SESSION 48D: ALCHESTRIN’S MURAL

January 9th, 2010
The 26th Day of Kadal in the 790th Year of the Seyrunian Dynasty

Through the last arch leading out of the hall they headed down a narrowed hallway. At its end – perhaps a hundred feet or so further on – they could see a huge bas relief depicting a wolf’s skull that took up the entire wall. But before they reached the bas relief, they came to a pair of facing doorways.

Passing through one of these they found themselves in a semi-circular chamber. The far, curved wall of the place was covered in an immense, detailed mural. Although the paint was faded and chipped here and there, it was still impressive in its scope and artisanship. Ranthir, in particular, was fascinated by it. And while the others kept a nervous guard in the hall, he spent the next twenty minutes studying it in detail.

ALCHESTRIN’S MURAL

This mural appears to depict – in juxtaposition – a series of events of either historical or mythological character.

FIRST SEQUENCE: Two magi are shown casting a powerful ritual creating a vortex of energy.

SECOND SEQUENCE: The magi are shown bowing down before a huge, purple crystal that juts up out of the ground.

THIRD SEQUENCE: A great castle has been built around the crystal and a great city has risen up around the castle.

THE GREAT SPIRE OF PTOLUS

FOURTH SEQUENCE: Divided from the third sequence by a depiction of the Spire. The crystal, castle, and city remain – but now the tableau is littered with corpses. A single figure is shown with her hand raised to the crystal, a lance of purple energy connecting the two.

FIFTH SEQUENCE: The castle and crystal have disappeared. The city is in ruins and fallen into darkness.

THE CRYSTAL AMONG STARS

SIXTH SEQUENCE: Divided from the fifth sequence by a depiction of the purple crystal set against a backdrop of faded stars. A skull-faced figure is shown standing before the Spire, leading a great army of malformity.

SEVENTH SEQUENCE: A smaller number of malformities, led by a black serpent which walks like a man, stands upon the plain before the Spire. They surround a huge machine of twisted metal.

EIGHTH SEQUENCE: The castle seen before, enshrouded by coruscating beams of black energy emanating from the machinery, is seen before the Spire.

THE CRYSTAL AMONG ENEMIES

NINTH SEQUENCE: Separated from the eighth sequence by another depiction of the crystal, this one sending out lancing beams of energy which strike the malformities from the seventh sequence. The ninth sequence shows a young boy laying his hand upon the side of the quiescent crystal.

TENTH SEQUENCE: The boy, bathed in the soothing light of the crystal, is shown coming of age in a series of sequential images arrayed around the crystal. This culminates, at the top of the sequence, with a figure of the boy-turned-man – his arms outstretched to the heavens – above the crystal itself.

ELEVENTH SEQUENCE: The man is shown locked in arcane battle with the skull-faced figure.

THE MAN AND THE SPIRE

TWELFTH SEQUENCE: Separated from the eleventh sequence by a depiction of the Spire with the man – seemingly grown to the same gargantuan proportions as the Spire – laying his hands upon it as if he would rip it from the earth. The man is shown still locked in arcane battle with the skull-faced figure, but now the crystal has appeared behind him and sends a beam of energy lancing into his back – the man writhes in pain.

THIRTEENTH SEQUENCE: The man, shown bleeding and clutching at his side, is shown retreating into a great hole in the earth at the foot of the Spire.

The final image of the mural is a depiction of Alchestrin’s seal, as shown on the iron plug above, along with the same inscription.

ALCHESTRIN’S SEAL

The full perusal of its contents made them suspicious of Lord Zavere again. If the man depicted in the mural had fought against Ghul the Skull-King, why had the crystal of Castle Shard attacked him?

“I’m going to be pissed if it turns out we’ve been feeding information to Ghul’s heir or the Banelord reincarnate for the past month.”

But Ranthir pointed out that, if Castle Shard were villainous, then Lord Zavere wasn’t likely to send them to the place where they would discover his villainy. “Didn’t he say something about Alchestrin leaving Castle Shard under a cloud of suspicion?”

“That’s true,” Tee said. “It’s not like the mural in the evil tomb isn’t going to be biased.”

“Then why would he send us here?” Elestra asked.

Tee shrugged. If Zavere was 900 years old, trying to sense his motives was a waste of time.

But something else about the mural had captured Tor’s attention. “Has anyone gone to the top of the Spire? What’s up there?”

“Jevicca told us that Jabel Shammar – the citadel of the Banelord – remains intact up there,” Tee said. “That’s more than I had ever heard before. But everyone who grows up in Ptolus knows the stories of the people who have tried to fly up there.”

“What happened to them?” Tor asked.

“They don’t come back,” Elestra said.

THE GOLEM DOOR

The mural had proven informative, so they decided to check out the bas relief. But as they drew near, they were somewhat terrified to see the entire sculpture come suddenly to life.

“WHAT BUSINESS WOULD YOU HAVE HERE?”

Ranthir was fascinated. “You speak modern Arathian. That’s fascinating…”

Tee, who also spoke Arathian, addressed the wolf-skull directly. “We come for the knowledge of Alchestrin.”

“THEN YOU MAY PASS.”

And the mouth of the golem door gaped wide, revealing a broad stone stairway on the other side. After a moment of hesitation, Tee nervously agreed to go through. And, after some confused deliberation, Tor and Nasira went with her. (A meat-shield and a healer. Everything was fine.)

The stairs twisted down fifty feet or so before bottoming out before another door of iron. Unlocking this door and swinging it wide, they looked down a long, wide hall of finely-fitted stone – the work of meticulous craftsmen, although the age of the work was clearly immense. There were scorch marks, broken sword blades, and the like littering the length of the hall, which disappeared into a deep gloom beyond the reach of their lights. But at the very edge of their sight, they could see a pair of facing doors.

Tor shook his head. “This place is huge.”

Running the Campaign: Art Handouts – Campaign Journal: Session 49A
In the Shadow of the Spire: Index

Much like the word “immersion,” the term “trad RPG” is one that I’ve lately seen confusing conversations more than illuminating them.

The key thing to understand is that “trad RPG” comes from at least three different places, all of them using it to mean different things.

First, storytelling games use it to mean roleplaying games. This arose because STGs – games primarily focused on narrative control mechanics instead of character-associated mechanics – referred to themselves as RPGs, but also knew that they were something different, and wanted (or needed) a term to describe all of the existing RPGs.

Then the Old School Renaissance used “trad RPG” to mean old school play — i.e., the traditional form of play which existed before various “new schools” of play. (With the OSR generally defining the first of these “new schools” as the linear-narrative play that came to domination RPG adventure design post-Dragonlance.)

Most recently, an essay called the Six Cultures of Play defined “trad RPG” as the linear-narrative play championed by Tracy and Laura Hickman in, among other things, Dragonlance. This article was notable for looking at the RPG hobby in terms of cultural behavior rather than mechanical or adventure design. It was filled with severe historical inaccuracies, but, unfortunately, this has not prevented it from being quite popular in online discussions.

And now you can probably spot the problem: You’ve got one group using “trad RPG” to mean pre-Dragonlance play and another group using it to mean post-Dragonlance play. So now “trad RPG” means literally the opposite of itself.

But it gets even more confusing! In response to the use of trad RPG to mean “Dragonlance-style gaming” some segments of the OSR now use it to mean “not the OSR,” which means they also include STGs in “trad” play.

Which means trad RPG now means:

• old school, pre-Dragonlance styles of play
• post-Dragonlance linear-narrative styles of play
• storytelling games
• not storytelling games

So, ultimately, what does “trad RPG” or “traditional RPG” mean?

Nothing.

It’s a term that I’ve used in the past, but one that I generally try to avoid using now. It’s unfortunate because it was a useful term and I haven’t found a reliable replacement, but the reality is that using the term now — no matter how you choose to use it — means that a pretty good chunk of people will end up thinking you meant the exact opposite of whatever you meant. The result, of course, is confusion and needless arguments.

Although, to be fair, what could be more traditional about RPG discussions than that?

On this episode Miskatonic University Podcast, Keepers Dave & Bridgett interview Justin Alexander on the Three Clue Rule and designing mysteries in gaming!

LISTEN NOW!

WITH JUSTIN ALEXANDER, PANAVIOTIS LINES, AND ALED LAWLOR

Today, we’ve got a four-way with Ben Riggs! Listen and marinate in the brilliance of Justin Alexander, Panayiotis Lines, & Aled Lawlor!

Aled Lawlor and Panayiotis Lines are the creative duo behind Leyline Press. In just a few short years, Leyline has carved out a reputation for distinctive, atmospheric RPGs that blend striking visual design with elegant, playable mechanics. This includes Salvage Union: Beautiful art, and delightfully mashes up mecha combat, exploration, and socialism. Aled and Panayiotis are reshaping what small-press tabletop games can look and feel like.

And then we’re thrilled to welcome a name familiar to just about every GM who’s ever looked for deeper insight into the craft, a man whose influence on the culture of TTRPGs is hard to overstate, the human responsible for the Alexandrian, Justin Alexander. His essays, reviews, and innovative techniques, such as like the “Three Clue Rule,” have become touchstones in modern RPG discourse. His book, So You Want to Be a Game Master, is absolutely outstanding and has been read by I think four different tweens in my classroom.

Watch now on Youtube!

What do you do with your character sheets between game sessions?

If you’re using an online service for your character sheets that everyone in the group can access, this will largely take care of itself. But if not, then this is one of those little technical flourishes that you probably never think about, but which can nevertheless have an impact on your game. (And particularly so with some RPGs.)

Broadly speaking, there are three competing interests when it comes to the disposition of your group’s character sheets.

First, and most importantly, the players need to have their sheets during the game. (Obviously.) So if they forget to bring them or, worse yet, lose them entirely, that can derail an entire session.

Second, between sessions, the GM may want to reference the PCs’ sheets while prepping adventures. (Is anyone proficient in a particular skill? What spells do they have prepared today? Who’s carrying the Eye of Miebalung? And so forth.)

Third, and this is where it gets tricky, the players may want to have access to their sheets between sessions. This will be particularly true if they need to advance their characters between sessions or if there’s any form of intersession play. (For example, some groups might run domain play or downtime actions on their Discord server.)

Laying out all of these competing interests like this, it’s easy to see the points of tension.  In fact, if we assume there’s just one copy of each sheet, it would seem impossible to satisfy everyone’s needs, although whether or not this will effect a particular group will depend on their personal tastes and predilections.

(For example, I mostly prep my scenarios while thinking about the “logic of the world,” so I rarely, if ever, design with the PCs’ characters sheets in mind. In other words, I set up problems and let the players worry about how their characters will solve them. Although there are exceptions, like how the GUMSHOE system spreads its Investigation Abilities between the PCs, and it can be useful to do some spot-checking to make sure everyone is getting access to the spotlight.)

MY SOLUTIONS

In my dedicated tables, my players usually keep their sheets, taking them home with them between sessions. (Many of my players are copious note-takers, and they’ll often have a fistful of handouts they’ve collected over the course of the campaign. So they’ll just keep all that stuff together, sometimes even reviewing it between sessions.)

However, I do make a point of periodically making a copy of their sheets. (This usually just means taking pictures of them with my phone, although if the players are using a digital sheet – e.g., form-fillable PDFs – I’ll just have them e-mail me copies.) I generally don’t do this after every session (too much hassle), but instead aim for the moments where the sheets have been significantly updated. In D&D, for example, I try to remember to do this each time the characters level up. In my Night’s Black Agents campaign, on the other hand, I’ll do it after each major operation (which is, again, when character advancement is happening).

This works well because my copy is generally up to date enough to be an effective reference for adventure prep when I need it. If a player forgets their sheet for a session, it’s also “good enough” (or, at least, close enough) that I can print temp copies for them.

For my open tables, on the other hand, I’ve defaulted to keeping all of the character sheets. I’ve discovered that the more casual nature of the game and/or the long breaks between sessions for some players meant that it was much more likely for character sheets to vanish into the ether if they left the table. For open tables I’m also usually running RPGs with streamlined character creation systems, so players also don’t need as much time to advance their characters and are unlikely to be doing it between sessions.

OTHER SOLUTIONS

This is a good example of how the specific needs of your group may shift from one campaign and game to the next. So what you want to do is keep the general principles in mind, while thinking about how they can be fulfilled and the tensions between them resolved in each specific case.

For example, if the game is being hosted at the apartment of one of the players, it may make sense for that specific player – rather than the GM – to keep all of the primary character sheets. (If they never leave the gaming room, they can never be forgotten.)

As another example, the GUMSHOE roleplaying games all include worksheets that GMs can use to specifically track the Investigative Abilities of the group. By capturing the essential information the GM is most likely to need while prepping adventures between sessions, a tool like this may reduce the GM’s need to make duplicates of the PCs’ sheets.

Similarly, the digital tools I mentioned earlier can almost automatically resolve these issues by making access to the character sheets ubiquitous and the number of copies functionally infinite. But this can create tradeoffs for players who would prefer to play with paper-and-pencil (how often are they required to update their digital sheets? how can printing off up-to-date copies for each session be facilitated?) and potentially raise other questions. (For example, what will you do if an online service goes offline? Do you want to archive older versions of the sheets? If so, how often should you do it?)

There are undoubtedly solutions and creative approaches to this stuff that haven’t even been discovered yet. So keep experimenting!