The Alexandrian

In my review of the Magic the Gathering Official Encyclopedia yesterday I mentioned how Magic cards can be used to great effect as a quick source of inspiration. Here are a couple quick examples of this from my own campaigns.

ARBORETUM GROTTO

Magic the Gathering - Clay Statue

“Clay Golem” – Magic the Gathering: Fourth Edition

  • A thick, tiered cleft. Magical lights clinging to the ceiling seem to cast daylight down onto the thick pleats of overgrowth choking the miniature, underground veil.
  • SPINDERS: 8 spinders roam through the overgrowth. (These can be found in the Book of Fiends, one of the best bestiaries ever produced.)
  • STATUE OF LIGHT: In the middle of the grotto sits a squat statue of clay clasping a bowl which seems lit from within. (See visual handout, above.)
    • LIQUID LIGHT: The bowl is filled with liquid light. Anyone touching the liquid will cause it to flow up over their hand (or hands). From that point forward, their hands will permanently glow white — producing the effects of a daylight spell.
  • ALCHEMY (DC 25): Recognize that most of the plants growing here are actually valuable alchemical ingredients. 6 hours harvesting could yield 5,000 gp of raw ingredients.

THE GLASSWORKS

Magic the Gathering - Urza's Power Plant

“Urza’s Power Plant” – Magic the Gathering: Antiquities

  • A twisted morass of glass piping filled with flowing fire.
  • THE ARTIFURNACE: Near the center of the twist labyrinth of glass is the Artifurnace. Eight large valves run around its circumference . (See visual handout, above.)
    • CRACKING THE ARTIFURNACE: If all eight valves are released, the Artifurnace can be opened.
    • HELM OF FIRE ELEMENTAL CONTROL: Suspended within the Artifurance is a helm of fire elemental control (crafted from brass and gold). But it doesn’t work: One wearing the helm can summon a Large fire elemental, but anyone wearing the helm will instantly provoke rage from any fire elemental.
  • FIRE ELEMENTALS: If any of the glass tubing is broken or the valves of the Artifurnace opened, the fire elementals trapped within the tubing will break free in a rage.
    • 1 Huge Fire Elemental, 2 Large Fire Elementals, 16 Small Fire Elementals
  • DM BACKGROUND: The idea was to create a magical item through entirely sympathetic rituals (by controlling the fire elementals physically, imbue an item with the ability to control them). Instead, the item became imbued with the rage of the imprisoned elementals.

Magic the Gathering Official Encyclopedia: The Complete Card GuideTagline: A valuable resource for serious Magic players or those of us who just like the art.

Let me start by explaining why I own this book.

I first encountered the phenomenon which is known as Magic the Gathering later than many of the other diehards in this industry. It was late 1993 when I first heard about the game and bought my first starter decks. I had missed the wonderful financial investment those early Alpha and Beta decks would have been (we had already entered the Unlimited Edition, which wasn’t). I had even missed the first expansion deck, Arabian Nights. Thus it was that I had my first exposure to the feeding frenzy of collectorism with the arrival of the second expansion deck, Antiquities.

It is important, I think, to remind people that this was back when the industry had lost its mind over these cards. Wizards of the Coast had proven themselves incompetent at printing to the actual demand (whether intentionally or not) and so stores were routinely ordering far more copies than they actually thought they could possibly sell (which would eventually bite everybody in the ass when Fallen Empires finally did manage to print themselves to fill all the orders from distributors). This was back when people when people were putting themselves on reserve lists for dozens of cases of cards.

Now, I liked Magic, too. Not so much for the gameplay (although it was very original and intriguing) or for the potential of deckbuilding (which didn’t appeal to me at all), but because I thought the cards were really cool. I found it interesting to look at the strange creatures and locations and spells described by these cards and have my imagination stirred by these brief glimpses and descriptions.

I did a little mathematical analysis and discovered that to get a complete set of Antiquities cards it would require the purchase of a single case. (Actually I took a random guess.) So I laid out the $70 necessary to buy the case (gah!) and, after tearing open dozens upon dozens of booster packs, finally put together my “complete set”.

And then I decided it just wasn’t worth it. I still liked the cards, I still liked the art, I still liked these little windows into the world of Dominia. I just couldn’t afford to drop $70 every couple of months (or $140+ considering that the next expansion set, IIRC, had twice as many cards). I’d rather buy, say, half a dozen roleplaying manuals with that money. Or twenty-eight paperback books.

Since that time I’ve always wished that Wizards of the Coast would publish the cards in some non-collectible, non-playable form which would let me collect the cards without going bankrupt at the same time. The Collector’s Editions they released a couple years ago were close, but ironically they were priced higher than they should have been (because they were a “special edition”), so they were still too expensive for my tastes.

Now we fast-forward five years to about six months ago when I first spotted the Official Encyclopedia on the shelf. Flipping through it I saw they had finally produced what I wanted. All of the cards produced up until 7/96 are reproduced at slightly smaller than original size, along with version notes, and some analytical text.

The book also includes a forward by Richard Garfield, an historical look at Magic, errata for the cards, misprints and oddities, promotional cards, an index for deckbuilder’s, and an index for the entire book.

So I own it because its really nice having all these cards gathered together at an affordable price. It would have been nice if the artwork had been reproduced at full size, but I won’t be too picky on that point.

It is also an interesting (if brief read) for it’s non-fiction coverage of the history of Magic.

Finally, it has a set of useful tools for deckbuilders (“professional” or otherwise).

All around this is a very nice book which fulfills a number of different roles for a number of different people. I hope it gets an update in a few years to make it more current.

Style: 4
Substance: 4

Author: Editors of Duelist
Company/Publisher: Carlton Books
Cost: n/a
Page count: 225
ISBN: 1-85868-240-1

Originally Posted: 1999/05/28

In the years since I reviewed it, this encyclopedia has, in fact, been expanded with a half dozen additional volumes and at least one new edition listing more than 7,200 cards. In recent years, of course, the internet has rendered efforts like this utterly obsolete: A quick Google search will turn up multiple sites indexing every MtG card in existence. Back in 1999, I would have salivated at the thought of it. (And, in fact, I probably did.)

I think this review also provides an excellent example of how a reviewer can bring a peculiarly idiosyncratic point of view to their treatment of a product: Most people picking up this encyclopedia would have probably been using it for deckbuilding, not lore-delving. But this is why the reviewer’s first duty to their audience is to clearly communicate their point of view while also supplying enough information about the product that those with different view points can (hopefully) intuit what their own opinions of the product might be.

MtG cards remain a wonderful goldmine of creativity that can easily be stripmined for your next D&D adventure. I’ve done it at least a half dozen times and I’ll almost certainly do it again. (As inspiration goes, it’s hard to beat a dollop of evocative text combined with lavish illustration.)

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

Deep Storage Project

So in the realm of utterly bizarre realities, I offer you the Deep Storage Project. The simple gist is that someone is going to load up that crazy, multi-pronged modern art piece with tissue samples from thousands of volunteers and then lower it into the Marianas Trench so that if an apocalyptic disaster should occur the samples would be preserved and could be used to repopulate the species.

Nothing about this plan makes any sense: DNA samples that will decay into uselessness within mere years placed in a location that we would have difficulty retrieving them from now (let alone after an apocalypse).

But what I can’t help noticing is that this bizarre repository bears a truly uncanny resemblance to what an Elder Sign would look like if you extruded it into three dimensions. And that’s true whether you’re talking about the Lovecraftian original (on the left) or the Derlethian derivative you’re probably more familiar with (on the right):

Elder Sign - Lovecraft Elder Sign - Derleth

So, hang on a second: They’re sculpting a dimensionally-extruded Elder Sign, filling it with offerings of human blood, and sending it to the deepest part of the ocean?

Are they trying to mitigate the Apocalypse… or start it?

Sins of the Blood - Margaret FrazerAs I posted last month, my mother died on February 4th, 2013. For several years before she passed, I was working closely with her to convert her extensive oeuvre to e-book formats. She wanted very much to share the wonderful world of St. Frideswide with as many readers as possible, and that’s work which I will be continuing to do on her behalf for as long as I live.

Toward that end, for the next five days (until March 7th), Margaret Frazer’s Sins of the Blood will be available FREE on Amazon.

This book collects three short stories (“The Witch’s Tale”, “The Midwife’s Tale”, and “The Stone-Worker’s Tale”), the Guided Tour of St. Frideswide, and a lengthy 10 chapter preview of The Novice’s Tale (the first book in the series).

If it looks like the sort of thing you might find interesting, please grab a copy. If it doesn’t, consider this: My mother was absolutely masterful at placing you inside the viewpoint of a truly medieval character; that’s a perspective that I’ve often found useful in fantasy gaming, and you might think so too. If not, take a couple seconds, see if you can think of any friends or family who might be interested in these books, and then send them a link.

THE WITCH’S TALE

Witchcraft has come to the peaceful village near St. Frideswide, and its foul touch is striking down those closest to the church. Can Dame Frevisse thwart the servants of the devil before the hellfire of hysteria sears the souls of the faithful? Or is there more to this magic than meets the eye?

THE MIDWIFE’S TALE

“Sisters! Come back! Please don’t leave us yet!”

Cisily Fisher has died in childbirth and now the village of Priors Byfield is held in a grip of fear. Can Dame Frevisse find the root of misery behind a murderer’s sin before the next lethal blow falls? Or will the village be lost in a hue and cry of terror? The gentling touch of the midwife may calm the tortured soul… or give birth to a bitter death.

THE STONE-WORKER’S TALE

When Frevisse is given bishop-pardoned leave to visit her cousin Alice at Ewelme, she is enchanted by the work of the sculptor Simon Maye. But Simon is enchanted by the beauty of Elyn, one of Alice’s ladies in waiting. Clandestine meetings have given way to sinful lust, and now the two lovers have disappeared. The servants whisper that the lovers have eloped, and secretly pine for the passion to do the same. Lady Alice believes her sculptor has been stolen away by jealous rivals and rages at the injustice. But Frevisse alone suspects there may be some darker truth behind the midnight vanishing…

A GUIDED TOUR OF ST. FRIDESWIDE

And so we turn to St. Frideswide’s in rural northern Oxfordshire. Imaginary, yes, but fully realized as an ordinary place much like many others common across England in both rural and urban settings by the 1400s. A wealthy widow founded it in the 1300s, saw to its beginning, and endowed it with lands and other income to sustain it – alas, not so fully as she intended to do before she died…

Kindle Edition

Gnome Stew has an article up today: Hot Button — Secrets

My problem is that the article is conflating two things that are, at best, tangentially related to each other.

First, you have the issue of players keeping secrets from each other. Second, you have the issue of PCs engaging in actions that will disrupt party unity.

Secrets don’t have to be disruptive and there are lots of things that will be disruptive to party unity even if they aren’t kept secret.

Meanwhile, because the article is muddling these two unrelated concepts together, it doesn’t spend much time (if any) actually addressing the actual issue of interest: How can these techniques be used? And when should they be avoided?

For example, let’s talk secrets: Keeping information secret to a PC secret from the player can be a very immersive technique. OTOH, letting the players have information that their PCs don’t can be very useful as a storytelling technique (in terms of pacing, clarity, and/or effect). And this extends beyond PC vs. PC secrets: For example, do you want the players to be totally inside Luke Skywalker’s head when he sees the Death Star and has no idea what it is until Ben Kenobi says, “That’s no moon. It’s a space station.” Or would it be more effective to use cut-away scenes to establish this looming, ominous threat in the playing space so that the players can really, truly appreciate the “oh, shit” moment when their characters suddenly find themselves dropping out of hyperspace right next to it.

The right answer depends partly on the players at your table. For example, if you’ve got a player at your table who can’t firewall metagame information and whose first response to a secret is to come up with some bullshit way for his PC to “accidentally” discover the information, then you’re probably going to want to keep secrets. (And this can also be true if you’ve got a player who really wants to maintain that firewall but struggles to get back to the character’s POV once they have access to information the character doesn’t.)

But the right answer also depends on what you’re trying to accomplish.

And the same thing applies to actions that disrupt party unity.

For example, if we’re sitting down to play a Pathfinder Adventure Path then it would a game-breaker to disrupt party unity. OTOH, if you’re playing in my open table OD&D campaign, then it’s totally awesome to engage in that kind of behavior: If the party implodes, it doesn’t matter because the next session was already going to feature a completely different party.

For an extreme example of this: I recently ran the one-shot Ego Hunter adventure for Eclipse Phase. It’s written to give every PC a secret agenda and I modified it further so that one of the PCs had a hidden identity. Then I aggressively enforced firewalling of information by taking players into other rooms to resolve secret interactions. The result was a session filled with extreme paranoia, backstabbing, and plans-within-plans-within-plans. So lots and lots of secrets. And lots and lots of party-disruptive behavior. (Including one guy who got ran over by a car twice and nearly a third time.)

It was glorious.

But I wouldn’t do it in my regular 3.5 campaign.

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