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A Giant in Xuun Pt.5: Selling Booty

About three days later Cantra, Phenox, and Nezor stumble back into the city of Brighthouse Clerics Heraldry group fights after selling chest contents Xuun, dirty, and not only foul from the slimy heat of the swamp but Nezor had spent about a day wading in the murk searching for the sunken chests in the muddy bottom. He had recovered both the smaller oak chest and the other chest the contents of which Zevor supposedly had already divided amongst the robbers. The mithral chest was lost.

Fortunately after a day had passed Gator-tooth had rowed back to the campsite on a newly built log-raft. He had come back for his promised pay. After a treasure exchanged hands he transported the surviving trio back to the outskirts of the city by the old gristmill.

The oak chest had contained: 10 blue-steel great axes with a single large black pearl in each of the pommels, 40 pigs of blood-metal, 10 lbs. of raw mother of pearl, a poor quality lacquered turquoise figurine of an armored warrior, and a high quality bronze-wood jar with a dragon carved over its face. In the other chest was a small superior quality midnight steel box with mithral rivets and hardware, a master book lot, a carven alexandrite skull which was given to Gator-tooth as payment, a superior quality dragon-metal tool hammer with a dragon-bone handle, and a high quality manticore hide cloak. Needless to say the hill-giant was a little miffed that such a haul had escaped his sight when shares had been split before the hoods had attacked.

As soon as the three hit town they opted for a quick drink at the Whiskey Troll tavern and Phenox after taking one of the blue-steel great axes and the dragon-metal hammer as his own left to destination unknown. Cantra took possession of the cloak and left for her apartment for “a bath”. Nezor mentioned before she left that he was going to the bazaar to lay out a carpet and hawk the wares that were still up for shares; the mother of pearl, the bronze-wood jar, the turquoise figurine, the booklot, the midnight steel chest, the blood metal pigs, and the rest of the blue-steel axes.

It was in the noisy, over-crowded, and bustling marketplace that Cantra found the giant when she came looking a few hours later. He was haggling with a group of bullywugs (frog-men) on the price of one of the blue-steel axes. He eventually let them have one for way below its actual market value as the entirety of their coin amounted to only a few hundred gold pieces. She sat with Hill-lander for a couple of more hours making sure he wouldn’t attempt to cheat her out of her share of the profits. Not long after Cantra had settled in that a mage wrapped in brown robes with an eye insignia on his chest walked up to the giant.

The mage bought all of the blood metal pigs for 400 gp. Cantra had initially failed to properly assess the value of the small bars it later dawned on her that each 2 lb. bar was worth around 20,000 gold pieces! Nezor just shrugged. Later, the giant successfully sold the booklot which Cantra was able to figure out the proper value of, to a man named Korfin whom passed along an address to where the books were to be delivered. It was a C.O.D.-type of deal. Just before packing up shop, Nezor managed to sell the mother of pearl, the figurine, and the bronze-wood jar for a combined 175 gp.

All three met back up that evening at the Whiskey Troll for a meal and several drinks after eating they would deliver the books to the address provided. Later that night it was Nezor who stumbled back some 3,075 gp richer. Phenox had stayed in the courtyard for some wine with the mage, for that is what Korfin turned out to be. Cantra buzzed away to her apartment again.

Nezor was about halfway back to the tavern when he decided to wander the streets and “do some good” if he spotted any “villains” about. It wasn’t long before the giant heard, “Die!” from a dark alley. Immediately he was beset by half-a-dozen black-hoods with a ratling shooting at him with a crossbow from the rooftops. The hill giant made short work of three of the thugs with a single sweep of his club sending their fellows fleeing. The ratling was suddenly nowhere in sight. Nezor decided to make a bee-line back to the tavern.

Back in the gossamer yellow glow of lamp-light in the pipe-smoke-fog of the Whiskey Troll Nezor settled in with a bucket of ale and a pitcher of whiskey. During the course of drinking himself unconscious Nezor talked to an older human in chainmail who, “thought it was a little suspicious that they went into the swamp with you guys and you’re the only ones that came back.” He was apparently a compadre of Zevor and his rogues. Nezor had just shrugged it off as the man stormed away. In the course of the night Nezor had put out the word to the trollish bar-maids that he had a midnight steel box for sale. When word reached the faun bartender he seemed intrigued but nothing came of it before the hill giant passed out.

When he came to, his friends were at the table, Phenox had sprung for breakfast. The three sat in the place for almost the entire day and by early evening were contemplating what should their next caper be when the slaver Corvo-Doom entered with his small entourage. It was after about a half-an-hour or so when the Brighthouse Witch-Hunters clattered into the place.

It was the same gaggle of fighters that Nezor had seen in the marketplace before the venture into the marsh. However, this time they were led by a Creschan (judging by his dark skin) cleric with the image of blue octopus impaled by a golden sword on his white Acton. At his side was a paladin bearing a golden broadsword and a gold great helm. Corvo-Doom with the unmistakable air of both hostility and over-bearing arrogance shouted something in Hyvalian at them almost as soon as they had stated their purpose to the bar. The golden-helmed paladin was the one that seemed to understand the gravity of the insult and seemed determined to face down the powerful slaver right there. The rest of the witch-hunters likewise readied their weapons and began to slowly surround the slaver’s entourage. Corvo-Doom’s right hand man which Nezor had seen act as his translator before shouted out, “A gold talon to any souls brave enough to help my lord!”

Phenox drew his weapons and Cantra hers. They both looked to the giant who didn’t seem like he was going to do anything. Phenox tried to convince him to join on the slaver’s side against the witch-hunters if for nothing “for the money!” But Nezor was determined to sit it out since the Brighthouse were supposed to be the “good guys”. The hill-giant took a healthy gulp of cheap whiskey.

To Be Continued…

A Giant in Xuun Pt.4: Never Trust a Mage

The successful gang of highwaymen came tramping into the camp not much The treasure chests the mage and his partners were gunning for more worse for the wear. At the head of the line was Zevor with the hill-giant Nezor on his heels, a large chest tucked under each arm. The reassuring and strong scent of heavily spiced stew met the raw nostrils of the exhausted adventurers. The 3 rogues Zevor had brought along were hefting a third chest, an oak chest, smaller than the previous two but still substantial, on a creaking pole-carriage followed by the mage. Pulling up the rear were the deathgrin Cantra and the grim-warrior Phenox.

Gator-Tooth (as he met the hungry eyes of each of the rogues in turn as he stirred the steaming stew): “It. Ain’t. Ready. Yet!”

The gruff leatherback tossed in a handful of chopped roots probably fresh pulled from the muck of the marsh. The other new thing about camp that Nezor noticed as he tossed his burdens onto an open patch of earth was that there was now a second raft on the shore, the wood white and newly chopped.

Zevor (he patted the giant as passed by): “For the chests my friend!”

Nezor: “Yeah, well. I’m ‘a stickin’ by dem until I get ma’ fair share!”

The sneering giant turned around and eyeballed the gleaming mithral chest. He roughly approached one of the thieves and appropriated one of their short-swords. The mercenary mage noticed what he was up to and said, “um, I wouldn’t do that if I were you!” The mage finally introduced himself to Nezor as Ebaknor. Nezor duly ignored him and went to pry open the chest. The sword blade splintered and a bolt of lightning immediately exploded on the giant’s breast.

Zevor quickly intervened and had one of the more experienced rogues pick the lock of the other large chest and had the mage work on the mithral chest to try to pacify the giant. It took about an hour, the plain wood chest was opened and Zevor was taking inventory. Nezor looked on like a marsh-owl as he gulped down some of Gator-Tooth’s stew. Ebaknor the hireling mage finally conceded that he could not defeat the wizard’s lock spell or the lightning bolt ward on the mithral chest.

Nezor’s cut from the opened wood chest was 25 star metal pieces, 75 platinum pieces, 100 gold pieces, 625 silver pieces, 10 diamonds, 10 pieces of quartz, and 3 instead of 2 black pearls. The hill giant had insisted that he deserved the odd pearl as “hazard pay”. No one argued with him. Zevor then told everyone to relax and they would be leaving come early dawn and he would watch the remaining chests. Nezor refused to leave guard duty solely to the stumpy Westlander thief-captain and insisted that the chest would not leave his side until its lock was broke and he got his fair share of the loot.

It was when the conversation between the giant and the stump-of-a-rogue was about to get heated when a 9-and-a-half-foot-tall warrior wearing a leathern black hood with red-trim wielding a bearded axe crashed through the bushes charging straight at Nezor.

A rush of several more hoods followed the giant axe-man doubtless there were even more skulking where Nezor couldn’t see them. Phenox pulled his paired scimitars and dashed out of sight into the bushes. Nezor parried a blow from the other giant’s axe with his club. An arrow flew at Zevor and he dodged out of sight. Cantra knocked and drew but her bowstring snapped. That was when Ebaknor made a dash for the rafts.

A shout from Zevor signaled he was hit by a poisoned bolt but still on his feet. Nezor battled the other giant both too evenly matched for one to easily overcome the other. Nezor while caught in a clinch between his carven great club and the hooded giant’s bearded axe looked over to see Cantra pegged with a crossbow bolt drop unconscious to the ground. The hoods had already made onto the rafts with the smaller oak chest, Zevor was nowhere in sight and Gator-tooth was fighting with his falchion and being steadily backed towards Nezor.

Finally, Nezor landed a crushing blow into the ribs of the giant hood and was able to deflect a reciprocal power-attack from the bearded axe. Crossbow bolts and arrows continued to fly and bristled in the bodies that littered the beach. Gator-tooth hacked down a ratling and Phenox tumbled out from behind the bushes engaged in furious combat with what appeared to be the hoods leader. The big axe-man chopped deep into Nezor whom was only spared from a quick and savage death by his new and by now very ragged hide-armor. He replied in kind with a power-attack putting all he had behind the single blow, an all-or-nothing gambit for survival.

The giant axe-man gasped as he dropped heavily onto the black earth, the hood that he was wearing emitted a bright sudden flash of magic light and he was gone, teleported away. Gator-tooth dropped another ratling and backed up to the hill-giant’s side. Phenox dropped to the ground felled by a paralyzing spell from the traitorous mage Ebaknor. Nezor growled. Another rogue with a hand crossbow slid out from the overgrowth and shot an envenomed quarrel at Nezor fortunately the tiny barb couldn’t penetrate his armor.

Gator-tooth charged the crossbowman and the leader who had been dueling Phenox dropped his paired swords and pulled a fighting spear from his back all the while keeping his eyes locked on the raging hill giant. The hood-leader thrust his spear at the giant who barely parried but leaving himself wide open and as a result was skewered by the second. The blow very nearly proved fatal. Nezor rendered temporarily helpless as he recovered from the blow.

The hoods were on both of the rafts and on one of them was the mage along with the oak chest. Their plan had obviously been to snag all of the chests and abscond with them and the rafts, unfortunately the giant had thrown a wrench into those plans. Gator-tooth continued to fight valiantly and Nezor took another nasty jab from the hood-leader’s fighting spear.

Gator-tooth chopped another hood down and just as before the leathern hood flashed with light and the thug’s corpse was magicked away. Cantra began to move and crawled painfully over to Phenox pouring a potion of Neutralize Poison down his gullet but to no effect. Nezor broke away from the hood-leader and charged the nearest raft getting stabbed in the process again onn an attack-of-opportunity by the leader’s spear but he successfully smashed the first raft to pieces along with some of its occupants using his club. Cantra began to giggle, the hideous sound of her insane laughter crawled up the spine of all who could hear it. She had made it to her equipment and snatching up a long spear tossed it at the spear-bearing hood-leader wounding him.

The hooded spearman charged after the giant and Nezor after parrying another dangerous spear thrust responded with a massively powerful attack. The hooded leader taken by surprise leaned into the attack and was thus launched in a spray of blood and innards into the air splashing down somewhere in the unseen distance. Gator-tooth moved to back up Cantra as it appeared the hoods were in retreat. The second raft was too far away from the shore for Nezor’s club. He snarled as he could see the traitor Ebaknor astride unsteadily upon it.

Without a word, Nezor walked over to the mithral chest, picked it up as if it weighed nothing and after shouting, “YOU fergot sumptin’”, tossed the chest at the raft. The weight of the treasure within the metal chest completely shattered the lashed raft dumping the remaining hoods and the unfortunate mage into the slimy drink. Apparently Ebaknor couldn’t swim and sank along with the chest into the slime and muck of the swamp. Gator-tooth began to rant and rave about his “boats” and stormed off.

Among the corpses scattered along the shore was the arrow-feathered body of Zevor. Gator-tooth and the “goodfellows” were the only survivors. Cantra tossed the giant a potion of healing and it took quite a while before the spell over Phenox wore off. They hadn’t a clue where in the swamp they actually were or in which direction Xuun lay.

They were stranded.

To Be Continued…

A Giant in Xuun Pt.3: The Swamp Venture

Heraldry of Woodcutters' Guild caravan that the trio waylaid in the swamp 3 days had passed since the trio of “goodfellows” had traversed Xuun’s bazaar and outfitted with their new gear the trio finds themselves in the swamp astride a crude log raft piloted by one Gator-Tooth a swamper leatherback with tattoos over his bald sun-baked pate in a crocodile skin vest and canvas pantaloons. At its head serving his role as fearless leader, Zevor the Westlander rogue, and filling out the rest of the motley crew3 more rogues dressed similarly in studded black leathers and a Westlander mage dressed in a brown robe with gold trim serving as mercenary.

The small party of desperados had sat sweating on the wet logs of the raft in a reeking swamp located somewhere in Gorloc hidden in steaming shadow as the wilting dripping canopy of the marsh was thick enough to completely blot out even the noonday sun. The party was currently on edge as they had already braved giant constrictors that prowled the green waters and giant spiders the size of large dogs which dropped from the black sagging canopy.

The raft ran into a shallow and skidded roughly onto a sand-bar quite a distance from the barely visible shore. Nezor and Gator-Tooth hopped into the waist-high (for Gator-Tooth anyway) opaque waters, a thick film of bright green slime clung to their clothes as they dragged the raft onto the shore to allow the others a dry disembarkation.

Gator-Tooth (to Nezor): “Watch yer-self! Leeches everywhere!”

As soon as the old leatherback hit the sand-clay shore he immediately began to search himself and scrape several fairly large black leeches from his belly and arms with his broad-bladed bowie-knife. Nezor just shrugged, his hide was too thick for the tiny black specks to even try to bite him. He hefted the few water-tight barrels the crew had brought with them onto the shore and into their newfound campsite.

It was up to Gator-Tooth to set up a hasty camp while the rest of the party, the rogues and the “goodfellows” huddled around Zevor to hear his plans. The ambush spot would be scouted tonight by himself and two of his three rogues, the ambush would be tomorrow at first light, he tried to smooth the “goodfellows’” dander with a typically greasy smile and an open-palmed gesture then when that didn’t do it he pulled a rare and expensive timepiece from his studded leathers. He went back over everyone’s role and discussed positioning.

Come morning the rogues and Zevor took up their positions with crossbows ready as did Cantra with her bow, all out of sight in a large clump of broad-leafed bushes. Phenox was just off the narrow black road in a grass-choked ditch with weapons ready. Nezor was leaning against a thick warty tree waiting for Zevor’s signal to step out onto the road blocking the caravan-wagons. They were waiting for a caravan of 3 wagons bearing arms that consisted of a field split per fess with a winged lion against a blue field atop a white lotus against black. Nezor spotted a mossy sand-stone boulder in a mass of wet reeds and murky green water in a pit-pond to the side of the road. He had a plan.

It was a few hours later when the sounds of steel clad wagon wheels sloughing through sticky black mud and the huffing of horses could finally be heard coming up the road. It wasn’t long after that the beleaguered and mud-laden wagons came into the thieves’ hungry view. Zevor had yet to give the signal but eager to put his plan into motion Nezor leapt out from behind his tree chuckling stupidly as he chucked a boulder at the lead wagon.

The boulder crashed into wagon’s side pushing it into a water-filled ditch hopelessly stranding it. It was only then that the impatient giant could see that it was in fact, a gypsy caravan. The southern-nomads scattered and fled like cockroaches before him disappearing into the overgrowth. The other wagons immediately began reeling and took off down an invisible side-path and the boulder-crippled wagon slowly sank. It was another hour or so before their actual target rumbled into view. Zevor gave the signal, the sly hoot of a swamp owl. So with a disappointed sigh, the hill-giant did his part and stepped out onto the road.

That was when Nezor saw that an Ivoran Knight in full chainmail and a ranger with full kit were leading the wagons, both mounted. With utter calm they signaled the wagons to stop. The knight clacked shut his great helm’s visor.

Nezor (Played by me): “We’re here to liberate da’ gold!”

The Knight (lowering his lance): “Prepare yourself filthy giant!”

The shady mage that Zevor had brought along fumbled his spell and Phenox moved from his position trying to sneak around and flank the knight. The teamsters on the wagons became the first victims of Zevor’s and his rogue’s bolts. With a ringing shing the ranger drew his paired short-swords leapt from the back of his horse and charged grim-warrior Phenox. Nezor immediately charged the knight and dismounted him with a single mighty metal-crunching swing of his club. The knight immediately leapt up and in a single movement drew his long-sword.

A fighter from the rear of the wagon-train began to charge at the giant. Crossbow bolts and arrows flew in a brief but harrowing exchange. The mercenary mage cast a spell at the Ivoran knight but he was able to apparently shake off the malignant sorcery. A teamster shrieked and fell dead from the lead wagon. The knight struck with a savage swing against Nezor scoring his new suit of hide armor badly and barely touching the giant’s flesh beneath. The charging fighter hit the giant with a blow from his battle-axe but only managed to hack into the crocodile’s hide. The knight followed up with another armor chopping blow from his broad-bladed long-sword.

Phenox was engaged in his desperate duel with the ranger and another fighter, Cantra was somewhere unseen, while crossbow bolts continued to fly and occasionally when a fighter or teamster wandered too near the bushes, one of Zevor’s rogues would shoot out of nowhere and stab them in the back or slit their throats. The fighter wielding his axe against the Hill-giant fell with a bolt in his back. The merc-mage finally dropped a fighter with an acid type spell. The knight renewed his attacks against Nezor and the giant replied with a smashing two-handed club swing flinging his broken corpse off into the dark of the swamp.

Phenox dropped the ranger; the fighters were picked off as they began to flee. The battle was over. In the end the rogues and the goodfellows made away with 1 large mithral chest covered in runes and locked with a large iron lock and another very large and heavy chest, unlocked, and 10 superior quality spears found in one of the wagons. Nezor was a bit put off as his new armor was pretty badly, at least in his estimation, damaged though it had performed admirably especially against the knight’s weapon.

The armor was that he had made from the hide of a giant crocodile. It was gleaming brown spotted with black scales in places and covered the giant almost completely from his knees to his shoulders. The helm expertly crafted from the beast’s skull and head had come complete with polished black-wood carven eyes. The giant was proud of his new outfit and very pleased with its performance in battle he just hadn’t thought that it would take such punishment.

He refused to move any of the chests as the entire party of thieves struggled even with crudely fashioned bar-hoist which had snapped at first lift. Zevor had to pay the stubborn giant up front, 100 gold pieces to get him to pick them both up and take them to the camp, which he did with ease almost as soon as the coin dropped into his massive palm.

To Be Continued…

A Giant in Xuun Pt.2: Walking the Bazaar

The Whiskey Troll Tavern was a-buzz with the noise of conversation, sinister and riotous laughter, and the loutish shrieks and yells of its loyal but filthy patrons. Floating just above the clamor barely able to take wing in the thick sea of lamp-yellowed pipe-smoke were the sweet banjo notes of a doshpuluur (a 3-string long-necked lute) and its turtle-shell sound-box as a bard plied his trade. The young bard was dressed in the half-brown, half-green colors of the Bardic College at Ezmer bearing also the school’s mark, a golden acorn with a ram’s horn curling about it, on his breast. He was singing a traditional song which involved something about a maiden and a dragon somewhere in the Marshes of Gorloc. Nezor threw with some force a handful of gold coins at the musician leaving a few marks on the young man’s forehead. The bard was happy for the coin however and pausing, stooped to collect them from the damp, filth be-speckled flagstones.

Phenox worked the raw skull of the half-giant, the blue-boar, fashioning it into a helmet for himself. He was quietly chatting with Cantra, dressed in parti-color, about a group of Scaels that had just slithered in; one was lurking in the shadows. Corvo-Doom burst into the place making his way to a table by way of a wide angry stride his minions and shield-man in tow. His Ivoran shield-man bore a heavy spiked gold longshield bearing the image of a severed demonic head with a crown atop it and rimmed with demonic-script.

The night shapes up to be another in a long string of loud, vacuous, and uninteresting nights tinged with a strange and looming paranoia. Cantra eventually decided to retire to her apartment. Not soon after she had retired than Zevor the swamper pulled up a stool to table where Nezor continued to drink and eat and the Grim Warrior Phenox continued to carve. The Ivoran swamper set down a bucket of whiskey then sat after scooping some up in his jack.

Zevor: “They treatin’ ya right here?”

Nezor (played by me): “Well, ah ain’t droonk ye’eht!”

The swamper goes on to talk about some “highwayman work” somewhere in the swamp north of town. Nezor seemed a little interested but his ears perked up when Zevor, as if sensing what would properly motivate the giant, mentioned that the caravan was hauling a stash of “unearned” cash and certain “stolen” items. It was “vital to certain concerned citizens of Xuun” that they, meaning the tinder and gear, be “liberated”. Nezor mulled it over for about an hour while Zevor covered the tab. In the end the giant agreed and volunteered his companions whom he referred to as the “goodfellows”.

By about midnight Nezor had passed out drunk. It seemed that as soon as his eyes slid closed the screams of the “goodfellows” yanked him into the full blinding gold-light of morning out from his peaceful stupor. He was awoken to three human black-hoods armed with short-swords raised stood around his table and his prostrate figure. The dark shape of Phenox flew into the fray leaping on a tabletop and slashing away with his paired scimitars separating a hooded head from black draped shoulders.

Another slashed at Phenox’s legs but missed and the other stabbed Nezor in the side renting a hole in his cowhide jerkin. A ratling streaked from the shadows and slashed at Cantra with its dagger but she evaded the oiled blade easily. Yet another ratling made an appearance and this one buried its dagger to the hilt in Phenox’s side.

The Hill-Giant snatched up his club ‘dog-smasher’ and with a mighty sweep forced one of the human thugs to dodge out of the way clobbering the other and launching his corpse through the air into the dark inner reaches of the tavern.

The ratling on Cantra nicked her with its blade. The other on Phenox lashed out missing then quickly backed away. Phenox slashed at the creature in response but it dodged away disappearing into shadow. Cantra whipped out her bowie-knife and stabbed her tiny chittering foe wounding it badly.

The remaining human hood nailed Phenox with his weapon and Nezor immediately took him out with a sudden sickly wooden thud followed by an explosion of blood and gore. Cantra’s little foe struck at her but she avoided the blade and as it turned to flee she stuck it in the back killing it. The trio noticed that these thugs’ hoods were of fine black leather this time.

After looting the corpses of coin the trio makes their way to Xuun’s bazaar. The wide avenue was noisy with the clatter of people and wagons as the traffic jammed up under the continuous cloth awnings on both sides and the masses of vendor-carts and produce laden carpets dividing the cobbled street into two chaotic lanes. The sheer diversity of the people was still humbling to Nezor. There were civilized Ivorans, dirty Westlanders, Nagas (most being of the Scael persuasion, a few may have been of Southern Barbarian stock), dark-skinned Creschans, and even a few Hill-Landers though all had appeared to be pirates in need of a ship. The air was rich with scents of fresh spices, the delicious oily smells of cooking food, and the exotic bursts of scented oils and incents. However, the stench of unwashed bodies and the general filth and sewage which ran in the gutters was only just detectable underneath the exotic pall of the marketplace.

Phenox located an alchemist and Cantra purchased some items to fill out her disguise repertoire and a make-up kit. Nezor split off from his companions when an armorer called him over to his stand which was covered in crocodile and alligator leather and skins. The shopkeep directed the hill-giant’s attention to the massive skin with its head still attached hung on the wall behind. The crocodile had been massive and was perfect as a suit of hide armor for Nezor, so naturally he paid half up front and spent awhile he was measured for his new suit. It would be ready for pick up in about 3 days.

As the “goodfellows” found each other as they were heading back to the Whiskey Troll they caught eye of a large group of about 12 fighters all wearing white armbands. One of their number armed with a golden sword was killing a tentacle creature at one of the booths. Another wearing chainmail and wearing a white Acton with a gold solar-disc over a blue wavy line on its front turned and raising his straight bladed broadsword into the air shouted, “We seek the enemies of life; we are looking for witches to BURN!” By the looks of him he was either a Cleric or Paladin of the Brighthouse (the Creschan Church). Nezor wasn’t quite sure nor di he care much. The ‘witch hunters’ then proceed to savagely beat the gypsy purveyors of said shop-stand.

The “goodfellows” turned and head back to the tavern, there the roguish Zevor later met with them letting them know that there “has been a delay” and it would be about 3 and half more days until the liberation of the goods form the criminal caravan in the swamps. Phenox tossed 3 leather hoods onto the ale-soaked table and Zevor without missing a beat snatched them up and tossed out 30 gold pieces onto the damp board.

So, Nezor committed himself to drinking, eating, and waiting for his new suit of armor to be done.

To Be Continued…

A Giant in Xuun Pt.1: Black Oak Mishap

The sweaty greasy crowd in the smoke-fogged taproom of the Whiskey Troll Tavern was in a cacophony as the clatter of coin changing hands began to wash over the former uproar generated by the evening’s entertainment. Among the grungy ragged crowd were a group of ethnic Scael Nagas with a dagger and coiled serpent design on their pectoral plates, and a lizard-man (probably a descendant of slaves escaped into the swamps centuries ago) and his human companions all dressed in coats made of a patchwork of rat-skins with an embroidered patch bearing a rat impaled on a dagger sown on the backs. Giant Hogshead with troll-face

A stumpy Westlander with a studded black-leather cowl was the luckiest gambler in the crowd as he had apparently made a significant wager on the hill-giant and his two companions against the 7 black-hooded thieves’-guildsmen whose corpses now littered the place. The leader of the rogues lay splattered all over a far wall opposite the scene.

A silk-robed Hyvalian, a gold signet ring on his hand and a great sword at his side, seated at a private table and surrounded by servants looked on as he sipped whiskey from his golden goblet studying the giant and his two companions. He had passionlessly observed the brawl but seemed to take a little more interest in the night’s victors, at least for the moment. In the course of the night Nezor would learn that this glittering and seemingly out-of-place character was Corvo-Doom, a powerful slaver.

Nezor the giant flopped down near his table, back against the wall nursing two nasty spear wounds in his side made by the short-spear wielding thief-leader. Phenox, a dusky southlander in alligator-hide armor his face hidden behind a mask fashioned from a human skull, after tossing a healing potion to Nezor, went to lopping off the heads of the corpses that were still mostly intact with one of his paired scimitars. The giant poured the potion on his tongue like an eye-dropper and began beating his club on the stone floor.

Nezor (played by me): “Gimme some whiskey! A hero thirsts!”

Meanwhile Cantra, the other of Nezor’s two companions, had already buzzed away and disappeared somewhere behind the bar. She had been sporting a single but deep quarrel wound.

To the giant’s surprise the stumpy Westlander in the black cowl jogged up with a full cask of whiskey and eagerly filled his copper drinking horn to the brim instead of Ebuyah, one of the troll-mutilated maidens which worked the fetid place and one of Nezor’s favorites.

Cowled Westlander: “Those whoresons deserved what they got. The Black Hoods have been interfering with my business for years. I’m Zevor by the way!”

It turned out that the stump of a Westlander was a “swamper” which meant little to Nezor. The giant continued to drink on the little man’s tab for the rest of the night while the ‘swamper’ tried to recruit him for some sort of a job that could “use some muscle”. He also offered a bounty of 10 gold pieces for each hood taken from a black hood member.

Come morning all three companions rejoined at their table in the Whiskey Troll Tavern, Nezor and Cantra having met at the House of Healing run by the ubiquitous White Star Guild in order to get ‘fixed-up’. Phenox was not-so-subtly de-fleshing a severed human head, one that he had taken during the battle the previous night. Nezor was ordering breakfast, a mass of steaming meats, a massive bowl of some sort of thin stew and a bucket of frothing ale. Cantra fluttered away to the barkeep in order to ‘ask him something’. It was a short while till she jaunted back and said that the group was heading to the city’s wood mill in the extreme east separated from the swamp only by a deep creek. The group waited until the hill-giant finished his meal of course.

It was close to noon when the trio neared the mill. As they continued to tread the yellow dirt road high piles of cut logs began to rise to either side. Suddenly the Cantra and then Phenox ducked out of sight leaving the clueless giant to stride right up to the yawning front gate through which lay the mill’s front yard. Nezor shrugged at the apparent absence of his companions and looked about. He could see a small caravan that had curled into the yard some hours ago flying a green flag on each wagon bearing the images of a black axe in a black oak. A small group of men, southlanders mostly, were talking.

One noticed the hill-giant and approached introducing himself as the yard foreman. Not knowing what to say Nezor simply said that he was looking for a job, the foreman seemed pleased and told the giant to wait a while as he had to ask the boss before hiring anybody. The boss was busy he said as he motioned to 3 men at the lead wagon of the caravan. Between that trio and the rest of the yard was a handful of human fighters.

The foreman: “He’s over there meeting with Zaraid, the merchant.” Nezor dumbly nodded in the affirmative.

There was a half-giant in boar-skins armed with a boar-spear wearing a bright blue enameled pectoral plate, an obvious human merchant, a Westlander, decked out with lots of gold jewelry and wearing a brown & crimson studded arming doublet, and a brawny sun-darkened man probably the mill-boss. The foreman jogged over across the dusty yard past the group of armed men, probably hire-ons for the caravan and a few guards from the mill, to the brawny older man. Just then, Nezor noticed a Southern Nomad girl stride right in through the front gate. She was bare-footed, wearing a clean but simple gown and was painted like a prostitute. The heavy make-up probably a ruse to hide a Naga heritage, he couldn’t see any goatish features in her countenance.

The gypsy strode with a rapid gate straight towards the merchant and the caravaners. She had a certain resemblance in build and attitude to Cantra. Nezor continued to wonder where the hell his companions went. The mill-boss had in the meantime approached Nezor who still stood just inside of the gate.

Mill-Boss: “Yeah, you are a big one. We’ll pay you 1 gold piece a week.”

Nezor: “What? Why, dat wonna e’en pay m’beer tab for ah tree-day! Ya got any’un for me ta’ bash!”

He waggled his club.

While the two men were parsing the giant’s heavy Hill-lander accent, a girl’s shriek echoed through the yard. The caravaner half-giant had thrown the nomad girl over his shoulder and was striding behind a high wall of piled logs. Nezor gazed after them with head cocked. Not soon after the boar-skinned mug was out of sight than his voice bellowed, “YOU gypsy WHORE!” All heads in the yard whipped towards the discreet pile.

The merchant Zaraid waddled quickly to where his man was. After quickly excusing himself with, “don’t worry boss I’ll check dis oot”, Nezor followed him behind the wood edifice. The giant was in time to see the gypsy girl hopping up the wood pile part of her dress ripped off and her make-up smeared off of half her face revealing her as Cantra to Nezor. The boar-skinned half-giant had a bleeding knife wound on his throat. The brute threw a punch at Cantra but she easily evaded and back-flipped to the top of the pile.

Zaraid unhooked his battle-axe from his belt then out from nowhere Phenox emerged slashing at the barrel-shaped merchant with each of his paired scimitars. The fat man dodged backward 10 ft. and the Blue Boar forgetting Cantra lunged at Phenox with his flanged-spear to defend his master. The blow was easily deflected. Nezor brought Dog-Smasher to bear and prepared for battle.

Zaraid the merchant caught both of Phenox’s swords in a clinch with his battle-axe. Taking advantage of the Grim Warrior’s vulnerability, the Blue-Boar stuck him in the guts with his spear. Nezor popped the fat merchant’s head with his club using a single-handed grip. Both Phenox and the Blue-Boar skipped backward away from each other, though the Grim Warrior did so in order to recover from the grievous spear-wound in his stomach. The Blue-Boar held up his spear and shouted, “Parlay! Parlay!”

Cantra immediately leapt down to the ground to fall upon and search the merchant’s corpse. Phenox surged forward and viciously attacked the Blue-Boar. The Blue-Boar struck back unsuccessfully with his boar-spear. Nezor crushed the half-giant with a two-handed club strike. Phenox immediately fell upon the half-giant’s corpse and commenced to looting it.

Nezor just turned around and strutted back around from behind the pile towards the Mill-Boss and the Foreman. He gave as quick an explanation as he could without missing a step in his stride on his way out the gate. He blamed the Blue-Boar for the whole debacle as the ‘villainous’ half-giant had turned on his master over ‘first-dibs’ on the gypsy whore.

Later, back at the Whiskey Troll the three companions reconvened at their table. Cantra had received a bounty for the merchant and his servant and had lifted a lock box from one of the wagons after the giant had fled. She wanted to split it up ‘behind closed doors’ back at her apartment. Nezor basically threatened her to get his share ‘now’. As they were leaving a small group of thugs entered the place wearing black hoods over their heads.

Nezor stood up and roared at them, “this tavern is for the justly goodfellows only! NO Black Hoods!” He gestured towards his two friends. The black hoods ran back out the door.

To Be Continued…

A Giant in Xuun (Intro)

Freeman Nezor of Clan Formarch, ethnically a Hill-Lander and racially a Hill Giant, was raised on the hillside of a glen somewhere between the great Granfor Forest and the North-eastern tip of the Central Mountains just inside the southern border of the Hill-Lands north of the Westlands. Here his family, a prominent portion of Clan Formarch, own a small farm of about 13 acres used mostly as a graze for their sizeable herd of goats. The family, as is the clan, a devoutly Hyvalian Theocratic Lowlander family.

Nezor’s and his only brother’s mother is long dead whom died from a fever shortly after Nezor’s birth. Not long after, his father remarried a barren and bitter half-giant woman who despised both him and his older brother. Nezor himself has a bad rep among his fellows as a violent drunk whom is dangerous because he can appear warm and friendly when he’s not keeping to himself but can explode for no particular reason into a drunken rage earning him the nickname ‘Beer-Knuckle’.

It was inevitable that someone dubbed ‘Beer-Knuckle’ would fall into trouble that would necessitate some sort of exile. He had left in a huff cursing both his brother and his father on his way out the door. He had a habit of cursing his step-mother whenever he had the chance so on the day he left he didn’t give her the satisfaction of uttering a word to or about her. He left home with little coin and the only possession of his that he truly valued.

His club that he had carved from a single large log of oak with the head fashioned to memorialize the myth of the Hill of Skulls and bearing the images of the Old Satyrs dancing and cavorting over the stock. The haft wrapped in yellow haired dog-hide strips and the pommel fashioned of interlocked hearts wreathed in flames representing the Heart of Boahng (the Buddha-Christ-like figure of the Hyvalian Theocracy) providing a firm and comfortable grip. Naturally he constantly used it to show off when drunk.

The crime he had committed began harmlessly enough. He used to “protect” the family herds when it was his duty to shepherd by killing the wild dogs that were so prevalent there. Occasionally he would take it upon himself to seek out ‘worthy foes’, wild bulls that would wander up from the south and revel in the ability to literally break them in half with his mighty club which he had already dubbed “Dog-Smasher”. Of course, he wanted to append “Bull-Breaker” to the title but his friends and a much more clever acquaintance of theirs gave him a drunken challenge leading him to break the back of a certain black bull one fateful night.

The GIant Club Dog-Smasher the Bull-Breaker — Nezor’s Great Club in all its glory straight from the player’s notebook.

It was the dying beast’s pathetic mewling which had brought its owner just as Nezor brought down the killing stroke. Needless to say the man wasn’t pleased, Nezor’s father had to pay the man for his steer but the damage had been done the prize beast had been killed before it had been bred and only recently acquired at a greater price than Nezor’s father had been able to fully pay.

The bull’s owner was a member of a less successful Highlander clan that in the past had been in competition with the Formarch clan and whose multiple heirs populated the upper ranks of the local Fua band. It wasn’t long till the band ambushed Nezor but as most were of the human extraction with some faun blood in their veins they proved themselves no challenge. Needless to say almost all were killed, some as they cowered in the shadow of the enraged giant. The results would have been understandable and probably tolerated under normal circumstances but it was one of the heirs of the farmer that had limped bloody and broken into town claiming that Nezor had attacked them due to the situation with the black bull as they were just passing by. Unfortunately the one-sidedness of the battle lent credence to this lie.

Not long after the Formarch Clan disowned and expelled Nezor to avoid a feud. The offended Highlander Clan thirsts for his blood to this very day. So, he took his club “Dog-Smasher the Bull-Breaker” (hey to him it sounds AWESOME) and headed south along the coast eventually finding himself in the southland city of Xuun.

The city of Xuun lies in the Marshes of Gorloc on the banks of the Xin-Vador River with trade roads skirting the north and south and connecting it with another city, Chizan, on the shores of Gorloc Lake which is rather more like a murky freshwater sea, all surrounded by patches of swamp, coastal marsh, and blots of wet-forest. Here he figured he could make a living as a strong-arm or paid-thug if need be.

He soon took up a sort of residence in one of the few buildings that could accommodate his 12-foot height with its 20 ft. high vaulted ceilings, the tavern known as the ‘Whiskey Troll’ the central dominating figure being a massive wood barrel larger than a hogshead with a carved troll-face above the tap. The entrance had had a large double-door but which had long since been destroyed, fragments still cling to the old hinges leaving only the portcullis to secure the building should the need arise. The place was a smoke-choked den of thieves, criminals, and low-lifers with partially transformed troll-wives for barmaids.

It was in this place he met his current companions, a male human Southlander named Phenox, a Grim Warrior by class (played by Gil), and a female human named Cantra, a Deathgrin by trade (played by Jenn). Despite his companions, which anyone but Nezor can see are definitely not good-people, Nezor sees himself as a larval hero needing only to gain the riches and reputation deserved by him to become the hero he knows he already is in the eyes of the general public. He values truth & trustworthiness but tends to be somewhat irresponsible. He is a prototypical Hill-lander in most ways however, enjoying drink and food to excess and reveling in challenges of strength.

Freeman Nezor is of the Chaotic Evil Principled alignment and his personality is “impulsive, acts/speaks without thinking; emotional”. His CON and STR are his highest attributes being +12 and +30 respectively and both are supernatural due to his being a Hill Giant. His M.E. is at +2 with the rest of his base attributes being at or below zero. His flaws are Noisy and Shy. His class is Thug and his inborn traits are Bruiser and Kamikaze. His most notable abilities are of course his STR and CON not to mention his great height. Besides his great club he is equipped with a cowhide jerkin, a steel skullcap with a simple engraved border design, bronze greaves and bracers also with a simple border engraving, a curved dagger suited to his size, and a single cross-harness.

It wasn’t long after finding his friends, and after some ‘harmless’ shenanigans, that Nezor found himself with his new found pals facing off with a gang of black-hooded criminals, the local thieves’ guild, on the cold stone floor of the Whiskey Troll Tavern.

To Be Continued…

Building Tabletop Myths

Another hubpages article from Robert A. Neri Jr.

This one explores the construction of myth using the material generated from playing a tabletop RPG campaign as medium.

Role-players can extend their game beyond the limits of the tabletop and enrich their games by constructing myths of the raw materials and medium provided by their play using a handful of techniques.

Read it Here

Tabletop Meditations #9: Campaign Structure

As a work of traditional fiction has a basic underlying structure so does a Tabletop Role-Playing Game (TRPG). Story, Plot(s), Scenes, and Story-Beats are the building blocks of traditional fiction. Likewise, the structure to a TRPG is built of a Campaign, Adventure(s), Episodes, and Play Units. As knowledge of the basic structures of fiction can help authors write their stories the knowledge of the basic structures found within TRPGs can help to sharpen a Game-master’s communication skills and adventure-writing/story-telling prowess. Both traditional fiction and role-playing games structures are tiered and begin with the most basic of building blocks, the smallest units composing those higher up with those of higher tiers increasing in complication. The most basic building block of a fictional narrative is the Story-Beat.

A Story-Beat is an emotive change in a character or exchange between characters (as in action/reaction) and which is replaced in RPG Narratology with the social exchange between the participants; these being the Game-Master (GM) and the Players. As the characters that are involved are the Player Characters (PCs) controlled by the players and the Non-Player Characters (NPCs) run by the GM is where the story-beats lie. The story-beats are smeared across realities that is they are present inside of the game world and outside the game world among the participants and as there is not always an emotive change marked in certain specific characters determined by a single author but is dependent on the exchange of information on what the characters are feeling and doing and how the players themselves are reacting to what is going on within the game. Since the emotional change so to speak is distributed over multiple people and existent partially in a shared fiction, it is the exchange of information between these participants and frames of experience (a la Frame Analysis) that is of importance here with each single exchange between participants known as a Play Unit.

GMs should take note, always take down notes by the way, of the exchanges that seem to be important either those that contain a nugget of info that the GM can play on later, those that apply directly to the current action in the game, and those that may hint or directly spell-out character traits and especially player interest and reaction. GMs should initiate exchanges with vivid and characterized descriptions playing to the interest of the players and/or their characters in order to hook them immediately. It is also vital that the GM’s narration contain enough information for the players to act on but not overwhelm them with too many extraneous details. It should entice the players to ask questions and/or act maintaining longer and more frequent exchanges improving the overall flow of a campaign. These exchanges are what construct the game world in the minds of all the participants. Multiple Play Units will build a single fictive scene.

In fiction a Scene is a unit of action within a story marked by a change of time or place (change of scene) and which contains an event which moves the story forward. Note that the entrance of other characters can also demarcate scenes. Essentially the same can be said of TRPGs save that sometimes the demarcation of a scene is more reliant on the presentation of a question, puzzle, or problem by the GM without the scene changing in time or place with characters dying in between these exchanges as well as certain characters simply vanishing or becoming suddenly scarce altering the scene, meaning it’s slightly less structured strictly speaking. Thusly, within the context of RPG Narratology it is probably more befitting to call these units Episodes instead of scenes. An episode in the context of TRPG narratology is a related grouping of related Play Units where the setting/background does not have to be fixed. An example of this is a conversation between 2 PCs while walking through a magic portal beginning before they walked through and continuing through and on the other side, the backdrop changes radically but the episode is composed of the exchanges between the PCs. This somewhat transient notion in TRPGs can be difficult when trying to translate between traditional narrative and TRPG narrative especially in such instances as trying to blog a personal (or a character’s) tabletop experiences. Those that blog their experiences around the table may try to demarcate portions of the campaign by Session instead of by traditional narrative units or even those of TRPGs being discussed here.

However, a TRPG session is not a very appropriate unit as it contains both real-world interaction and the exchanges between participants which build the fantasy world of the game. In addition, as most game sessions often run a few to several hours, there will be tons of information most of it being extraneous to the narrative the blogger may be pursuing aside from the world-building elements. A full session will also probably not have a clean break at the end or a cleanly demarcated beginning especially if the session begins on a continuation of a battle which began last session or on such an incident which has stretched across several sessions. Thus, a single session can consist of several Episodes strictly speaking and may not even contain whole Episodes at the beginning and ending. Not to mention distributed episodes, that is small exchanges or incidents that connect into a single episode but which are not temporally contiguous (they don’t follow each other in occurrence), are separated by other unrelated exchanges and/or episodes or are otherwise composed of out-of-sequence Play Units.

When writing or setting up for episodes a GM need only bank on multiple exchanges where they hope to end on a desirable result from their perspective. Basically, the GM will want the PCs to end up after this series of exchanges in a place or situation that either leads directly to another planned episode or that which they believe that they can work with, giving them fodder for more episodes further down the line. Keeping Play Units and Episodes in mind a GM can structure their thoughts and ideas while running the game and writing for their campaign. A game-master can learn to keep tidbits of info in mind and group them together later when it comes time to act on them in-game helping to form the threads that run through campaigns which the GM’s writing and narration helps to bind together into adventures.

Multiple related Episodes will accumulate to build an Adventure which may or may not be consecutive or broken up among episodes that take the Campaign in different directions or digressions which will matter later connecting to other non-contiguous episodes or future episodes. Basically in fiction this is Plot/plotlines. Plot is a sequence of events divided into Scenes each single scene often presenting a single event. A fictive plot is constructed of a sequence of scenes (as are Subplots but for the purposes of this article there is really no distinction between Plots and Subplots). A minimum of 3 scenes construct the traditional plot in fiction with a beginning, middle, and end type of striation within the text. In a TRPG, plot is essentially constructed of 3 vital exchanges or episodes which are Presentation, Complication, and Twist. As the building blocks of a TRPG plot is constructed of a series of bundles of exchanges guided by the writing (the GM’s and any other authors of any of the material they may be utilizing for the game as well) within the context of the game world and which is very mercurial and apt to change direction and nature suddenly and unpredictably even from the GM’s perspective, it is most useful to refer to TRPG Plot as an Adventure. An Adventure is a single plotline that can be followed through a campaign referring only to the game and meta-game elements necessary to communicate said plot.

An adventure is of course slightly more complex than the previous two lower tier structures (Play Units and Episodes). As stated before an adventure is composed of three parts which are Presentation, Complication, and Twist. These component parts need not be in equal size or be executed in roughly equal spans of time (either real or in-game). Each component is however, an episode. Presentation refers to an exchange initiated by the GM which presents information that gives the players something to be solved or acted upon in such a way as to lead them to another scene or episode though whether the players follow this to the next episodic component of the current adventure is unpredictable and may require the GM to make another go at the Presentation or put a hold on the current adventure to go on a player-fueled tangent. The next in the strict sequence of episodes that build an adventure is Complication. A complication is the consequences of the players’ action(s) or an additional bit of information which throws a wrench into the players’ plans basically it’s a bump in the road or any type of obstruction separating the players from their goals that they otherwise couldn’t predict or that didn’t exist beforehand. The solution that they find should ideally lead them to the next component episode, the Twist. ‘Twist’ refers to yet another unforeseen consequence of the players’ current action(s)/previous solution, or the addition of another element by the GM which the players probably didn’t plan on appearing; this element however should have had clues as to its nature and its possible appearance scattered throughout the previous episodes that the players have already played through.

The episodic structure of adventures can be demonstrated in certain methods of writing adventures, adventure in the sense of current common usage that is, such as the Hook, Line & Sinker (HLS) format which structures adventures into 3 tiers. This structure though does not have to be limited to just 3 episodes it may take more to get the PCs to go along with it (if they ever do which is probably a hint to the GM to just drop it and present something else) or for them to progress through each single stage. The HLS format puts the plot-hook in the beginning episode to immediately try to capture the players’ attention by having the GM play to their characters’ motivations but a GM should also try to play on the players’ interests as well. Basically, it’s giving the players a reason to act and can also be inserted between the Presentation and Complication stages as well if the PCs were initially uninterested. Placing this ‘reason’ at the very beginning places a fair amount of trust in the players’ abilities not just to pick up on it but also their will to act on it. Putting it off until it can be used as the bridge between the Presentation and Complication phases can give the players more to latch onto adding to the likelihood of their taking action.

This brings us to the overarching super-structure underlying both fiction and TRPGs. In fiction this structure which is composed from the bottom up of Story-Beats, Scenes, and Plot is Story. A Story is the text resulting from the totality of the aforementioned structures with the addition of characters, details, and the background (that may or may not involve world-building) in which the events of the story take place. Of course, these underlying structures which authors of fiction use to construct their stories vary so much from those of TRPGs at this point it is probably more efficient to call the Story of a TRPG a Campaign. A Campaign is the totality of all of the game and meta-game exchanges, participant characters (both PCs and NPCs), any material that the GM used regardless of original source or author(s), and the game world where the campaign has taken place. It is from this accumulation of detail and narration from which the participants can extract their personal narratives from the point of view as either their character(s), as a player, or a combination of the two. It is also in this higher tier structure where the world-building occurs as world-building is done through the accumulation of information gleaned from the gaming material and from the information drawn or resulting from certain exchanges and demonstrated in certain episodes. Adventures help to propel the characters and thus players through this shared world which they not only can alter through the actions of their characters but also help to construct episodically.

A TRPG Campaign is built of adventures, episodes, and finally communicative exchanges between the participants called Play Units. Knowledge of these basic structures will allow the GM to plot out adventures and help their improvisation technique when dealing with at-the-table exchanges within the context of the game world which serves as the sandbox for the players. Game-masters can seize control of their writing through the use of the 3-tier structure of adventures and can collect information learned from certain episodes to direct the flow of the campaign. They can break down the campaign and its subsequent adventures into episodes allowing them to find and pick up lost threads (ones not intentionally dropped that is) within the campaign and gain a deeper knowledge of the PCs and maybe even their players perhaps even themselves (when it comes to gaming style).

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Tabletop Meditations #7: RPG Narrative

Discussions about the writing and running of tabletop games in terms of fictional narratives or as a sort of collective fiction or exercise in communal story-telling are very common as are the debates brought about by such subjects. Especially when discussing the writing of Game-Masters and the use of not only the terms but the devices of fictional narrative. According to my own personal experiences in roleplaying in both the Game-Master and Player roles as well as an avid reader of fiction, Fiction Narrative and RPG Narratives are completely different.

“RPGs cannot easily be characterised in terms of standard narrative theories, presenting a different approach to narrative. Their interactive character-based approach differs both from the classical Aristotelian theory and the analytical models proposed by the French Structuralists.” [Louchart, Sandy & Aylett, Ruth. 2003. Intelligent Virtual Agents: Solving the Narrative Paradox in VEs – Lessons from RPGs. Springer-Verlag Berlin Heidelberg, Germany. 245]

Narratives in fiction and that of Tabletop Role-Playing Games (TRPGs) are fundamentally different even though they have certain similarities. From the smallest units used in their composition to visualizations of their basic overall narrative structures to how they are composed (authored) and to what audience they are meant for both forms have an array of differences though in these differences also lay similarities.

Narrative in its most basic sense is a chronology of events which build upon or relate to one another from which the basis of story and plot is built.

“Chronology is made up of identifiable events or episodes. These episodes are identified by where they occurred (the setting) and by recalling who was there (the characters). The moments in between which are often not remembered serve to merely link one with another.” [Minot, Stephen. 1993. Three Genres: The Writing of Poetry, Fiction, and Drama. Prentice-Hall Inc., New Jersey. 177-178]

As narrative is a very basic element of story, plot may be considered a separate idea artificially constructed by the author(s) where concerning fiction to give the narrative direction.

Plot, as opposed to narrative, is constructed in order to follow the narrative to an ends which can carry personal meanings or messages and is meant to immerse and propel the reader along the course plotted out beforehand by the author(s). Narrative is not constructed of plot but plot does steer narrative in a certain direction that is determined by the author(s). In Fiction Narrative plot is directed by the author(s) and similarly in TRPGs plot can be said to be the same as all the participants (GM and Players) are in place of the author(s). However, in RPG’s plots are less ‘plotted’ rather than constructed by the interaction of the participants against some sort of framework previously setup by the Game-Master which can be termed ‘Adventure’ as the equivalent of ‘Plot’ where concerning TRPG narrative.

“The Game-Master exercises control at a high level over narrative unfolding, plot, pace and the structure of the story. Since the a priori plot line for a campaign is only hypothetical, the Game-Master needs specific tools – in the form of […] encounters […] – to gain some control over the overall campaign.” [Louchart & Aylett. 246]

The TRPG narrative is collectively gathered from the participation of the GM and players including the accumulation of details authored by each whereas the plot of standard fiction is determined by the author(s) and is often carefully constructed to follow the intended narrative.

“A fictional plot is a weaving together of events that are interrelated and which work toward a conclusion.” [Minot.183]

The plot of fiction and TRPGs are similar on a very basic level and this is where the confusion between Fiction Narrative and that of TRPGs can produce unfavorable results which should be familiar to most TRPG gamers.

The desire to change the shape of the adventure and/or campaign into that of a traditional fiction narrative on the part of the GM is the prime example of the confusion between TRPG narrative and Fiction Narrative. When the GM behaves in this manner they essentially hijack the agency of the players taking away their power to affect the game world and alter the shape of the story. This is called ‘railroading’ and is often to the detriment of the game (however, I have met and played with those that prefer the rails and often spend time in-game seeking them out).

“While the DM [Dungeon-Master] can limit players’ actions, in reality, the players have a great deal of agency in creating the story of the TRPG.” [Grouling-Cover, Jennifer. 2010. The Creation of Narrative in Tabletop Role-Playing Games. McFarland & Company, Inc., Publishers. 49]

Essentially when trying to steer the roleplaying game into the territory of narrative fiction the railroad-GM begins to exclude a major part of the gaming experience and excising an essential part of the TRPG that makes it unique and apart from standard fiction. Railroading is the practice of forcing the players to stay within the confines of a plotline written or in the mind of the Game-Master thereby changing the very nature of the game. Where the GM has acted more as an author of a choose-your-own-adventure book rather than acting in the more appropriate referee mode though commonly in tabletop RPG’s (TRPG’s) the GM may author elements of the adventure particularly the background elements of the campaign world perhaps even the campaign world itself. “The player in a TRPG [Tabletop Role-Playing Game] is not out to discover the secret to the DM’s story but to help create that story through active participation [.]” [Grouling-Cover. 37] There is no sole author when it comes to roleplaying.

The GM acts less as an author of fiction or the care-taker of an all-important storyline but should behave more as an arbiter of the rules, a referee when it comes to negotiating in-game conundrums, and maintain control of the game using the tools available to them such as encounters, playing on meta-knowledge of the players, and the capability of the characters among a few others.

“The Game-Master expects that the encounters specifically created for a session, will trigger actions, reactions, discussions or decisions from the party in such a way that an anticipated plot will unfold. This plot however has a hypothetical aspect since what actually happens is the direct result of the party’s generated reactions to the different encounters. They can be used by the Games Master to shape and pace the dramatic unfolding of the narrative as well as presenting the main source of entertainment to the players, and embodying key events in the construction of the plot. Their smooth orchestration by the Game-Master is critical to the creation, development and unfolding of an RPG campaign.” [Louchart & Aylett. 246]

The GM makes use of in-game devices such as encounters, expressing scenarios that the players may happen upon or induce through their behavior, and determining when the element of chance is required to be relied upon which typically takes the shape of a dice roll of some type. If the party gets too far off the path of the adventure at hand threatening take the campaign into territory which would diminish the overall fun for the group then it is the GM’s responsibility to get them back onto the trail as it were by intervening in certain ways.

“Interventions are generally caused either by players taking longer than expected in dealing with encounters or by the story branching in an unexpected manner. Branching may occur when the party incorrectly determines their role and what is expected from them, pursues future plot events omitting essential encounters or attempts to reinvent themselves. The need for interventions illustrates the plot’s provisional nature and stresses on the Game-Master’s preparation and flexibility.” [Louchart & Aylett. 246-247]

This can be avoided with certain other GM techniques such as “sandboxing” or keeping the details of the adventure as fluid as possible allowing the actions of the player to codify them and the Game-Master should allow themselves the flexibility to work those elements into the adventure allowing them to keep a firm hold on the direction of the campaign.

“Because the DM [Dungeon-Master] cannot predict players’ actions, he or she can not [sic] know what direction the story might take or what parts of the world might be explored. While the DM may control the world to an extent, this control is far more ephemeral than that of an author.” [Grouling-Cover. 92]

In the classical understanding of narrative the author constructs the fictional world, the characters, directs their actions within it, and develops the plot-line via the chronology of events within the story. “[…] RPGs work with a hypothetical plot which is dynamically modified, the mechanisms supporting this dynamic modification seem to rely … on out-of-character and out-of-play direct interactions.” [Louchart & Aylett. 248] Right off the bat it is evident that the narrative of TRPGs is very fluid and mimetic as compared to that of fiction which is much more monolithic. Of course, plot and narrative in both veins are composed of smaller more basic bits. These smaller parts of Fiction Narrative and TRPGs respectively are Scenes, Story-Beats, Episodes, and Play-Units.

Fiction narrative is written by a single author or group of authors who for the most part are all considered primary authors with each more or less contributing an equal amount of material to the story. Authors write for a captive audience whom as they read have no choice but to follow the narrative set down by the author upon whose shoulders and skill rests the ability to keep the readers immersed and in a state of suspense. This allows for a structured plotline running through the events contained in the narrative to make sense of them to the authors’ ends.

The underlying structure for fiction narrative known as Dramatic Structure when visualized appears very similar if not identical to a Bell-Curve (a more strict analysis could yield something more akin to Freytag’s Pyramid but this is a more general discussion) with the climax of the story, the height of the action, occurring at a single point. Of course, the events following the plot often will increase in intensity building up to the climax afterwards the main plotline if not all plot-lines including those attached to participant characters are tied up ending the story. High points on the curve would be points of high-energy and/or action and the low points would of course be lulls in the action. Each of these points represents a single scene or event, the building blocks of the story.

Fiction “is made up of a sequence of related scenes [and] is a construction of units in which the whole is greater than the sum of its parts.” [Minot.184] A scene is the smallest unit of story and each scene is built of beats which are marked changes in the fuzzy or emotional bits or ‘feel’ (not to be confused with mood) in a scene. Story-Beats are the smallest unit that makes up fiction most often applied to screenwriting, or as defined by Robert Mckee in his book Story: Substance, Structure, Style and the Principles of Screenwriting (1997) as an exchange of behavior in action/reaction.

In fact, by this definition the GM and the players are included in the story which is not far from the truth of the matter but it is a little lacking when it comes to TRPG’s due to the breaking out of bounds of the ‘story’. Instead of Story-Beats that make up fiction’s narrative, in roleplaying the smallest unit of narrative is a Play-Unit which consists of a scenario (presented by the Game Master) + decision (made by the players) which then may lead to action (a high point) or inaction (a low point). [Edwards, Ron. 2001. Sorcerer & Sword. Adept Press, Chicago. Pg.80] Basically the Story-Beat of fiction narrative can translate with some work to the Play Unit of TRPG’s. Similarly, scenes can absolutely be drawn from the narrative that forms during play thus relating RPG Narratives to that of fiction and as fiction has its smallest units (technically the scene and emotively the action beat) so does the narrative that evolves from a roleplaying game session.

However, the narrative flow of TRPG’s as opposed to the narrative flow in fiction is very different.

“A narrative in a RPG is here defined as a description through game play of a series of events created by the interaction of two or more participants.” [Hitchens & Drachen. 55]

The narrative flow of an RPG campaign is essentially a sine-wave with the high points being moments of action and the low points being those of calm or inaction, the definitions of the highs and lows being identical to those of fiction narrative.

The narrative flow of fiction usually moves upwards climbing towards a climax (or anti-climax) with the high and low points on the visualized graph being much the same as that of those on the Sine-Wave of TRPG’s but may be increasing in intensity as the author can reliably craft or manipulate these events in order to do so, in RPG’s the events as they also depend on the unpredictable actions of the players and many times on an element of chance (the dice) will have varying and sometimes seemingly random variances in intensity/thrill-level.

In the same vein, the thrill-level may be at variance for each of the players as well. This is because the narrative of a TRPG is authored by not just a specific individual or group but a whole gamut of folks from the Game-Master, each individual Player, to the deeper levels of authorship which may not be personally present during the game such as the authors of additional supplemental game material.

Basically, it’s the participants who share the authoring of the TRPG Narrative not to diminish the work of the GM whose responsibility it is to both referee games and often provide background material and characters as well as incorporating any supplemental material into the campaign. This also includes authors that are not direct participants in the campaign those authors that have written material used to supplement the game by the participants thereby creating several levels of authorship with the players at the shallower end.

“Although RPG players have a good idea of the overall story in which they are involved, they are more concerned by the development of their characters and their focus is situated at a fairly low level within the overall story, the individual level.” [Louchart & Aylett. 247]

Essentially, it is more helpful to refer to what is called Story in Fiction Narrative as a Campaign in the context of TRPGs as the authorship of narrative between TRPGs and fiction is so very different.

“The creation of a campaign is a collaborative process where the characters, as well as the worlds and environments in which the campaign is set, are developed in common accord between the Game-Master and the players. […] This laborious but highly participative creation process allows the Games Master to prepare the campaign episodes with a good understanding and knowledge of the different characters and world involved. This favours the delivery of a highly flexible narrative structure[.]” [Louchart & Aylett. 245]

The narrative of a TRPG is dynamic, it is a contributive exercise involving the players and the GM and commonly other remote authors where the narrative is simply not consistent across its audience.

“Game play is dynamic and, as it relies upon input from the player, can at least possibly differ for each player. Any narrative will be experienced by a player as a result of their game play. As the game play of each player differs, so their narratives may differ.” [Hitchens & Drachen. 54]

This can dramatically alter the narratives not only retold by each participant when recounting their experiences but their view of the campaign through the experiences of their character and their own meta-game experiences actually playing the game around the table.

“The narrative experienced by a player will be informed by the total sum of their game play experience.” [Hitchens & Drachen. 55]

This very fluid structure and continual nature of the narrative structure of TRPG campaigns seems that it would be at a sublime disadvantage when it comes to the attentions of a passive audience.

A Campaign World is the collection of information that forms the background essentially the stage on which the game occurs and where the characters act. This is aside from the TRPG narrative component equivalent to story in fiction narrative. A campaign world is often referred to as the setting, the place where the adventures happen.

“Campaign settings are designed not to tell stories, but to create spaces for stories.” [Grouling-Cover. 79]

What differentiates these game settings from the worlds of traditional fiction narratives is that the players have agency within the world having the power to leave their marks on it.

“[W]hile the world exists independently from the way the characters and players progress through it, the participants of TRPGs do influence the development of the world.” [Grouling-Cover. 77]

The players and even the GM change and build the setting as they progress through their adventures and thus the fantasy world. In many cases it’s the players’ interest in the world that surrounds their characters (the PC’s) that fills in the minute details and sometimes even creates whole new aspects and features within the setting.

“The interests of the players and the questions they ask also affect the world in more detailed ways that more directly influence the narrative.” [Grouling-Cover. 78]

This is not to say the players and their characters have ultimate say in the course of events unintentional or otherwise, the GM still has certain planned events which can alter the player characters’ paths.

“Many details of the world get fleshed out only as the players (characters) progress through them; however, certain events in the world progress regardless of the characters’ involvement with them.” [Grouling-Cover. 79]

In TRPGs it’s the audience that has agency over the narrative.

The audience that TRPGs are written for or rather meant to entertain is the participants around the table playing the game. “A RPG narrative is not made for an audience, but for the people participating.” [Hitchens & Drachen. 55] The audience of an RPG Campaign is also its authors. When it comes to relating their adventures the players and Game-Masters will form their tales into narratives from their point of view which may be from outside of the game or from within coming from a specific character. These ‘tales from the table’ often divide the narrative into scenes which are extracted from the over-arching campaign. These scenes as they are called in fiction narrative are better referred to as Episodes in TRPGs.

In TRPGs episodes can be a smaller part of an overall campaign or be limited to a single gaming session especially where the group is playing out a specific scenario in the game. It is also especially useful when referring to Episodic Play where the participants in a gaming group may shift, meaning the group is not composed of a fixed membership of individuals or even set number of participants at any one time where using one-shot type scenarios is a particularly useful tactic on the GM’s part to be able to get a game together and keep it together perhaps only later trying to tie them together into a greater campaign. The TRPG campaign like the Story of fiction is composed of Episodes as a story is drawn from a series of scenes. These scenes are composed of smaller pieces, story-beats, and thus an episode is also composed of what are also essentially story-beats better referred to as Play-Units in the context of TRPGs.

As defined before a Play-Unit consists of a situation presented by the GM and a decision made on this scenario by the player(s). The most fundamental bit of TRPGs is a back-and-forth between the participants.

“[An] RPG narrative is constructed by a continual process of communication and feedback between the participants.” [Hitchens & Drachen. 58]

This interaction is communicated through the context of the rule system they are using.

“Rule books… provide rules that assist participants in creating and controlling their storyworld. These books create the system that is used to structure the game.” [Grouling-Cover. 11]

It is through this filtering medium that the participants are able to negotiate and come to agreement as to what will become a part of the campaign and a reality in their collective fiction.

“Negotiation describes the way the group uses social interaction to decide how the events will progress in the narrative… negotiation is a process of reaching a point that successfully lets the story progress.” [Grouling-Cover. 33]

It is from this seemingly basic unit of interaction that the TRPG story, a campaign, evolves from the collective imaginations of the participants, the RPG Group, most likely using material drawn from multiple sources and authors.

The basic smallest building blocks of both types of narratives are similar but still different as they serve different purposes. As discussed previously authors place story-beats of their fiction narrative in order to move the plot along using events which ultimately will lead to the climax of the story. The narrative and indeed the plot that can be extracted from a TRPG session seems to be an emergent narrative, that is it evolves and grows though the GM may set the player group on the path to a certain event and/or climax (which in RPG’s is more of a chapter-mark or framing device) and may completely diverge into completely unforeseen territory. The philosophy of the TRPG is essentially “story now”, the players and indeed the GM will want to enjoy their game NOW, and if any of them find it boring they do have the freedom to try to find the fun in any way that they can.

“The key concept is simple: Story Now. Not “It’ll add up to a story someday,” or “Your character will be tough enough to start a story some day [sic],” or even, “You don’t know this, but a really cool story is underlying these adventures.” No. Story now means that the conflicts and resolutions played out openly on the table are engaging and coherent, at that moment. […] It means the proposition of conflict, the pivotal role of the heroes’ decisions, and a resolution of the conflict.” [Edwards.80]

When it comes to levels of authorship, traditional fiction is a little more streamlined than the multiple levels found in even a cursory glance at TRPGs. Often there is only a single level with the author(s) being the primary having full control over the narrative and its components. This of course is not taking into account certain series of books or fictional universes where multiple authors contribute to multiple works all set in the same world or universe such as in H.P. Lovecraft’s Cthulhu Mythos.

In TRPGs authorship is a multi-level dynamic and liquid thing where not only the participants create fictive elements amongst themselves when interacting through the medium of the game but when adding in elements from materials written by other authors. In roleplaying games the authorship also overlaps with the audience as the participants produce their campaign narrative for their own entertainment whereas when it comes to fiction the author(s) produce their stories for an audience that has no agency within the author’s fictive world. The final demonstration of the absolute difference between the narrative structure of TRPGs and that of Fiction is the visualizations of their general underlying structure, the difference between the potentially perpetual Sine-Wave structure of RPGs and the finite Bell-Curve structure of classical fiction narrative.

In conclusion, RPG Narrative Flow is very different from that of Fiction Narrative Flow which can be demonstrated by comparing any of the most basic components of either not to mention the dramatic difference illustrated by way of their line-graph visualizations. RPG narratives are unlike that of the Narratives of Fiction alternating in action or high points with low points at pretty regular intervals as a sine-wave whereas Fiction Narrative has a definitive structure that escalates in action & drama moving towards a climax. In RPG Narratives a set piece may mark a climax and (hopefully) coincide with a high-point providing some closure to most of the prescient story-lines that were prominent in the campaign.

The various components of either type of narrative can be said to be related and can be translated in limited terms back and forth. Fiction is often plundered for ideas for use in the game world and the basic elements of fiction can be extracted from a campaign narrative with the most bottom level translation between fiction’s Story-Beat and Play-Unit being approximate at best. There are relations between the two different narrative styles and structures but a TRPG is not a novel though a novel can be extracted from the conglomeration of story and detail created through the play of an RPG campaign if the Riftwar Saga by Raymond Feist and the Dragonlance books can stand as examples.

However, the most important difference, at least in my opinion, between the narrative flow of classical fiction and that of TRPGs is player agency and the shared authorship of all involved regardless of their level of participation.

“This [the TRPG Narrative form] is fundamentally different to many other narrative forms, in that the participants have an active role in shaping the future form of the narrative.” [Hitchens & Drachen. 59]

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Tabletop Meditations #6: Dragons

They are both majestic and terrifyingly powerful beasts that dominate both the air and the land with their fearsome talons and vicious teeth. They wield the power of fire or poison and scales like shields. These great lizards have been used as symbols for heavenly or hellish might as well as to adorn the shields and banners of knights and kings. In fable and the popular mind they exhibit the penchant for kidnapping (and a peculiar appetite for) young maidens and stand as the ultimate examples of overwhelming greed when portrayed sleeping on hill-tall piles of treasure, their hoards of gold. Dragons are a staple, and occasionally the focus of, tabletop roleplaying games and, as several other ‘classic’ RP monsters they have been drawn not only from popular fiction but up from the deepest mists of time and mythology.

“Described and feared by human cultures worldwide from the earliest times, the dragon exists in a vast range of forms and abodes in myth and legend.” [McGovern, Una, ed. 2007. Chambers Dictionary of the Unexplained. Chambers Harrap Publishers Ltd. Dragons]

Classically dragons are split into two primary classifications especially when it comes to mythological comparisons though the primary features of the RPG dragon are found mostly with one, the dragon of European lore but the contemporary idea of which seems to move ever closer to the mannerisms of the other, the Eastern Dragon, in both role-playing games and fiction. There is a stark contrast between these two classic types so much so that they appear to be near mirror opposites. These two classifications are defined as The Eastern Dragon and the Western Dragon.

Western dragons are the classic evil monster and have an appearance familiar to anyone who has had even a glancing association with popular fantasy fiction and/or role-playing games. They have bat-like wings, four limbs that end in nasty claws, crocodilian jaws studded with ripping teeth, a tail like a bullwhip, horns on the head (perhaps owed to their Christian religious symbology), and occasionally a barb at the end of the tail.

“The classical Western dragon is a malevolent fire-breathing monster encased in an armour of shimmering scales, borne upon four powerful limbs with talon-equipped feet, and sporting a pair of huge leathery wings, plus a long tail tipped with a poisonous barb or arrow-headed sting.” [McGovern. Dragon]

The European tail-barb however seems to be a recent, comparatively speaking, addition acquired by some dragons from the heraldic likeness, more reserved these days for dragon-like monsters such as Wyverns.

“In nearly all modern representations the tail, like the tongue, will be found ending in a barb, but it should be observed that this is a comparatively recent addition. All dragons of the Tudor period were invariably represented without any such additions to their tails.” [Fox-Davies. 1978. A Complete Guide to Heraldry. Bonanza Books, New York. 225]

One of the most ancient stories involving dragons and the one that best demonstrates the shear ‘epicness’ of the creatures is the Mesopotamian creation myth wherein Marduk, the chief god of Babylon, hunts down and slays the she-dragon Tiamat.

“Marduk searched the universe for Tiamat, his dragon mother. […] He spread his net across the void and caught her in it [.] Then, taking aim with his bow, Marduk shot an arrow between Tiamat’s open jaws, straight down into her heart. Then he disposed of Tiamat’s […] monstrous carcass. He split her skull and severed her arteries; he cleft her body “like a fish into its two parts,” from one of which he fashioned the firmament and from the other the solid earth.” [Constable, George, ed. 1984. The Enchanted World: Dragons. Time-Life Books. Alexandria, Virginia. 14, 18]

From the very beginning dragons and the power contained in their awesome forms shaped, and in this case formed, the natural world.

“Having positioned the celestial bodies, Marduk used Tiamat’s spit for clouds, placed a mountain on her head, and made an outlet from her eyes for the waters of the Euphrates and the Tigris.” [van der Toorn, Karel. 1999. Dictionary of Deities and Demons in the Bible, Second Edition. Brill Academic Publishers, The Netherlands. Tiamat]

The dragon goddess stood as an embodiment of a single massive natural force, all the salt-water of the earth. “Tiamat is the personified primeval ocean [.]” [van der Toorn. Tiamat] In the Old Testament a term translated as “the deep” and that is etymologically related to Tiamat is frequently used not only as a designation of the primeval sea but also to denote the cosmic sea (Yam) on which the world floats, “and from which all water comes, as well as any large body of water, including rivers, and the depth of the sea and the earth.” [van der Toorn. Tiamat]

In Medieval Europe and England the dragon was a symbol of Satan and thus inherently evil and wielded a significant amount of supernatural power requiring a righteous (and blessed) hero to eliminate the beast.

“In western myth battles with dragons symbolize the struggle between good and evil or the mastering of man’s base nature and reflect early Christian beliefs. Rescuing a maiden from a dragon represents the release of pure forces after vanquishing evil. Treasure-guarding dragons often signify the struggle to attain coveted inner knowledge.” [Wilkinson, Kathryn, ed. 2008. Signs & Symbols: An Illustrated Guide to their Origins and Meanings. DK Publishing. Dragons]

Perhaps the best known examples of the medieval Western dragon popular today are the story of St. George and the dragon and that of Sigurd the dragon-slayer and Fafnir (the dwarf/dragon) in the Icelandic Volsunga Saga popularized by Richard Wagner in his 1876 Der Ring des Nibelungen (Wagner’s Ring Cycle). The dragon may have been acquired as a symbol of the devil by medieval Europeans due to the portrayal of the creatures in the bible; namely in the New Testament in Revelations, the Apocrypha, and in the Greek texts of the Pseudepigrapha.

“The dragon has often a fiery appearance, behaves in an aggressive, insolent and lecherous way and often represents the powers of chaos, especially in primordial times. The dragon is sometimes connected with natural phenomena like storm, flood or drought.” [van der Toorn. Dragon]

They are also, sometimes still, associated with serpents which are in turn related in symbolic terms if not also in appearance to the serpent in the Garden of Eden which tempted Eve with the apple.

“A dragon is a fabulous winged crocodile, usually represented as of large size, with a serpent’s tail, so that dragon and SERPENT are sometimes interchangeable.” [Rockwood, Camilla, ed. 2009. Brewer’s Dictionary of Phrase & Fable, 18^th Edition. Chambers Harrap Publishers Ltd. Dragon]

This of course, continuing in the biblical vein, leads us to dragons as the ultimate symbol of evil as the serpent of the garden is taken popularly to be Satan in one of his favorite guises.

“In most Mediterranean and European MYTHOLOGIES, SERPENTS are associated with evil, and dragons, a sort of super-serpent, are more evil still.” [Clute, John & Grant, John. 1997. The Encyclopedia of Fantasy. St Martin’s Press, New York. Dragons]

The concept of the dragon was originally inseparable from that of serpents and was in fact synonymous for ages. This association and synonymy with serpents began with the etymology of the word ‘dragon’ itself.

“The Greek word drakēn is related to drakos, ‘eye’, and in classical legend the idea of watching is retained in the story of the dragon who guards the golden apples in the Garden of the HESPERIDES, and in the story of CADMUS.” [Rockwood. Dragon]

Later the romans appropriated the Greek word giving it a more recognizable form.

“In Latin, the Greek word was converted to draco, and it came to mean “giant snake.” To the Romans the dragon was a giant snake, probably a python from India or Africa.” [Cohen, Daniel. 1982. The Encyclopedia of Monsters. Dorset Press, New York. 228]

This serpent-dragon concept continued well into the middle ages especially in England.

“Most British dragons… are of the worm variety – lacking wings and legs, with lengthy, elongate bodies, and emitting poisonous vapours rather than fire.” [McGovern, Una, ed. 2007. Chambers Dictionary of the Unexplained. Chambers Harrap Publishers Ltd. Dragon]

In time the image of the dragon with its association with elemental and physical might was integrated into the heraldic arms of certain individuals and families.

“Among the ancient Britons and the Welsh the dragon was the national symbol on the war standard. Hence the term PENDRAGON for the dux bellorum, or leader in war.” [Rockwood. Dragon]

It seems not until they were adopted as heraldic monsters gracing the banners of noble families and warlords did they begin to take on their more recognizable form.

“The head of a dragon is like nothing else in heraldry, and from what source it originated or what basis existed for ancient heraldic artists to imagine it from must remain a mystery, … It is like nothing else in heaven or on earth. [T]he wings of the dragon are always represented as the wings of a bat[.]” [Fox-Davies. 1978. A Complete Guide to Heraldry. Bonanza Books, New York. 224]

By the end of the middle ages the Western Dragon had attained its classic appearance, monstrous attitude, and symbolic meaning. It was a powerful beast with breath of fire and an evil disposition which only champions of good could quell. Eastern dragons however were primordial beasts which were often beneficial to humankind.

“Oriental dragons are very different from the dragons of the West. Oriental mythology includes many kinds of dragons, and collectively they influence and control every aspect of nature and the affairs of mankind. In stark contrast to their Western counterparts, Oriental dragons are exceedingly wise, are capable of flying without the aid of wings and (aside from spasmodic outbursts of anger) they appear relatively benevolent in their interactions with humanity. They are also revered – to the extent that many of the East’s most ancient and august human lineages claim direct descent from a dragon.” [McGovern. Dragon]

The Eastern Dragon appears as a scaled serpentine creature with the branching horns of a stag and eagle-talons on their four feet. They often have ‘feelers’ on either side of their toothy maw identical to those of a catfish, are portrayed as aquatic, and/or soaring playfully through the clouds with the ability to fly through the air without the aid of wings.

“In China dragons were Associated with the weather and were thought to be rain-bringers; some of the country’s worst floods were attributed to humans upsetting a dragon. Chinese dragons were believed to control water, vital for crops. In contrast, western dragons control fire.” [Wilkinson. 36]

In the East, dragons were powerful elemental beings to be revered and feared when offended. They wielded a significant amount of mystical ability and not just the ability to swim through the air as they did through water but the ability to exert a divine level of control over the weather and over the water in which they lived.

“Dragons were held to exercise control over rainfall, and are often depicted playing with a ball or pearl (symbol of thunder) among the rainclouds.” [Whittaker, Clio. 2007. An Introduction to Oriental Mythology. Quantum Publishing Ltd., London. 38]

Basically, Eastern Dragons brought immense elemental power with them being not just a powerful supernatural force in the world; they were of the world, a part of the very natural world that their existence would seem to defy. They combined certain mystical aspects of nature.

“[T]he dragon began as a benign symbol representing the fertilizing waters of the serpent and the divine “breath of life” of the bird; the latter also associated with it sky deities and rulers. Later the dragon became symbolically ambivalent, and was seen as both creative and destructive.” [Wilkinson. Dragons]

They also gained the power of symbolism absorbing and incorporating certain human aspects.

“They are symbols of great power, spiritual and temporal, and are associated with wisdom, strength, and the creative forces of nature. They are revered and temples are dedicated to them.” [Wilkinson. Dragons]

Seemingly as the Western Dragon carried the sheer physical menace and viciousness now associated with the RPG Dragon, the Eastern Dragon seems to have brought the mystical and elemental abilities as well as the superior spiritual attributes found to a lesser extent in humanity. Of course, the current trends in both pop-literature and roleplaying games have begun forging the two together along with heaps of personality.

“The dragons of Chinese mythology, by contrast [to those of the Western sort], are usually benevolent. This tradition has facilitated REVISIONIST FANTASY about dragons of the Western sort.” [Clute & Grant. Dragons]

The RPG dragon draws from both mythological types as well as from popular fiction all hung on the skeleton of the war-gaming dragon. Dragons as did wizards, started as simple field pieces of surprising power on the fields of fantasy battles waged in the early heyday of miniature war-gaming. These dragons pretty much took solely from the Western type dragon requiring only the physical might and fire breath (not to mention the advantage of flight) on the field. They evolved as did the first major role-playing game, Dungeons & Dragons, from the war game but were also injected with some new DNA found in certain works of fantasy fiction.

These works are listed in Appendix N from the 1977 edition of the Advanced Dungeons & Dragons Dungeon Masters Guide by Gary Gygax where he cites them as primary inspirations for the game. Of primary interest are the Elric books by Michael Moorcock and of course, the Hobbit by J.R.R. Tolkien. Both of these series of books having much to do with the current form of RPG Dragons. When it comes to Moorcock’s tales of Elric, the morose albino black-rune-sword wielding dragon-riding prince, it is within the Dreaming City (not specifically cited in Appendix N but it was published originally in 1961, well within time to inspire Gary Gygax) that the form of the current era RPG dragon takes shape.

“They were dragons, without doubt! The great reptiles were some miles away, but Elric knew the stamp of the huge flying beasts. The average wing-span of these near-extinct monsters was some thirty feet across. Their snake-like bodies, beginning in a narrow snouted head and terminating in a dreadful whip of a tail were forty feet long and although they did not breathe the legendary fire and smoke, Elric knew that their venom was combustible and could set fire to wood or Fabric on contact.” [Moorcock, Michael. The Elric Saga, Part I. Nelson Doubleday Inc. Garden City, New York. 305]

To that framework built of the war-game field piece and fleshed out with the physical-ness of Elric’s dragons the next influence to add to the RPG Dragon, an element which would train the sights of greedy adventurers forevermore in their direction, is the work of Tolkien.

In particular the Hobbit, the work of his cited in Appendix N and so a direct relation, and the dragon Smaug which is present within. Smaug, a flying fire-breathing beast, seizes the dwarven kingdom of Erebor under the Lonely Mountain for himself and covets the unbelievable mass of treasure within as his hoard atop which he slumbers.

“There he lay, a vast red-golden dragon, fast asleep; a thrumming came from his jaws and nostrils, and wisps of smoke, but his fires were low in slumber. Beneath him, under all his limbs and his huge coiled tail, and about him on all sides stretching away across unseen floors, lay countless piles of precious things, gold wrought and unwrought, gems and jewels, and silver red-stained in the ruddy light.” [Tolkien, J.R.R. 1997. The Hobbit. Houghton Mifflin Company, Boston. 184]

Of course, Tolkien modeled Smaug after the traditional European mythic dragon in particular Fafnir; Smaug is greedy, covetous, and pure malignant evil, a perfect example of the classic Western Dragon. Tolkien’s Inklings compatriot C.S. Lewis attributed the same quality to his version of the monster equating it more however as a symbol of greed, one of the seven deadly sins.

“Dragons are emblems of covetousness – when, in The Voyage of the Dawn Treader (1952) C.S. Lewis’s Eustace is turned into one, it is by thinking covetous thoughts about the horde he has come across. Wagner’s Fafner has similarly opted to change into a dragon in order to better guard the CURSE-ridden hoard for which he has already sacrificed his brother. Though dragons like Tolkien’s Smaug are typologically related to the Satanic dragon of Christianity, their hoard derives from the Norse version of dragonishness. This is at once one of their defining characteristics and their Achilles’ Heel; it is because he has suffered a theft from his hoard that Smaug emerges, and is thus killed.” [Clute & Grant. Dragons]

This hoarding trait is definitely present in RP Dragons if not one of their primary distinguishing traits.

Other works attached details to the RPG Dragon and explained details and behaviors of dragons in order to increase believability and foster reader immersion. These works used, and some continue to use, techniques known as Rationalized Fantasy, that is “stock fantasy elements are given a rationale that provides them with internal consistency and coherence.” [Clute & Grant. Rationalized Fantasy.] These works add in taxonomies, species, detailed or not so detailed explanations of draconic physiology and anatomy as well behavior even psychology. These works includes the likes of the Dragonriders of Pern by Anne McCaffrey, The Flight of Dragons by Peter Dickinson, the Dragon Jousters series by Mercedes Lackey, and the more recent Temeraire series of books authored by Naomi Novik.

These types of fantasy novels add in multiple details fitting dragons into the natural world making them powerful, majestic, but still fearsome beasts that may be preternatural but very much animals with a niche all their own – they like the rest of the animal kingdom including the whole of humankind are biological entities with a definite anatomy. Peter Dickinson’s work, The Flight of Dragons, is a testament to the rationalization of fantastic beasts laying out a blue-print for how the various aspects of the mythical creature could fit into the mundane world.

“[M]y theory is that the particular specialisation of dragons was that they evolved a unique mode of flight. They grew to their enourmous size because size was necessary if they were to fly successfully. They breathed fire because they had to. Their “blood” had seemingly magical properties because a particular chemical reaction was necessary for their mode of flight. And so on. At the remoter fringes of the theory I think I can show how the life-form that evolved through this specialisation came to prefer for its diet young ladies of noble breeding.” [Dickinson, Peter. 1979. The Flight of Dragons. Perrot Publishing Limited. 16]

However, the foremost of these works would be Anne McCaffrey’s the Dragonriders of Pern where the dragons were differentiated from each other by the colors of their scales to which size was also attached (Gold, Bronze, Brown, Blue, Green, with gold being the largest and green the smallest); a sort of color-coding as it were. The Pern series of books are more sci-fi than fantasy and the Pernese dragons are described as genetically modified versions of Pern’s native fire-lizards only resembling the mythical dragon in that they resemble fire-breathing winged dinosaurs, in fact dubbed “dragons” due to that resemblance by the planetary colonists that bred them.

When it comes to mating the Pern series of novels are very descriptive mostly from an emotional angle. The Pernese dragons share a telepathic link with their riders and influence the sexuality of their riders and others around them particularly evident during the described mating ritual. The sexuality of the Pernese dragons does have a definite relationship with the sexuality of their riders and to whom they will “impress” due to their intense tele-empathic bond, later clarified by the author herself [McCaffrey, Anne. 2000. Pern’s Renewable Airforce]. This talk of dragon-sex brings us to a strange behavior attributed to dragons in the popular imagination and myth, the awkward habit of kidnapping maidens.

“Dragons’ legendary habit of devouring maidens is something many fantasists have tried to rationalize. Because dragons are seen as solitary, they have to have some sort of sexuality, and eating virgins fits the bill.” [Clute & Grant. Dragons]

This component of the draconic personality is often ignored or simply left out by most contemporary fiction and role-playing games. It was added by medieval literature.

“In medieval romance captive ladies were often guarded by dragons.” [Rockwood. Dragon]

An element of this strange trans-species draconic sexuality can be found in the Eastern Dragon as well.

“Dragons represent the male yang element.” [Whittaker. 38]

The philosophy behind Ying and Yang is that apparently contrary, not necessarily opposing, forces have an element of each other within themselves because they are interconnected. Ying and yang are an indivisible whole with Yin being the passive and/or feminine element and Yang, the dominant/male element.

In most of the fiction mentioned previously, dragons are used as either massively powerful weapons or, especially in Smaug’s case, the primary threat of the story which must be overcome. In all of these cases dragons are just essentially plot devices for the most part, the dragons in Temeraire are much more integrated as characters, however as Fiction Narrative and RPG Narratives are completely different dragons are primarily used in RPG’s as campaign-enders or set-pieces as the great threat marking a sort of chapter or book-end in a tabletop campaign.

They are ideal foils for Player Characters, great lumbering powerful beasts with fiery breath and a penchant for constructing or at least occupying complex often maze-like lairs which probably evolved in game-play starting as simple cave-lairs and quickly becoming something more complex as gameplay demanded. The penetration into the depths of a dragon’s lair can be a campaign in and of itself.

“As often as not, whether intelligent or bestial, dragons are the hunter, not the hunted. Standing as they do as a gate between life and death and as flesh-and-blood beings that are nonetheless magical in their essence, they are LIMINAL BEINGS often connected with the getting of wisdom rather than merely enemies to be confronted. A conversation with a dragon is always a kind of duel, a struggle to refuse hypnotism or mastery.” [Clute & Grant. Dragons]

RPG Dragons typically are not just a random encounter.

The dragon has evolved from a term essentially describing only a sharp-eyed serpent to a majestic beast representing primordial supernatural power. This traditional malleability of the dragon continues especially in the fantasy today not just as a symbol but as a literalized creature with certain authors building their own details not just to increase reader interest but also believability onto the mythical framework, the most influential in the realm of roleplaying being Michael Moorcock, Ann McCaffrey, and, of course, Tolkien. The mythical dragon is the root of certain RPG tropes when it comes to dragons: dragon-slayers (Marduk), half-dragons (the Chinese dragon).

The malleability of myth and the additions of fantasy authors have inspired the dragon-rider and the draconic character in roleplaying as well. The idea of dragons not only in RPG’s but in mythology itself seems to change to suit the role the creatures are set to play but have always represented an epic and earth-shattering experience wielding massive amounts of primordial magical power. “Mythology reveals the dragon as both creator and destroyer and involves epic themes such as cosmic chaos, creation, and rebirth.” [Wilkinson. Dragons] Dragons have evolved from the idea of gigantic serpents into a vast array of fantastical animals with their own biology and anatomies as varied and numerous as water on the face of the earth.

“There is a particular affinity between dragons and water in all its natural forms: seas, rivers, lakes, rain.” [Whittaker. 38]

The first RPG dragons were derived from fiction which borrowed from myth and took their form from war-games. Dragons in RPG’s have a deep and long lineage and thus can be very useful to the creative and clever Game-Master. Dragons can be built and designed by the GM using the transformative fictive elements found in popular fantasy fiction, and many already have been.

The GM should think of specific links to their setting such as special adaptations that would bind the native dragons inextricably to that setting. Creating believable dragons helps to not only surprise the players but grounds them within the campaign world providing a deeper level of immersion; the same result desired by the fiction authors via the same method. Coloration, scale patterns, the presence of hair, and any number of odd physical features or bizarre powers are all options. Dragons continue to evolve in the human mind shaped by the immense creative forces contained therein and so will continue to evolve and change with not only literature but also with fantasy roleplaying games in general.

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