language spread (part 2)

Oof. Yesterday's post reads like a stream of thought, rambling, incoherent mess. Hopefully you got something out of it, namely what the basic prehistoric stocks are, and the fact that they obviously had languages prior to the arrival of Indo-European, and a bit of discussion about what those might have been, and what traces of them might yet remain. This is especially notable with the actual living language, Basque, as well as the historically well-attested Etruscan, and the historically mentioned or known but with no agreed affinities, Minoan, Pelasgian, Iberian, etc. as well as the languages in and around Anatolia that are non-Indo-European and non-Semitic which may have contributed in some way to the languages of prehistoric Europe. I didn't really talk too much about substrate languages, because although everyone agrees that their impact was probably significant, most people also agree that trying to divine the nature of a substrate language from out of a language that replaced it thousands of years ago is a pretty fruitless task, and at best a few correspondences of endings or sounds or grammar can be implied or hinted at.

I also made mention—although maybe I'm getting a little bit ahead of myself, because I haven't talked about the biggest thing to happen to Europe since the retreat of the glaciers up to this point—of a theory linking a number of Caucasian, Anatolian and Aegean languages, and suggested that they had something to do with the EEF population. This isn't entirely correct, or rather, the situation is at least a bit more complicated than that. Let me show you on another map in the same series I posted yesterday. Like that one, the data it shows is a bit out of date, but I'll note where corrections should be made.

This shows Europe and Anatolia after the spread of the EEF population. The EEFs did not get into the Levant and certainly not Egypt, as it seems to show here; that is flat out incorrect, and is probably based on old, outdated assumptions that the Anatolian farmers were descended in some way from the Natufian Levantine agriculturalists. Genetics has proven that they are not. I'm also not sure what is meant exactly by Iran/EHG hybrid; that's probably meant to be CHG/EHG hybrid. There is a lot of churn in what people have believed about that region, and there was a popular theory, especially among Indians, that had an element that had to be integral to Indo-European coming from that general direction. This has not born out and is clearly a case of  nationalistic jingoism getting in the way of good science. The gene flow into the steppes north of the Black and Caspian Seas certainly did include CHG and EHG hybridization, but not mediated through gene flow from east or south of the Caspian. Rather, the CHG elements that mingled with EHG elements in the steppe was already there in the steppes when the EHG population pushed southward, and we can determine clearly that it is a population that shows clear evidence of an older separation from those of the south and east. However, that Iran Chalcolithic is important, and as you can see the merging of the yellow and the pale blue in Anatolia; well, that was a real thing that happened and was significant and can be rather easily picked up from DNA analysis of the Bronze Age populations, like the Hurrians, Minoans, etc. of the region. At this point, it was already something that happened a long time ago in the past, but not so long ago that it would have influenced the wave of EEF that populated Europe. 

So what we can propose, based on genetic evidence, and then try to extrapolate what that might have meant for linguistics, is that the first wave of settlement in Europe by the EEF population was by a "pure" EEF population. But some time later, a second, smaller wave came out of Anatolia, and at this point, the population had picked up some Iran Chalcolithic DNA and would have better been described not as EEF but as an EEF/CHG hybrid. I think this second wave is the one best described by the proposal at the end of yesterday's post. If there truly is a circum-Anatolian language family consisting of Hattic, Pelasgian, Minoan, Hurrian and North Caucasian, its spread would have coincided with this second wave, not with the first wave.

This also means that it's more and more likely that Basque and Etruscan weren't lingering WHG languages after all, but rather remnants of the first wave of expansion of EEF languages. Some people even find ways to link Basque with some of the languages of that circum-Anatolian family, although not convincingly. But the fact that correspondences exist could hint at very ancient connections that are heavily eroded by time and contact with other groups—and especially long separation from each other. Ultimately, I don't think we'll ever be able to know where Basque and Etruscan came from and what (if anything) they're related to. I do like the notion that Basque, nestled as it is even today in the stronghold of the El Mirón Ice Age refugia, might be a lingering language all the way back from that time period, but I do suspect that it's more likely that it's an EEF language, and that the EEF languages swept all away before them, with the exception of places like up on the eastern Baltic (contrary to what is shown on the map above, it was a refuge of WHG genetics, and was never replaced by EEF genetics, but rather eventually by EHG genetics. The only time EEF genetics came is when they came in the already mixed form of the Corded Ware. More on that in part 3.) and parts of the SHG territory.

The first Neolithic settlements in Europe appear to be those of the Sesklo culture in Thessaly, from about 7500 BC. It's not clear if this Greek Neolithic is where two branches of Neolithicization of Europe started from, or if the Mediterranean branch had a separate origin. In any case, cultures related to these early Aegean sites with strikingly similar DNA as well as cultural artifacts moved northwards into the Balkans, becoming eventually the quite large and complex Balkan-Danubian complex of Neolithic cultures; Starcevo, Kris, Vinca, Varna, Karanovo, etc. which make up what is sometimes called simply Old Europe, after the terminology invented by Marija Gimbutas, a Lithuanian Soviet archeologist who did much of the early work here. This Danubian Complex is quite interesting. It lasted the entirety of the Neolithic era for the region—thousands of years—with notable continuity in genetics and culture, although obviously adapting and changing over time. It probably developed the very first writing; the Vinca script is a thousand years older than the next oldest example Sumerian proto-writing (the Jiahu script from the Peligang culture of Neolithic northern China is of about the same vintage, however.) Not that we can read it, of course. We're not even sure if it is writing or "proto-writing". They are also the homes of the worlds largest cities in the Neolithic in their later phases. As an Indo-European speaker with a predominantly Indo-European phenotype, I often look at the EEF peoples and see them as a kind of alien loser that my ancestors replaced when their culture collapsed, but really that's neither fair nor accurate. EEF ancestry is pretty prevalent in all Europeans. It makes up by far the majority of southern Europeans' DNA even today. My Portuguese great grandfather was probably extremely heavily on the EEF genetics, and as recently as my own father, the EEF phenotype still was showing pretty strongly from that source, even though he was 3/4 northern European in ancestry. But my British and Scottish ancestry isn't exactly lacking in EEF genetics too from a different source in Central Europe. All Europeans have some EEF ancestry and should celebrate them as a crucial component in their own genesis with the possible exception of some of the Baltic and Scandinavian peoples where the EEF component was already a low percentage mixed in to later cultures and is almost incidental to their own ethnogenesis. 

EEF ancestry and cultures spread steadily through Europe, going northwards into Central and even northern Europe. It seems to have mixed very little with the WHG peoples. This big horizon is called LBK, or Linear Ware culture (from the German Linearbandkeramik, a reference to their specific pottery.) They brought with them specific haplogroups that were common to Anatolia, such as G2 and H2. Both are relatively more rare in Europe today, but were paternal DNA markers for EEF populations for thousands of years. One of the things that eventually happened across the entire EEF European sphere is that as their cultures were in collapse and the end Neolithic, Chalcolithic and early Bronze Age, the men were less successful at passing on their genes and their haplogroups were largely replaced by ones associated with the expanding Indo-European cultures instead. Some have interpreted this in a romantically dangerous fantasy as early Indo-Europeans kidnapping or even raping local EEF women while killing off their male kinfolk, but most likely it was at least as frequent if not in fact a good deal moreso that these were voluntary unions, and the Indo-European cultural package was more successful in the post-EEF cultural environment, allowing them to command better access to land, animals, wealth... and women. But lets not get too ahead of ourselves—that's mostly a story for part 3 of this series.

These LBK people weren't the peaceful, egalitarian, and even feminist cultures that Marija Gimbutas imagined; it now appears that they had a great deal of social stratification, they spread because of intergroup conflict, mostly along riverbanks and wetlands, and as the Atlantic Warm Period ended, they collapsed in infighting, inter-tribal murder and worse. There's even evidence of widescale mass murder and cannibalism from sites like the Talheim and Herxheim death pits. Although the LBK people lived alongside and next to hunter gatherer groups, especially in the northern territories where SHG groups like Ertebolle-Ellerbek were pretty well established and the LBK penetration was relatively weak, they don't seem to have mixed genetically with them to any notable degree. At least not yet. When LBK collapsed, their growing numbers shrank again to a much earlier level.

The southern counterpart to the LBK expansion into Central and northern Europe was the Cardial Ware expansion across the eastern Adriatic Coast, the Italian peninsula, and the Italian, French and Spanish rivieras, eventually reaching as far as Portugal and the Atlantic Coast, from whence they made their way to the British Isles. These far western EEF people seem to have picked up more hunter-gatherer ancestry here and there than the LBK people, although some reports suggest that it was actually EHG rather than WHG DNA (!) The Neolithic Britons, on the other hand, had a notable (albeit small) WHG  ancestry, and this WHG ancestry appears to have been especially concentrated in those who had prestige burials; i.e., cultural god-kings with concentrated (relatively speaking) WHG ancestry and probably a few phenotypical markers like blue eyes, and they seem to have made an inbred ruling caste. Otherwise, these Cardial Ware descended EEF peoples largely replaced the WHG population of the British Isles among the normal, common people, however. It's a little difficult to imagine an expanding agricultural culture overwhelming a numerically smaller hunter-gatherer culture, yet somehow enshrining some of those same hunter-gatherers as their god-kings, but that seems to have been exactly what happened.

The LBK collapse did not usher in the advance of another people with different genetics, but the big horizon fragmented into a number of other cultures that still seem to have maintained genetic continuity with the LBK. Things did change—probably as a result of climate deterioration from the Atlantic warm period, and the culture had to adjust (probably painfully) into a new normal. Along the Black Sea coast, the Danubian complex spun out Cucuteni-Tripillye culture on its eastern territory; with the proto-writing and the big cities. They expanded eastwards in river valleys, mostly, to the very borders of the steppe zone and had some interaction—both genetic and otherwise—with westernmost steppe peoples. But more about that later. The LBK broke up into the Stroke Ware, Lengyel and Rossen cultures as well as a few others, before the TRB, or Funnelbeaker culture, expanded over a vast area of north Central Europe, and the Globular Amphora culture, a seemingly more warlike culture with elevated hunter-gatherer percentages of ancestry (about 30%, as well as an increased percentage of I2 WHG haplogroups) expanded from the west. Farther in the west, the EEF peoples developed the megalith cultures who built all of the dolmens, burial mounds and barrows and stone circles, peaking at nearly the end of this period with Stonehenge itself; although Continental counterparts are commonplace if not quite as spectacular. The TRBs moved much further north than previous EEFs had done, into Denmark and southern Sweden, which was the farthest north that the EEF's made it, and the Globular Amphora went quite a bit eastwards, right up to the borders of the steppe.

It appears, for whatever it's worth, that the TRB people in particular is where the genes for lactose tolerance first started really gaming traction. The early Indo-Europeans had relatively low lactose tolerance, in spite of being a nomadic pastoralist society, but admixture with the outgoing EEF cultures may have boosted the signal for lactose tolerance among their descendants, including us, the modern day Europeans and Diaspora Europeans of America and other places. From a phenotype perspective there's some hints that they may have been blond and blue-eyed, and I expect that this wasn't completely unknown among them, but given that their genetic profile is still very similar to that of the Sardinians and other southern Europeans of today, I personally find that unlikely to be worthy of being considered the null hypothesis. It is possible that such traits had already spread through the WHG population earlier and got picked up by these later EEF populations that were relatively rich in WHG DNA compared to their predecessors, but again, I doubt that can be considered the null hypothesis, and to accept that, some pretty conclusive evidence needs to be presented which has not been (in fact, the more recent and most trustworthy evidence suggests the opposite; darker, "Mediterranean" phenotypes from the GAC and TRB peoples.)

There are a few other late EEF cultures of note, like Baden culture. In general, they seem to have become more aggressive and warlike than they had been; fortifications are associated with their settlements (which are more sparse than they used to be, perhaps indicating elevated mobility), rites like suttee are evident, and everywhere signs of warfare, violence and murder seem to pop up with much more regularity (although this may well have been perception bias; we now know that the LBK people themselves were pretty contentious with each other, for instance, and may well have caused their own collapse by growing beyond their ability to support their population and turning on each other.) This supposed increase in violence and conflict is often seen as "Indo-Europeanization" by people like Marija Gimbutas who had created a romanticized fantasy world of her own imagining in the culture of Old Europe, but genetics in more recent years has proven pretty conclusively that Baden, GAC and TRB were themselves Old European cultures, although with an unexpectedly elevated level of WHG ancestry making some kind of resurgence among them, but had no steppe (Indo-European) ancestry at all. In general, rather, these were the last hurrahs of EEF specific cultures; this is the very eve of the Indo-European expansion. While it's not fair to say that the EEFs disappeared, as they became a significant genetic component of the subsequent cultures of Europe, especially southern Europe, but their cultures did certainly disappear. While some lingering languages from their era of dominance, like probably Basque and Etruscan hung on for a time, by and large, Europe today owes much more culturally to the Indo-Europeans than to anyone else, and Europe is an Indo-European continent. And even the Basque and Etruscans had notable levels of steppe ancestry; Indo-European culture dominated even where their genetics may not have been as prevalent as they were in areas further north or east, for instance.

So let's go backwards again now and talk about what was happening in Eastern Europe, specifically on the steppes, while all of these EEF cultures were enjoying their dominance over the Balkans and central and western Europe. During the earlier years of the Balkan-Danubian Old Europe complex, the easternmost extension of this was the Bug-Dniester (later the Cucuteni-Tripillye). Immediately to the east of this was the Dnieper-Donets culture. Made up of large and robust people compared to the Old Europeans, the Dnieper Donets culture is considered a lingering Mesolithic Cro-Magnon Eastern Hunter-Gatherer culture that had picked up some Western Hunter Gatherer DNA as well... but not EEF ancestry. As time went on, they obviously had some contacts with the Bug-Dniester people, although genetic interchange does not seem to (yet) have been a component here. The Dnieper-Donets people did pick up some animal husbandry, however, although their diet seems to be particularly oriented towards meat, fish and nuts. 

To the northeast of Dnieper-Donets was the Samara culture, which seems to have been genetically similar that it was based on an EHG base. It did not, however, have any WHG admixture, and it seems to have fairly early picked some some CHG admixture that the D-D guys did not, making the two of them (and their subsequent descendants) fairly easy to distinguish from each other once good DNA samples are obtained. Both culturally and genetically there is broad similarity between the two, however, and presumably they were in some kind of contact, and split from a reasonably similar common ancestor culture. The Samara guys also developed the proto-version of one of the most recognizable early Indo-European cultural artifacts, the kurgan burial.

Over time, the D-D and Samara people both picked up probably female mediated CHG gene flow, while retaining paternal haplogroups associated with EHG and WHG populations. They became what is called the Western Steppe Herders genetic cluster, which was a pretty fair mixture of EHG and CHG genetics at a broad level. But the CHG admixture seems to have been particularly strong in the Samara region, while the western group had more WHG admixture, and over time picked up a not completely insignificant EEF admixture (up to 20% in at least one individual sampled, although it's not known that that's a good average for the population overall.) Probably from EEF wives taken to the steppes on occasion—although by and large both a cultural and genetic frontier was still discernable between the later EEF populations and the developing WSH populations. Later Neolithic cultures include the western Sredni Stog which is a bit more mixed than Dnieper-Donets and seems to have geographically absorbed and replaced it, probably growing out of it in the first place. Further east we have the Khvalynsk culture which replaced the Samara culture. By this time, horse domestication had been undertaken by the SS culture, including cheek pieces, which indicate that they were ridden, the classic kurgan replaced the proto-kurgan amongst the Khvalynsk side, and both (but especially the eastern culture, where the environment more favored it) started becoming more pastoral nomadic rather than settled agriculturalists in their economy. This is perhaps important later, but the Sredni Stog also developed round or pointed bottom corded pottery. Stay tuned.

From an archaeological perspective, it was assumed that the last phase of this WSH population before it exploded outwards—called the Yamnaya culture—developed in the East. New CHG enriching from Iran or even further east is often proposed, and the easternmost variant of Khvalynsk called Repin is suggested as the most similar to Yamnaya. However, genetics has given us a slightly different picture. The Iran Chalcolithic does not seem to have been the source of the CHG admixture, but rather much older CHG pops that were already on the steppes way back in the Mesolithic. People have also been mesmerized by some superficially similar cultural artifacts in the Caucasus, like the Maykop burials that appear to have very similar kurgans to those of the eastern steppe; but it's now clear that there is no Maykop gene flow into the steppes or vice versa; in fact a buffer population of sorts with elevated Siberian or Botai-like ancestry was briefly interspersed between them before completely disappearing without a trace (called by the name of its prime genetic sample, Steppe_Maykop, although they were not actually related to the classic steppe population or the Maykop culture either one. The original hunter-gatherer peoples of Central Asia seem to have the rather ignominious distinction of being one of the major regional hunter-gatherer population clusters that disappeared completely without a trace, without leaving any notable impact on any subsequent population.) However, this idea dies hard, and people still talk about Near Eastern origins or influences on Indo-European. From a genetic perspective, at least, there isn't any at all. In fact, we see the slight WHG and EEF ancestry starting to move eastward, which suggests that contrary to the archaeological theories, the Yamnaya horizon spread from west to east, not the other way around. No doubt much of the Khvalynsk DNA remains in the very similar Yamnaya horizon, but it's not really an exact match; it can only be modeled by suggesting strong Sredni Stog influence.

Sredni Stog spread not only eastwards to form the Yamnaya horizon by combining with the Khvalynsk people, but they also went into the northwestern forest steppe zone, forming the Middle Dnieper culture, which is the source of the Corded Ware culture; in fact, considered the earliest expression of it. The Corded Ware was a vast culture that spread all over northern Europe from the North Sea shores on the west to the Urals in the East, before bridging that even in subsequent phases and ending all the way on nearly the Pacific coast if some lines of evidence are to be believed; but certainly going at least as far as deep into China with the Ordos culture. But that's a discussion for a later date, and deals with post-Corded Ware cultures considerably later than the formation of the Eneolithic or Chalcolithic Corded Ware. Corded Ware is named, as you can probably guess, for the cord-impressed pottery that was it's hallmark, which seems to be a direct descendent of the Sredni Stog corded pottery. The Balkans was not unaffected here, although whether the flow of WSH peoples into the Balkans comes from the Yamnaya, or the Corded Ware, or both is unclear. The Corded Ware is clearly very similar genetically to the Yamnaya, although having picked up a notable although still small percentage of local DNA as it moved into this new territory, probably mediated by GAC (and other) women taken as wives or concubines.

I'll talk more about Corded Ware and subsequent Indo-European expansion from it and Yamnaya in part 3, but let me at least say now that a lot of people have been very mesmerized by the paternal haplogroups. This, however, is not indicative of the population overall, but rather the successes of particular narrow lineages within the population; the fact that Yamnaya and Corded Ware are genetically so similar should not confuse anyone into making too much of the paternal haplogroups. It is true that Yamnaya is heavily represented by an R1b haplogroup, but not the subclade that later is common in western Europe. Corded Ware is also heavily represented by R1a, which is almost if not completely absent from Yamnaya. Corded Ware had some more variety though, and a rare clade of R1b lurking in its interior later spread with the subsequent Bell Beaker culture, which is derived from the Single Grave culture, the westernmost variant of the Corded Ware. Again; these should be seen as the traveling along with, and then sudden success and rabid proliferation of a paternal haplogroup from some big man individual or some closely related tribe, group or family within the greater population that just kind of overwhelms the population overall. This isn't too unusual of a happenstance, but because it is so marked in the Yamnaya and Corded Ware, there are theories as wild as the idea that Corded Ware can't even be an Indo-European language at all, or there being an "R1a language" vs an "R1b language". This is especially backward, as we will see in the next part that most likely the Corded Ware is the ancestor of almost all of the Indo-European languages, and Yamnaya was directly ancestral to only a few, like maybe the Tocharian branch far out east, and maybe some of the early Balkan languages. Don't be too mesmerized by the paternal haplogroup; breeding bias can have a very notable impact in a very short time; over just a few generations, and it doesn't take away at all from the extremely high genetic similarity between Corded Ware, Bell Beaker and Yamnaya cultures, who all come from the same source, ultimately. 

In any case, the next two maps in the series are accurate enough, more or less, and since they cover this latest Yamnaya and Corded Ware formation and expansion, I'll go ahead and post them now. I'll talk about the specific linkages, as best as we can make them, between these cultures and the emerging Indo-European languages in part 3.