Tag: fantasy

RPG-ology #31: Screen Wrap

This is RPG-ology #31:  Screen Wrap, for June 2020.

This was originally published on June 29, 2001, at Gaming Outpost, as Game Ideas Unlimited:  Screen Wrap.

I usually call it “recursive occlusion”; but that’s because that’s what Peter Davison’s Doctor called it in Castrovalva, and now that I get around to thinking about what that means he must have been referring to the method of construction—that the Master had built a trap for him by creating a world based on a formula in which each element was dependent on all previous elements, resulting in a blockage of all exits.  But that’s not important.  The idea is a lot simpler than that.

Years ago there was a video game called Tank.  Tanks would wander around the screen trying to shoot each other.  Thing was, in the early versions you could shoot off the top of the screen and the bullet would come in at the bottom; or you could shoot off one end and have it come in the other.  In some versions you could actually drive the tank that way, off one side and on the other.  It wasn’t the only game that did that, and it was a simple solution to a basic problem:  what do you do about the boundaries?

But it’s an idea I’ve used many times to mystify and confuse my players—and in more variations than you might have imagined.  But if you’ll come with me for a moment, I’ll try to help you imagine a few.

The first one’s easy.  The characters enter some sort of complex—a section of tunnels in a dungeon, an area of rooms and hallways in a space station.  As they pass a certain point, they are inside the boxThe box is clearly marked on your map—it shows that any exits to the east connect to those to the west, and those in the north run to those in the south.  If a character walks into that last ten-foot section on the edge of the box, he’s immediately teleported to the first ten foot section on the other side, so going out one side means coming in the other.  Only one of the entrances is also an exit.  You will be surprised at how many times the players will redraw the same configuration of tunnels before they realize that something is amiss.

The second variation takes the idea to another level.  I did this to one player once, and I’m not sure he figured it out even after someone explained it to him.  I put the same room in two different places on the map.  I denoted them with subscripts so I could keep them straight.  Because they were the same room, if you entered the room, you were in both places at once; but when you exited the room, you always left from the other one.  They weren’t far apart in this experiment—which actually added to the confusion, as he entered the first, left the second and walked back to the first, and drew it twice, but in the wrong position.  At one point part of the party left the room and came back, and then when they all left together they got split up, because some had entered the first room and some the second, but they all were together whenever they were in the room.

You could use this idea to move characters very long distances—another dungeon, another space station, another planet.  You don’t even really need the rooms—you can just use some innocuous looking door.  Looking through the door, you see another room; step through the door, you’re in a room that looks just like the one you saw, but isn’t it.

These ideas have basically focused on keeping the player character inside the box.  You can as easily turn it on its head, and use the same principles to keep him out of the box.  For example, If you’re walking down corridor A and reach room 210, you next pass through a transfer point that takes you to corridor A outside room 280; if you reverse, the transfer will take you from 280 back to 210.  If the player doesn’t know the room numbers or layout, he won’t realize that he’s been moved—until he completes other sections of the map which go around this blocked area, and discovers that the distance between two points in the A corridor is an awful lot shorter than it should be.  You can make it so that access to that central area is only from a specific entry direction, such as above or below or a particular lesser-used corridor (but it can be exited at any point at which it connects).  Or you can determine a sequence of events or “switches” that must be activated to open the area to the characters, such as finding the key, or deactivating the grid, or realigning the circuits at every entrance.

I used an idea like this for a Minotaur’s labyrinth once.  My players were good; they could map a maze in a minute, comprehend any convoluted corridors I created.  The worst thing about facing a Minotaur isn’t the beast itself; it’s the fact that you’re on it’s turf, and it knows how to get everywhere while you’re wandering lost.  But once you’ve mapped a bit of it, it’s pretty easy to keep from getting lost, and the beast’s advantage is gone.  So what I did was create a layout of halls that frequently ran the same distance in the same direction, but parallel to each other a dozen feet apart. Then I put “transfer points” in the halls such that if you were going one direction you would get bounced to another hall, but if you were coming back nothing happened.  The creature knew its way around, and could use the magic to its own advantage; the players always knew which direction they were headed, but once they got involved in the tunnels they never knew quite where they were or how to get back.

Doctor Who faced a Minotaur-like beast called the Nimon once (I won’t swear to the spelling).  This time it was Tom Baker finding his way through the maze.  The thing that made that maze so difficult was that it constantly changed—he worked out that it was a huge set of switches in a communications and transmat system.  That’s a very difficult thing to do—but I can think of two good ways to make it work.  One would be to draw up maybe four or five distinct maps that were the same size and shape and had a few good fixed internal landmarks; that way at random intervals you could randomly change which map was in effect.  Of course, jumping from map to map could be tricky.  You might try making one map on paper that had the landmarks and a few fixed walls as reference points, and then getting four or five sheets of clear plastic overlay to put on top of the map, on which you would draw (or maybe if you’re really ambitious line with thin strips of black tape) the details of each position.  When the layout changed you would pop the new overlay on top, see where the characters are, and slide the old one out.

Of course, this idea doesn’t actually fit the pattern of the others, the pattern of moving the players from where they think they are to somewhere else.  But it probably makes them feel like it does, and sometimes that’s even better—especially if you’ve used tricks to move them around before.  They’ll leap to the conclusion that you’ve moved them, and begin trying to work out where they are.  You can get this effect with even simpler tricks.  Try making a matched pair of seemingly unique landmarks a short distance from each other in a confusing section of paths.  Players unaware that there are two (and especially those uncertain about their mapping skills) will come to the second and think they’re back at the first.

Something like that happened in one of my games, when the player was exploring the world we call Tristan’s Labyrinth.  (It was not called so when Tristan was exploring it.)  The labyrinth is endless; it is made of an L-shaped section designed to fit together such that all exposed sides are the same length (well, a single and double length) with doors that match up, so that you can build outward from one to as many as you need.  This means the same patterns of rooms appear, but not always in the same directions.  You can get the same effect with any of a number of random-connect dungeon floor plans; somewhere I’ve got a set of squares and rectangles published by TSR a generation ago, although I was never terribly happy with the way they fit together.  Just use the same piece against itself, turned around.  In the one game, the player found himself in a room with an interesting shape and several exits.  Deciding to use this as the base for his explorations, he traced out one of the exits some distance and back again, and then another.  The third tunnel took him off the map piece onto the adjacent piece, and connected to another tunnel which led to that same room on the next piece of map.  Carefully he followed it, reaching that identical room.  He looked at it.  He studied it carefully.  He compared it to what he had already drawn.

And then he changed his map.

If you use these tricks, there will be many times when your players will start erasing what they’ve charted, changing and fixing and trying to figure out where they are and how they got there.  But there is nothing like realizing you have gotten them so confused they are erasing the map when it was right.

Previous article:  Story-based Mapping.
Next article:  Doing Something.

Faith in Play #30: Conflict

This is Faith in Play #30:  Conflict, for May 2020.

A few years back my band Collision left its equipment set up in a church in which we had been practicing.  The drummer had gotten our logo made as a drum head cover, so there was this picture of the earth crashing into a giant cross and exploding.  (I don’t know whether you can see that in the picture, but that’s what it is.)  The youth pastor saw this and complained to the pastor about it; the pastor replied, “Are you kidding?  That’s what it’s really all about.”

My Multiverser co-author E. R. Jones was at a church service somewhere and the pastor asked the congregation how they would define Christianity in one word.  Several other people gave the kinds of responses one expects, and then he gave his:  War.  Our religion is, on one level, about a major spiritual battle between God and all that would oppose Him; we are soldiers in that battle.

When I first read about Dungeons & Dragons™ back in 1980, I was drawn to it because it sounded like this was finally a game that could actually reproduce the kinds of adventures we read about in Tolkien and Lewis and other fantasy authors.  Once I started playing it, though, I realized that it went much deeper than that.  Its use of magic and demons, of good and evil alignments, of spiritual forces, made it a wonderful metaphor for the real battle in which we are all immersed, whether or not we are aware of it.  It reminds us that only spiritual weapons can be used against spiritual adversaries, and that our enemy often is not flesh and blood, even when it uses people as its weapons.

There is some reason to think, and some believers do think, that the ritual of bread and wine was never intended to be a special moment overseen by a priest, but was supposed to force us to take our everyday meals as a reminder of what Christ did, that every time we opened a meal with a bite of food and closed it with a final drink that this would remind us of Jesus’ sacrifice, of the body and blood given for us.  Our faith is filled with images and objects whose purpose is to remind us, to cause us to think in terms of our faith.  How wonderful would it be if we played a game that also reminded us, that we are in a spiritual battle fighting on God’s side against the spiritual forces of wickedness in high places.

That’s where we are, what we are called to do.

Fight the good fight.

Previous article:  Victims.
Next article:  Magic Roads.

RPG-ology #29: Political Correction

This is RPG-ology #29:  Political Correction, for April 2020.

The phrase has been around long enough that I cannot imagine anyone in the English-speaking world does not know what “politically correct” means.  In the short form it means never saying anything that might offend any member of any minority group, whether or not such a person is present.  I bring it up here, though, because just recently someone in a role playing group asked whether the concept had any impact on our games.

Ray Bradbury

I hope that my readers are all literate enough to have read Ray Bradbury’s Fahrenheit 451, and intelligent enough to have grasped its message.  I have elsewhere cited it in relation to Freedom of Expression, and consider it one of the most important statements on the subject, perhaps second only to the famous dissenting opinion by Justice Oliver Wendall Holmes (also excerpted at that link).  It is entirely un-American to censor speech; beyond that, it is dangerous for reasons discussed in that article.

The issue here, though, is about censoring the content of our games.  My answer is similar, but with some additional thought.

Someone (I think perhaps the Reverend Paul Cardwell of the CARPGa) once gave me the expression in relation to role playing games the great thought experiment, and I find that to be an extremely apropos description.  In many ways, games are about expressing and exploring ideas, creating characters who either share our beliefs or offer other beliefs, and pursuing where these beliefs lead through the conduct of the characters who hold them.

In my Faith in Play series I have been running an intermittent miniseries on alignment in Original Advanced Dungeons & Dragons™, and I discussed what “chaos” means in the entry Faith in Play #22:  Individualism.  I mentioned having played an attorney in one game, and the fact that this lawyer was not lawful but chaotic:  he very much stood for the principles of the ACLU, the fact that everyone has the right to be and do whatever he wishes within the parameters that in so doing he does not interfere with the rights of others to do the same.  I am not a member of the American Civil Liberties Union, and they sometimes support cases I would oppose–but I have a lot of respect for their defense of the First Amendment.  Further, playing that attorney in that game allowed me to explore to what degree I agreed with them, believed that the rights of individuals needed to be defended as against the preferences of society at large.

In fact, it seems to me that this entire issue of “political correctness” is precisely about this:  do individuals have the right to believe and say things that are offensive to other individuals?  Do my freedoms include the right to be protected against anything I find offensive?

In my case, at least, they probably don’t.  If you want to call me a dirty WOP, or a stupid Christian, or a narrowminded WASP, I have no recourse.  I object that those are perjorative insults, but you are free to use them.  But what about the game?

In one of my games, a half-orc player character insulted one of my non-player dwarfs.  The dwarf took it in stride and responded, “Did your mother like orcs?”  That certainly would have been politically incorrect if our rules applied to that world, but it was entirely appropriate within the context–and that is the key.  Our worlds, be they fantasy, futuristic, historic, or something else, are filled with people whose views and prejudices are part of their time and place.  In literature we use science fiction and fantasy to explore real-life issues.  Enemy Mine is very much about overcoming racial prejudice, despite the fact that the tension is between humans and aliens.  Captain Kirk says in Star Trek VI:  The Undiscovered Country, “I’ve always hated Klingons,” again exploring racial tensions.  If you’ve never seen the classic movie Tick, Tick, Tick, you’ve missed a story that is very much about southern blacks and whites overcoming their differences.  We use art, and particularly fiction, to explore these kinds of concepts.  The characters within the stories are intentionally politically incorrect, because that is the only way we can convey our message.

There is a caveat here.  We are gathered at the gaming table to have fun, to enjoy ourselves.  Every one of us has limits, lines we do not want to cross.  How graphic is the violence, or the sex?  Are there particular abberations which bother someone at the table?  Some won’t want to play a game that explores rape, or abortion, or–well, there are many aspects of reality that make us uncomfortable individually, and when we get together to play a game we should know what those lines are and not cross them, not make our fellow players uncomfortable.

I don’t believe in being politically correct.  I also don’t believe in being impolite to people.  That doesn’t mean that I can’t have rude characters in my games or my books or my stories.  That political incorrectness is sometimes necessary to explore ideas and beliefs that are different from our own, and so come to understand each other better.

Previous article:  Character Death.
Next article:  Story-based Mapping.

Sewers and Such

Someone once wrote that good Game Masters seem to know a little bit about everything. If it’s not obvious, this is because they need to know how the world works so they can make their own game settings seem real. I know this first-hand from years of running fantasy campaigns. At one point or another, I found myself digging into the details of agriculture, mining, free diving, sailing, carpentry, sheep breeding, the wool trade, and a dozen other subjects that I never imagined I would research. Of course, this is not limited to fantasy role-playing. When running Gamma World or some other apocalyptic game, a good GM probably needs to know a little about modern firearms, lasers, nuclear radiation, mutation, the ecology of a wasteland, etc. Running Traveller or another sci-fi game, the GM should probably know something about the vacuum of space, space travel, planets, stars, asteroids, comets, gravity, etc. You get the idea.

Not long ago, M.J. Young of the Christian Gamers Guild penned a few short articles on very generic topics, like waterways, country roads, and cities. Though at face value they seem too generic to be helpful, the articles can be surprisingly useful to GMs. Great GMs might know a little about everything, but they don’t start off like that. Everyone needs to pick up basics from someplace, and MJ’s articles were great for anyone not already knowledgeable about those topics. Even veterans can glean some points that they had never considered.

In this brief article, I‘ll touch on another topic that seems like it could be useful to many GMs—sewers. I cannot count the times that I’ve seen modules or homemade adventures with wererats skulking through labyrinthine sewers. Strangely, though I’ve been playing for over thirty-five years, I never played in or ran such an adventure. I recently decided to add a sewer setting to an ongoing campaign, but I realized that I had to find out something about sewers first. As with most things, one topic connects to many others. In this case, I found it tough to examine sewer systems without simultaneously looking at water supplies and plumbing. Read more

Faith in Play #20: The Problem with Protests

This is Faith in Play #20:  The Problem with Protests, for July 2019.

It was brought to my attention that twenty thousand well-meaning wrong-headed religious conservatives have signed a petition asking Netflix not to run a show produced by Amazon exclusively for Amazon Prime subscribers.  The show is a scripting by Neil Gaiman of a book he co-wrote with the late Terry Pratchett, and centers on an angel and a demon cooperating to prevent the Antichrist from coming to power and bringing the apocalypse.

The most cogent of the objections, I suppose, is that it makes Satanism seem light and acceptable.  That’s not really surprising, given that Pratchett was a brilliant humorist and satirist, and Gaiman is a respected fantasy author; one would expect anything they wrote together to be funny on some level.  Other complaints are just foolish, such as that God is voiced by a woman (God in Genesis clearly embodies all that is masculine and feminine in one being, and so could express Himself as Herself if that suited His/Her purpose), and that the Antichrist is portrayed as a normal child (we know so little about The Antichrist, or even if that’s a proper designation for any individual—the word appears only four times, all in John’s first two letters, and always in ways that suggest a generalized bunch of people who share the title and were active when John wrote).

I’m told that Netflix has agreed not to air the show, which is both funny and sad—sad because I don’t have an Amazon Prime account but I do have a Netflix account, so unless I give in to the pressure from my Patrons and spend the money on Amazon I’m not going to be able to see it, funny because of course Netflix was never going to be offered the opportunity to air it so it’s an empty concession.

And this highlights the first big problem with these Christian protests.  I am one of probably millions who would not have heard about this show but for the news of the petition.  Many will have considered subscribing to Amazon Prime for the opportunity to see it—a Neil Gaiman scripting of a book he co-wrote with Terry Pratchett is going to attract a lot of potential viewers, and Amazon could not have asked for better publicity.  When I was a boy, there was a cartoon show about a flying squirrel and his friend, a moose.  (It was originally entitled Rocky and His Friends, after the lead character Rocket J. Squirrel, but the sidekick became so popular he soon got equal billing in Rocky and Bullwinkle and then top billing as it became The Bullwinkle Show.)  At one point they did a story arc about the “search for the Kirward Derby”.  What we kids didn’t know was that at the time there was a successful television personality named Durward Kirby.  Reportedly Kirby threatened to sue, but Rocky producer Jay Adams replied by letter saying, “Please do, we need the publicity.”  That may be the first time anyone recognized that in the entertainment world there is no such thing as bad publicity, and loudly objecting to anything in that field can only make it more popular.  It is said that one of the reasons TSR did not more aggressively attempt to address Christian objections to Dungeons & Dragons back in the 80s was because the young people the game was targeting were more likely to want to know about a game that their parents and the churches condemned.  The probability that Amazon would have pulled the show in response to a petition was negligible, and so the only likely outcome of the petition is exactly what it achieved, advertising the show to many who would not otherwise have been aware of it.

That the petitioners don’t recognize this also makes them look foolish.  Of course, these particular petitioners look the more foolish because they petitioned the wrong network.  That is not only foolish in itself, it makes it blatantly evident that possibly not a single person who signed that petition knew what it was to which they were objecting—they had never seen the show, perhaps not even a trailer for it.  Had they seen it, at least some of them would have realized that it was not on Netflix but on Amazon, and so that ignorance is underscored in this case.  Yet apparently not even the people who started the petition saw the show, because they didn’t know it was on Amazon, either.  I don’t know who started the petition, but even if that person saw the show, for twenty thousand sheep to sign a petition against something about which they know only that one person didn’t like it—well, it reminds me of the Penn and Teller riff where they attend an environmental rally and get people to sign a petition to ban the potentially dangerous chemical di-hydrous oxygen (which is in fact water).  I’m not against anyone protesting for or against anything in which they believe, but I really do think that before you sign your name to a petition you ought to know what it is really protesting.  These people didn’t—and that is so frequently the case with petitions launched by the religious right that such petitions make religious people look more foolish.

Which further means that we become more marginalized.  Objecting to a fantasy television series on a limited access channel does not make us relevant; it makes us laughingstocks.  There go those Christians, once again condemning what they don’t understand.  They did it with rock music; they did it with role playing games; they did it with modern art.  Now once again they’re shooting off their mouths about what’s wrong with something about which they know absolutely nothing, and want us to believe that what they say has any meaning.  There’s no point listening to anything they say, because it’s obvious they don’t know what they’re talking about.  That’s what we’re teaching the world every time we sign another of these foolish counter-productive petitions.  If you’re wondering why no one listens when you preach the gospel, well, it’s because so much else that you said was nonsense that nonsense is what the world expects to hear from you.

I’m sure my request that we give up these petitions will fall on deaf ears.  I only hope that perhaps you might know better than to sign one in the future.  Certainly there are things in the world to which we ought to object, against which we ought to take a stand.  Do so, but only if you are personally informed concerning the object you are protesting and can, yourself, speak intelligently against it without regurgitating lines that you’ve been fed by someone who perhaps knows as little as you.

The title of the show is Good Omens.

Previous article:  Simulationism.
Next article:  Villainy.

Battle Among the Hill Ruins

This tale follows from the events of Tracks on a Moonless Night.

Image by Iwona Olczyk from Pixabay


Sir Garrett of House Winchester and his retinue have been in the region around Blackwater Lake for months now, searching for Sir Garrett’s lost ancestral estate, named Falconridge, which once lay somewhere near the shores of the lake. After several adventures and misadventures, the Winchester party is now split into several groups.  Several members of the retinue are down south in the bustling city of Yarrvik, while others remain at Blackwater Keep or the nearby village of Lakesend. One remained near the ruined Temple of Pholtus, which the party recently explored. The rest of the Winchesters and their new unlikely allies, about two-dozen pilgrims of Pholtus, were to advance on the abandoned temple in force.  The Winchesters were to serve as an advanced guard that would lie in wait, hoping to flank the evil forces that would certainly attack the pilgrims of Pholtus, who formed the main body.  However, this plan derailed when dozens of strange, robed men ambushed the Winchesters in their forest camp at night, dragging off Master Gimlet and an allied man-at-arms named Brother Marcel.

After the battle, the Winchesters regrouped. Garrett sent three of his companions with all the horses toward the temple, where they hoped to meet up with the pilgrims. Meanwhile, Garrett, Alinachka, Brother Rolf, Ragnar, and Brother Carloman spent an hour plowing through the forest at night, following the enemy’s tracks and searching for their missing comrades. A small band of dark-robed figures ambushed this small group at a steep ravine, killing Brother Carloman and wounding several others. Several cultists slipped away during the fighting. Frustrated, the Winchesters continue the pursuit.

From the DM

I waffled on whether or not to lead the PCs to one of the villains’ lairs, where conversions are typically done. I decided that this would push them too far off course so instead I allowed the party to catch up to the captors and to rescue their companions. If the party is astute, they’ll realize that the fast-moving villains had ample time to escape. Just what did they do to the captives, and why did they allow the captives to be rescued? Next session, the PCs may be in for a surprise. Read more

Christ and the Dice #1: Introduction

My name is Osye E. Pritchett III (pronounced Oh-Sea). I am a Christian and a gamer. This is my story (abridged).

To start I would like to affirm that I believe in God. I believe in the Incarnation; that is, I believe that God became man in the person of Jesus. Wholly God. Wholly man. I believe in His death and resurrection.

Contrary to many of our co-religionists, I also believe that it is acceptable to play role-playing games, even the dreaded game Dungeons and Dragons.

I was born in 1970, and was raised in various Pentecostal churches and denominations. Most of my schooling was in private schools, predominantly Baptist schools. As an aside I want to point out that going to Pentecostal churches and attending Baptist private schools is a great way to confuse a young child.

I have attended a plethora of churches across the U.S., east coast to west coast, from non-denominational to Anglican to Methodist (I am currently visiting an Anglican church). Throughout these experiences I have made a casual study of the teachings of quite a few denominations, finding many areas of agreement between them. These areas of agreement have encouraged me to support communication, communion, and love between the believers of different confessions. As it says in John 13:34-35 “A new command I give you: Love one another. As I have loved you, so you must love one another. By this everyone will know that you are my disciples, if you love one another.” Read more

Tracks on a Moonless Night

It’s been a while since we heard from the Winchesters. We now return you to another thrilling adventure in Northumbria!


Sir Garrett of House Winchester and his retinue have been in the region around Blackwater Lake for months now, searching for Sir Garrett’s lost ancestral estate, named Falconridge, which once lay somewhere near the shores of the lake. After several adventures and misadventures, the Winchester party is now split into several groups. Cousin Modrak, Maggie, and Myles the Minstrel have taken ship southwards to the bustling city of Yarrvik, where they will meet with Myles’ rather wealthy merchant family, perhaps to cement a business relationship between his family and House Winchester. Meanwhile, Brother Lambert remained at the shrine of St. Cuthbert in Blackwater Keep to serve the curate of that shrine, Father Godfrey. In his spare time, he continued to browse through the small library there, looking for any old records on Falconridge. Master Magnus remained in the village, lodging at the Welcome Wench Inn and gathering any rumors that he could find on Falconridge. Yeoman Guilliman remained with him to keep the old man safe. The young elfin warrior-mage, Talvion Cormallen, was in the forest near the ruined Temple of Pholtus, which the party recently explored. Tal was waiting for the Winchesters’ impending return, keeping an eye on the temple complex and noting any enemy movements thereabouts. The Winchesters were confident that his elfin stealth would enable him to avoid detection and capture. The rest of the Winchesters and their new unlikely allies, about two-dozen pilgrims of Pholtus, were to advance on the abandoned temple in force. The Winchesters, after reuniting with Talvion, would serve as the advanced guard that would lie in wait, hoping to flank the evil forces that would certainly attack the pilgrims of Pholtus, who formed the main body.

From the DM

This encounter grew from the fact that I, as DM, was not fully prepared for the group to explore the temple further. Scrambling for time, I thought of a fun way to slow their progress—one that they would not mind. The previous session had been largely housekeeping so I thought to get started this time with combat. I also used the opportunity to introduce the PCs to the evil cult that has been operating behind the scenes. Thus far, they had only run into the goblyn hordes, controlled by the cult. To make the most of an otherwise routine trip, I also threw in a new NPC group that I wanted to introduce. That would allow them to role-play, and it would also eat time. Read more

Treasure Division: A Case Study From Northumbria

This scene takes place between part 2 and part 3 of “Terror in the Tower.”


The session began with the PCs back in the village of Lakesend, in between forays to the ruined temple of Pholtus. At some point, the PCs had an interesting discussion on treasure division, and I, as DM, played the various NPCs in the party. It was an interesting rebirth of an age-old dilemma, namely ‘How should treasure be divided?’ I submit that by letting players grab whatever they want without forcing them to think, you miss some good role-playing opportunities.

Cast of Characters

Most party members are part of one large extended family—the noble Beckett family. A few are retainers.

Granny Beckett: Witch, eccentric matriarch of the family
Jade Cormallen: Half-elf ranger, distant relative to most
Lord Roger Beckett: Ranger, new family head
Acolyte Denston Beckett: Cleric of Pholtus, grumpy and dour
Daniel Beckett: Assassin, passionate and protective
Sir Callum Beckett: Cavalier, burly and jovial
Sir William Beckett: Cavalier, sarcastic and brave
Brother Lewie: Cleric of St. Cuthbert, erratic but insightful
Sven Ragnarsson: Barbarian, bastard of Granny, Bjorn’s twin
Bjorn Ragnarsson: Barbarian, bastard of Granny, Sven’s twin
Brother Liam: Cleric of St. Cuthbert, comrade of Brother Lewie
Sir Raynard: Cavalier, handsome and witty
Raymond: NPC (Fighter 1), stoic and responsible
Owen: NPC (Ranger 1), introverted and self-sufficient
Kieran: NPC (Magic User 1), gentle and intelligent
Sergeant Blaine: NPC Fighter, porter to the Beckett family
Dagis: NPC (Fighter 0), new squire to Sir Callum


Day 25, Eighth Moon

That evening after supper, the family casually discussed treasure division. Here are some bits of the conversation:

KIERAN BECKETT: “We are a family, and we have always worked as a team. Some of us perform very basic and very boring duties so that others are free to perform tasks for Lord Balin or to further the family’s interests. Owen has led a few of our kin on hunting expeditions almost every single day. Elwood and I have been gathering food, fishing, and caring for the shepherd’s sheep every single day—part of our agreement with Lord Balin. Since we share duties—exciting or otherwise—perhaps we should share spoils to some degree. Personally, I am less concerned with spending money than I am with restoring our family’s wealth by discovering the secret to those Cimbrian blades that we captured. Perhaps, each time we come into some wealth, we can put a very small percentage aside for those efforts? There is so much that I need to purchase or to acquire for proper research.”

SERGEANT BLAINE FORESTER (from his sick bed): “The Becketts will always have my loyalty and my halberd. I need no fancy trinkets, but some coin to buy a beer each day would be welcome. That is all. I used to serve for pay when you had your estate. Of course, when we were displaced, I did not expect you to pay me a wage. Now that we are coming into some coin though, perhaps a few coins each month would be possible. It is a small matter at the end of the day though.”

OWEN BECKETT: “Granny has kept us all on our feet more times than we can count. All those herbs and strange concoctions must cost something. Something tells me that we shall need her services many times in the future. It might be wise to take a small percentage of whatever we gain and put it towards restocking her stash of elixirs and such. Elwood and I could probably find all of her herbs for free, but feeding the family every day has consumed all of our time and energy. I am exhausted, by the way.”

RAYMOND BECKETT: “Along similar lines, it would not hurt to make small regular donations to both the Temple of St. Cuthbert, here in the village, and the shrine in the Keep. Sooner or later, we may need more than Granny’s healing, and the clerics will have to ask themselves why they should help us. Sure, Brother Lewie has connections with the curate and Brother Liam has ties to the vicar, but do not forget that we are newcomers here. They barely know us, and they are preparing for a major siege. Healing us with anything beyond minor salves and poultices may not be very high on their priority list.”

ACOLYTE DENSTON BECKETT: “From experience, I do not expect you heathens to worship the one true God (Pholtus), but it is only fitting that you allot me the same amount of coin that you dedicate to your temple or shrine. I must have something to donate on our behalf.”

DAGIS: “I require no coins. Sir Callum… and you all… have provided me with meals; a warm, dry place to sleep; and protection; as well as some armor and a weapon. I need little else.”

SIR RAYNARD BECKETT (throwing a handful of walnuts at Dagis): “That’s because you are a squire! We are supposed to provide for you, and you are supposed to be poor until you make something of yourself some day… maybe… if you live. The rest of us are not squires. I’m not greedy, but I like gold as much as the next man. I shall happily accompany or lead the next expedition. I need a break from hunting anyway. As a sport, it is good fun. As an occupation, it is drudgery.”

KENRICK THE KENNELMAN: “I have felt rather useless as a kennelman since we lost our pack of hounds back home. On your advice, I found employment with Lord Balin, assisting his kennelman and caring for his hounds. I need little else, but I agree with Blaine that a few silver moons to buy a drink would be nice. As much as my employer treats me well, I am still your man as long as you would have me. Say the word and I shall return to your active service.”

FINN THE FARRIER: “I too am working each day for Lord Balin, on your orders. Though I sought employment with the armorer, seeking to learn some of his trade, they had need of my skills with horses so I work each day in the baronial stables. There is no pay, but I have shelter, food, and drink. They even offered me permanent employment, but I told them that I remain in the service of the Becketts. A wage of some sort would be nice though. I leave the details to you.”

MARIN THE PILOT: “I will take whatever you give me. I am grateful that you tried to save my pa. For that, you have my service. As long as I have food, drink, a place to sleep, and some protection, I am yours. I never had no armor or more than a staff or sling, but I get by just fine. I can ferry your anywhere on the lake, run errands, and find out many things from the locals. I am a decent cook too.”

ELWOOD BECKETT: “I have been talking with some of the locals, and I heard of a few people that live together in the forest, sharing all of their food, clothing, and equipment. Each person contributes what he can, depending on his skills, and takes whatever he really needs. When they get donations or gifts from new members, they divide it equally among them all. When they need coin for something, they all decide what to do.”

RAYNARD BECKETT (throwing walnuts at Elwood this time): “Like that would ever work. Be quiet.”

KIERAN BECKETT: “My good cousin is correct in that we cannot go leaderless. The idea of equality is silly, but we might learn something useful from even these strange forest denizens.”

RAYNARD BECKETT (picking up more walnuts): “Forest what?”

KIERAN BECKETT (his hands raised to shield his face): “People that live in the forest, cousin. We could learn even from them. We might take a small percentage of each windfall and divide that equally so that all have at least a few coppers to spend in the village. In this village, we may need to make it a few silvers, as everything is so overpriced. With a small percentage going to spending money and a small percentage going to research, Lord Roger could divide the rest as he sees fit, paying for training, buying supplies, or awarding more coin to those that deserve it most. ”

Sir Raynard put down his handful of walnuts, but discussion continued for some time…

GRANNY: “While we have just come into considerable coin it has been spent on debt and training. We are barely out of the red. Though once the family is once again profiting, the whole family will profit as well as those who have served us and become as family in our darkest hour. No one’s loyalty will go unrewarded. As for tithing to the churches, the gods are always generous, but their clergy still needs to eat. We will remember them as well once the income we are receiving exceeds the debts we are incurring. The family will prosper again, our reputation will shine once more, we will be restored.”

JADE (playing with her arrows): “As much as I like gold in my pocket, I agree to share the wealth. Our debt is still there, but we have paid off a large portion of it already. Training should be a focus. Plus, I am quite curious to see how the rest of you handle a battlefield.”

BJORN: “I share the coin, but never the glory! The glory and accolades belong to me! Okay, maybe me and Sven. Yeah, the glory all belong to me and Sven! Well… and some of the good weapons and armor. Okay… All the glory belongs to me and Sven and some good weapons and armor! Oh… and some coin for new boat. Okay…  All the glory belongs to me and Sven and some good weapons and armor and some coin for new boat. Oh… and the good booze! Okay…  All the glory belong to me and Sven and some good weapons and armor and some coin for new boat and the booze. Oh… never mind! Bjorn share some of the loot. Let us go smash something interesting!”

SVEN: “And pie! I like pie… And maybe some private time with the bear cub that we saved… once she gets older that is. I’m not some sort of a freak you know! We make strong kids!”

Sir Raynard threw a handful of walnuts at the grinning Varangian.

Compendium of the Land Surrounding Blackwater Lake — Table of Contents


An Introduction, and Of the Barony of Blackwater

Of Blackwater Keep, and the Inhabitants Therein

Of Lakesend Village, and its Commerce

The Blackwater, its Denizens, and the Lands Surrounding

Various Peoples of Northumbria, and the Cultures

Of Elves

Of Frangians

Of Zeelanders

Of Varangians

The States and Rulers in the Western Lands

In addition to the materials in the above Gazetteer, here are some further notes and systems useful for adventuring in Northumbria:

Languages of Northumbria

The Moons of Northumbria

Rules for an Exorcism Ritual


Dungeon Master Michael Garcia runs two games in Northumbria. These are a few adventures featuring the Winchester family:

Screams in Store

Battle on the Beach

Brigands Rock


Here are some tales of the Beckett family:

Ants in the Darkness

Treasure Identification

Terror in the Tower, Part 1

Treasure Division (Still to come!)

Terror in the Tower, Part 2

The Investigation Falters

Terror in the Tower, Part 3

Trial by Combat

The Battle of Heinrich’s Horn

The Editor would like to extend his warmest thanks to Michael for sharing his setting and these play reports. We hope that many more are forthcoming! If you’re enjoying the adventures, please let us know in the comments sections!