Wednesday Wyeth

Standing in for N.C. Wyeth this week is illustrator Frank C. Papé.

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Graphic Novels Challenge: Samurai: Heaven and Earth, Vol. 2

Continuing the story of Shiro and Yoshiko begun in Volume 1, Samurai: Heaven and Earth's second collected volume follows the samurai pursuing Yoshiko from France to the Mahgreb and then across North Africa to Egypt after she is abducted - yet again - this time by a Spanish nobleman.

It's hard to escape the feeling that the whole purpose of this exercise is nothing more than an excuse to illustrate Yoshiko in a French gown and a harim girl's outfit, continuing the Japan-o-philia of the first volume, and indeed the artwork continues to be magnificent. I found myself struggling to remain interested - in the story, in the characters - particulaly while navigating the gaping plot holes. I mean, it's not like I was expecting With Fire and Sword here, but is it really asking too much for characters who are more than skillfully rendered cardboard cut-outs? I honestly had no stake in finding out if Shiro and Yoshiko would manage to be together in the end, and the last score of pages was a wearying plod to the end.

This seems to me like another lost opportunity. If Ron Marz was so desperate to tell the story of a samurai in Early Modern Europe, how 'bout using Hasekura Tsunenaga as a starting point, instead of this brutally contrived and ultimately unengaging attempt?

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Swashbucklers on the Telly

Bayuca is the blog I hope RBE grows up to be someday - it's consistently one of my favorite reads on the intrewebs.

Today's post (in Spanish) contains some exciting news for fans of swashbucklers, with no less than four series in development for television: BBC is producing a new The Three Musketeers series for 2014: Starz is working on Black Sails, a prequel of sorts to Treasure Island featuring the exploits of Captain Flint and his crew, also for 2014; NBC is producing Crossbones, another pirate series; and a Captain Alatriste series is being prepared in Spain, with anticipated release in other countries as well.

I think I'm gonna need to upgrade my DVR.

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The Pen and the Sword: Captain Alatriste

It was clear that the Italian was doing very well. He could have killed the wounded man any number of times, but he was satisfied to harass him with false lunges and feints, as though he were enjoying delaying the thrust home. He resembled a thin black cat toying with a mouse before sinking its claws into it. At his feet, knee on the ground and back against the wall, one hand clutching the wound bleeding through his clothing, the younger Englishman was trying not to faint, and barely parrying his adversary's attacks. He did not ask for mercy; instead, his face, mortally pallid, showed dignified determination; his teeth were clenched, and he was resolved to die without crying out or moaning.

"Leave off!" Alatriste shouted to the Italian. Between thrusts, the captain's cohort looked at him, surprised to see him beside the second Englishman, who was disarmed and still standing. The attacker hesitated an instant, looked back at his subjected opponent, made a halfhearted feint, and again looked toward the captain.

"Is that a jest?" he asked, stepping back to catch his breath, as he whipped his sword through the air right and left.

"Leave off," Alatriste insisted.

The Italian stared at him open-mouthed, unable to believe what he just heard. In the dying light of the lantern, his pockmarked face looked like the surface of the moon. His black mustache twisted into a sinister smile, revealing his gleaming white teeth.

"Don't fuck this up now," the Italian said finally.

Alatriste too one step toward him, and the Italian looked at the sword in his hand. On his knee, uncomprehending, the wounded youth shifted his eyes from one to the other.

"There is more to this than we thought," the captain stated. "So we will kill them another day."

The Italian stared even harder. His smile grew wider and more incredulous, then disappeared. He shook his head.

"You are mad," he said. "This could cost us our necks."

"I will take the responsibility."

"So?"

The Italian seemed to be thinking it over. Then, with the speed of a comet, he lunged at the Englishman with a thrust so forceful that had Alatriste not blocked his sword it would have pinned the youth to the wall.

- Arturo Pérez-Reverte, Captain Alatriste

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Musketeers in Black

MIB 1625: "Swashbuckling investigators of the paranormal battle aliens, conspiracies, and the Cardinal's Guards in Paris, circa 1625."

This manages to make 7th Sea's metaplot look reasonable.

I followed the link to "Rondak's Portal," hoping to find an actual play log or something, but no joy. Too bad.

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"Building a Stronghold"

Preface: I posted this on theRPGsite about three years ago, and stumbled across it while searching for something else. You may see some hints about where I developed my formulation of the the swashbuckling 'endgame.'

"Building a stronghold" is more than the construction of a castle and hiring of mercenaries. It's about becoming a political creature. I think this is what many fantasy games miss, and it's one of the reasons I prefer historical games to fantasy ones.

For this to work, the players must accept that the goals and objectives change as the game transitions from one style of play to another over time. To use a hex-and-counter analogy, it starts off as GDW's The Battle of Agincourt and becomes Avalon Hill's Kingmaker.

From what little I've read of the early days of fantasy rpgs - mostly The First Fantasy Campaign - the players readily understood and embraced this mindset. From my own experience, however, it disappeared pretty quickly among gamers: in our AD&D games in the early Eighties - call it '81 to '83 or thereabouts - building a stronghold was about clearing land and building a castle and hiring mercenaries and attracting followers [and] was followed by fighting off monsters and humanoids who wanted to make that stronghold their next lair and those followers their next meal. The political game remained nebulous to non-existant, in no small part because our strongholds tended to be built beyond the frontier, consciously or subconsciously reflecting the desire to avoid being beholden to a prince and the attendant political maneuvering. Our experience was more like a cavalry outpost in Indian country than the War of the Roses.

So the first hurdle, in my experience, is getting the players on-board with this transitional nature of the gaming experience. Gamers who want nothing more than to play wandering tomb-robbers and mercenaries may struggle with this.

Accomplishing this means enmeshing the adventurers in the political world of the setting, which of course means there needs to be a political component to the setting first. I didn't really grasp this until I was in college, so it started appearing in my games in the mid-Eighties; the relationship between a planetary government and the Imperium in my Traveller games began taking on some nuance and balkanized worlds became my favorite planets for adventure, frex.

Kingmaker provided a lot of inspiration for introducing politics into my roleplaying gaming. Power is gained through control of offices of the state and church, not just nobles and men-at-arms in the field; if one's faction does not possess the sole prince, then one needs to crown a pretender and gain seats in the houses of Lords and Commons or one may be quickly isolated and overwhelmed when Parliament is summoned.

The key idea here is that one's ability to exert influence in the setting must extend further than the point on one's sword or lance, so gaining political power means gaining entry to and mastery of the institutions of state. In a fantasy roleplaying game, this means giving the adventurers the opportunity to join something, to climb a hierarchy other than the experience points table, to gain titles other than those of one's class. It could be an order of knighthood, a college of wizards, a religious confraternity, the Thieves' Guild, or whatever; as the adventurers gain personal power, they should have the opportunity to gain influence as well. A career spent as the behind-the-scenes mercenary strike force of the Emperor doesn't get you there.

By the time they reach "name level," or whatever level represents the lower reaches of the game-world's main figures of power, they should be enmeshed in the affairs of state, able to enter the halls of power and reasonably expect to pull some of the levers therein.

The situations they confront there should not be readily resolved with swords or spells - at least not always. One should need allies, and one should be someone who is sought for an alliance. This means the referee needs to create, and run, a convincing court with conflicting factions as well as allies and enemies abroad - and if those allies can sometimes be enemies and vice cersa, so much the better. The adventurers graduate from simple power wielders to power brokers, using those levers of power to exhance or diminish the levers pulled by others. A fighter who is also the grandmaster of an order or knights and the governor of a royal fortress controlling a key pass in the mountains or a cleric who is the ecclesiarch of an important temple and the tutor to the prince's heir possess the leverage to affect events out of scale with their stats and abilities.

Once you reach this point, in my opinion, the "historical scope" of the campaign becomes tangible and meaningful to both the players and the adventurers. Can your character become a Warwick, or a Richelieu?

This doesn't preclude the characters from reaching higher by any means. The adventurers in this game can also aspire to be a Timur or an Othman, but they may find that gaining an empire is not the same as holding it. A prince often discovers that there are levers of power out of reach of the throne, so one better gain, and keep, allies. The idea of legacy may become a powerful motivation here: Othman established a great dynasty, while Timur's empire pretty much died with him.

For this type of play, one where the characters control considerable resources by dint of office or commission, counting gold pieces needs to be abstracted.

To borrow an analogy from another board game, you need something like the BRPs - basic resource points, iirc - of Third Reich, a simple means of representing the resources of a city, a realm, or what-have-you, and a mean of converting them into armies or fortresses or school or temples or estates. The ability to give power as well as the mean of gaining it should be important at this level, such as placing a henchman in a key provincial government or an admiralty; rewards should be more than, "Oh, and here's this +1 sword I don't use anymore."

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Wednesday Wyeth

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