Wednesday, February 12, 2025

But Not Tonight

Going over some of my tracks; remixes and cover versions, in particular. For whatever reason, I think I may have had more cover versions of "But Not Tonight" than any other Depeche Mode track. I certainly had at least twice as many as I do for "Never Let Me Down Again" even though the later is one of DM's signature tracks. For "Enjoy the Silence" I actually have relatively few cover versions, but tons of remixes, many of them bootleg remixes.  I'm not quite sure what to make of that, or if that's not really enough data that I should try to make anything of it. But I'll take a stab at it anyway, because nothing has ever stopped me from venturing my opinion on things, even if I also freely admit that it's a just so story. I think "But Not Tonight" is actually one of DM's best tracks, and I think it's actually one of their most popular tracks, and one that people really like in spite of the fact that the band itself doesn't seem to.

The band kind of dumped on Sire Records, the American partner of Mute, who released "But Not Tonight" as a single because they got it on the soundtrack of a "dodgy" movie (which, admittedly, seems to have been somewhat of a flop) and the failure of the single was part of what convinced DM to write off the possibility of major success in America. At least for a year or so; when they did the Masses Tour they realized somehow that they were actually huge, especially after the risky Rose Bowl show was a gigantic smash.

But they also didn't like that "But Not Tonight" was released, and they've rarely played it. Alan famously wrote it off, saying that they spent nine days remixing "Stripped" and whipped off "But Not Tonight" in just a couple of hours or something. So what? How much time you spend working on a song isn't necessarily indicative of how good it is. Now, granted, "Stripped" is also a great song, and one of DM's most iconic too. But if DM had actually embraced "But Not Tonight" it could be too. It's clearly well-loved. It's clearly frequently covered. I do see, however, fewer bootleg mixes of it, for whatever reason, but not none. (Dominatrix and Kaiser, for example, both pop up. But they've remixed almost everything DM.)

As an aside, although I don't think this song was the first place I encountered the word "debauchery", of course, it's certainly the song that made it a word that I was very familiar with. I love to use the word debauchery and debauch, all thanks to you, "But Not Tonight!"

Of the cover versions, many are more or less similar to the original, except with a stronger Scandinavian accent, or something like that. I think the best ones are Æon Rings, which is a little different, but still excellent, and I also like Fotonovela and Jimmy Somerville's versions for being significantly different. Scott Weiland, late lead singer of Stone Temple Pilots did an absolutely killer version; very delicate and fragile. Really highlights the lyrics and their theme. A version by New Life Generation is probably the best of the "faithful" covers, by which I mean that it changes very little, but just enough to be at least as interesting as a good remix. 

Monday, February 10, 2025

Depeche Mode... over

I don't mean that the band is over. what's left of them may churn out another album or two still. They're getting pretty old, but they're not dead, and who knows if they still feel the need to produce more songs, tour again, and grab more of what they can with their grabbing hands. They might well. I suspect that I'm done seeing them live, however. I really wish I'd seen them on the Masses Tour or even the Violator tour, but I didn't. I saw the Playing the Angel tour and the most recent Memento Mori tour. They were noticeably lower energy in the almost twenty years between those two tours, and their back catalog is getting more full of stuff that I have less interest in. 

I put all of their albums, and by albums I mean my "deluxe album" selections which includes b-sides and non-album singles from the same era (like "Shake the Disease" or "Martyr", etc.) and played their entire catalog, minus remixes, back to back to back. It took me the better part of two or three weeks to get through it all during my commutes back and forth to work, but to be fair, I was kind of sick last week and worked from home most of the week too. Still, it was a pretty big undertaking in terms of just listening to music. I committed to playing hundreds of tracks before I would make any changes in my play queue. I finished it late Saturday night, and was able to listen to something else, finally, on the way to church on Sunday. One of the things that I anticipated, of course, is that Depeche Mode "peaked" in 1987 with Music for the Masses, so I knew that the quality of the listen-through would be front-loaded. But I wanted to see what I thought of some of the later material after not really listening to it very recently or very much, and I did always think that their most recent album, Memento Mori was their best one since Playing the Angel at least, if not even further back.

I was a little surprised to find that I've concluded that I'm kind of over Depeche Mode. Maybe I finally grew up. Maybe I've just changed too much and they haven't, or that they've changed in ways that I can't follow. The older stuff I still enjoyed, but I wasn't as excited to go through all of those tracks as I expected to be. I feel like I'd rarely ever feel like listening to a whole album all the way through anymore; I'm at the point where I'm OK just cherry-picking tracks that I want to hear, and that's that. I certainly won't want to do their entire catalog like that, even if I do pick up an album or two here and there. The later albums weren't as bad as my memory made me fear them to be, but they were pretty forgettable, with the exception of a few stand-out tracks. Even Exciter wasn't that bad, and overall I mostly enjoyed it, but not enough that I'd be excited to do it again. No pun intended.

Spirit, which was already the worst, was even worse. It didn't sound terrible, but Martin Gore writing about political themes in 2017, where he's trying to chastise people for voting for Brexit and Donald Trump, was bad when it was released, and sounds absolutely cringy, out of touch and embarrassing today. At least in 2017, he was echoing a strong Establishment narrative about reality; today, that narrative has collapsed completely, and Martin Gore's political sensibilities sound like those of an arrogant, entitled thirteen year old. (Of course, as part of the resistance, such as it was, to that Establishment, I found that Martin Gore's anthems of Establishment narrative, ironically pretending like he was part of the resistance, was cringy, off-putting and made me angry right away. But now, it's to laugh at rather than be angry at. But it still doesn't make anything on that album sound any better; if anything, it sounds stupid beyond all reason after even just a few weeks of Trump in office, and similar movements all over the countries of Western civilization.)

Mostly what I discovered is that I'm kinda over Depeche Mode. I still like them. I still like a lot of their classic era tracks, from the middle to late 80s and even the early 90s. I even still like some of their stuff since then, although not as much. But to some degree, I identified as a Depeche Mode fan in terms of my musical taste, and well... I guess I no longer do, and this exercise made that clear. Depeche Mode are a couple of cranky old farts who never really grew up, and that's increasingly clear. I identified with them as a teenager, because they were geared towards speaking to issues that a teenager faces. It was the ultimate somewhat alienated teen anthem to listen to Depeche Mode for Gen-Xers. Even when it no longer applied to me because I wasn't an alienated teenager anymore, I could at least still empathize and understand that perspective. Now, however, it's starting to feel cringy and "stuck" in a paradigm and perspective that simply isn't appropriate for someone my age, much less someone their age; they're a good ten years older than me. 

I'm not sure if I feel sad to feel "over" Depeche Mode, or if it's just the acceptance of something that clearly already happened, and it just feels natural. What do I listen to instead?

Well, first off, I'm finding that I identify less with my taste in music than I did when I was younger. I still like music, and I still identify more generally with the 80s, as a consummate Gen-Xer. But I listen to music not to express my identity as much, but just to have something cool going on in the background while I'm doing other things. I like a lot of the 00s hard trance, early hardstyle and otherwise harder dance styles of EDM still, but I don't identify with that music, I just like it. I listen to a lot of synthwave, but again, that's not musically interesting enough to really hold my interest; I just like it as backing soundtracks to what's otherwise going on. Trying to listen to it to appreciate it for its musicality doesn't really work. I also like a lot of para-ambient stuff that evokes a mood for reading or for RPGs; the unofficial YouTube soundtracks of Cthulhu or D&D stuff. But again, musically it's not usually interesting enough to hold my interest for its own sake. 

I'm also finding that my appreciation for classical music has come to the foreground once again. I've always loved classical music, but I don't always listen to a lot of it day to day. Lately, I've found myself drawn to it more and more. And, of course, musically classical music offers quite a bit more than any kind of popular music anyway. I may yet find myself primarily a classical music fan before I die. Orchestral movie soundtracks, at their best, offer a portion of what classical offers, but again; musically it usually isn't as rich.

Unlike the Boomers, while I'll always like the pop music of my generation, I'm unlikely to try and make the narcissistic case that it's some kind of pop music gold standard, better than anything before or since. I identify with it because of my age cohort, and I don't expect any other age cohort to think my generation's pop music is the best. The Boomers never got that, and still try and tell us that the Beatles or Bob Dylan are the bestest music ever, which makes people of my generation and younger just push back even harder the more we hear that kind of nonsense. And if there's anything that generations younger than the boomers have learned, it's to to not be like the boomers.

EDIT: Although I wonder; probably a big part of the problem was trying to do the entire catalog all at once. If I did an album here and album there, and maybe even put it on repeat and listened to it two or three times before finishing, kinda like how I did when I was younger, the experience would probably have been significantly less tedious. 

In any case, I started doing some remix and cover version collections of my favorite tracks, starting with "Never Let Me Down Again", and I queued up all the versions of "But Not Tonight" that I have after that. Assuming I'm still in the mood after I near the end of that queue, I'll add "Enjoy the Silence" and "If You Want" and a few others after that. 

Sunday, February 09, 2025

Orcs & Goblins: Hero Forge

After making my Hero Forge video of orclings, I decided that a few of the models didn't look super great. Actually quite a few of them. I made just minor updates; mostly coloring and lighting. If I do more, I might customize the faces a bit. 

Although I kind of like the idea that to humans, i.e., us, all goblins look alike. This is probably just the first batch of more updates to come.













Friday, February 07, 2025

YouTube and channels

I've been doing a lot more with my YouTube channel, darkfantasygamerx, than with this blog. Which is OK. I enjoy doing YouTube. It's a new expression of my hobby. I do it for myself. This is good. I can't do it as a living, certainly, or even as a side-gig. I simply couldn't enjoy it if I were chasing views and click-through.

I do notice one interesting thing, however. I post videos under the DarkFantasyGamerX channel, because that's what it's most for, but for a variety of unimportant reasons, I mostly browse YouTube from a different channel, that I created for something that I don't use anymore. All of my watch history, my comments, etc. are on that channel instead, so I don't really even log on to DarkFantsyGamerX on Youtube itself, although it's my default on the YouTube Studio app, where I upload my new videos. One side effect of this is that it's simply too inconvenient for me to care to interact with commenters, of which I'm starting to occasionally get a few. However, this is probably good. Most of the comments are really, really dumb. They either say something that's a complete non sequitur, or shows that they literally didn't understand or even watch the video. And then I have guys who complain about the video or audio. Probably well-meaning, or at least reasonably so, but I don't care. So I have nothing to say to these people anyway. (I did go out of my way to correct they guy who thought he was correcting me on black people being soccer hooligans or speaking with a Cockney accent, because WTF dude. That was probably a mistake.)

People are the worst. I don't like people. Most people are kind of stupid, or narcissistic. Comments sections on YouTube are the worst. There's little to be gained from interacting with people.

My orcs controversy is my most popular one right now. That's not surprising. It was a topical topic, and that's part of the reason I recorded the video. I've done two others since then that have had much smaller impact. Back to normal.

Monday, February 03, 2025

Heresiarchs

In the DFX game, there can be many potential supervillains. I have monster stats for Cthulhu, fer cryin' out loud. Vampires and liches are classic supervillains in a fantasy sense. So are some of the powerful daemons. But Heresiarchs are explicitly envisioned as fantasy supervillains. I specifically, actually, envisioned them as the Ten Who Were Taken. If you've never read the ten (or maybe it's eleven now; I think he may have added a recent book) Black Company books by Glen Cook, you should. They not only foreshadow the rise of grimdark, without being explicitly as nihilistic and derpy as grimdark itself often is, but they're just quite clever and interesting. The main narrator, Croaker, is one of the most unique voices in fantasy fiction. The Heresiarchs are deliberately meant to be a "body" of individuals that are similar to the Ten Who Were Taken. Like them, they have many of the aspects of a lich, but without necessarily their weaknesses. Many of them have enough vanity to perpetuate a beautiful, charismatic appearance, while others simply don't care that they look like walking corpses, such as the Hanged Man or the Limper from the Ten. They are undead, or at least undying, and have many of the strengths of both vampires and liches, but few of either of their weaknesses.

I've come up with fifteen unique Heresiarchs. Few know of them in the setting, and much of what is known about them is garbled by deliberate lies, or has passed into dubious legend. There's also a Heresiarch monster stat block in the monster section of my game. In reality, each of these should use the Heresiarch stat block as a starting point and then add at least a couple of additional abilities and other minor changes, so that they're all a little unique. But this post isn't for that. I don't really imagine that my PCs would ever be likely to be sitting around fighting Heresiarchs in a straight up fight anyway. They're more like behind the scenes Fu Manchu or Moriarty manipulators. Stats are just there for reference in their cases.

Anyway, this is just a summary of the Heresiarchs I've identified and named so far (which may end up being all of them, of course) and I'll probably use this blog post as a starting point for a YouTube video that I've been planning on making for some time.

Amrruk the Ancient

In frightened and blasphemous whispers, there is a rumor that before the First Man, there was another race of men. One that had fallen so far that God wiped them all out, without even leaving the equivalent of Noah to replenish the Earth. He then started completely over with the current race of men. But Amrruk, against all odds, is a survival from this strange, alien race of men before men; who endured by turning himself into a creature of slime and protoplasm. Underneath the slime, his original skeleton still survives, given life by his ancient, cursed will. But he spends most of his time in torpor, usually unconcerned with the affairs of this "new" race of Men, lingering in blighted swamps, now having more in common with other creatures of slime and mud than anything else.

Arzana, Clad in Black

Taking the form of a young feral girl, running wildly through the waste places of the world unharmed by any vagary of climate or weather, Arzana is one of the most fiercely anti-social of the heresiarchs and rarely interacts with any of them either as enemy or ally. Nobody knows for sure what her agenda is, but she seems to delight in perverting and corrupting the natural world. Some believe that the environmental catastrophe that befell Hyperborea was caused by her, although manipulated by Jairan Neferirkare, as punishment on the grislings for rejecting her cult. Arzana frequently runs clad only a few rags and smeared with dirt and mud through the cold, wild wilderness, screaming her fury and casting powerful bolts of lightning from her hands and from the sky to blight and destroy the landscape about her. It is also believed that wendigos and other strange cannibal spirits of the cold and inhospitable wilderness are either her creation, or somehow a reflection of her malevolent will.

Bartolomeo the Many-angled

Based on his name, he may have originally been from the Corsair Coast, or perhaps he spent some time there and adapted a local name, but nobody really knows from whence Bartolomeo really came. His explorations and perambulations of worlds beyond our own have warped and destroyed much of his body, which he was replaced with forged and crafted replacements, powered by his sorcery. Although rumors also abound that it's less about his exploration of the Void and as much about past feuds with other heresiarchs that caused this physical damage to him. Bartolomeo is another one of the heresiarchs who's private pursuits into other matters thankfully brings him into conflict with mankind infrequently, and he can go many decades, or even centuries, without passing under the familiar skies of the world of Man.

Bernat Haspar de Ruze

The Ghost Pirate of the Kell Sea, Bernat Haspar de Ruze is a "young" heresiarch, and therefore one that the rest of the club looks with a wary eye. He has, however, been cursed to be tied to his ship so far. Although he's working diligently to remove that particular aspect of his heresiarch curse, and he is secretly closer than many think, it has spared him attention from his evil peers, who see his captive state and believe that that neutralizes him as a player in their occasionally catastrophic power plays and strategic moves against each other. Once de Ruze finds himself freed of his ship, however, he will immediately be seen as either a potential ally, pawn or threat by the rest of the Heresiarchs, not to mention any number of other liches, daemons or vampires, or other evil sorcerers who covet his power and forbidden knowledge. In the meantime, he and his dread ship, The Flying Longshoreman, search the territory off the coasts of Timischburg, the Corsair Coast and Nizrekh, searching for clues for his reprieve from the curse that holds him captive, and woe betide any other ship that crosses his foul path while doing so.



Dommik Sébastien, He of the Beast Aspect

When the Charnel God Tarush fell from the sky in the territory that later became Grozavest, capital of Timischburg, long before the arrival of the Timischers, seven knights of old Kinzassál went to confront the horror that fell from the sky. They were able to seal up Tarush under the Great Chains, but in the process became sealed with him in his sorcerous prison. Perverted and warped by his dark necrotic power while exposed to him, they became the Primeval vampires, the fathers of the entire cursed race. Dommik Sébastien is one such, who has somehow managed to escape the sealing, at least at times, although it is not clear that his freedom is complete and total. Bearing the most overtly vampiric appearance of all heresiarchs because of his origin as such, his primary goal seems to be the release of Tarush and the other Primevals from their prison, but it is no secret amongst the other heresiarchs that he's quite mad. Even by their standards.


Esmeraude, She Who Ushers the Apocalypse

A beautiful and serene woman of the far north, associated with the earliest of the Elementalists, Esmeraude, in spite of her Terassan name, has been living near and around the surturs since nearly the inception of that race. Some believe that she actually caused the magical rift that turned some of the early primitive humans into the elementalists in the first place, by causing magical leaks that changed the genetic matrix of the people living there. She allegedly lives inside an active volcano with a persistent lava lake. Her serenity can be rather easily undone, however, and her fiery temper when roused is a major part of the legend of her for any who know of the heresiarchy at all. Prophecies exist that claim she will be a significant component of the final destruction of the earth, when its time comes, and that she and her fiery elemental daemons will purge the entire earth of life in an orgy of fire and flame. In the meantime, she is content to slowly yet inexorably marshal her forces in the wilderness beyond the earth, beyond even the City of Brass, so her appearances here are rare and greatly to be feared.


Hutran Kutir, the Hex-king

Another "young" heresiarch, Hutran Kutir is the semi-legendary "first kemling", the father of the entire race, and the founder of the nation of Baal Hamazi. He was killed many centuries ago, and his heirs ruled his kingdom until relatively recently, when the nation of Baal Hamazi fell apart into squabbling city-states and tribes. However, garbled rumors of his return from the dead have spread from deep within Baal Hamazi. These rumors do not paint an optimistic picture of his attitude at the failure of his nation, and the the rumored marshalling of dark forces in the north to retake and reforge it by force are starting to seep outwards. Some, even, of the other heresiarchs have taken note.


Jairan Neferirkare, the Soulless

This darkly beautiful and yet inhuman and completely soulless evil queen once ruled as the undisputed goddess of old Hyperborea. Her yoke, however, was heavy, and rebellion was a constant threat, especially as the early humans who lived there learned enough sorcery to collectively threaten her. She abandoned her aim to rule a kingdom on earth in Hyperborea, and fled to the Shadow Realm, a dark and twisted reflection of the world of Men that suited her temperament well. However, she did not do so without a parting shot of spite and hatred, cursing the men of Hyperborea to become the grisling race, subject to the cannibal curse, and Hyperborea was ruined, forever becoming a frozen wasteland. Although only marginally able to support the life of a greatly reduced population of grislings, even those were then threatened by the invading Inutos, and those that survived fled the area, mostly for good.


Kadashman, He Who Peers Into the Void

Among the most disquieting and least human of the heresiarchs, Kadashman, like Bartolomeo, appears to be more concerned with the Voids beyond the world than with gathering power or influence here. Often accompanied by servitors that will shred the sanity at a glance of any normal person, Kadashman is thankfully infrequently involved in anything in the world of mankind. Nobody is entirely clear if he is a rival or ally of Bartolomeo, but there are at least some rumors that the inhuman appearance and aspect of the two are the results less of their explorations of the Void and more of their hostile encounters with each other. But other rumors suggest that they do at times work together. Kadashman is one of the most mysterious of the heresiarchs, and some claim that not only is he no longer human, but that possibly he never was to begin with.


Kefte Taran, Mistress of Forgotten Secrets

An exotically beautiful young woman, at least to appearances, this vile necromancer has an unnatural affinity for—and some say, perverse attraction to—the dead.  Her association with the long dead and restless spirits has, however, granted her access to a wealth of knowledge that her colleagues can only dream about. Kefte Taran frequently spends time in haunted locations, where the line between the mortal world and the world of shadows is thin, surrounded by the restless spirits of the most evil and depraved of the dead. She stirs so infrequently from these haunts, that some have even supposed that perhaps she is trapped in a haunted palace, much like the Ghost Pirate is trapped on his ship.


Master of Vermin

Although he's often considered—by those few who know of him—as unconcerned with mortal affairs and either above (or beneath) them, this is a dangerous affectation to hold.  A common conceit of many of the heresiarchs is that they are the true "gods" of this earth, and deserve to be worshipped as such. Master of Vermin, who's name is unknown, possibly even to him, certainly believes this, and perhaps more than any other of the heresiarchs, has taken action to ensure that when that time comes, he's ready to step directly into that role. This is not good news for humanity, since the vermin lord has no use for them.  Master of Vermin is a champion of numerous other repugnant forms of life—rats and spiders being among his favorite.  His most foul creation are the ratlings.  Large varieties of filthy rats, fed on human carrion and blasted with foul magicks, have over generations of shepherding at the Master of Vermin's hand become vaguely anthropomorphic.  Walking on two legs and using their front paws as hands, the ratlings are as intelligent as humans, and as inventive, but they know nothing but filth, hatred, and cruelty.  Master of Vermin has clearly set them up to replace humanity when the time is right.  In the meantime, they spread in small groups from their home in Leng, feeding on carrion and rotting flesh—human when they can get it—and hiding in the sewers and midden heaps of mankind's cities, poised to spread their plagues and diseases like the rats from which they were engineered by this mad sorcerer.


Gothan, the Mind-wizard

In ancient times before the rise of any of the modern races of mankind on the continent, the world was ruled by the might of ancient Atlantis, and the ancestors of the ancestors of the current races of the Three Realms were hunted, sacrificed and enslaved by this evil empire. Atlantis was so vile that it finally was cursed with destruction, and sank under the sea. The rump island chain of Nizrekh is all that remains, although these small islands were blasted lifeless at the time, and life has only slowly reclaimed them. The current Nizrekhi people are not descended from the Atlanteans at all, but more recent interlopers on the territory. Rather the cursed and degenerate grendlings or Wendaks are the distant descendants of Atlanteans who were on the continent during the wreck of Atlantis and so survived its sinking, but which were cursed to devolve eventually into cunning yet non-intelligent man-apes. Even now, they can no longer even use metal without sickening and dying, keeping what's left of them in a savage stone-age existence. However, some of the worst and most powerful Atlantean sorcerers, the first heresiarchs, as they style themselves, took last minute steps to preserve themselves, sealing themselves in lacquered caskets so they could "survive;" if their living death can be called survival, the sinking of their lands. Gothan, the Mind-wizard is one such, who's underwater lacquered wooden sarcophagus freed itself from the depths, floated to the surface, and was finally fished out of the sea by doomed and unfortunate fisherman, who paid for their rescue of the evil heresiarch with their lives and more. Perhaps the most frightening aspect of Gothan, however, is the idea that he is not singular; nobody knows how many more Mind-wizards of ancient Atlantis may yet linger on the bottom of the sea, waiting for tides and seismic shifts that will cause them to also float to the surface and plague the world of Mankind yet again.


Shimut the Flesheater

The Undying Emperor of a now undead Empire, the best thing about Shimut the Flesheater is his relative distance from the Three Realms. His lands border the Corsair Coast to the south, in the cursed and shunned Dead Lands desert, once known as the Empire of Taremu-Atum. Today this area is only the province of the most desperate and foolhardy of outlaws and treasure-hunters, and few survive the sands of that blasted land for long. Those that do return are often not right in the head ever-after. Although Shimut is the undisputed lord of this land, he rules with a light touch, allowing the numerous restless dead or the foolish mortal to wander freely. When he does venture out of his black pyramid made of obsidian deep in the desert, the region shakes in fear... but he spends most of his time in contemplative torpor.


Djemma Mennefer, the Gnomic

The cautious Fate Spinner who spends her time plotting massive webs of conspiracy that last for centuries at a time, Djemma Mennefer is driven by fear; fear of eventual death, fear of loss of control. Her lack of overt action has often led others to under-estimate her power, but it really is only due to her extremely cautious and patient nature. Djemma is also famous as a seer of sorts, and she is consulted on occasion by the other heresiarchs, and will even entertain petitions by mortals for her wisdom, although the cost of her consultation is often more than most can pay. In this sense, she can serve in the setting a role not unlike the Graeae of Greek mythology, portrayed as the Stygian Witches in the classic Clash of the Titans movie.


Seggeir the Hoarfell King

A rival of sorts of Arzana because of their common interest in destroying the world with weather, Seggeir is a truculent and combative heresiarch, who doesn't get along well with his colleagues, and has seen his plans suffer as a result of his frequent clashes with them. His preferred state for the world would be frozen and trapped forever in ice. He mostly maintains a presence far to the north, in the land of Thule, beyond the Wolfwood and even the Iron Mountains that rise to the north of them, but he has agents in the south frequently during the winter, and occasionally even travels on errands of his own. Many legends of spirits of the winter stalking outside of towns and settlements in the north are probably attributable, when they are real, to either Seggeir or his wight lieutenants and servants.

Thursday, January 30, 2025

What I REALLY did (like a monkey)

I was busier than I thought. My son called and talked for about an hour. I made dinner. Then my wife got home earlier than I thought. Etc. Anyway, I didn't draw the map. I did make a youtube video. I'll include it below. I didn't make a second one, or lay any groundwork for it. I did get distracted by somebody else's video that was another one of those smug, preachy RAW or die videos. I find that in general, RAW enthusiasts are smug, arrogant spergs with major trust issues. While I kinda see their point, when you get into the weeds for even a moment with them, you quickly realize that you don't want to play with these people. 

Not only that, most of their arguments for their playstyle, and against yours are just-so stories and strawman arguments created from a baseline of assumptions that are flat out wrong or irrelevant. The video I watched asked rhetorically several times, "are you even in the hobby?" The play culture that would lead to these RAW spergs is, however, sufficiently different that I'm not sure that it's fair to call it the same hobby, even though it's based on (allegedly) the same games.

Anyway, here's a pretty big copy/paste from a blog post that describes the playstyles, more or less, in question. RAW spergs tend to congregate towards classic, with some overlap with the OSR (although based on the description below, you'd think that the OSR was the opposite of it. I imagine that some of the RAW sperging is a direct reaction to trends in the OSR, honestly). Most gamers are more in the trad camp or at least variations on it (it's not really described super well in this essay, or super accurately, more like. Probably because the guy writing it isn't part of that culture, and therefore has misconceptions about it), and they see the concerns of the RAW spergs are irrelevant and kind of bizarre, like they're not even aware of what the point of the game is. It's like they're making the argument that because hitting a defenseless player in football is called "unnecessary roughness" and is a personal foul, fifteen yard penalty, therefore you have to use all of the encumbrance rules as written in D&D.

I'm not going to specifically rebut the video I watched; in fact, I couldn't even make it all the way through; after 15 minutes of about 25 in total, I was bored and irritated by it and quit. For some reason, the concept stuck with me, though. I may make my own video on the topic, without necessarily more than off-hand reference to the Basic Expert's video.

Anyway, here's a description of the three relevant play styles (out of six identified in the post, but I don't think most of the other ones identified have a lot of cachet or relevance to the hobby still; they're kinda weird fringe activities, or regional specialties rather than playstyles that are actually commonplace. And below that, my video.

1) Classic

Classic play is oriented around the linked progressive development of challenges and PC power, with the rules existing to help keep those in rough proportion to one another and adjudicate the interactions of the two "fairly". This is explicit in the AD&D 1e DMG's advice to dungeon masters, but recurs in a number of other places, perhaps most obviously in tournament modules, especially the R-series put out by the RPGA in its first three years of operation, which emphasize periodic resets between sections of the adventure to create a "fair" experience for players as they cycle around from tournament table to tournament table playing the sections.

The focus on challenge-based play means lots of overland adventure and sprawling labyrinths and it recycles the same notation to describe towns, which are also treated as sites of challenge. At some point, PCs become powerful enough to command domains, and this opens up the scope of challenges further, by allowing mass hordes to engage in wargame-style clashes. The point of playing the game in classic play is not to tell a story (tho' it's fine if you do), but rather the focus of play is coping with challenges and threats that smoothly escalate in scope and power as the PCs rise in level. The idea of longer campaigns with slow but steady progression in PC power interrupted only by the occasional death is a game play ideal for classic culture.

This comes into being sometime between 1976-1977, when Gygax shifts from his early idea that OD&D is a "non-game" into trying to stabilize the play experience. It starts with him denouncing "Dungeons and Beavers" and other deviations from his own style in the April 1976 Strategic Review, but this turns into a larger shift in TSR's publishing schedule from 1977 onwards. Specifically, they begin providing concrete play examples - sample dungeons and scenarios, including modules - and specific advice about proper play procedures and values to consumers.

This shift begins with the publication of Holmes Basic (1977) and Lost Caverns of Tsojcanth (1977), before eventually culminating in AD&D (1977-1979) and the Mentzer-written BECMI (1983-1986) line. Judges Guild, the RPGA, Dragon Magazine, and even other publishers (e.g. Mayfair Games) get on board with this and spread Classic norms around before Gygax and Mentzer leave TSR in late 1985 / early 1986. Judges Guild  loses its license to print D&D material in 1985, and the RPGA's tournaments have shifted away from classic play by about 1983. Most of the other creators at TSR have shifted to "trad" (see below) by the mid-1980s, and so the institutional support for this style starts dries up, even tho' people continue to run and play in "classic" games.

Classic is revived in the early 2000s when the holdouts who've continued to play in that style use the internet to come together on forums like Dragonsfoot, Knights and Knaves Alehouse, and others, and this revival is part of what motivates OSRIC (2006) to be released.

One weird quirk of history is that people who were trying to revive classic in the early 2000s are often lumped into the OSR, despite the two groups really having distinct norms and values. Some of the confusion is because a few key notable individuals (e.g. Matt Finch) actually did shift from being classic revivalists to being early founders of the OSR. Because both groups are interested in challenge-based play, even if they have different takes on challenge's meaning, there are moment of productive overlap and interaction (and also lots of silly disputes and sneering; such is life).

This intermingling of people from different play cultures who initially appear to be part of the same movement but turn out to be interested in different things is pretty common - story games and Nordic LARP go through a similar intermingling before they split off into different things (more on that in a sec). Ed. Not really; I cut that part as irrelevant to this discussion. And Nordic LARP is pretty irrelevant as near as I can tell altogether. Other than this essay, I never see anyone anywhere talk about it at all. It might as well not exist. It actually might well not exist for all I know.

2) Trad (short for "traditional") 

Its own adherents and advocates call it "trad", but we shouldn't think of it as the oldest way of roleplaying (it is not). Trad is not what Gary and co. did (that's "classic"), but rather is the reaction to what they were doing.

Trad holds that the primary goal of a game is to tell an emotionally satisfying narrative, and the DM is the primary creative agent in making that happen - building the world, establishing all the details of the story, playing all the antagonists, and doing so mostly in line with their personal tastes and vision. The PCs can contribute, but their contributions are secondary in value and authority to the DM's. If you ever hear people complain about (or exalt!) games that feel like going through a fantasy novel, that's trad. Trad prizes gaming that produces experiences comparable to other media, like movies, novels, television, myths, etc., and its values often encourage adapting techniques from those media. Ed. Not exactly. Narratives are not a required feature of trad, although many bad trad games do indeed feature railroady narratives. Good trad GMs will tell you to be as wary about overscripting and overplanning as any other style of GM will, because it's a bad thing to do irrespective of style. I will admit, however, that inexperienced trad style GMs are probably more prone to falling into this fallacy than those who prefer some other style mentioned here, where exploration/sandbox is often held out as an ideal instead.

Trad emerges in the late 1970s, with an early intellectually hub in the Dungeons and Beavers crew at Caltech, but also in Tracy and Laura Hickman's gaming circle in Utah. The defining incident for Tracy was evidently running into a vampire in a dungeon and thinking that it really needed a story to explain what it was doing down there wandering around. Hickman wrote a series of adventures in 1980 (the Night Verse series) that tried to bring in more narrative elements, but the company that was supposed to publish them went bust. So he decided to sell them to TSR instead, and they would only buy them if he came to work for them. So in 1982, he went to work at TSR and within a few years, his ideas would spread throughout the company and become its dominant vision of "roleplaying". Ed. I've said this before, but I'll say it again; if not Hickman, than someone else would have done it. The zeitgeist was inevitable, because trad is what most of the people in the hobby, especially those who weren't midwifed through wargaming or boardgames actually wanted the games to be more like. There was a ton of pent up demand for trad-like products. I don't want to slight Hickman's achievements, but he was in the right place at the right time, and if not him, then someone else would have stumbled onto more or less the same formula. There were already modules that were previewing it before he wrote Ravenloft for example. Like this very post says below, Chaosium was heading there. WFRP was heading there. Everyone was heading there. It was inevitable that once Gygax's hold on the strategy was loosened that his insistence on promoting his favorite style would be replaced by the juggernaut in the zeitgeist that was just waiting to happen.

Trad gets its first major publication articulating its vision of play outside of TSR in Sandy Petersen's Call of Cthulhu (1981), which tells readers that the goal of play is to create an experience like a horror story, and provides specific advice (the "onion layer" model) for creating that. The values of trad crystallize as a major and distinct culture of play in D&D with the Ravenloft (1983) and Dragonlance (1984) modules written by Hickman. TSR published Ravenloft in response to Call of Cthulhu's critical and commercial success, and then won a fistful of awards and sold tons of copies themselves. 

Within a few years, the idea of "roleplaying, not rollplaying" and the importance of a Dungeon Master creating an elaborate, emotionally-satisfying narrative had taken over. I think probably the ability to import terms and ideas from other art forms probably helped a great deal as well, since understanding trad could be done by anyone who'd gone through a few humanities classes in university. Ed. Or anyone who'd ever watched a movie, a TV show or read a book. But again, "emotionally satisfying narrative" is a red herring. That's not what trad values, or at least its certainly not the main emphasis of the style. But the very gamist exploration, loot, power-up loop was almost immediately seen as shallow and unsatisfying to a large chunk of gamers, and it became apparent fairly quickly that by "large chunk" I actually mean "clear majority." Classic gaming can fairly easily and in some ways better be replicated by computer games, even video games of the era were pretty good at it; Gauntlet, Capcom's D&D games, etc. The thing about trad is that it recognized what ttprgs offered that no other medium of entertainment did, and focused on it. It's not just a glorified boardgame or wargame. It's not just a slightly interactive novel or storytelling experience. It's a completely new medium with its own entire strengths and weaknesses, and a good trad game leans into that in a way that Classic in many ways did not. It's not at all shocking to me that it quickly became the biggest style, the only one that was catered to in official products, the only one that was really presented to players, and by far still the most popular today. I sometimes call my own style paleo-trad, in contrast to the neo-trad that he also describes in this article (not quoted here); it's trad, but tempered by my old-fashionedness about the game in some ways. The railroads, the GM NPCs, the "my special character" twee protectiveness of players around their characters, and just the whole pretentious theater kids arrogance of later trad products, like White Wolf's were pretty big turn-offs to me. But here, he kind of describes trad as if that's what all trad is like. He describes trad as bad trad and doesn't acknowledge the existence of good trad. He might well be a RAW sperg himself, although maybe I'm reaching by reading that much between the lines.

Trad is the hegemonic culture of play from at least the mid-1980s to the early 2000s, and it's still a fairly common style of play. Ed. There are other new style sthat have come up since the early 2000s, but it's wishful thinking to claim that trad isn't still a hegemonic culture and the most common in gaming. It's still "the default" for most gamers, except maybe some edges of the newer younger Millennial and Gen-Z gamers who are running bakeries and soap operas with their characters, or exploring the OC/Neo-trad sphere in online gaming.

5) The OSR ("Old School Renaissance / Revival") 

Yes, it's this late in this chronological listing. And yes, the OSR is not "classic" play. It's a romantic reinvention, not an unbroken chain of tradition. 

The OSR draws on the challenge-based gameplay from the proto-culture of D&D and combines it with an interest in PC agency, particularly in the form of decision-making. The goal is a game where PC decision-making, especially diegetic decision-making, is the driver of play.

An important note I will make here is to distinguish the progressive challenge-based play of the "classic" culture from the more variable challenge-based play of the OSR. The OSR mostly doesn't care about "fairness" in the context of "game balance" (Gygax did). The variation in player agency across a series of decisions is far more interesting to most OSR players than it is to classic players.

The OSR specifically refuses the authoritative mediation of a pre-existing rules structure in order to encourage diegetic interactions using what S. John Ross would call "ephemeral resources" and "invisible rulebooks", and that the OSR calls "playing the world" and "player skill", respectively. Basically, by not being bound by the rules, you can play with a wider space of resources that contribute to framing differences in PC agency in potentially very precise and finely graded ways, and this allows you to throw a wider variety of challenges at players for them to overcome. I could write an entire post on just what random tables are meant to do, but they tie into the variance in agency and introduce surprise and unpredictability, ensuring that agency does vary over time.

I tend to date the start of the OSR from shortly after the publication of OSRIC (2006), which blew open the ability to use the OGL to republish the mechanics of old, pre-3.x D&D. With this new option, you had people who mainly wanted to revive AD&D 1e as a living game, and people who wanted to use old rule-sets as a springboard for their own creations. 2007 brought Labyrinth Lord, and the avalanche followed thereafter. The early OSR had Grognardia to provide it with a reconstructed vision of the past to position itself as the inheritors of, it had distinct intellectual developments like "Melan diagrams" of dungeons and Chris Kutalik's pointcrawls, and I would say it spent the time between 2006 and roughly 2012 forming its norms into a relatively self-consistent body of ideas about proper play.


 

Wednesday, January 29, 2025

I'm going down, going down like a monkey

I'm just blogging some notes for myself about what I intend to do tonight. (Saying tonight in my head brought the Phil Collins lyrics to my head, hence the blog title. Could have been worse. I could have quoted something from the West Side Story song "Tonight" instead.) My wife is going out with a friend, so I've got the house to myself. I'll blast some music, probably not really blastable music actually (I'm thinking I'm in a classical mood, to be honest), ramble into my phone to get the audio for at least one, possibly two Youtube videos, go ahead and edit at least one Youtube video, and then if I still have time and energy, work on another map. Ta-da!

Let's get a bit more into the details. 

1) I've been threatening for weeks if not even months already by now to make the next column of my Shadows Over Garenport 5x5 matrix. This one will be the one associated with the Tazitta Death Cults. I'll probably sorta read (with a few annotated comments) from my supercut blog post, and just turn that into a video with lots of AI images of the characters and places. I haven't been able to get a really great image of the Prophetess, but maybe I'll play around with Bing's DALL-E 3 a bit prior to this and see what I can get. This shouldn't take long to record, and it should be be too difficult to edit, so I anticipate that within a couple of hours of starting, I'll have it uploaded.

2) That front ends with a brief introduction to one of the Heresiarchs; the "supervillains" if you will of my setting. I've also been threatening to make a video about the Heresiarchy. However, I'm not quite sure that I'm ready for it. Some of the Heresiarchs have enough material I've created about them that I could vlog about them, but some of them are just a concept and after a few sentences, I'm not sure where to go with them. In order to do this, I'd probably need to spend a little bit of time fleshing out the characters just a bit.

3) I've been less happy with the label Porhomok for the jungly area. I'm actually thinking of taking some old Terrasan names from the Mk. IV version of the setting, and repurposing them to rename and rework this already poorly defined area. This implies that there's a whole Terrasan population down there that I haven't done jack squat with and didn't even consider. The Terrasans, if you recall, are kind of based a bit on the old thalassocracy of the Crown of Aragon, a dynastic union that preceded the creation of Spain as a political entity, but which certainly consisted of very European para-Spaniards; Aragonese, Barcelonans, but also Mediterranean islands like the Balearics, Corsica, Sardinia, Sicily, much of southern Italy, much of Greece, and even parts of what is now southern France. So Spanish-ish, but not at all in the Latin American context. Although geographically Terrasa would be similarly situated to Mexico relative to the main part of the setting (to the extent that the main part of the setting is America-like geographically) it really shouldn't have any of the native Central American cultures as a substrate. No Aztecs, Mayas, Toltecs, etc. heavily modifying the criollo culture; this is pure Medieval pre-Spanish Spanish, if that makes some sense. 


But, of course, it is also quite maritime. It's on a coast, the Corsair Coast is a huge part of what I'm using Terrasa for. I can't assume that borrowing the names of my old Terrasan places will work exactly like borrowing their context, because rather than a fading empire, more like very late western Roman Empire being the model for Terrasa, it's going to be much more independent and scrappy. I'm not sure that the criollos and other Spaniards of New Spain in the Americas really can compare to the attitude that the Americans had towards being British, exactly. Sure, they had their revolutions and became the independent countries of South America, but I'm going to be using them in a context that is much more like America to Great Britain, in spite of the fact that the culture will be Spanish-ish rather than English.

In any case, I'm a fan of developing by noodling, so making a map even if I don't really have a clear plan of what I'm making right now is fun, and when I'm done, I do have a clear plan of where to go. This will replace the map I made back in October where I added Porhomok, Easternesse, and some other features to the map, and I'll likely concentrate on developing those newer areas just a bit.

4) Not going to do this tonight, but I'd like to do three things in relatively short order. I guess it's time for a nested list...

    a) finish youtube videos for the rest of the Shadows columns.

    b) finish fleshing out the Cult of Undeath 5x5

    c) add two or three more potential campaign outlines for future 5x5 development

5) Am I ever going to fulfil my vague promise to do some kind of solo play Shadows Over Garenport? I haven't decided not to, but I have more "important" things that have taken priority, so it's not imminent, that's for sure. Even the stuff that is "imminent" is taking longer than I intended, so I'm behind.

Monday, January 27, 2025

Where have all the cowboys gone?

https://x.com/IceSolst/status/1882279052113072194

The comments are sometimes kind of interesting. She wants to know why men don't do womanly things, and rejects answers that disagree with her preconceived notions of what men "should" do.

Vox Day pointed out that the pick-me girls don't seem to have any trouble finding out where the men are. Men aren't obligated to go where you want them to go and do what you want them to do. If you want to find men, then go where the men are, not demanding that the men go where you are. You're not nearly as interesting as you think you are, and the men aren't coming to be near you for that reason.

Classic case of toxic female narcissism.

UPDATE: Not exactly the same thing, but variations on a theme, certainly. Toxic female narcissism combined with classic Third World brown people narcissism who think that they're entitled to First World white people prosperity.


UPDATE II: Breitbart removed this comment. They aren't our friends. I go there because they're better than most of the alternatives, not because they're actually good. Honestly, my curated news from Vox Day and Anonymous Conservative is probably better, although also with big holes in their scope.



Progressivism... from the Z-blog

Not his actual post, but some stuff from the comments by the Z-man and others.

In my lifetime, progressivism shifted from addressing the material needs of the poor to addressing the spiritual needs of single females, the mentally ill and social deviants. Note that their concerns about racism are not tethered to the alleged practical impact of racism. It is about the spiritual crisis allegedly caused by racism. There is no practical program to progressivism now.

I think this is why Obama Care was such a mess. The joyous supporters of Obama did not care about health care reform in a practical sense. It was just another symbol indicating that he was the messiah. That is not how you get reformed through Congress. The result made healthcare worse, but they celebrated it anyway because practical issues no longer matter to them.

Progressivism, fully free of practical concerns, first celebrated the coming of their messiah, then when he was not the messiah, it turned into a burning hatred of present reality that has now burned itself out.

That one's from the Z-man himself. Below is from someone calling himself "mycale":

You can see this most clearly with big city governments now, where the government exists to protect deviants, bums, junkies, perverts, and criminals against normal people. The progressives see the dregs of society as their weapon against normalcy. And of course, this isn’t anything new – Bio-Leninism is a thing, anarcho-tyranny is a thing. Yet, it is interesting how clear and obvious the program has become in the past five years or so, particularly since COVID and the Floyd riots.

When it came to Obamacare, the progressives were quite happy to make health insurance worse and more expensive for normal people.

Jeffrey Zoar added to that:

The still unspoken truth of Luigi-mania is that the left hates the Obamacare they hath wrought, but dares not admit it, either to themselves or to anyone else. 

Xman (no relation, as far as I know, to the Z-man) says:

Right. Modern progressivism is basically female narcissism. It’s not about accomplishing anything tangible — health care, pensions, housing, higher standard of living, etc. — it’s about the dopamine high of claiming moral one-upmanship (one-up-personship?) over the bigoted Evil White Racist Males.

So what if Los Angeles burns? It has it’s first Lesbian Fire Commissioner, and it’s first Woman of Color Mayor.

That’s all that matters.

rayj adds the pertinent tangent:

Modern progressivism or Woke is thuggish (and totalitarian) because it is a female inspired and female dominated movement . . . in truth, a religion that already has replaced Christianity in America and much of the West. It persists because Woke’s opposition refuse to face that fact.

Neither people nor governments will cop to this. They pretend females do not inhabit a supremacist position in their nations — despite overwhelming evidence otherwise — and thus the nations are over-run by the Religion of Women, which is what Woke really is, an endless empowering of females and disempowering and demeaning of males. . . even of masculinity itself. The Prot denominations largely have been conquered and are now under the power of Progressivism, which is to say, under the power of women.

Folks want to believe that Woke is on the decline, that Woke is over, that Donald Trump will finish off Woke. This is absurd because the central characteristic of Woke — the cultural and legal supremacy of collective female power — has not even been addressed and admitted, much less conquered.

Trump is an Eighties-era liberal with a feminist daughter, who in four years as president didn’t even acknowledge the truth, much less oppose the feminism that rules all your institutions and slaughters your children out of personal convenience. Thus you declare victory in a war that has yet to be fought.

Well, yeah, I guess. But women are quick to reassert normal heirarchies when men snap back effectively, which we are doing with this current cycle. But Jeffrey Zoar also adds the observation:

When I look around, I see progressives in retreat but I don’t see them giving up on their incoherent “ideology” and looking for a replacement. More like hunkering down in their echo chambers. Increased polarization.

Anyway, just a grab bag of observations on current affairs. I neither endorse nor even claim to agree with all of them, but I think that they're all interesting perspectives worth reading.

Tuesday, January 21, 2025

OSRRR(R)? and possible Cult of Undeath (or later) column

I've read some more OSR theory discussions, and it seems that most people who pay attention to this kind of thing have all come to similar conclusions, although the labels differ somewhat. That is, that there are effectively three groups (at least, but three sufficiently prominent ones, at least) that are all somewhat associated with the OSR, and a least sometimes take on that label. The labels that I used to prefer are OSR, OSR adjacent, and NSR. However, given that the OSR adjacent and NSR believe themselves to be part of the OSR too, and identify as such, I haven't found that those are as likely to stick. I've seen a clever way of differentiating between the three main camps by utilizing three different interpretations of what the R in OSR stands for, which maybe would work a little better. I've mentioned them briefly before, but there they are again:

Old School Revival: the "original" OSR, focused on getting the retroclones out so that the original rules could still b used (albeit in rewritten "cloned" form) and new modules utilizing those rules could be published by referring to these clones. Although initially focused on 1e AD&D stuff, i.e. OSRIC, Sword & Wizardry (OD&D) and later Basic Fantasy and Labyrinth Lord (B/X) were developments here too, bringing the full gamut of retroclines, more or less, into prominence. There are other retroclones than these, of course, and there are more that clone more esoteric slight differences of old D&D, but once these four were out, the retroclone "need" was largely filled, and this original branch of what the OSR was gradually faded from prominence. Subsequently, two things happened: 1) WotC, recognizing the demand, made older materials available for sale as relatively reasonably priced pdfs or PODs, and 2) OSE (and to a lesser extent the Hyperborea AD&D clone) swept in and seems to have largely sucked the wind out of the sails of every other retroclone. By 2012, this movement within the OSR largely got everything that it wanted, and therefore is not a major movement anymore in the community. No doubt many people who associate more with this idea still play in the OSR space, and buy OSR products, especially new modules and adventures, but there is little talk of exciting new retroclones, and little effort that I'm aware of in pursuing the goals of the Revival portion of the OSR. Many online commentators speaking ~2012, called the OSR "dead" meaning that the community, having gotten what it wanted, went quiet and had no more need to discuss already achieved goals anymore.

Old School Renaissance. As the OSR got more and more into things beyond just the retroclones, or the availability of older editions, it started to coalesce into a number of "this is how you play OSR style" philosophies. As many have pointed out, this is not a faithful recreation of how everyone played in the 70s and early 80s, but it is perhaps a romanticized recreation of at least one playstyle that had been underserved since, oh, probably the early to mid-80s, in many ways. Ironically, the "OSR play philosophy" was antithetical to the whole AD&D playstyle, given that OSRIC recreating AD&D was what started the OSR in the first place. Gary Gygax, in numerous writings, described something very different than what the OSR put forward as a platonic ideal of how to play, although the pre-AD&D OD&D and B/X games, especially with a heavy DIY expectation is maybe not terribly far off, in at least some respects. The OSR community started focusing in on the simpler, older games, deliberately cultivated contempt for game balance, mechanical vs diagetic solutions, and a number of other things that would have been pretty seriously at odds with how most people played in 1980 or so, and then also started diverging in tone and theme (if not necessarily in mechanics) from D&D of the past. Products like Carcosa, Lamentations of the Flame Princess and the work of controversial figure Zac S. (who has now been pretty thoroughly canceled, whether fairly or not, by the RPG community.) Curiously, in at least one commentary blog post on the Zac S. situation, it made an offhand comment about "the Renaissance formerly called the OSR." But with the collapse of the OSR blogosphere (largely) around where the OSR was going, the pulling of the plug on Google+ where a lot of this activity was, and the collapse and cancellation of at least one of the most prominent purveyors of this version of the OSR, a lot of people considered this to be yet another "death of the OSR" or rather, that this briefly faddish phase of the OSR became much more quiet and no longer dominates the headlines, such as they are, in the OSR community.

Old School Revolution. One perhaps inevitable side effect of changing the OSR from a discussion on the mechanics, i.e., the old rules and retroclones which replicated them, to a playstyle and philosophy on how to game, is that eventually, OSR started to become--ironically--divorced from the very rules and mechanics that it was created to champion and bring back. While I like the idea of calling this the NSR, the label has had limited currency, and most OSR communities continue to talk about OSR products of this category as if they were actually the OSR. I kind of disagree, but since I don't identify as any kind of OSRian, just a sympathetic para-OSRian who's more old-fashioned than old skool, maybe it's a little cheeky of me to play gatekeeper to the label. I'm not sure exactly at what point this launched, but there are a lot of games, most of them very niche, and very... "why bother" quite honestly, alongside a handful of games that have become tentpoles, if you will, of this subcommunity within the OSR. All of these are defined by their adherence to the OSR philosophy, to the extent that that's really a well codified and accepted philosophy, while simultaneously deviating significantly from the mechanics and rules of older D&D and the retroclones. Many of them, ironically, bring in a great number of "storygame" affectations, like player-facing rules, meta-currencies to allow players to influence the emerging narrative, etc. Some of the tentpole properties include Into the Odd and Electric Bastionland, it's expansion, or Morg Borg and its various spin-offs into other genres, like pirates, space horror, etc. Cairn and maybe Knave. There's many others, but I'm putting forward just a handful of the more prominent ones. It's also possible that OSR-themed games that hew closer to 5e (deliberately) like ShadowDark or Five Torches Deep also fit here, although I think many OSRians would be more comfortable suggesting that they like a lot about those games, but don't really consider them OSR. But that gets to the final group, for which I have no label.

This group is games that may not have any connection to the OSR at all other than that OSR fans may also like them, or that their creators hope that OSR fans like them and hope to sell to them. While the former is fine; maybe games like Dragonbane fit here, the latter is just a cheap marketing gimmick, and definitely cause for more than usual caveat emptor on the part of the OSR fans looking at such a product. 

Maybe its a good thing if the OSR "dies". As a community, it doesn't seem particularly innovative anymore; even the NSR or OSRevolution's innovations are mostly overstated. And that community is particularly toxic too. Then again, most online communities are.

So, to give you something more DFX related, I stumbled kind of by accident into a Bigfoot War of 1855 narrative, which I think is both really ridiculous, but also really fascinating. I do have 5x5s that I'm working on that need more definition. I'm considering adapting the idea of the Bigfoot/Choctaw war into one. Maybe Wendaks will be the cannon fodder rather than sasquatches, but an advanced thurse of some kind is the "boss" of the woodland cult that's kidnapping and killing people all over the place. Maybe Wendaks are even slowly turning into sasquatches. It might be a little redundant if I do it in the same 5x5 as my reptile cult which is kinda sorta based on a swamp (instead of sea) remixing of The Shadow Over Innsmouth, but I'm confident that I can have that theme of dark occult transhumanism twice in one 5x5 and yet treat them significantly differently.

Not sure what I'm going to do with that yet, if anything at all, but the idea really fascinated me, and why not use it? In the meantime, I certainly encourage everyone and anyone to look it up and read about it. It's a cool story, even if it is mostly likely complete nonsense.

The story of Portlock Alaska will also play a role. The creepiness involved is pretty cool, and it allows for a slightly different feel than the more up front "Bigfoot War" thing. Mysterious disease and creepiness foreshadow what will come.

UPDATE: I never really gave my conclusion/summary of the OSR situation. As I've said many times before, I'm not old school, but I am old-fashioned. None of the OSR communities are really doing what I'd want them to do, in theory, but I am sympathetic and somewhat adjacent to what they're doing. I've never really loved the old rules, and I do have a number of quibbles about them; I'd want them to be significantly modified, so I'm not really on the Revival camp. However, the Renaissance camp goes a lot into gaming philosophies that I disagree with, and as Revolution builds on those principles that I disagree with.

However, if you ditch the principles, then you can potentially end up with systems that I kind of like. So I guess my preferred system, which I've designed (really kitbashed; I created very little myself) is in parallel to all of the OSRs. But in terms of community, I find that the revival folks are the ones I'm most likely to get a long with, and the renaissance guys have some interesting ideas. The revolution might be more interesting, but I find that community pretty intolerable, even when I might find some of their ideas for mechanics interesting, here and there.

The OSR themed games that I have the most interest in are the para-OSR stuff, like Knave 2e, ShadowDark or Five Torches Deep. Although they're not exactly what I'd want either, they're the closest thing within the OSR to games that I'd really enjoy. As long, of course, as they avoided the dungeon, which is my biggest disconnect with anything OSR. But, I've seen some stuff recently that "debunks" the idea that these games, specifically ShadowDark, are optimized dungeoncrawlers. Although they do do that well, of course, they also work just fine for overland exploration, or anything else.

Moot point for me; I have a system already, but I'm still interested in these systems and what's going on somewhat in these communities, at bit, here and there.

Thursday, January 16, 2025

Another disaster week

This week is a bit of a disaster too. Not necessarily in the terrible way (honestly, last week, even getting stuck for three days at the DFW airport wasn't the worst, because I stayed in a hotel, so I slept OK, ate OK, etc.). I've had a terrible cold ever since I got home. A little before, actually. Sleeping well has been a real challenge. As soon as I lay down, drainage starts going crazy and I'm stuffed up and start coughing a LOT. When I'm awake and up, it's OK. Being vertical improves the drainage a lot. But, of course, I can't sleep standing or sitting up very well. So I'm kinda miserable and tired all of the time. Also, there's a lot of craziness at work, and we're pretty short-handed; two people are off on medical and one quit and hasn't been replaced yet (although I think he was reluctant; but he was commuting the better part of an hour and a half one-way. It wasn't really sustainable.) So, I'm not exactly relaxing and getting hobby stuff done this week, let's just say. I'm exhausted both physically and in many ways mentally at the end of the work day, and I'm lucky if I can veg in front of the TV and play some overlanding youtube videos or something.

Yesterday was also my birthday. While of course everyone likes a birthday, it means that I'm on the phone most of the evening with family, I go out to eat, and in my case, I got to make my wife watch something that I'd been wanting to watch with her to see if she'd like, and she couldn't complain. (First two episodes of Longmire is what I picked. I was kinda under the gun to think of something, and that's what first came to mind.) Dinner was, unfortunately, mediocre. I went to place that I used to like, but I haven't been in a long time, and I haven't been here in our new location, and the experience was less than I hoped for. I don't know if this is unfortunate or not, but I've enough rewards on my wife's rewards program for a $10 off, so we'll probably go back again relatively soon, but I'm not going to suggest it for a while.

I also went out to lunch to a BBQ place that I like, and I didn't find that as good as I remember either. Although that may in part be driven by the fact that I was back in Texas last week and had some pretty dang good burnt end brisket while I was there, of course, so my Texas style BBQ here on the southern east coast (sorta) was not as good. 

I've also had to chase around a lot of personal issues. I spent several hours on Monday at the DMV, for instance. I have to go pick up a car today. I have to take my wife to the airport and then drive out of town myself tomorrow evening. I admit to feeling a bit exhausted. Next week, I'll be back in my house up north with my son and daughter-in-law and their three little kids. That should be mostly fun and relaxing. I know my son will want to play Dominion all the time. I like that game, but I doubt I really want to play it more than two or three times all week tops.  My daughter and son-in-law also live there in town. Maybe I can even get another D&D session in with them? They're the ones that I tried to start Shadows Over Garenport with, but it didn't really come together in more than one session before I moved. And if I get tired and remain sickish, I'll probably want to lay around, sleep and read.

Sigh. Real life, y'all. My blogging and vlogging goals are not happening quite the way I want them to. In any case, here's a video to watch. In addition to what he says, I think part of the problem is people who try and make their hobbies into something that pays all their bills. Living off of your hobbies sounds fun, but I doubt that it really is, because it sounds too stressful to me. My own youtube forays are just for my own benefit, and whether anyone at all finds and enjoys my videos is immaterial to me. I don't do it for them, I don't do it to "grow my channel" or to even make some side hustle money. I make them because it's my hobby, and I like to talk about my hobby. There's too many people trying really hard to not work conventionally in the hobby youtube space, and it's not good for their content, honestly.