Thursday, July 31, 2025

Hell in Freeport

I just finished "Hell in Freeport", the fourth adventure set in Freeport, and aside from the Focus in Freeport articles, the next publication in the line after the trilogy itself. Like the original Freeport trilogy, it has an old recycled Brom cover; Green Ronin were still a ways away from adopting their Wayne Reynolds cover and "modern" trade dress for the line. As an aside, their other early publications: "Legions of Hell" and "Armies of the Abyss" also had a similar trade dress, or at least similar enough, especially considering they used the same cover artist. For whatever reason, "Hell in Freeport" is the only Freeport product that I'm aware of that is no longer available except on the used market of old print copies. It can't be found on pdf anywhere. It also makes mention of an upcoming product, "Secrets of Freeport" which I've otherwise never heard of; based on the brief description of it in an ad included here, I think it's the same product that was later renamed Freeport: City of Adventure and which is next up on my read-through and would have come out only a few months later.

You may notice that although I normally tag all of my Freeport Trawl posts with both the Freeport Trawl and Freeport tags, I did not include the Freeport tag on this one. Although the title is Hell in Freeport, and it does indeed take place (or at least start) in Freeport, this isn't a Freeport adventure at all. It's better seen as a tie-in to their popular themed monster book Legions of Hell, which was also out at the same time. Although it starts in Freeport, the action that takes place there makes no reference to any iconic Freeport location, and could easily be set in any fantasy city, as long as it's a port city, as it has the PCs take a sailing voyage out of town nearly first thing; after a single combat encounter and a subsequent conversation encounter. There's also a twin city to Freeport in Hell itself, called Freetown, but since oddly very little happens in town there either, and only about three locations are referenced, that could also be any fantasy city. 

On the other hand, Green Ronin's Hell, as explored in Legions of Hell is the primary setting; the PCs are tricked via some heavy-handed railroading into traveling to Hell, and spend most of the rest of the adventure trying to get back. Green Ronin's Hell is very similar to 2d AD&D's Hell; apparently Chris Pramas, founder of Green Ronin and author of Legions of Hell, was also the author of 2e AD&D's book Guide to Hell, so I guess he considered himself kind of the resident expert at WotC on the subject (although this was his freelance company, at the time, he still worked a day job at WotC.) Anyway, this is all backstory; curiously, Pramas also worked on Warhammer Fantasy Roleplay in the 90s; no wonder the Freeport Trilogy had some obvious-feeling call-backs to The Enemy Within campaign. I suspect that Pramas wanted the adventure to heavily tie in to the "Legions of Hell" title, which it does. The adventure itself wasn't written by him; he has no writing credit among the three authors listed. I say all this to suggest that the module can pretty easily be skipped; it barely and only, almost by serendipity, has any connection to Freeport at all. I wonder if including Freeport in it at all was a secondary thought, and not even necessarily the original intent.

It also has a very different tone. This was very much the early 00s high fantasy D&D as it's own sub-genre within fantasy kind of tone. It's pretty super-heroic, as it's set for PCs of around 10th level or so, so they have spells like teleport, fly, plane shift, etc. that the module has to work around frequently. Now, I'm not sure that Pramas would agree that Freeport was meant to have a kind of low fantasy, grubby fantasy feel more like a Warhammer FRP than D&D—as it often veered into very high fantasy gonzo 00s D&D—but that's the feel and tone that I always associated with Freeport.

This particular adventure, like I said, starts off with something that's actually not a bad idea; a serial killer who's setting people on fire in Freeport. No witnesses, no clues, no nothing. Turns out its a devil, and the next thing you know, the PCs are being carted off to another island where there's a gate to Hell. They, of course, get stuck on the wrong side, have to do a weird prison break (complete with all kinds of weird modern references; devils watching prisoners on screens in a command center, etc.) traveling on the river Styx to one of the layers of Hell that's literally frozen over, lots of weird clockwork stuff, a strange extraplanar gladiator pit, etc. Just a lot of weirdness in general. Cities threatening to get plane-shifted en masse, so devils could harvest their souls, etc. Really non-grubby, non-Lovecraftian, non-piratical stuff. Like I said earlier, this feels more like a tie-in to Legions of Hell than to the Freeport line; and it is only in the Freeport line because, well, why not? But it doesn't have the tone, feel or even much of a presence at all in Freeport.

And this is my big problem with it. I don't really care for the weirdness of mid-level D&D on the planes, where it's really leaning into the weirdness. I especially don't care for it in a setting where I expect a more low fantasy skullduggery and horror vibe. The original Freeport trilogy was still occasionally too D&D for my taste, but it did lean quite a bit more into the Lovecraftian low fantasy vibe of a Warhammer scenario with a Warhammer tone... and that tone is really, really missing here. That's the tone that I came to Freeport for in the first place, so when I'm in a series of products that are much more wahoo, full of puns and in-jokes, and other kinds of silliness (which yes; I realize that Warhammer campaigns had plenty of that too. Although it was less on-the-nose)... honestly, I just don't like it as much.

I think that I'll have to endure at least two more products that aren't really the tone that I want, but then it'll start leaning back in the direction of more playing it straight, and trying to embrace the darker, grubbier feel that made Freeport different than most other D&D settings. That was really its whole thing; without it, Freeport isn't anything all that interesting, in my opinion.

  • Death in Freeport (2000)
  • Terror in Freeport (2000)
  • Madness in Freeport (2001) 
  • Focus on Freeport (2000-2002)
  • Hell in Freeport (2001)
  • Freeport: The City of Adventure (3e) (2002)
  • Denizens of Freeport (2003)
  • Black Sails Over Freeport (2003)
  • Creatures of Freeport (2004)
  • Shadows in Freeport (2005)
  • Vengeance in Freeport (2005)
  • Tales of Freeport (2005)
  • Crisis in Freeport (2006)
  • Gangs of Freeport (2006)
  • Pirate's Guide to Freeport (2007)
  • Cults of Freeport (2007)
  • (optional) Mansion of Shadows (2006)
  • (optional) Beyond the Towers (2006)
  • (optional) Dirge of the Damned (2006)
  • (optional) A Dreadful Dawn (2007)
  • (optional) Temple of the Death Goddess (2007)
  • (optional) Darkness Falls on Ceranir! (2007)
  • Dark Wings Over Freeport (2007)
  • Buccaneers of Freeport (2008)
  • d20 Freeport Companion (2008) 
  • Blood of Freeport (2008)
  • Freeport Companion Savage Worlds (2008)
  • Freeport Companion Castles & Crusades (2008)
  • 4e Freeport Companion (2010)
  • Freeport Companion Pathfinder (2010)
  • Peril in Freeport (2011)
  • Fate Freeport Companion (2013)
  • Dark Deeds in Freeport (2014)
  • Freeport: City of Adventure (Pathfinder) (2014) 
  • Freeport Bestiary (2017)
  • Curse of the Brine Witch (2016)
  • The Abyssinial Chain (2016)
  • Storming the Razor Caves (2017)
  • The Freebooters' City (2017)
  • A Storm of Sails (2018)
  • Traitor's End (2019)
  • Pathfinder Society scenarios season 2 part 2

     Here we go again. After another delay.

    1. The Heresy of Man Part 1: The First Heresy. This one is part one of three, and has to do with the godless (by strict law) nation of Rahadoum. Some plague or somesuch has hit the nation, and because they don't have clerics, it's a problem. None of that really matters, though—the point is that you're smuggling a guy into the country through the sea caves under a castle as the tide is rising. One of the Shadow Lodge traitors has tipped off the local authorities, so you have to avoid or fight them while going deeper into the coastal caves that are filling with water, to find that they are haunted. I dislike the set-up rationale for this adventure, but the adventure itself is a nice, brief smuggling action scenario.
    2. The Heresy of Man Part 2: Where Dark Things Sleep. This is the direct follow-up, and it turns out that the plague was unleashed by the Pathfinders themselves when they stumbled into the tomb of some undead weirdo. You are immediately whisked away to the tomb to clean up the mess. What follows is a rather boring little dungeon-crawl heavily focused on riddles, one of my least favorite things of dungeon-crawling play.
    3. The Sarkorian Prophecy. This is a kind of interesting one, with some hostile wilderness exploration in the Worldwound, encounters with geysers, sandstorms, etc. and a night hag to start us off, before facing down Shadow Lodge traitors who are attempting to steal the very thing that you were also sent to recover. I appreciate the complete and utter lack of a dungeon to crawl, although as is always the case for these, when there's more context, we're not given much to work with and the module ends up feeling smaller than its promise. Also not sure why this one is inserted between the Heresy of Man episodes, since it obviously has nothing to do with them at all.
    4. The Heresy of Man Part 3: Beneath Forgotten Sands. This is the third, and I believe final, part of the "Heresy of Man" series. It is a desert buried ruin, with evil genie related threats in it, and you're chasing a rival band of Shadow Lodge guys... who don't actually do anything except, I guess, add a sense of the clock ticking? You never actually encounter any of them except a few hired workers. I found myself subconsciously with Arabian Niiiights stuck in my head while reading it. It's a serviceable enough little dungeon crawl, with lava elementals and a genie version of a succubus, etc. but I admit I'm not even sure after reading it what the point was. I think maybe there was an artifact you were trying to recover or something.  
    5. Fury of the Fiend. This is actually a sequel to Fingerprints of the Fiend from way back in Season 0, if anyone remembers that one. It's an ambitious module, and like most ambitious season modules, it's too small to do its ambition justice. At heart, it's a damsel in distress rescue mission, but you start off having to impersonate a hellknight, convince people to let you go rescue the damsels in distress, and then you go fight haunts, morlocks, a demonic cleric and a retriever. While it's obviously pretty railroady, the concept isn't bad, but it just needs to be expanded to full module size. These seasonal mini-modules are just too small to actually allow this module to do everything it's trying to do.
    6. The Penumbral Accords. This is a quick and dirty, no frills rescue the damsel(s) in distress (twin girls, in this case) who are being transported to Shadow Plane slavery. A museum in Absalom has a once annually conjunction with the Shadow Plane, and the PCs infiltrate it, find the girls (and any other slaves, I suppose) and destroy the device that causes the conjunction. The Shadow Plane version of the museum is more of a mad scientist torture chamber kind of thing, and there's shadowy foes; fetchlings, shadow mastiffs, etc. to face. Nothing special, but nothing wrong with this one. The backstory for how it happened is perhaps more interesting than the module itself, but you have precious little opportunity to explore it.
    7. Below the Silver Tarn. For this batch of adventures, this is probably the best one. In spite of it's relatively high level, it plays like a fairly low fantasy survival horror module, set in an isolated, cut-off mining town next to a possessed lake with a powerful devil buried under the water. There's a lot of interesting roleplaying opportunities too, involved with working with the various factions or cliques of miners in the town, who all have their own ideas of how to solve their current problems. It does come across as a little bit railroady, but I think not only is that normal for Paizo, but it's a little bit inevitable for this type of module that's meant to be played in a convention setting, rather than as part of a home campaign. Of course, I'm evaluating them more as part of their suitability for use at home, so rather than beat to death the railroady nature of them, I'll try to focus on how much they have that might be useable or stealable.

    Wednesday, July 30, 2025

    Fast leveling


    This is one of my favorite of Professor Dungeon Master's videos, and I agree and endorse it completely. I once made a post where I posited that for Shadow of Old Night (under an earlier name) I expected that it would take 100 sessions to reach 10th level, the top of what I'd consider playing. The more I think about it, the more I think that even that is too fast. I counted 10th level as a level that I'd play for a number of sessions. If I were actually to run a campaign that I expected to be both evergreen; i.e., lasting potentially forever, and also one where we played pretty regularly (maybe not weekly, but still pretty frequently) I'd need to stretch it even more. For each level, here's ... more or less ... how many sessions I'd envision playing them for.
    1. 5 sessions
    2. 10 sessions
    3. 15 sessions
    4. 20 sessions
    5. 20 sessions
    6. 25 sessions
    7. 25 sessions
    8. 30 sessions
    9. 35 sessions
    10. 35 sessions
    11. At some point you need to start over. This is now at 220 sessions. 
      And that's just a swag; I wanted to move from 1st to 2nd relatively quickly, but to quickly slow down, and maintain as long as possible the sweet spot of the middle levels. To get through 6th level would be 100 sessions (more or less) and that's probably enough. By then, most likely, people will be ready to start over with new characters. But if they don't...

      Let's assume that we played, on average, every other week. Twenty-six weeks a year. 220 sessions is less than 8½ years. While that seems like a long time, there are campaigns that have run longer. Of course, if we averaged closer to monthly, which seems more realistic for my current situation, then that lasts almost 19 years.

      ——(    )——

      Of course, there is another way to do this, and that reduces the levels impact, by smoothing them out rather than having their improvements come in big chunks. This is a simplified advancement table for Old Night, showing what characters would normally get at each level.


      First level is just character creation, so it can mostly be ignored, but if you look at, for example, 2nd level, you'll see that the character would get +2 hitpoints, +1 to all skill points, and no other advantages. At 3rd level, he'd get another +2 hit points, a new feat selection, and a +1 to his To Hit score. At 4th level, another +2 hit points, another +1 to all skill points, and a +1 to one ability score, or stat. And so on down to level ten.

      In many systems of advancement, you've got something like experience points, XP. The Smooth Advancement™ (not really™) system uses sessions played. The easiest way to track advancement would be to replicate this small table in your notes, or on the back of your character sheet is probably best, and then also keep a tally of how many sessions you've played with the character. It is possible that different characters would not participate in every session, depending on player availability, so characters can be a little bit off from each other and out of synch in terms of when they get an advancement. But because Smooth Advancement smooths out the levels and dribbles out their advancement at a slower, more smoothed pace, that hardly matters.

      Under this system, let's assume that a character, Garrett Undergrove, is a first level character. His player, Nathan, plays five sessions with him. After reaching five sessions, he can pick one of the advancements from level 2 on the table above. Level 2 only has two to choose from; the increase in hit points and the increase in skill points. Nathan can choose one of those two, and apply it to his character. Then he marks it off on his version of that table, so he knows he can't pick it again.

      After he hits five more sessions, he can pick the other level 2 advancement. This means that after ten sessions, he's had all of the advancements associated with level 2, and is effectively a level 2 character. Once he has all of the advancements associated with level 2, he can now start taking advancements associated with the next level, level 3, but not until he's had all that level 2 offers. The same concept scales upwards; once he starts taking level 3 bonuses, he has to take all that's associated with level 3 before he can start getting level 4 bonuses. This prevents a character from taking all of the hit point adds, for example, before doing anything else. Although each level is smoothed, you still need to complete the level before you can start doing the next level.

      Depending on the speed at which the GM wants the game and characters to progress, you now go in increments of ten sessions. That would be a little bit longer than the 220 sessions noted above. If you want faster leveling, every five sessions giving you a new advancement would be ~100 sessions to reach all levels, but still with a smoother progression. Of course, you can do something in between two; every seven or eight sessions. Or, if you really want to, pick up a new advancement every 2 or 3 sessions, for shorter campaigns with characters that get more powerful faster. 

      But for Smooth Advancement, the track and goals should be known and communicated in advance. Like XP, players know when they're going to get another advancement, even if it is more modest than a whole level all at once, and they can track their progress to it themselves by noting with tallies or something how many sessions they have played and when they will be eligible for another improvement.

      The advantage of Smooth Advancement is twofold: 1) it's not as disruptive a jump in power as a full level; character advancement is more modest session to session—although while still giving, in the end, the same advancement as leveling, and 2) for players who want to see advancement, they have the ability to track when it comes. Now, if they're the kinds who want to advance quickly and get powerful quickly, they're not going to love this system, because the advancements are modest. They need to learn to appreciate both delayed gratification and the fun involved in struggling rather than, effectively, turning on the cheat codes. But there are already plenty of games that offer power fantasy playing and fast leveling. The whole point is that Old Night is a different kind of game aiming for a different kind of tone, and therefore, it has to have mechanics that are a little different too.

      Of course, you could also extend the "levels" upwards by replicating the same table further down.


      I neither recommend nor am super interested in doing so, but it is always a possibility, of course.


      Christianity in D&D

      In Old Night, I've said that there isn't anything at all like a cleric class. There also isn't anything at all like the pagan mythological pantheons of most D&D settings, which read like shallow rip-offs of Greek or Norse mythology, leavened with some Egyptian or other more exotic ones from time to time. In fact, I once believed and stated that mythological pagan pantheons and the modern fantasy genre seem to go hand in hand. Most fantasy settings had them, and in many cases, interactions of some kind or another with the gods was not unusual. Midkemia did it in the Rift-War (when Pug and Tomas spoke with Lims-Kraga the Death Goddess, for instance) and in the Belgariad, Garion actually ended the series on the finale of fighting and killing Toruk, the evil god of the pantheon; although prior interactions with others were common. Heck, even Tolkien did it somewhat awkwardly; although he never called the Valar gods, and he clearly didn't want to promote anything that would be seen as an idolatrous attempt to supplant God, even in fiction, the Valar did indeed resemble pagan mythological gods in pretty much every sense other than that they acknowledge the superior authority of the One True God above them. D&D settings had often done the same, and familiarity with the Oerthian Greyhawk pantheon goes way back, and the silliness of godly stuff going on in the Forgotten Realms is notorious. 

      One of the most overtly "mythological" elements of Middle-earth; when Ulmo appears and speaks to Tuor.

      Old Night now has a baseline assumption of true Christianity as the religion that people have in the setting, but then again, I don't intend on making religious activity of any kind of a focus of the game. Much like Tolkien, I don't want to come across as idolatrous, even in fun, nor do I want to explore those kinds of mythological themes. In this regard, I actually seem to be in good company; not only did Tolkien seem a bit leery of embracing them, but so did Gary Gygax and Dave Arneson. Part of this may have been for a different reason; both were Medieval history buffs, and of course, you can't really have European Medieval history make any sense without Christianity to back it up. That is, perhaps, one of the greatest fails of much of fantasy; it tries to mimic a High Medieval society without Christianity, and it falls flat. Had they done an early Medieval setting, where pagans were still relatively commonplace in northern Europe; before the Christianization of the Vikings, the Anglo-Saxons, the Balts and Slavs, etc. it may have worked, but they didn't really try to do that either. In any case, here's some text from an old Grognardia post on the subject. It's not the complete post, but it's a substantial section of it, with a few edits by me. 

      [A]s late as Eldritch Wizardry, there are few (if any) explicit references to gods in OD&D. There's much talk of demons, devils, and, tellingly, saints, but gods aren't much talked about until Supplement IV's release in 1976. I once asked Gary Gygax directly about the question of why this was so and he explained that he felt it unseemly to include anything too explicitly Christian in a mere game, even if he assumed a kind of quasi-Christian or crypto-Christian underpinning for the whole thing. This is also why his demons and devils used somewhat obscure names rather than very familiar ones. All the old school love for statting up Satan/Lucifer was something Gary didn't feel was proper. It's the same reason why, even in late AD&D, we get planetars, solars, and devas but never "angels." Interestingly, the original Blackmoor campaign, as I understand it, had a Church, complete with a hierarchy, but no named gods. ... [T]here's an assumption of a quasi-Christianity lurking in the background.

      ... I know that, in my early days of gaming, my friends and I all tacitly assumed that clerics were Christian priests -- heck, I thought monks were as well -- and that, somewhere, behind all the monsters and magic, the Lord of Hosts was lurking. We never really talked about this assumption or dealt with it in any direct way, but we neither did we question it. It was an odd kind of Christ-less Christianity, more concerned with laying the smackdown on evil than with turning the other cheek or taking up one's cross, except in the most vague of senses. The paladin was an unambiguously Christian knight for us and indeed Lawful Goodness we associated with this unspoken religion that had bishops and cathedrals and holy water and everything else a young boy saw as being "essential" to medieval Christendom.

      As time went on and our sense of D&D changed, this implicit Christianity became less important, but it never fully faded away, because it just seemed to us that there was just no other way to look at the cleric and the paladin except in the context of quasi-Christianity. Nowadays, I'm probably too immersed in swords-and-sorcery to fall into this perspective again, but I am now more firmly convinced than ever that early gaming, far from being "pagan," was in fact shot through with Christian belief, practice, and lore. It was always a kind of "fairytale Christianity" broadly consonant with American generic Protestantism rather than anything more muscular, but it was there and it's never really died, even if all the post-1e editions of D&D have tried to varying degrees to remove all evidence of it.

      Tuesday, July 29, 2025

      Freeport's tone

      I haven't picked up Hell in Freeport yet. Or rather, I have, of course. It's in my backpack that I take back and forth with me to work (along with the Eberron Campaign setting, which I had planned on re-reading before I started all this Freeport jazz) but I haven't actually started reading it yet, and I won't until at least I finish Silverthorn, which I'm also reading. It's one thing to pick up a physical book, but sometimes also read sections of a Kindle book on your phone, or a pdf on your computer, but its another thing altogether to try and read two physical books concurrently. Even if one is a D&D sourcebook and one is a fantasy novel, and they otherwise have little in common. (Although the Krondor scenes with the Mockers is pretty good urban "fantasy Godfather" stuff like Freeport offers.)

      Not too long ago, relatively speaking, I wrote this post here: Freeport vs Five Fingers, which is an updated and expanded version of this even earlier post. Given my rather withering opinion at the time, it might seem odd that I'm undergoing this whole huge Freeport Trawl project. But, honestly, I was in a poor mood with regards to Freeport at the time, whereas now I'm feeling more charitable. I always knew that that was a problem with Freeport, but it won't be as much of a factor with every product. Freeport's tone is kind of all over the map. Sadly, I'm about to enter a phase where it was especially hoaky and kitschy, with lots of puns, bad jokes, and wink wink nod nod references. I think that that peaked in "Black Sails Over Freeport" after which it got toned down significantly. It doesn't completely go away; it's still there, but significantly less of an issue in most of their products, as I recall. Most of them have the darker tone of the actual Trilogy, where theyplay Lovecraft fairly straight. I'm much less familiar with the latest products, and the Return to Freeport pdf I literally just bought a week or two ago and haven't read it at all, so we'll see if it swings into silliness again before its done. I wish I could find a decent actual play podcast for Freeport, but I can't so... I'll have to just read them the old-fashioned way, I guess.

      Although only the last of the Bleeding Edge adventures was explicitly set in Freeport, they were all kinda sort set in the greater Freeport setting. I'm considering adding them to the list. They're actually quite cheap right now; pdfs are on sale for less than $3 each. I've already got them all, but y'know. If you don't, now's a good time to buy. Honestly, they might permanently be on sale for all I know. I doubt too many people are buying 3e adventures still. (Curiously, they're cheaper on the Green Ronin storefront than from DriveThru. But I dunno. That might not be accurate anymore later.) I'm going to redo the read list and add them as optional. Curiously, they famously had a more "mature" tone and focused more on horror elements. Allegedly, anyway. Maybe it'll fit what I want out of Freeport better than a lot of the actual Freeport products.


      Just what I needed; expand my Freeport "to read" list by six more titles! Luckily, they're just modules and aren't really very long. Speaking of integrating stuff that isn't strictly speaking Freeport related, I'm wondering how much I can borrow from Warhammer's Enemy Within, after noting in my last post on the subject that Freeport reminded me of a smaller take on many similar beats. Two ideas immediately come to mind:

      1. The original Kastor Lieberung mistaken identity thing was always a cool idea, and I've thought of borrowing it for something for a long time. Why not start Freeport with the PCs finding a wreck on their way into town where sea devils or something attacked a smaller carrack not far from Gandesse Island, and while on board, they find a PC lookalike who is going to claim a noble patent or other large inheritance in Freeport? Like Kastor, he's actually a cult member, and the inheritance is fake; it was bait created by a bounty hunter. That way, the PCs will immediately start having the same complications; a bounty hunter who thinks that they're the actual cult member and his entourage, and a cult who thinks that he's holding out on them with his big inheritance.
      2. Rather than having the PCs be the belles of the ball at the beginning of "Madness" I want to downplay their fame and influence. Sure, they were invited, and they get to meet important people, but many of those important people aren't really very clear why they're there or why they're being treated as if they're important. So they get the experience, but rather than it being a major change to their social status in town, it's a much more modest one. That way, they can continue to do the remainder of the Freeport modules without having to adjust to a social situation that those modules don't assume.

    1. Death in Freeport (2000)
    2. Terror in Freeport (2000)
    3. Madness in Freeport (2001) 
    4. Focus on Freeport (2000-2002)
    5. Hell in Freeport (2001)
    6. Freeport: The City of Adventure (3e) (2002)
    7. Denizens of Freeport (2003)
    8. Black Sails Over Freeport (2003)
    9. Creatures of Freeport (2004)
    10. Shadows in Freeport (2005)
    11. Vengeance in Freeport (2005)
    12. Tales of Freeport (2005)
    13. Crisis in Freeport (2006)
    14. Gangs of Freeport (2006)
    15. Pirate's Guide to Freeport (2007)
    16. Cults of Freeport (2007)
    17. (optional) Mansion of Shadows (2006)
    18. (optional) Beyond the Towers (2006)
    19. (optional) Dirge of the Damned (2006)
    20. (optional) A Dreadful Dawn (2007)
    21. (optional) Temple of the Death Goddess (2007)
    22. (optional) Darkness Falls on Ceranir! (2007)
    23. Dark Wings Over Freeport (2007)
    24. Buccaneers of Freeport (2008)
    25. d20 Freeport Companion (2008) 
    26. Blood of Freeport (2008)
    27. Freeport Companion Savage Worlds (2008)
    28. Freeport Companion Castles & Crusades (2008)
    29. 4e Freeport Companion (2010)
    30. Freeport Companion Pathfinder (2010)
    31. Peril in Freeport (2011)
    32. Fate Freeport Companion (2013)
    33. Dark Deeds in Freeport (2014)
    34. Freeport: City of Adventure (Pathfinder) (2014) 
    35. Freeport Bestiary (2017)
    36. Curse of the Brine Witch (2016)
    37. The Abyssinial Chain (2016)
    38. Storming the Razor Caves (2017)
    39. The Freebooters' City (2017)
    40. A Storm of Sails (2018)
    41. Traitor's End (2019)
    42. Sunday, July 27, 2025

      Madness in Freeport

      I finished "Madness in Freeport" last night, as well as the remainder of the Trilogy book (there were a number of appendices, although they mostly had mechanics in them, as well as maybe a few additional campaign follow-up ideas.) So far, I've said that there has been little other than details, mostly, that I'd need to change to make the Freeport trilogy work quite well on my Corsair Coast section of the Shadow of Old Night game, with the exception of a plot twist at the end of "Terror in Freeport." That is no longer true in "Madness" which I'd have to modify extensively. Let's go through it a bit and discuss, shall we?

      "Madness" has four parts listed, but two of them are actually quite similar and run together, and only are split by kind of fiat, and because it makes the four parts roughly equal in size that way. I see if as fundamentally a three part module, with a longer and mostly frustrating middle act. The first act is a soiree held by the corrupt Sea Lord to honor the PCs, but also to entrap them and frame them. It's mostly a roleplaying opportunity, where they get to wear nice things and hang out with important people in the palace, sniping at each other, getting information, and looking for clues. It's also meant to be tense, because by this point, the PCs already know that at least some of the people that they have to tolerate during this section are corrupt. This part of the module, and the way that it was written, reminds me strongly of a similar event in Warhammer's famous Enemy Within campaign, in the "Power Behind the Throne" module, and I can't believe that that wasn't deliberate. In fact, in many ways the Freeport Trilogy reminds me of the Enemy Within campaign, although clearly smaller in scope and more D&D-ish rather than embracing it's differences, as Warhammer did. Graeme Davis very explicitly said that Enemy Within was written with the directive of being a Call of Cthulhu scenario in a D&D-like fantasy setting, and it feels like it. The Freeport Trilogy, on the other hand, feels very much like a D&D scenario in D&D that pays some superficial lip service to Yog-Sothothery. Sometimes second-hand, as here where it's imitating the most famous Warhammer campaign explicity.

      If I were to ever run Freeport in Shadow of Old Night (which I should start calling SoON so I don't have to always type that. Or Old Night, or something at least that's shorter...) I'd probably look for some inspiration for stuff to flesh it out by trawling through my Cubicle 7 Enemy Within Director's Cut books. They went a little woke as part of their "remaster", but mostly in an ambient rather than overt sense (making lots of originally male characters female; stuff like that) but there's still loads of great material there.

      The next two parts are two connected and back to back dungeon crawls. The PCs are meant to infiltrate first a haunted semi-flooded cave on the coast where some pirate treasure is hidden, and which connects to the second; the old serpent temple, which of course is also haunted. Not only do I not like dungeon crawls at all, but I also don't like the sympathetic "friendly" ghost monsters of some of the snakes, I hate the riddles and traps and randomness of many of the monsters present, and I also hate the MacGuffin angle; find the Yig McGuffin which will banish the Unspeakable One MacGuffin that the bad guys are using. I don't mind the idea of caves on the shore of some cliffs that you have to watch the timing of because of the tides. That's a whole Pirates of the Caribbean (the original ride from the 60s) angle that's pretty cool, and is a cool environment. But there's way too much of it here, and they don't even focus on the sea caves and tides all that much, instead focusing on traps and crap. 

      The final part is the confrontation with the Sea Lord and his cronies in his big, finished lighthouse where they're trying to summon Hastur (never named, but c'mon, it's obviously him). I don't like the substitute the magical Hastur crystal for the healing Yig crystal angle, but a climactic confrontation in the lighthouse is, of course, inevitable. 

      --<  †  >--

      So, how would I change this module to make it fit? To make it more overtly dark, Lovecraftian and all that, the monsters have to all be monstrous. There can't be any friendly, sympathetic or nice ones. Rather than an artifact from the evil serpent god who surprise! he isn't really all that evil that saves you from the other evil Lovecraftian god, I think a summoning ritual (not unlike the call deity spell from the d20 Call of Cthulhu book) can be used to summon a different alien monstrosity to drag the one that the Sea Lord summoned away from the earth to fight in the Far Realm. Or whatever. 

      The massive confrontation therefore becomes a fight with two different summoning parties each trying to get their Elder Evil summoned. The cost will be tremendous; most of the PCs, the NPCs fighting, and maybe even many people in the city itself, even if shrouded in thick fog, will find the experience terrifying in the extreme, and will lose sanity like it's going out of style. The disruption to the day to day will be tremendous as cases of people going insane, and many of them not really recovering, will spike, and even people who do recover and suppress their memories of what happened, (and like I said, even if it's hidden in thick fog) it will be a devastating thing to the city, and there will almost certainly be lingering impacts for quite a long time to go in the campaign overall; NPCs that are suddenly gone, new ones that have resettled from the mainland or elsewhere, political and social upheaval, etc. 

      If I do swap the serpent people and the Unspeakable One for my ratmen and .... the Horned Rat, or whatever equivalent I come up with, maybe I can still use the snake people as the alternate. PCs have to summon something more like Sertrous from the Elder Evils book or Ydersius from the Serpent's Skull adventure path. Or maybe it's just Dagon, who's already both Lovecraftian and D&Dish at the same time in equal measure. 

      I dunno; that's just a vague attempt to see how I could make it work. I do also like keeping the snake theme and maybe borrowing the signs and portents from the Sertrous chapter of Elder Evils to make the creepiness increase. Although I'm sure I could adapt those to rats too.

      It's also worth noting that the Freeport Trilogy starts out for 1st level characters, but ends them around 7th or so level, if I remember correctly. In keeping with the way I run, my games will be more like a Lovecraftian game where lots of leveling up and getting powerful simply isn't a feature; the whole trilogy could be run in the Old Night system at 1st level, or maybe letting them get to 2nd, but then keeping them there for a long time. I would think that even if I adapt literally all of the Freeport adventures into a Corsair Coast campaign, the entirety of all of the adventures wouldn't get them past level 5 or so in my system. But my system is fundamentally different, and has a different tone. Although I kept levels, it's supposed to feel more like level-less games like the BRP Call of Cthulhu, but with mechanics that are more familiar in many respects to D&D. 

      Anyway, here's the updated list. I've already also read Focus on Freeport, which I have all combined in a single pdf instead of the original 2-4 pages pdfs, so it's equivalent to a slim but not tiny game book (about 62 pages). Then I have to read a physical book again in the form of Hell in Freeport. Focus on Freeport went really fast. Many of the Focus posts were integrated into the Freeport Trilogy omnibus as it is, so they're duplicates of what I've already read. I doubt that there'll be any reason to review it, other than a few minor comments here. Most of the mechanics, prestige classes, etc. aren't worth reviewing, but there are a few other things. Falthar's Curios is an interesting location, and the Deus Ex Machina, although kind of a silly premise (stealing cleric's holy symbols?) can be adapted to any interesting rooftop chase. Then there's a silly mini-dungeon, and finally it ends with a rather ridiculous premise. A rooftop chase and a minor guild of thieves and their hideout isn't a bad idea, but this particular mini-adventure needs a little work to not be silly. That said, my memory is that I'm entering the sillier phase of Freeport for at least some of the next few products before it remembers to play it a bit more straight if the horror angle wants to be taken seriously.

      The ones that are not repeats seem to be pretty minor. A new monster, or prestige class, or NPC, or location around town. Useful stuff, especially if you use the 3e system, but not essential. Quite a few prestige classes, as it turns out. Hell in Freeport had a lot of Hell related prestige classes over two entire Focus articles, for instance. But they're not so flavorful that they warrant attempting to convert. 

    43. Death in Freeport (2000)
    44. Terror in Freeport (2000)
    45. Madness in Freeport (2001) 
    46. Focus on Freeport (2000-2002)
    47. Hell in Freeport (2001)
    48. Freeport: The City of Adventure (3e) (2002)
    49. Denizens of Freeport (2003)
    50. Black Sails Over Freeport (2003)
    51. Creatures of Freeport (2004)
    52. Shadows in Freeport (2005)
    53. Vengeance in Freeport (2005)
    54. Tales of Freeport (2005)
    55. Crisis in Freeport (2006)
    56. Gangs of Freeport (2006)
    57. Pirate's Guide to Freeport (2007)
    58. Cults of Freeport (2007)
    59. Dark Wings Over Freeport (2007)
    60. Buccaneers of Freeport (2008)
    61. d20 Freeport Companion (2008) 
    62. Blood of Freeport (2008)
    63. Freeport Companion Savage Worlds (2008)
    64. Freeport Companion Castles & Crusades (2008)
    65. 4e Freeport Companion (2010)
    66. Freeport Companion Pathfinder (2010)
    67. Peril in Freeport (2011)
    68. Fate Freeport Companion (2013)
    69. Dark Deeds in Freeport (2014)
    70. Freeport: City of Adventure (Pathfinder) (2014) 
    71. Freeport Bestiary (2017)
    72. Curse of the Brine Witch (2016)
    73. The Abyssinial Chain (2016)
    74. Storming the Razor Caves (2017)
    75. The Freebooters' City (2017)
    76. A Storm of Sails (2018)
    77. Traitor's End (2019)
    78. Friday, July 25, 2025

      Freeport, Freeport and gaming generations

      I've got three topics. Two of them are closely related, but one is not. Let me actually reverse the order of them from what the title says; I'll talk about the gaming generations and Shadow of Old Night first. How does Shadow of Old Night fit into the discussion yesterday that I had about Mike Mearls blog post on generations? Well, that's interesting. My game's evolution came about as I was looking to "fix" 3e in a number of ways; first to get rid of the clunky rules-heavy approach that I was super tired of by that time, and secondly to modify the theme, tone and feel of the game into a more dark fantasy pseudo-Lovecraftian approach to "D&D." I found Microlite20, or m20, which accomplished the first goal quite well, and I used that for a long time. Honestly, Microlite probably went too far into removing the rulesiness of the game and I added back in a few things here and there. But by funny coincidence, the rules are about the same complexity as OSR darlings based on OD&D or B/X, but with some "modern" fixes either taken from newer games or some other standard. While based on a thoroughly "modern" fourth generation game (3e), I converged in many ways with the OSR, even though there were always things that I didn't like about old D&D or the OSR playstyle. That said, I think I'm more into a fifth generation (according to Mearls' definition of such) stuff; OSR that's been pretty heavily modified into an indie D&D-like game of sorts. It's definitely clear to me that my game, relative to 3e, does not lean at all into bespoke character design with all kinds of options. I've cut options way down, and ultimately decided that I don't really care to offer mechanical options for characters. What I do like to do is look at old 3e and 1e Pathfinder stuff, and take concepts from those characters classes, prestige classes, archetypes, etc. and make low-res interpretations of them in my system. Because, y'know, I don't really care about representing them necessarily with unique and bespoke mechanics. 

      For example, this witch-hunter type is a cool concept. He doesn't need a bespoke character class to be played well and be fun.

      I'll read the Freeport Companions soon, and I wonder how much of that will offer archetypes that I like. I know for sure that the d20 companion had a pirate core class and an assassin core class that were additional to the game. Complete Warrior and Complete Adventurer offered some great ideas too, but they ended up feeling a little underpowered. The swashbuckler, ninja, scout and even the hexblade were all great ideas that needed just a little bit of tweaking to stand up alongside the real core classes as they should. Not a problem for me, because I believe that you can play these concepts without needing a class to play them. For a guy who's much more into roleplaying than rollplaying (to use the now quite ancient, curmudgeonly meme), there's no need to have that.

      But even I have to admit that I didn't always think so. I liked having the bespoke options once upon a time, because it's fun to think about how you would use them, and in many ways, the mechanics give you roleplaying hooks here and there to work with. The reality of actually using bespoke character building rules is that it makes the whole experience pretty tedious. But it takes actually playing 3e or Pathfinder 1e for a few years to really reach that conclusion, I think. My current take is a backlash of may years of 3e and deciding that I won't ever want to play that way, I don't think, ever again, unless someone somehow manages to create a game that offers that without being tedious. And I have to be motivated to actually look at it.

      Maybe games like Shadow of the Demon Lord slash Weird Wizard or even Savage Worlds already do it. Don't know if I care right now. Savage Worlds seems a little meta to me. I'd probably have trouble getting really into it, although I'm sure I could play it and enjoy it. But I doubt it would be my favorite way to play.

      --<     †    >--

      I've continued the Freeport trawl. I won't count "the book" for my reading goals as complete until I read the entire Freeport Trilogy book, but because it's an omnibus, I can talk about sections of it as I read them, because they would originally were, of course, separate products. I read "Terror in Freeport" now (which doesn't have any undead in it, in spite of its original Brom cover art). This isn't a big enough topic for its own post, I don't think, so I'm adding it here. Bottom line; I could use almost everything in this module too. Nothing in it is "too" D&D. However, the structure of the module isn't really entirely to my liking. It's very much a pre-written story with pre-written beats that have to happen for the module to play as expected. It's a railroad, in other words. While there's nothing exactly wrong with it, I don't like the structure of it, and would like to make it more flexible with the PCs figuring out exactly how to interact with the stuff that the bad guys are doing without the module having to tell me how they should interact with it.

      And I was wrong in my last post; Brother Egil isn't the disguised "good guy" snakeman, that's actually Father Thuron, the "boss" of the temple. He reveals himself to the PCs at the very end of the module. I'm not a fan of that, but I'll discuss that below. And the brief "sewer crawl" is kinda sorta a dungeon-crawl, I guess, but it feels very much like the similar sewer crawl in the Bogenhafn section of Warhammer's famous Enemy Within campaign.

      But other than that... it's OK. I'll add an update here later when I read the next interlude, "Thieves and Liars", and I'll have that as part of an updated version of this post later today. UPDATE: "Thieves and Liars" is a completely disconnected adventure. A corrupt city official keeps an expensive mistress, who he caught in flagrante delicto with another lover. The rake managed to escape, but her normal lover beat her until she told him who he was, and now there's a huge bounty out for him. The corrupt official wants to kill him, then kill her; she wants to escape with him, he just wants to escape, and potentially dangerous bounty hunters want the big haul. It's a little D&Dish in that he's a bard and she's a sorceress, so they've got some magic that they've used to charm their way into their gold-digging successes, but if you want to pad your run through with this, you certainly can. It also offers three mini-adventure ideas, although not with any details; all three are crammed into a single page. But in terms of what you could make of the three of them, they're probably all about as meaty as the interlude itself. They're a little more supernaturally; one involves a mystery of a murdered merman, one involves aquatic ghouls attacking the corpse barge heading to the crematorium, and one involves a succubus setting up shop in a whore house.

      Now for the third item, in terms of actually adapting Freeport and the trilogy to my setting, if I were to do that, there's a different discussion (the second Freeport in the title). While the module isn't too D&Dish, it is still kinda D&Dish. There's a few details that I'd like to discuss on how I'd convert if I were to use. I'll probably do this section as a dot point list.

      • There is no Temple of the Knowledge God. I know that this was deliberately vague so that you could slot in whatever god from your setting was most appropriate, but in Port Liure, this would just be the Academy. There may be a chapel and small chaplaincy associated with the university or library; kind of like a medieval monastery, and if I even need a religious (as opposed to academic) background for "Brother Egil", then he'll be a chaplain of the chapel of the Academy. But it's OK if it's just a scholar too.
      • Snakes suck, and almost everyone thinks so, so they make good bad guys. Chris Pramas also picked them for this module series, no doubt, because of the whole Yig deal from Lovecraft, and the disguised serpent-people of Howard from stories like "The Shadow Kingdom." Pramas even designed Freeport to be built on the ancient ruins of the serpent kingdom Valossa is clearly based on the name Valusia, which the serpent people tried to take over in "The Shadow Kingdom." But just because snakemen make good bad guys doesn't mean that they're necessarily the best ones I could use. I kind of think my skaven-like ratmen would work very well for this module to replace the snakemen. I guess I could go either way; snakes or rats; everyone pretty hates both of them, so they've got bad guys written all over them, but wandering around in the sewers and stuff seems more ratlike than snakelike. Plus, switching to rats makes it feel a little less like Freeport, even if I'm technically running the Freeport modules.
      • Thuron, or whatever I rename him to because that name doesn't fit my setting, will either 1) not actually be a disguised snakeman (or ratman), or if he is, he'll be killed. I kind of like that, actually, because then he reverts to his real form and nobody knows what to think about that. Was he opposing the other snakemen who attacked the "temple"? Was he helping them? What's going on with them? I like the mystery. And if the PCs go haring after this, it can develop into something interesting. Not that I need more hooks with things to do. Freeport is pretty chock full of things to do already.
      • Mentioned this already, but I want to either make up my own cult dedicated to my own new Great Old One analog, or use a more obscure one than Hastur (the Unspeakable One) and his Yellow Sign. I'm not great at creating names, so I'm unlikely to attempt it, but there are enough super obscure elements of the Mythos that I can easily coopt an existing name that has no real development and turn it into something interesting. Names that I currently like include Zo-Kalar, Gol-Goroth, Yogash the Ghoul, Ghoth the Burrower, and maybe even Sebek, who is also a real Egyptian god and a Robert Bloch created Mythos analog of such.
      Oh, and here's the updated list of Freeport material to read:

    79. Death in Freeport (2000)
    80. Terror in Freeport (2000)
    81. Madness in Freeport (2001) 
    82. Focus on Freeport (2000-2002)
    83. Hell in Freeport (2001)
    84. Freeport: The City of Adventure (3e) (2002)
    85. Denizens of Freeport (2003)
    86. Black Sails Over Freeport (2003)
    87. Creatures of Freeport (2004)
    88. Shadows in Freeport (2005)
    89. Vengeance in Freeport (2005)
    90. Tales of Freeport (2005)
    91. Crisis in Freeport (2006)
    92. Gangs of Freeport (2006)
    93. Pirate's Guide to Freeport (2007)
    94. Cults of Freeport (2007)
    95. Dark Wings Over Freeport (2007)
    96. Buccaneers of Freeport (2008)
    97. d20 Freeport Companion (2008) 
    98. Blood of Freeport (2008)
    99. Freeport Companion Savage Worlds (2008)
    100. Freeport Companion Castles & Crusades (2008)
    101. 4e Freeport Companion (2010)
    102. Freeport Companion Pathfinder (2010)
    103. Peril in Freeport (2011)
    104. Fate Freeport Companion (2013)
    105. Dark Deeds in Freeport (2014)
    106. Freeport: City of Adventure (Pathfinder) (2014) 
    107. Freeport Bestiary (2017)
    108. Curse of the Brine Witch (2016)
    109. The Abyssinial Chain (2016)
    110. Storming the Razor Caves (2017)
    111. The Freebooters' City (2017)
    112. A Storm of Sails (2018)
    113. Traitor's End (2019)
    114. Thursday, July 24, 2025

      What is D&D?

      What is D&D? I tend to agree with this post on YouTube by Professor DungeonMaster. I grabbed the appropriate section out of the transcript:

      I don't think systems are game systems so much as they are languages. They're different dialects of the same language. And whether you play 5e, OSE, DCC, C&C, ICRPG, Pathfinder, or ShadowDark: Strength, Intelligence, Wisdom, Dexterity, Armor Class, hit points, roll the D20, roll high, and then roll damage. If you're using those elements, it's just a different dialect of the same language.

      So yeah; that's a pretty broad definition of D&D. But what's not to accept about it? This also tracks in a way with Simulacrum's definitions of the OSR: as long as material is useable without too much fiddliness in terms of conversion, they sure, it's basically the same thing.

      I'd even go so far as to suggest that games that lack some of those elements, but which emulate the exact same heroic fantasy "space" as D&D are also dialects of the same language, albeit ones that are a little harder to understand (it's possible I'm pushing the analogy too far.) Why wouldn't RuneQuest, Rolemaster, Hackmaster, Harnmaster, Dragonbane, Symbaroum, Earthdawn or many other heroic fantasy games that—essentially—would take the place of D&D in being the same kind of game also count? I mean, I get it; if they aren't mechanically very compatible, then they're a little off the reservation, but a game doesn't have to be OGL based or OSR or otherwise very similar mechanically to D&D to occupy the same space. I prefer a broader, even almost casual, usage of the word "D&D" and I freely admit that I use D&D much like I use Kleenex; to refer to any fantasy adventure RPG—unless it's got something so significantly different than it really feels different.

      Rob Schwalb said in some old post a while ago, that in his mind, as much as he liked playing Dark Sun during 2e, for instance, that he always subconsciously considered it a game of Dark Sun rather than D&D, because it felt significantly different to him. I'm not sure that I agree, but I do understand it, and to continue using the linguistic metaphor, the line at which mutual intelligibility between dialects is too poor to count varies by person. Maybe I'm more of a lumper than a splitter in this regard.

      On a related note, Mike Mearls made this post on his substack a couple of weeks ago. A lot of "splitters" are getting their panties in a twist about pedantic, nitpicky details, but if you keep in mind that this post is specifically meant to be taken both generically and to be talking about design trends (regardless of how people were playing the game) and that of course it's mostly talking about D&D, because D&D has always been the large majority of the hobby. Although of course trends that started in other games can and did impact D&D's design choices too.

      The first generation of TTRPGs is D&D and the games that came immediately after it. Design struggled to resolve the tension between playability and simulation. TTRPGs inherited the design concerns of hex-and-counter wargames. It ran from 1974 to about 1983.

      The second generation focused on TTRPGs as storytelling mechanisms that supported heroic characters. It took them a while to shed their simulation roots and embraced the idea that these games took place in fictional worlds. In general designers tried to make games that assumed the “simulated” reality was that of a movie or novel. This generation ran from 1984 to about 1991.

      I actually think simulation continued throughout this "second generation" and amounts to what James Maliszewski famously called "Gygaxian naturalism." It was so ingrained in the designer mindset that it remained the background noise in design up through the 3rd edition of the game, so mid 00s or so.

      The third generation shifted from characters to settings. Genre emulation rose to prominence, whether a game supported a genre from other media (pulp adventures) or a specific TTRPG setting and its tropes (TORG, Shadowrun). This era ran from 1991 to 2000.

      This was no doubt heavily influenced by the success of White Wolf during this period. Not just settings, but lore, meta-plots; all that stuff was the hallmark of most games during this generation, including D&D; although its influence in D&D was probably less than it was in many other games or franchises.

      The fourth generation focused on the game of character creation. Computer RPGs, which to this point mainly took their cues from tabletop, pushed into their own direction and TTRPGs followed. The focus shifted to the player experience of creating and playing a bespoke character. The GM diminished in importance. This era ran from 2000 to today.

      Sort of.

      Fourth generation TTRPGs, taking their lead from video games, were the first generation to take a business model into account. The idea is simple. If you can get players to purchase expansions on the regular, you’ll make a lot more money. There are four or five players per GM, so your market just grew enormously.

      This also aligns with the rise of digital culture, which triggered two things.

      Fans and publishers could now connect at scale. That flow of information led to entrenchment of design and business thinking circa 2000. The culture of play and design slipped into stasis (kind of, as we’ll see).

      TTRPGs also suffered a severe contraction starting around 2004 with the release of World of Warcraft. Suffocating industries have trouble innovating. Investment and talent flowed outward, making innovation difficult.

      I'm not sure that 3e was initially focused on power-gamer builds from a design perspective, although I think it took root fairly quickly, and certainly continues into the Pathfinder games as well as others. Even though 3e always allowed such, it was seen as very bad form to encourage such. I dunno. I'm just noodling with my own perspective. He was actually designing stuff by then, so he probably had more insight into where his fellow designers heads were at than I do.

      I find it curious that he talks about that big contraction in 2004. World of Warcraft no doubt contributed, but I wonder if it really was the cause. I also wonder—based on comments that he himself has made in other forums—if it didn't start even earlier, and suggested that in many ways Third Edition wasn't as popular as we've usually been led to believe. Possibly people kind of stopped playing it fairly quickly in many cases and continued with their 2e (or older) games instead. Possibly that explains the too-soon release of 3.5 in 2003; an attempt to juice flagging sales. I don't know, but I think there are a lot of questions that this quick interpretation begs. Like; what about all of the Player's Options books in 2e? If this was business model related, why was there such a big contraction in sales, etc.?

      Then a bunch of things happened to spark a shift.

      D&D 4e, representing the peak of fourth generation design, nearly killed the D&D business. Paizo picked up the D&D baton with Pathfinder, but that game was a refinement of 3e and its very fourth generation approach. That disruption led to a lot of TTRPGers becoming gaming free agents. They were looking for something new.

      4e, doubling down on an eight-year old design approach, helped spark a shift back to older generations of gaming. Slowly but surely, a chunk of the hobby began to question both third and fourth generation design approaches.

      In other words, the rise of the OSR specifically. 

      Then 5e came along. It triggered a surge of interest in TTRPGs with its more accessible design, but fundamentally it remained a fourth generation design. As digital culture made TTRPGs more accessible, new players and GMs piled in to the hobby. The COVID 19 lockdowns provided another boost of interest.

      I think 5e sparked the desire for fifth generation games, but being wrapped in a fourth generation design it left the audience caught in limbo. Until now.

      The attempt to revoke the OGL was a disruption on par with the release of D&D 4e. It caused a relationship reset between D&D and its audience. This time, rather than flock to Paizo the audience scattered to many different games.

      Two years later, we’re seeing where the change stuck.

      I think his interpretation may be just slightly self-serving, considering that he was the lead designer on 5e. Did 5e really change the game for gaming, or did it happen to hit a perfect storm of factors that drove its faddish popularity in ways not imagined since the early 80s, but which had little to do with the actual design of 5e itself? Even he kind of admits that 5e was the rearguard of the fourth generation, even as demand for a fifth generation was quietly building and waiting for a dambusting impact to draw it out.

      I also think he overestimates the impact of the OGL debacle. It was a big deal to some people online, no doubt about it. But I think 5e was just tired by this point. It was releasing crappy, woke products that weren't selling all that well. Everything that was obvious was done, so they were doing the corporate slop move that all entertainment companies do when they're only allowing corporate slop to be made; rebooting and reheating leftovers from prior years when their popularity was greater. We see the same thing in movies and TV shows. Then, with the teasers and release of 5.5, it's obvious that it satisfied nobody. It changed too much to really be as compatible with older materials as it promised, yet it changed too little to satisfy people who were tired of the way 5e played and were looking for genuine improvements or differences. It landed with a big, gigantic ho-hum. It was clear that D&D was in the corporate slop phase, so people had already been looking around at creators that still had passion and energy for stuff that was going to be fresh and interesting. 

      I think that's the real reason for people moving on. Not that the OGL thing didn't play a part, but it's a much smaller part than he makes it out to be.

      I think the audience went to two basic categories of games. They either sought out games that double down on 5e’s fourth generation traits - bespoke character creation, lots of character options - or they settled into games that focused on ease of play and GMing, 5e’s shift away from the fourth generation.

      Those later games, which look like they have done a better job of holding their growth, are fifth generation designs.

      Fifth generation games are games made for GMs. They are designed for ease of play, with that consideration extending to UX and UI. If the dungeon crawl you’re running presents rooms in bullet points and puts map insets on each page spread, it’s a fifth generation design.

      Fifth generation designs are designed to enable GM creativity. They realize that without a GM, nobody can play a TTRPG. They focus on playability and ease of use and are very aware of the context in which they take place.

      Maybe. This is still in the indie department, not the mainstream design department, so him claiming that a new generation has already arrived is probably premature. And curiously, this new generation he's talking about mostly came out of the fracturing OSR playstyle; people who had already rejected at least his fourth generation, if not also his third and even many elements of his second. Although it also acknowledges yet again that the OSR isn't a recreation of anything old; it's something new that arose out of looking at stuff that was old, and finding new ways to build on that foundation other than what the mainstream had been doing for years.

      The COVID lockdowns gave people time the time to play TTRPGs. That desire to play remains, but the audience found that fourth generation designs could not fit into their post-lockdown lives.

      Crowdfunding enabled a generation of designers to build a player community first, rather than attempt to brute force it through a distribution and retail tier that expected the commercially-driven approach of fourth generation designs.

      YouTube and streaming enabled actual play telemetry. We can now watch a group stumble through an overly elaborate combat sequence, or witness someone spend 10 minutes taking a turn with their bespoke character.

      So, welcome to the fifth generation. Adjust your design sensibilities accordingly.

      Again; I'm not so sure. I do think that the bespoke character super rulesy play was exposed as being kind of lame by actual plays, if you didn't already know that from your own experience. It's clunky and it takes a long time of boring stuff to get fairly minimal fun out of your hobby time. The traits of what he calls fourth generation appeal to people who play less than they read. Their hobby is buying books, reading them, building characters, and imagining what they would do with them, without the rubber actually hitting the road all that much. Because when it does, the actual reality of playing that way is that it isn't as much fun as it sounds like it would be, and large numbers of players get burned out by trying to do so, and start looking for easier and more efficient ways to use their hobby time.

      So again, this is a pretty handwavy attempt to create these generations. It kinda works, but it leaves a lot unsaid, and cherry picks just a little bit just-so stories for root causes of change while ignoring other causes of change, I think. And his claim that we've entered a fifth generation which doesn't include D&D also seems a little bit self-serving, given that he no longer works for D&D. It probably is still a generation struggling to be born, and whether it will actually become the mainstream for design or not is TBD.

      And, because I dislike posting walls of text without something of visual interest, here's a picture of a Conan-esque character that I found online, probably generated by AI—in spite of the signature.


       

      Death in Freeport

      I started my FREEPORT TRAWL™ officially yesterday by opening up the 5th Anniversary pdf of the Freeport Trilogy, and read the introductory pages and "Death in Freeport" itself, a short 32-page or so module, in its original form. Chris Pramas said he'd made some kind of deal with Brom that he let him license some art that he'd created for a card game that never launched, or something, so it's got that weird skeleton on the cover—although curiously there is one encounter with skeletons in the module, it is kind of gratuitous and probably only added because the cover art had a skeleton on it. The trilogy as omnibus has a Wayne Reynolds cover on it, and Wayne Reynolds covers became a Freeport thing, where almost all of the books had one for a while there. This was during Wayne Reynolds peak proliferation, or at least was near the start of it; he also did all of the covers for Eberron, later for most 4e books, as well as most of the Pathfinder covers for several years. He still does most of the core books for Pathfinder, although you're much less likely to see him on every module after a couple of years.

      That said, the real order of business for the Freeport Trawl is, of course, how much of this would work in a Shadows of Old Night game, and the answer is: after changing around a few names and details, probably all of it. The scenario is a little too D&D-ish for me, but that has little impact honestly on how much of it I could use. What I was more concerned about were issues related to 1) making a sympathetic nice guy version of the snake people in the form of K'Stallo, and 2) being too kitschy with regards to Lovecraftian name-checking. K'Stallo isn't even mentioned yet at all, and "Brother Egil", who if I recall is the guy who ends up being K'Stallo, is just played pretty straight as a scholarly monk fellow and legitimate friend of Lucius, the "damsel in distress" for this module. I strongly disagree with making K'Stallo into a "good guy", but at this point, he's still completely incognito, and even in the behind the scenes text it doesn't make any reference to anything that would make it apparent that he's more than what he's presented as. It's something to think about going forward, but not a problem yet.

      The hoaky Lovecraftiana isn't so bad here, but I think I do want to change some stuff anyway. The Brotherhood of the Yellow Sign can be a different cult of my own manufacture, or even one that references something else. (Brotherhood of the Dark Tapestry would be a good example; that's how Pathfinder did legitimate Yog-Sothothery by feeling legitimately Lovecraftian yet also being a new entry into the canon of Yog-Sothothery.)

      The next part of the file to read is the interlude, which was originally released as a web enhancement, I believe, but which is now integrated into the book. And going forward, I'll possibly find things that I would want to change that will "retro" stuff in this module; maybe I want some different kinds of foreshadowing about "Brother Egil", etc. I may not talk about the interlude in a separate post, but will probably talk about it along with the second module, Terror in Freeport, as soon as I can read the two of them together.


      As an aside, I wondered why Green Ronin created these serpent people when we already had perfectly good yuan-ti in the Monster Manual. Pathfinder kind of did that too in their Serpent's Skull adventure path, which I deconstructed some years ago here on this blog under the ISLES OF TERROR tag. Of course, the answer was pretty obvious when I looked at an online SRD; yuan-ti were never added to the SRD, so they were never open content. Which is kind of shady, in my opinion, since they were clearly copied from the snakemen that Robert E. Howard and H. P. Lovecraft had used in their pulp fiction decades earlier, but I guess that's why both Paizo and Green Ronin had to reinvent the wheel somewhat. I guess the yuan-ti do, in fact, have a few unique elements, including the various castes, etc. and I kind of like the way that they work. I decided to make my own snakemen, when I reluctantly added them after doing the ISLES OF TERROR project, a little more mythological, and tied them to Medusa as their original progenitor. I'm using them in CULT OF UNDEATH (revised edition) where I have an arc that is deliberately based on Lovecraft's story "The Shadow Over Innsmouth" but which replaces the sea with a swamp, and the fishy Deep Ones with snake people, and Dagon with Nachash. Now, this would assume, if I really follow the Deep Ones model, that people eventually turn into snakemen, but I'm not 100% sure that I'll do that. If I do actually use Freeport stuff as a campaign model the same way that I eventually used Paizo's Carrion Crown adventures to be the original Cult of Undeath inspiration, then I want my snakemen lore to be consistent between the two of them, I think. But I've got time to sort that out. It's not like I've run either Cult of Undeath or am likely to run Freeport Trawl either one anytime too soon.

      A couple of minor notes; I've actually thinking about buying a POD of the Freeport trilogy, since you can at a relatively decent price on Drive Thru (less than $30). I know, I know; I've got it in PDF, but I greatly prefer having actual physical copies of books that I'm actually considering using and re-reading. PDFs are best for books that I'll read once and most likely not bother with again. That's part of the reason I ordered a Lulu.com version of my own game (just arrived last night!)

      And if I get tired of reading Freeport books and want to insert something else in to break up the piratey monotony, maybe I can pick up my pdf of the 3e Forgotten Realms book Serpent Kingdoms, just to see what they said about smakes and lizards and yuan-ti and whatnot. I've always meant to read that book, and literally for years haven't done so. I've actually got a decent load of 3e era Forgotten Realms pdfs that I've had for a long time, but never read. Can't remember where I got them all. Maybe I jumped on a Humble Bundle or something, or there was a sale, or maybe I just bought them anyway. Don't know; it would have been the better part of twenty years ago now. Not to derail my own conversation, but when I finally read the Forgotten Realms Campaign Setting book earlier this year, all the way through, I was kind of disappointed—even without high expectations. It hasn't really endeared me to the idea of diving into more of them. But this one, which supposedly gives us more yuan-ti and lizardmen lore, seems appropriate right now.

      And, with every post in the FREEPORT TRAWL tag, going forward, I'm going to mark my progress on the reading. I had previously had the Return to Freeport modules in their omnibus format pegged to 2019, but I've now used the original publication date. But I'll read them last, even so.

      • Death in Freeport (2000)
      • Terror in Freeport (2000)
      • Madness in Freeport (2001) 
      • Focus on Freeport (2000-2002)
      • Hell in Freeport (2001)
      • Freeport: The City of Adventure (3e) (2002)
      • Denizens of Freeport (2003)
      • Black Sails Over Freeport (2003)
      • Creatures of Freeport (2004)
      • Shadows in Freeport (2005)
      • Vengeance in Freeport (2005)
      • Tales of Freeport (2005)
      • Crisis in Freeport (2006)
      • Gangs of Freeport (2006)
      • Pirate's Guide to Freeport (2007)
      • Cults of Freeport (2007)
      • Dark Wings Over Freeport (2007)
      • Buccaneers of Freeport (2008)
      • d20 Freeport Companion (2008) 
      • Blood of Freeport (2008)
      • Freeport Companion Savage Worlds (2008)
      • Freeport Companion Castles & Crusades (2008)
      • 4e Freeport Companion (2010)
      • Freeport Companion Pathfinder (2010)
      • Peril in Freeport (2011)
      • Fate Freeport Companion (2013)
      • Dark Deeds in Freeport (2014)
      • Freeport: City of Adventure (Pathfinder) (2014) 
      • Freeport Bestiary (2017)
      • Curse of the Brine Witch (2016)
      • The Abyssinial Chain (2016)
      • Storming the Razor Caves (2017)
      • The Freebooters' City (2017)
      • A Storm of Sails (2018)
      • Traitor's End (2019)

      • UPDATE: Finished the little interlude, "Holiday in the Sun." It's completely unconnected to the story, and is just a "festival" in Freeport, giving the PCs a chance to play some games, engage in some minor political stuff, and probably save some people from a spider-predator. It's completely superfluous, unless you just want to pad the space in the trilogy out a little, but I could use all of it easily enough. Next; on to "Terror in Freeport!" This one also had a Brom skeleton cover illustration originally, but I don't remember if there are any undead in it from my past exposure to the adventures.

        Wednesday, July 23, 2025

        Corsair Coast names and Port Liure districts

        The Corsair Coast is a pretty cool name, but I doubt anyone who actually lives there would refer to it as such, just like the Barbary corsairs didn't call themselves either Barbary or corsairs, but rather residents of whatever city-state or tribe that they belonged to. The actual name of the Corsair Coast as a region, would be Baix Pallars, based on a Catalonian word; Pallars being a region in Catalonia, named after the historic Frankish County of Pallars in the same area. Baix (pronounced with a long I sound and the X as a J and an SH jammed (jshammed?) together) is the Catalan word for lower, referring of course to the southern orientation of the Corsair Coast relative to the rest of the setting. Baix is the Catalan cognate to Spanish Baja, except that it retains the old usage of x whereas in Spanish, the X, which was like an SH in Medieval Spanish started to become pronounced like the Spanish J, and eventually was replaced by the Spanish J in most words other than older names, like Mexico. Linguistic spergy interlude over, but its worth pointing out that this name for the region replaces my previous attempt to call it Porhomok. That latter name might possibly still stick for the deeper jungle interior, but I'll probably quietly let it fade away and be forgotten.

        Baix Pallars, then, is the entire region, including the Corsair Coast itself, a few outlying islands nearby, and the interior, to some degree. There will be a few city-states on the Corsair Coast: Razina, Alcassar, St. Haspar, and Segria and numerous smaller ones as well. Some of those, in earlier versions, had diacritics (Alcàssar, Segrià, Sènt-Haspar) but that's too much trouble and too foreign. Getting rid of the accent marks means that I'll probably pronounce Alcassar and St. Haspar, etc. differently, but that's OK. Of course, the most important city in the region is Port Liure. Port Liure is located on Gandesse Island, which is only a mile off-shore from the mainland, within sight and even within swimming distance for most. The following is a list of the major neighborhoods or districts within Port Liure. The Watch has formalized these to some extent; each of these neighborhoods has a Watch barracks, and most Watchmen have a regular patrol that is limited to just one neighborhood.  


        Academie: Named for the Academy which takes up most of this area; a rather staid university district, which strives to be taken as seriously as the institutions in Mittrmarkt or elsewhere, but which has a long way to go still in terms of gaining prestige, longevity and funding. Still, the Academy at Port Liure is a popular one for wealthier students around the area who are more interested in the experience than necessarily their education—it's widely seen as a "party school" compared to its competitors. Young sons of minor nobles and merchants make up the majority of the student body. In addition to the halls of the Academy itself, this district has the dormitories of the students, staff and faculty, and a number of small shops that cater to the students, staff and faculty, and other hangers-on.

        Castle Gardens: Named for the large "castles" that fill the district, this is a wealthy one, where the summer homes of nobility from around the area, as well as the local nobility and wealthier merchants, are found. With private docks, opera houses, and high class accommodations and services, this is a fairly quiet and peaceful neighborhood, and the Watch's relationship with various private security forces is sometimes somewhat tense.

        Chersky Quarter: More broadly a middle class neighborhood, but Rue des Hamazins, which is renowned for its hamazin restaurants and small ethnic neighborhood is responsible for the name of the entire district. Infamous as a hold-out of the Chersky Mafia—the Watch here is suspected of being thoroughly corrupt.

        Old Town: Jacob Bernat's original keep, and a great deal of the old money and old power of Port Liure make their homes here. In reality, few people actually "live" here, though—this is a busy quarter during the day, with the running of the business and administration of the city-state's government, but goes very quiet at night. The Watch presence is strong and implacable, by reputation.

        Foghorn Park: A lower-class neighborhood far from the waterfront and nestled in the arms of the foothills at the edge of town, many of the people who live here are laborers in the farms outside of town, or hunters in the mountains, or otherwise have occupations that keep them busy away from the commerce of the city. Overland smugglers are said to thrive here, and people walk relatively carefully due to suspicion of gang activity. Much of the woodwose population of the city lives here; even so-called "urban woodwoses" are consumed with enough wanderlust that they feel more comfortable being able to leave the city quietly, unobtrusively, and relatively frequently.

        Little North: Little North is actually on the south end of town, but because it gained character as a Hillmen and Timischer ethnic neighborhood, it became known as Little North. Curiously, it's not particularly settled by Northerners anymore—it's a low class laborer neighborhood, and a hotbed of gang warfare; a crossroads of various gang's territory, as it were. The Union of the Snake† headquarters are located here, near the docks.

        Les Corts: The origin of the name is lost to history, but no Courts hold sway in this neighborhood anymore. Both the Watch and private security don't wait for sentencing to mete out punishment to anyone who violates the peace here, as Les Corts is primarily a warehouse district, and goods worth a king's ransom move through this district almost routinely.

        Little Kurushat: The last neighborhood named for an ethnic component, this one lives up to its name, and the neighborhood is famous for its Kurushan architecture, signage, cuisine and more, although Kurushan presence is more muted than you'd expect. The neighborhood in general, though, has become a slum for all kinds of expatriates living in Port Liure, and it could as easily be named for any of them. Gang violence (and other violence, for that matter) is not unusual here, and the Watch sergeants who work this beat are reputed to be unflappable and highly used to all kinds of terrible things. Kaz's Crew‡, a gang of mostly drylanders, curiously, has much of the district in its grip, but other gangs work the area as well.

        St. Vincent: An almost "anti-ethnic" neighborhood, the residents here are proud of their Pallaran heritage and have little patience for immigrants and the troubles that seem to follow them.  The Watch is firmly in the pocket of the Castiadas crime family here, who maintain a respectable façade.

        Soddens: The poorest slum in the city, Soddens is supposed to be nearly lawless. In truth, the Watch keeps a strong presence here, but no matter what they do, it's insufficient. Firmly in the grip of crime families, all of the industry of this district is illicit—smuggling, drug dens, prostitution, slave markets—if it's illegal, or even frowned upon, it happens here. Life is cheap, and dead bodies in the street are hardly enough to spur the Watch to become concerned. Named for the thick fogs that roll off the hills and blanket this district, it's also notorious among those who tell these kinds of tales, as a haunted district, and much of the supernatural activity that rumors and ghost-stories love to regale are centered around Black Maria's Square, where old Jacob Bernat's daughter-in-law was supposedly executed in the early days of the city.

        White Stones: Infamous as the headquarters of the Fuzeta da Ponte crime family, this neighborhood is named for the pale granite flagstones that make up much of its streets. Boats slip in and out of this neighborhood at all hours, and nobody asks too many questions of their neighbors, which keeps this a relatively peaceful neighborhood most of the time; although one infamous for things happening which are not supposed to.

        Liure River: The Liure river runs right through Port Liure. Although it is not truly navigable beyond the city, small ferries, gondolas, and other small watercraft ply the river, as well as the many canals that spring off from the river and penetrate deeply into the city.  Because cool sea breezes blow in after dark, the river and the many canals are the source of frequent blankets of fog and mist that rise from the waters as the temperature changes.  This thick blanket of mist helps to cement and encourage the many legends and stories of hauntings and ghosts that have given Port Liure it's nickname as Port of Ghosts, but the persistence of the rumors and legends and stories... as well as the disquieting frequency with which new stories seems to be added to the corpus suggests to many that they are not merely quaint urban myths, but indicative of a much more serious condition.

        Many such stories originate on the infamous Rua de Xavier.  The Rua is, strictly speaking, a bridge rather than a street, but the name persists regardless.  The Rua is almost a half mile long, and bridges the Academy to the Old Town district to the north.  Built on a series of stone starlings, the Rua is fairly wide, and has developed almost into a mini-neighborhood in its own right.  Buildings—houses, business, and more line both sides of the bridge, and hang out over the river to a considerable degree.  Many of them also overhang the street, so walking along the Rua is often compared to walking through a dim, man-made tunnel.

        One of the most infamous buildings on the Rua is the vacant Church of Starry Wisdom.  Once a business owned by a locksmith, later converted into a pub, and later again into a meeting place for said church, this building is now often claimed to be haunted.  Five years ago, a cult was rousted from the Church after allegations of kidnappings, sacrifices, and odd summonings of unearthly, unnatural creatures.  After a closed trial, there was a very public execution of twenty-one individuals associated with the church.  Rumors hint at ten times that many members who slunk away quietly to disappear into the city.

        Since that time, the ghosts of the executed members of the Church of Starry Wisdom are among the least of the stories that still remain.  Strange and furtive individuals are still said to lurk about the church at night.  Disquieting behavior from rats in the area is often reported, including a persistent rumor of a rat that has the face of a noted assistant of the executed "high priest" of the cult.  This fellow was know as Brown Jenkin, and a large rat with Brown Jenkin's face has been reported by no less than five people who live in the area nearby.  There are rumors that something that was summoned remains in the area. Perhaps trapped in the building of the church itself (hopefully) but perhaps not.  Residents nearby close and lock their doors on moonless nights, especially if the mists are up.

        Strange sounds, often disembodied, are heard in the area.  Chittering sounds, or the chanting of many voices (although no source for the chanting can ever be found).  Sounds of uncertain provenance are frequent in Port Liure in general, and this is to be expected for a city that is frequently blanketed in thick mists, but the frequency of which they are reported in the Rua de Xavier is higher than anywhere else in the city.

        Gradually, many people who live or work on the Rua itself have been selling out, often at a loss, and moving to other neighborhoods.  Sometimes this means new neighbors—an always troubling prospect in a city like Port Liure, but sometimes it simply means that buildings go vacant for months at a time as new owners attempt to figure out what to do with real estate that hangs over a bridge.  It is estimated that over the last five years, almost ten percent of the former inhabitants have left, and of that ten percent, probably about half have been replaced.  Five percent of the buildings on the Rua are vacant... but troublingly, not necessarily abandoned or empty.  Because the Rua is a bridge that connects to neighborhoods, it did not have an assigned Watch, but the Watch has since added the bridge to the route of the patrols for Old Town, and the Academy Guard also keeps a wary eye on the place.  This has improved the feeling of security for many in the area, but dark rumors persist.

        † In St. Haspar, anyone who sells anything; a good, a service, a slave--no matter what—risks the wrath of whatever applicable guild governs his actions if he doesn't first buy a membership in the guild. This often isn't much money, especially for those who want to sell fruit from a cart, or be available for temp labor, or something like that—a single noble or other local gold coin for a year-long membership, for example—but because the Lord Governor gives these guilds tacit authority to police their industries, anyone who risks dodging guild membership is setting himself up for a severe beating and confiscation of his money and merchandise at best, or a permanent stint as shark food in the harbor at worst.

        Some guilds, however, are more than simply shakedown rackets; some of them have a great deal of power, influence and money even beyond St. Haspar's borders. The Union of the Snake is one such guild. Because the Lord Governor has not deigned to outlaw or control any substance in St. Haspar, it has become the poison and drug capital of the Corsair Coast, and because the poison-maker's guild has decided to define drugs as long-term poisons that frequently have pleasant short-term effects but certainly poisonous long-term effects, the same guild monitors both poison and drug manufacturing and sales in St. Haspar and beyond. This wasn't always the case, but when almost all of the important guild heads of the drug producer's guild died in a single night, the poison maker's guild had made their point. Since St. Haspar is the capital for such activity throughout the Corsair Coast, that makes the colorfully named Union of the Snake one of the primary movers and shakers of the local economy, with a cash flow to make kings weep. Named for the deadly and subtle serpents that the poison-makers aspired to be compared to, the Union of the Snake has secret agents and assets in every major urban center in the entire Corsair Coast beyond.

        Union members are much less casual about their affiliation than many other guilds in St. Haspar; most have a small tattoo of a poisonous asp or cobra on their wrists or ankles to identify themselves, they pay much larger dues, but in return get a great deal more support from the guild, especially in terms of contracted security for major shipments or deals. Although closely allied with the assassin's guild, outside of St. Haspar, expatriate Union of the Snake members often are themselves assassins, and can command a premium in many other markets such as Port Liure and elsewhere, known for their subtle use of poisons that sicken or kill their victims and make it appear like a completely natural death. Other contract killers, especially those associated with the Chersky Mafia are more brutal and appropriate when a message wants to be clearly communicated, but the Union of the Snake is infamous for its subtlety. 

        ‡ Port Liure has a reputation as a lawless, anarchic place. That's not entirely true. One of the conceits for its very existence; a necessary caveat for its powerful neighbors to the north accepting its bid as an independent city-state in the first place, is the establishment and enforcement of a rule of law in Port Liure, and agreeing to do so was old Jacob Bernat's key compromise in his bid to establish himself as the newly minted Lord of Port Liure at the end of the Pirate Wars 150 years ago. How seriously that endeavor has been taken over the years has, of course, waxed and waned. At its most stringent, the streets were nearly as clean as in any Timischer or Hillman city, and at its most lax, the Lord of Port Liure was little more than among the most prominent gangster warlords in the city, with the City Watch as his personal enforcers. Naturally, most of the time, it's somewhere in between.

        But even at its most strident, the streets of Port Liure have never really been clean.  t's just not in the nature of Liurans to roll over and accept too much authority, and the result of that is that organized crime is one of the most enduring and notable features of the city.

        Currently, the following are among the most prominent elements of organized crime in the city.

        • The Chersky Mafia. Headquartered "overseas", this mafia was formed and remains run to this day by kemling crime bosses. Originally meant as a method to raise money and resources for a resurgent "glorious revolution" and revitalization of Baal Hamazi itself, as the years have passed, the patriotic zeal has proven fleeting. Most likely, the organized crime business is simply more profitable. Although nominally run by kemlings, in reality, they tend to be distant and rarely seen authority figures. Much of the actual muscle of these gangs are made up of shaggy urban woodwoses and local humans. They deal in the usual vices: prostitution (not strictly illegal in Port Liure, although discouraged in some locales), smuggling, drugs, protection rackets, bribery of officials, and the occasional contract killing.
        • The Union of the Snake. A small group in Port Liure, this is actually a Hasparan outfit that specializes in assassination and poisonings. Because their reputation is so good, the business is incredibly lucrative, and they can charge so much, the Union has surprising clout given their small numbers. They are much more specialized than most, however.
        • The Castiada Crime Family. A local Pallaran family business with estates on the mainland, which has grown over the years to be a major player in the city. Ruled by the "Old Gray Lady", it's not entirely clear who this person is. It's not entirely clear that it is in fact a single person, or even a person at all. Commonly, it's believed that the Old Gray Lady is a leader in disguise, and the actual running of the family is confined to a small group or triumvirate who take turns donning the Old Gray Lady's robes when the occasion demands. Some have made wilder claims; that the Old Gray Lady is the ghost of an ancient Castiada matron who still rules the family from beyond the grave being one popular tavern story, but if anyone knows the truth, they're not saying. In addition to playing in the usual vices, the Castiadas have made a concerted effort in the past to corral all the cat-burglars and pick-pockets in the city under their umbrella.  They haven't been completely successful, but they've managed to take a cut from a fair amount of them, and freelance operatives better learn to take very small, discrete steps around town or risk their brutal wrath.
        • The Fuzeta da Ponte family. Another local gang, but one with tendrils extending throughout the Corsair Coast.  Old Man Heitor, the capo emeritus of the family, spent many of his younger years at sea as a pirate, and only retired to take over the organized crime business from his father when the sea lanes got too hot for him. He's now stepped aside for his own son, Leonardo, who plied the seas with a little more legitimacy, sailing with a letter of marque issued by the Lord of Port Liure himself. Fantastically connected, both locally with the nobility, abroad with various important VIPs throughout the region, and with a number of old pirates and smugglers on the waters as well, the Fuzeta da Ponte family might be the most potent player in the city, although their strength is difficult to estimate. Although they dabble in everything, their specialty is smuggling and piracy, and many pirates on the clear blue waters of the Kell Sea are sailing with debts owed to the Fuzeta da Ponte family, which they ensure they use as leverage to take a cut.
        • Kaz's Crew.  Kazimir Bartunek's ancestors were drylanders from the north, as a casual glance at his name suggests. However, his family has lived in Port Liure for generations.  Seen by many as a newcomer, and therefore with some disdain, Kazimir's success derives from his reputation for potent, dangerous, and cursed witchery, which he learned from an old vampire hag he took as a lover while traveling in Timischburg. At least, so say the rumors. Regardless, his rise has been meteoric, and his crew have an almost unnatural, off-putting mien to them.  Few can say to have directly witnessed any action of witchcraft, but everyone whispers about it nonetheless.