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dmsden · 3 years

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A History Lesson - Looking back at D&D’s history

Hullo, Gentle Readers. Well, this is the 5th Monday in March, and that means I get to write about anything I want! It’s also my birth month, which means it’s my anniversary of getting into D&D (42 years!), and that has me feeling nostalgic. Coupled with a discussion I had recently with some friends, I thought it would be fun to look back at the various editions of D&D and give you all a bit of history. I’m not going to get into Gygax vs Arneson or any of that. I’m only talking about the published game itself, not its creators or its storied origins.

The original D&D (or OD&D as it’s sometimes called) came in a small box. It had three booklets inside - Men & Magic, Monsters & Treasure, and The Underworld & Wilderness Adventures - along with reference sheets and dice. Each was softcover and roughly the same dimensions as a DVD/BluRay case. The game was pretty rudimentary - for one thing, it assumed you already had a copy of Chainmail, D&D’s direct wargame predecessor. It also recommended you have a game called Outdoor Survival for purposes of traveling through the wilderness. It had only three classes - fighting man, magic-user, and cleric - and nothing about playing other races. It did have the insane charts that 1st edition would ultimately known for, and it was possible to play a pretty fun game of D&D with it, as its popularity would come to show.

The game expanded through similar chapbooks - Greyhawk, Blackmoor, Eldritch Wizardry, Gods Demigods & Heroes, Swords & Spells. With the exception of the last one, each brought new facets to the game - new classes like Thief and Monk, new spells, new threats. It was clear the game was going to need an overhaul, and it got one.

I consider this overhaul to yield the real “1st Edition”, as so much of the game didn’t exist in those original games. The game split into a “Basic” game, just called Dungeons & Dragons and Advanced Dungeons & Dragons.

The basic game was a boxed set that included a rulebook, a full adventure module, and dice...or, well, it was supposed to contain dice. The game was so popular and new in those days that demand for dice outstripped production. My copy of D&D came with a coupon for dice when they became available and a sheet of “chits” - laminated numbers meant to be put into cups (we used Dixie Cups with the name of the die written on it), shaken, and a random number pulled out without looking. It was meant to introduce new players to the game, so it was a trimmed down version. Races were human, elf, dwarf, and halfling, and classes were fighter, cleric, magic-user, and thief. The box only included rules for going up to 3rd level, with the intention that players would then graduate into AD&D. This is where I joined, with the old blue cover box set and In Search of the Unknown, before Keep on the Borderlands even existed.

AD&D was the game in its full glory. Along with the races I mention above, we got half-elves, half-orcs, and gnomes. The four basic classes also had sub-classes, like paladin and ranger for the fighter, druid for the cleric, illusionist for the wizard, and assassin for the thief. There were rules for multi-classing, as well as “Dual-classing”, a sort of multi-class variation for humans only, which, when done in the correct combination, could yield the infamous bard...which didn’t actually yield any bard abilities until around level 13 or so.

This edition had 5 different saving throws for things like “Death Magic”, “Petrification & Polymorph”, “Spells”, and so on. It had the infamous Armor Class system that started at 10 and went down, so that having a -3 AC was very good! It also had specific attack matricies for each class; you would literally look on a table to determine the number you needed to roll on a D20 based on your class, your level, and your opponent’s armor class. It was fun, but it was very complicated.

It also had some, frankly, shitty rules. There was gender disparity in terms of attributes, which my group totally ignored. Because the game designers wanted humans to be a competitive the game, and because non-humans had so many abilities and could multiclass, non-humans were severely limited in the levels they could achieve in most classes. In fact, some classes, such as monk and paladin, were restricted only to humans.

As the years went on, things got a bit muddled. It probably didn’t help that the rules in Basic D&D and AD&D didn’t perfectly line up. In D&D, the worst armor class was a 9. In AD&D, the worst armor class was a 10. All of this led to an overhaul, but not one considered a separate edition. AD&D mostly got new covers and new books, like the Wilderness Survival Guide and Dungeon Survival Guide, Monster Manual 2, and the Manual of the Planes. It got a number of new settings, too. In addition to the default Greyhawk setting, we got the Forgotten Realms setting for the first time, details of which had been appearing in Dragon Magazine for years, thanks to the prolific Ed Greenwood. We also, eventually, got the whole Dragonlance saga, which yielded the setting of Krynn.

In this new version, Basic D&D broke off into its own game system to some degree. Elf, Dwarf, and Halfling started being treated like classes rather than races, with specific abilities at different levels. Higher level characters could be created using progressive boxes - Expert, Companion, Master, and Immortal, each with its own boxed set and supported by Mystara, a completely different setting that got its own updates over the years. It was odd, because D&D essentially was competing for players with AD&D, and I remember arguments with friends over which version was better (I was firmly in the AD&D camp.)

In 1989, when I was in college, they finally brought forth 2nd edition D&D. This streamlined things a little. Armor Class still went down, but now attack rolls boiled into a single number called To Hit Armor Class 0, or THAC0. It made the whole process of figuring out what you needed to roll a bit less cumbersome, but it was still a bit awkward. The classes got a lot of overhaul, including making Bard its own core class. But what I remember best about 2nd edition was the boom in settings. This was the age of settings, and many beloved ones got started, including Dark Sun, Planescape, Ravenloft, and Spelljammer.

It was also the age of the “Complete Handbooks”. They brought out splatbooks about every class and race in the game, as well as books expanding several concepts for the DM, such as the Arms & Equipment Guide, the Castle Guide, and the Complete Book of Villains. There were also splatbooks about running D&D in historic periods, such as Ancient Rome, among the ancient Celts, or during the time of the Musketeers. The game got new covers for the rule books again, and a bunch of books about options started coming out. It was a boom time for books, but many people complained there was too much.

Without going too deep, TSR ended up in severe financial troubles. They declared bankruptcy, and there was real fear of the game going away. And then Wizards of the Coast (WotC) stepped in. They helped TSR get back onto its feet, and they helped produce some modules specifically engineered to help DM’s bring an end to their campaign...possibly even their whole campaign world...because something big was coming.

That something big was, of course, 3rd edition D&D. The game got majorly streamlined, and many sacred cows ended up as hamburger. AC finally started going up instead of down. Everything was refined to the “D20″ system we’ve been playing ever since. Races could be any class. There were no level or stat limits for anyone. After years of the game being forced into tight little boxes, it really felt like we could breathe. I had stopped playing D&D, but 3rd edition brought me back into the fold. I often say that 3E was made for the players who’d felt constricted and wanted more flexibility.

The trouble with 3E, and its successor 3.5, is that it was still a dense and difficult game for newcomers to get into. It’s been acknowledged that D&D essentially created many of the systems we see and know in other games - experience points, leveling up, hit points, etc. But trying to break into the experience for the first time was difficult. The look of 3E was gorgeous, but I understood that it must seem awfully daunting to someone who’d never played.

4E and its follow-up, Essentials, was an attempt to course correct that. They tried to make this edition incredibly friendly to new DMs, and, frankly, they succeeded. By creating player classes and monsters and magic-items that were all very plug and play, they did a great job of creating a game that someone who had never DMed before could dive into with no experience or mentor and start a game pretty easily. Encounter design was given a lot of ease, and there were promises of a robust online tool system that would help out with many of the more tedious aspects of playing.

There was also a lot of shake up in terms of choices. Suddenly, new classes and races were proliferating like crazy. We got the dragonborn, the tiefling, and the eladrin right in the core book, but we said good-bye to the gnome and half-orc at first. Suddenly the warlock was the new class everyone wanted to try. We got paragon paths and epic destinies that would really shape a character as time went on. The game went very tactical, as well, which some of us loved. The concept of rituals came into the game. Later books like the Player’s Handbook 2 and 3 gave us back gnomes and half-orcs, and also gave us minotaurs, wilden, shardminds, and githzerai. We got new psionic classes, brand new class concepts like the Runeknight and the Seeker...

But there was a tremendous backlash. People felt that, in making the game so very plug and play, they’d taken a ton of choice away from the players. Without the tools (which were never that robust, frankly), it was almost impossible to navigate the massive panoply of options. And, worse, it was harder and harder to develop encounters without those tools. People complained that the game had gone more tactical in order to sell miniatures and battlemats. Given that I have never played the game without miniatures and battlemats (since I started in the days when D&D was still half-wargame), I found this odd, but I also understand my style of play isn’t everyone’s.

The one argument I will never understand is that it didn’t “feel” like D&D, or it was somehow ONLY a tactical game and not a role-playing game any more. Again, given that the original game didn’t even call itself a role-playing game, this felt odd. Personally, I roleplay no matter what game I’m playing. If I’m playing Monopoly, I’m roleplaying, doing voices, and pretending to be something I’m not. I honestly enjoyed 4E, and I know a lot of folks who did, too. A lot of it may simply come down to style of play. But I also enjoyed all the games that came before, including Pathfinder. To paraphrase the YouTube content creator The Dungeon Bastard, “Does your game have dungeons? Does it have dragons? Great. I wanna play.”

As a sidenote, in the months leading up to 4E’s release, a lot of internet videos were released by WotC emphasizing the nature of change and talking about differences in the rules. They also released some preview books showing the direction they were heading. WotC must have anticipated that people were going to find this edition very different indeed. They also cleverly brought in some very funny folks - Scott Kurtz from PVPOnline and Jerry Holkins & Mike Krahulik from Penny Arcade - and got them to play D&D for podcasting purposes. Looking back, this must’ve brought in a lot of listeners who might never have played D&D and given them a reason to try it out.

After its release, WotC clearly noted that missteps had been made, as this edition of the game was losing them players. They began work on what they referred to as D&D Next, and, this time, they did massive amounts of playtesting, some of which I participated in.

I don’t feel like I have to describe 5E to any of you, Dear Readers, as you could go to virtually any store and pick it up. I am a big fan of 5E’s simplicity and elegance, and I suspect this is the edition of D&D we’re going to have for some time to come, especially given its popularity. Given the effect of podcasts like Critical Role (and I might save an article on Critical Role’s importance to D&D until my next Freestyle article), D&D is likely more popular now than it’s ever been, with a much wider and more diverse audience than ever before.

I know I’m painting with broad strokes here, but I hope this was, at least, entertaining, and maybe you learned something, Gentle Readers. Until we next meet, may all your 20s be natural.

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e-one-seven · 4 years

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(I hate being a literature student. Just know that literature students have a bad habit of over-analyzing stuff, and apparently D&D games are not exceptions.)

Normally I don't talk about ships. I think that everybody is free to ship whoever character they want with who they want and I am no one to judge them. Especially if the characters in question are from a live role playing game and one of the ships in question involves a couple controlled by a couple who is married IRL. But this one. Oh boy. Laura Bailey is an absolute beast and she deserves all the respect in the world if even a fraction of what I think it's happening/going to happen will effectively happen in game.

Fjord kissed Jester. He asked for her permission and he got it. It was beautiful. And I am genuinely freaking out because I knew that was going to happen and it's even worse than I imagined it. Why am I talking about it like it is something bad? Because it's possible that Jester is not ready to be in a relationship right now, and that Jester herself is not aware of it. Let's talk about it from the beginning.

Jester likes Fjord from the beginning of the campaign, we all know that. When Jester met Fjord for the first time, she was a sheltered girl who, in her head, just met the perfect man: a proud and strong sailor who wants to live an adventurous life just like the heroes of her novels, and she easily identified herself as the heroine the hero will inevitably fall in love with. They meet the rest of the Nein, live on their adventures and Jester keeps on acting like she is the Guinevere of her personal love story inside her head, while Fjord is blissfully unaware of what is happening inside the skull of his new friend.

Then Fjord meets Avantika, a mature woman who seems to share many traits and interests with him. Jester is clearly jealous, especially after that they sleep together to seal their alliance. That is also the moment when Jester starts to see Fjord's flaws and she seems to be willing to accept them, which is actually a point in favor for a possible relationship between them. But Fjord is still unaware of what the special attention of the blue tiefling actually means.

Then she meets a real married couple, and she starts to realize that romance is not always like she imagined it was. Nott/Veth and Yeza are married and have a child, and they are not as dependent to each other like the heroes of her novels: Nott does her own things and she is a strong independent woman and Yeza is pretty much the same, they are not allowed to be as intimate as they used to be because of "Nott's condition", but they still love and support each other through and through. And at this point, Jester starts to notice that there is a member of the Mighty Nein that seems to show her that unconditional love and support that Nott and Yeza radiate with every action: Caleb Widogast.

Caleb used to be a stinky wizard, a brash individual who joined the group just because he was too squishy to survive on his own. But ever since they are in Xhorhas, he cleaned himself, he is kinder with everyone and he wants to help her organize the Traveler Con even if the event has nothing to do with him directly. Jester is visibly touched by his newfound beauty and kindness. But he still loves Astrid. He called Jester with her name when they danced together in Hupperdook. And he seems to be interested in Essek Thyless too, so she is probably imagining it. The Mighty Nein travel, grow more powerful, and Fjord manages to set himself free from Uk'utoa's influence and becomes a Paladin of the Wildmother. He finally becomes more similar to the hero Jester imagined he was when he met him for the first time, but she seems to be only minimally bothered by his change. She needs time to think because she feels that something is changing inside her. Fjord might not be the right one after all. Caleb is always there for here with all his support, and she starts to want to be there for him.

Eventually, they stop the war, they defeat a fire god and Caleb sets up wonderful magic and illusions so that the Traveler Con is a success. But then, during the last night of the gathering, something happens and Sehanine, the Moonweaver herself is angry. She is taking Artagan away, and Jester is willing to follow him in the Feywild and share his punishment... but Fjord grabs her and begs her not to go. She has still the Mighty Nein, she has still him. For the first time Fjord is being explicit about his feelings for her. Luckily everything goes well and the Mighty Nein are free to come back to Wildemount... Where she finds out about Caleb's past and his intent to save his friend Eadwulf and his former lover Astrid from Trent Ikithon. They go dance again, Caleb pushes her in Fjord's arms, and the half-orc gives her a present. There is definitely something. But there is Caleb too, but he is too busy trying to deal with his demons to pay attention to her.

Jester meets Astrid and she antagonizes her. She is jealous, she thinks that Astrid is Caleb's ideal woman and she realizes they are not alike at all. She is a talented and ambitious wizard, while she is just Jester, the cleric of an Archfey. Astrid is just like Essek, and Caleb is attracted by Essek. Jester understands if Caleb doesn't like her after all: why should he be interested into a childish cleric whose power is not even her own? They are just very good friends. That's all. He should be back with Astrid and she will support him if that will happen once that she will be free from Trent Ikithon's influence. But Caleb is still so kind, and loving, and supportive... she is really confused about it. But he is kind and loving with all of his friends, so in the end it might not be important.

And then, there is Eiselcross with its weird ancient magic. A magic as dangerous as the one they found in the Happy Fun Ball, which contained a Blue Dragon and a trap that managed to kill Nott without them being able to prevent it. Everything is dangerous and the Mighty Nein realize as the time passes by that not everyone of them could get out of there alive, especially given what and who they are trying to stop. And Jester herself falls into a trap: she is given a vision that confirms to the Mighty Nein that what they feared is true, that the Tomb Takers' objective is to bring an eldritch floating city scary enough to cause a Morkoth into voluntary exile back to Exandria, where it intends to absorb its inhabitants into its hive mind. The price to pay for the vision are 5 years of her life. "Growing old" is different than "growing up", and it happens to her in a matter of seconds. Jester is five years closer to death now, and it is possible that she is lucky they are just five. The minor changes in her appearance are a reminder of what it could have happened if she wasn't lucky, and she has no idea about what else changed about herself and what will change in her personal life and relationships because of that accident. All she knows right now is that these might be her last days alive and she is afraid she might be missing something before her untimely death.

(And she would not be silly to think about it. After all, who they are facing is reminding all of the Mighty Nein that even if they are becoming powerful they are still mortal beings.)

And when she is in the middle of a mild existential crisis and confusion reigns inside her head, Fjord declares. And Jester, still willing to believe that she is her old self, the young woman who left Nicodronas and miraculously met the man of her dreams that will lead her to live an exciting life full of love and adventures, accepts to kiss him. It is very likely that she was not thinking about anything in that moment, but one thing: "If I say yes to Fjord it means that I am still me, right? It is happening because it was supposed to happen from the beginning, because we were supposed to be together."

There is just one little problem: Jester is ignoring the fact that she has changed from the person she used to be back then, and it did not happen because a group of stone statues magically aged her up. There is still something for Fjord, she will never forget him as he is and he will always be her first love. But she has some feelings for Caleb too, and even if she is "a good liar" they might be too strong for her to simply ignoring them. After all, Caleb "I was trained to lie and kill for the Empire" Widogast did an excellent job when he was trying to hide them. There are some clues here and there that hint that Jester might love Caleb as much as he loves her and that she wants him to be happy, even with other people... just like he wants it for her. Add the trauma she is just starting to deal with, and there is almost no way that her current relationship with Fjord is going to evolve into something healthy and angst free right now. This if that kiss was the effective beginning of a serious relationship, and not the promise of a future relationship between them if she will be still available.

But these are the vibes that the beginning of a relationship between them is giving to me right now, and nothing will be confirmed until Laura Bailey will show up to Talks Machina to talk about it. I am also curious about how she will react when she will see Essek again: when the stakes were not high she used to tease him to be with Caleb... but now she has met Astrid, she might have feelings for him and being in a relationship with another person, and Caleb states that he doesn't trust him. I guess that if she still does, it will be mostly an attempt to show to everyone that nothing changed for her and that she is fine (and that would be a huge step back into her character development, but it was her defense mechanism until the Rumblecusp arc and she is dealing with a lot of serious stuff all together right now).

I'm not saying that the ship is going to die: I'm saying that because of the circumstances behind how it was made official and the relationship between all the character involved, I would say that it is very likely that it will lead to some cute moments, but that it eventually won't last. This is especially true if it will confirmed that Jester has feelings for Caleb too, as feelings for another person are not easy to get rid off, and I am fully expecting Jester to angst and talk to someone about them at some point. She needs to achieve true clarity and accept that she is going to break someone's heart in order to be in a healthy, happy relationship. Because, let's face it, we all imagined Jester would have been much happier if she'd ever entered into a relationship, shouting about it out loud so that everyone know. There is something weird here. So, or either the kiss is a promise, or Jester's heart is not fully into it and this means trouble.

But yes, Laura Bailey promised us that she would have romanced Travis's character and she is doing it. And whatever it will be the final result, she is still a legend for having achieved the impossible once more.

PS: Obviously this post in the end means nothing, as no one owns and knows the full truth behind the intent of these characters but the actors who control them. I just wanted to give my two cents about the question. It's more likely that this development will prevent Jester to suffer from a mental breakdown in Eiselcross instead of causing her to suffer from one, but I tend to over-analyze stuff. Please forgive me for this.

PS2: As a final note, it would have been the same even if Caleb would have been in Fjord's place, if not even worse: I wrote a post about Caleb in Eiselcross too, and between him and Jester I have no idea of who is the most messed up at the moment. Poor children...

#critical role #character analysis #jester lavorre #fjord #caleb widogast #fjorester #widojest #angst everywhere #why did i even write this #i just want them to be happy #cr meta

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felassan · 3 years

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Thoughts on Dark Fortress #1

(This post is under a cut due to spoilers.)

NB, my thoughts on the first pages that came out in the preview are collected here [spoilers at link], so I won’t repeat myself.

Okay here we go :D I’ve posted up my fav panels but always want a space where I can burble at length.. (I’m late in posting this bc recently for the last few days I’ve been obsessing over politics in my country as it’s the run-up to election time.. I haven’t read anyone elses’ thoughts on it either so I could be behind on prevailing speculation or whats known or something) The preview pages ended at the panel when Aaron says “Vaea is right”, so that’s where I’m beginning.

I can’t put my finger on why but I really like the “don’t tell me I’ve had too much to drink” panel showing a Tevinter street. It’s a neat blend of “Tevinter is advanced relative to much of the rest of known Thedas, but also ominous, but also a place where people live and go about their lives, and also not going too heavy on the cyberpunk angle”. I dig the composition ‘leading’ the eye up the street and the consistency with the recently-seen DA4 materials that have red lighting in Tevinter buildings, similar building shapes etc. ig I’m pretty obsessed with the idea of the DA4 PC & party walking up streets like these.

I wonder how Aaron felt witnessing Tractus’ drunken scenes in the pub :(

Tractus’ attitude towards the barman here shows the influence and power Magisters wield in Tevinter, and the fear of them common among the mundane populace

digging the Tevinter-y motifs & design of the bartop, bar shelving etc. it feels like thought went into it

I’d watch a spinoff show or read a story where Marius and Ser Aaron have to team up in order to achieve something

Vaea is so badass and agile! I appreciate that the shot of her up high was tasteful and didn’t like, weirdly contort her body, have a weird leering angle or emphasize things in that way comic art often does for women at moments like these

so in Tevinter, lamps give off red light (seen in the bar scene). are the windowpanes themselves also red?

good thinking Vaea grabbing the staff. great sense of snappiness and motion in this panel. her landing reminds me of squirrels doing the superhero pose landing actually :)

tfw you and a dog burst out of a wardrobe

Tractus recognizing Fenris, it seems - did they encounter each other when Tractus was young, or does he just know of him (distinctive markings and all that)? if the former, I have a feeling we might get a flashback scene to that time in a future issue

cutting to look at Francesca when Tractus talks about Fenris murdering his father is GENIUS. look at the sadness on her face here; “you murdered your father” is exactly what she’s been telling herself and struggling with all this time

nice to see staff-less magic in action

Tractus seems to have drawn power from the red orb set in his staff. he reaches out to it and it responds by glowing and the staff moving, but he wasn’t doing a Jedi ‘use my Jedi powers to make my thrown lightsaber [staff] return to my hand’, as you might expect, he was instead charging up and drawing magical energy/power from it [the orb], as seen by the red light in his hand in the next panel. this reinforces my earlier wonderings that the red orb is notable and that there’s some connection between it and his red eyes. later in the panel when he’s trying to cast on the floor his eyes seem lit up (altho it could just be lighting & dramatic effect)

I wonder if Fenris thinks of Anders and Justice when Tractus says “justice”. There was once a mage in Fenris’ life who was really focused on justice..

the combat scenes are beautifully drawn, thought out and colored

Fenris’ lines here are really metal, badass and impactful. I could hear Gideon Emery’s voice in my head as I read these bits - the word choice of “hounded” helps with that I think, it immediately recalls Fenris talking with anger about how Hadriana denied his meals and hounded his sleep. they nail how Fenris speaks, the pattern and words he tends to use, etc

PHASING POWERS in action!! this is very cool to see, this ability of his didn’t get touched on much at all in DA2 outside of combat or a few scenes

I enjoy the contrast between the red and blue glows

Fenris is understandably merciless

“Perhaps if you had it carved into you” feels like foreshadowing for the ‘red wraith’

:( the reminder that the very thing Fenris struggles with feelings of hate and fear towards is carved into his skin for the rest of time and always will be

Vaea is brave to step in, standing up for what she believes is right and also re-centering focus on the critical mission at hand

;___; Autumn helping keep Tractus on the ground. she is such a good girl. she Help

“You’re lucky the mabari is here” - having Fenris in a dark light here relative to the rest of the panel is nicely symbolic

oh shit!! some plot advancement in terms of the ongoing story of the wider world. The Antaam have now reached Neromenian!! the invasion is progressing further and further into Tevinter. how far will it have come by the time of DA4? will there be an active war front not far from Minrathous? I appreciate the comics from this team a lot, here and there they push forward the ‘story of Thedas’ not just the story of the comic’s focus. also, I like that the Qunari soldiers here aren’t clones of one another but all look different. different hairstyles, sizes/bodies, clothes

love how our group work together, everyone has a strength and a role to play, the teamwork, the delegation, they’re like a DA basegame party or a D&D party

the way Fenris’ hand and arm glow in this sequence has been drawn/colored is smart - calling to mind the image of blue veins running through someone’s arm or below the skin on the backs of their hands

Fenris has surely picked up Fereldan sayings from Hawke.. stop .. my heart ;__;

the Fenris/Autumn exchange

this is so intense.. why do I get the feeling that Fenris has used this sort of torture technique before in his hunting and extermination of Danarius’ adult children campaign and/or his hunting of slavers as the BW with Shirallas campaign. it feels like he has done this sort of thing before in the time post-Kirkwall. I like that they didn’t hold back with a bit of gore here and there in this issue (phasing a hand and then solidifying it inside someone’s body, the Qunari attack portion in the street etc), while at the same time not being excessive with it.

this miniseries so far has good pacing, things moving along nicely and not being too slow or meandering

it’s smart having Tractus’ explanation of how to get in stay off-screen to the reader while we follow Francesca calling the alarm. It means we get to find out as we watch them infiltrate

omg those puncture wounds from his talons

when Fenris is about to kill Tractus after he tells him what he wanted to know, I’m strongly reminded of how he promised to let Hadriana go then killed her anyway, regardless of player choice. he has his ruthless streak and it feels like a callback. and before, when he was standing over Tractus when he was on the floor, echoes that scene in A Bitter Pill when he stands over Hadriana on the ground, who also reached for her staff

Tractus pale with bloodloss and fear

lmao @ Fran and Autumn’s faces when they walk in on this scene

Fenris listening to Vaea is nicely consistent with his character too imo - there are times in DA2 when Hawke can be like “Fenris no don’t do the Thing” and he doesn’t do the Thing

I have missed the way Fenris’ nose bridge crinkles when he’s angry

I wonder what the consequences of leaving Tractus alive will be. [tv announcer voice] FIND OUT NEXT TIME ON DARK FORTRESS

so the ritual will only take minutes to complete huh 👀

wow Neromenian has truly fallen, reeducation of the people of Tevinter continues as in Three Trees to Midnight in TN

explaining that they are speaking in Qunlat is a nice immersive touch and shows attention to detail of the lore of the world

bobbly-shoulders Qunari, Legolas hair Qunari, septum piercing Qunari, bobbly-brow Qunari, undercut Qunari. I wonder if the shoulder and brow protrusions are aspects we’ll see in the Qunaris’ latest design in DA4?

poor Tractus can’t catch a break lol. it has Not been Tractus’ day

Karasten: an infantry field commander

bit of Tevinter lampshading, lil fourth wall break with “This land and its obsession with magic. There is always a forbidden ritual with them” hhhhhh

Ringwraith on a horse moment at the end there

strong ending, can’t wait for next month weww.. 👀

#dragon age #bioware #dark fortress spoilers #dark fortress spoiler #spoilers #spoiler #fenris #the Fenaissance #dragon age: dark fortress spoilers #dragon age: dark fortress spoiler #video games #dragon age 4 #the dread wolf rises #da4 #gore cw #blood cw

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paintedwarpony · 4 years

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Had a chat with my buddy @avinryd this morning...

Long story short and without launching into absolutely flying off the handle with everything that I'm angry about the DM of my group completely bailed on us...

NO YOU KNOW WHAT THE GUY SUCKED. He led us a into the game blind, punished us for being awkward and not knowing each other without having a session zero, consistently misgendered my character and another player AND his character, was really ridiculously sexist and misogynistic, he ignored all of the players attempts to really engage and be involved in building the world of our characters, would get bored if we weren't fighting stuff (like BORED as in would actually pull out his guitar and just play random stupid chords while we were trying to play), got mad when we killed stuff to quickly, interrupted and constantly made side comments while we tried to RP including one time actually stopping my character and asking 'are you really having this conversation?', tried to force us to do stuff we didn't want to do, wouldn't pay us for jobs we did, fucked over multiple characters with really weird ass story choices that essentially stole our paladin's chance to take his oath and made our barbarian the daughter of a random god, consistently dead ended actions we tried to take, cheated us out of XP then whined about us not being higher levels and 100% gave us ALL the vibe that he wasn't really happy or comfortable with how diverse and LGBTQIA+ our group was shaping up to be.

So two weeks ago we started an hour late, he pretty much ignored us for most of the session and then just left after an hour of us playing. Then this week the day before we were supposed to play he was like "until further notice I can't DM and it could be a long time before I could pick this back up".

The party decided to go ahead and meet for our normal time and talk about what to do. We aired some grievances, actually had the chance to really talk to each other and in the mix of it all my genius self offered up the position of DM if they were willing to do a Wildemount campaign because thats the only world I feel I can really confidently DM in.

To my honest surprise they bit.

A few weeks earlier one of my very good friends and favorite d&d artists @alikandhoney asked me to DM his group of buddies. I'm offering their group the chance to choose their setting, one of them is also Wildemount that they can choose.

Its so scary and exciting. And after what I've been through I want to be the DM that I would want to play with and I have been trying hard to build a great and unique storyline for each campaign and build up to each of PCs individual goals and the stories they want to accomplish. And its so insane to me that that old DM blew off my group so much because every single one of them has been so creative and excited and building some of the coolest ideas and even jumping on stuff that I wanted to do myself in our old campaign and was ignored and brushed off. And in my other group they're all seasoned that their ideas and characters are so unique that its making me really strive to come up with some really amazing stuff (I hope) that will be above and beyond for them so its stuff they've never seen before.

Honestly the hardest part is I don't get to gush about my ideas to any of my friends in either group CAUSE SPOILERS.

But bless @avinryd that they're in the same boat as a brand new Wildemount DM and we get to talk to each other and share ideas and get excited together.

Cause honestly you gotta have a buddy that understands to talk to cause you'll go crazy otherwise.

Cause Bro... BRO... B R O... I really seriously am excited about the stuff that I've been making and I really hope they go over well...

Matt Mercer Pray For Me, Lend Me Your Strength...

#d&d shenanigans #d&d #critical role #matthew mercer #matthew mercer are you listening #dm #dm life #explorers guide to wildemount #wildemount DMs unite #DMx2

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simul16 · 3 years

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The Curious Case of the Original Women of Ravenloft (or Loose Canons Can Be Dangerous)

For many years, we in the Dungeons & Dragons RPG studio have considered things like D&D novels, D&D video games, D&D comic books, as wonderful expressions of D&D storytelling and D&D lore, but they are not canonical for the D&D roleplaying game. -Jeremy Crawford Those among us who are fortunate enough to become shepherds or stewards of the D&D game must train ourselves to become art and lore experts so that we know when we’re being faithful to the game’s past and when we’re moving in a new direction. We decide, based on our understanding of the game’s history and audience, what artwork or lore to pull forward, what artwork or lore needs to change, and what artwork or lore should be buried so deep that it never again sees the light of day. -Chris Perkins There is a very simple statement to be made about all these stories: they do not really come off intellectually as problems, and they do not come off artistically as fiction. They are too contrived, and too little aware of what goes on in the world. - Raymond Chandler, "The Simple Art of Murder"

There's been a bit of a stir in the D&D community over some comments that Jeremy Crawford made at a press briefing prior to the D&D Live event about how only the information published in a WotC Fifth Edition D&D product is 'canonical' for D&D. There was enough of a reaction that Chris Perkins, self-described as "one of the D&D Studio's principal game architects", published an article on the WotC site (linked under Perkins's name above) explaining this statement and explicitly calling out what it means when discussing an intellectual property with a long-standing and vast catalog of lore, where that lore is one of the primary positive features of that property.

On the surface, it seems pretty straight-forward. Crawford's comments focused on not overwhelming partners with lore requirements when producing peripheral products like novels and video games so that they can focus on producing their product rather than meeting arbitrary lore requirements (not that this seems to have helped the most recent video game product release). Perkins mentions this, too, explicitly evoking R.A. Salvatore's novels and how Salvatore (perhaps infamously) used to incorporate elements into his stories that were outright illegal according to the D&D game rules (such as Drizzt's dual-wielding of scimitars, only made legal in 5e, or his creation of Pikel Bouldershoulder, a 'mentally challenged' dwarf who believed himself to be a druid and even eventually displayed druid-like abilities, even though dwarves in the D&D of the era of the Cleric Quintet series, where Pikel appeared, were not allowed to be druids). Perkins's comments also refocused the discussion on players, DMs, and their games, making the point that every campaign develops its own canon, and that the version of the Forgotten Realms run at a given D&D table does not perfectly match either the version of the same world run at a different table, or even as presented in the official published campaign sourcebooks.

This position is easily defensible; I even presented it myself in a response on Twitter to Perkins's own comment on an event in the Acquisitions Incorporated campaign he runs and records for online consumption. A restaurant that exists in the Forgotten Realms of Acquisitions Incorporated might have been shut down for health reasons after a shambling mound attack in a different campaign, or a previous party of PCs might have made a disastrous error during the war with reborn Netheril that led to the fall of Cormyr, with the coastal area of the former kingdom being absorbed by their rivals in Sembia while the interior lands were allowed to be overrun with monsters migrating out of the Stonelands (which makes for a nearly ideal 'starter zone' for a new 5E Realms campaign, IMO).

But just because there are benefits to such an approach to canon doesn't mean that it's the best way to approach canon, particularly with respect to a property which has had a long lifespan and is expected to have an even longer one. There are plenty of ways to criticize such an approach, many of which have been brought up by other commenters:

In any long-lasting intellectual property, there is a core of fans that are devoted to the lore and canon of that property -- see Harry Potter, Star Wars, etc. 'Loosening up' the lore not only convinces your existing super-fans not to continue to support and evangelize your property, but also prevents the creation of a new generation of such fans to continue your property's life into a new generation of fans.

Since much of what is on offer in a published sourcebook is the current 'canon' (despite Perkins's statement that "we don't produce sourcebooks that spool out a ton of backstory", the reality is that much of the content of sourcebooks like the Sword Coast Adventurer's Guide and Van Richten's Guide to Ravenloft is setting material: i.e.: "backstory"), if you're not going to stand up for the lore of prior editions, and by implication make it clear that future editions aren't going to be beholden to the lore of even this edition, then why get heavily invested in the lore at all? (This ties into the above point, as the fewer people who get invested in the lore of a property, the fewer evangelists for that property you will produce.)

If you have any Organized Play for your game (which D&D does, as does so-called 'living card games' which are based on an advancing storyline), loosened canon makes it easier for those authors to produce content, but simultaneously makes it harder to incorporate the content that players enjoy into the overall game. In addition, the later stories can't take into account all of the potential outcomes that a given group might have taken through a given adventure, so in effect, this turns all adventures into "railroad plots" with respect to the larger campaign narrative, where the best outcome is assumed for each adventure and thus the PCs don't really have the ability to influence the overall metaplot. (This gets complicated, because it necessarily involves different campaign outcomes contesting with one another to become the 'canonical' outcome, which is itself pretty challenging. Regardless, one of the attractions of a 'living campaign' is that the campaign in theory adapts to respond to the actions of the players; a 'living campaign' that doesn't do this is no different than a traditional scripted campaign.)

Perkins's final point in his essay, though, seems just as important to the current 'administration' as any of the other explanations, and that's the quote referenced at the top. In effect, what Perkins is saying is that the 5E team wants to be able to take what they consider 'good lore' and keep in in the game, while revising or outright eliminating 'bad lore'. Again, this seems like a defensible position, but it also has a flip side: it assumes that your changes to the lore are not just lazy or arbitrary, but are made consciously and for specific reasons. This could work well if you actually follow through on your intention, but given the realities of publishing on a schedule, it's inevitable that some amount of lazy or arbitrary decision-making will occur, and in those decisions, you can inadvertently (or allow someone without your knowledge to deliberately) make decisions that harm the canon. The statement seems reasonable, but as we'll discover below, it's actually fundamentally dishonest.

With that in mind, let's explore...

The Curious Case of the Original Women of Ravenloft

The original Ravenloft setting as released in the early 1990s, like the game studio that released it, contained a lot of old white guys, and it didn't necessarily get any more diverse with time. The early 3E Ravenloft product "Secrets of the Dread Realms" by Swords & Sorcery Studios lists eighteen Domains of Dread, half of which were unambiguously run by old white dudes. Depending on how you want to define 'old' and 'white', you could even add a few more domains to the list (such as Verbrek, ruled by the son of the former old white dude darklord, and Markovia, depending on whether you consider Markov to still be human enough to qualify as an old white dude). Only five domains were ruled by female darklords, and one of those (Borca) isn't even wholly ruled by the female darklord. Comparing the darklords of Secrets of the Dread Realms to that of Van Richten's Guide to Ravenloft points out just how much of a priority it was for the 5E team to increase the diversity of darklords in the setting.

Curiously, though, the female characters retained from classic Ravenloft don't appear to have been changed in a manner that fits Perkins's explanation of what they consider when deciding what to bring forward from older lore, as in nearly every case, the character became less interesting and possesses less agency in her current 5E presentation than she did in her original pre-5E incarnation.

Jacqueline Montarri

Let's begin our survey with a character who technically doesn't yet exist in 5E lore, and thus by Crawford's definition doesn't exist in lore at all. It might seem odd to begin my presentation of 'female characters deprived of agency by their 5E presentations' by starting with a character who wasn't presented, but on the other hand, being removed from canon and thus from existence could be argued as the most severe loss of agency possible for a character.

Jacqueline doesn't exist in 5E because the organization she founded, the Red Vardo Traders, doesn't exist in 5E. In older editions, the Red Vardo Traders was both a legitimate trade company as well as a criminal organization engaging in smuggling, assassination, and other crimes, and are based in the Barovian town of Krezk. The version of Krezk presented in Curse of Strahd, however, makes no mention of the Red Vardo Traders, choosing instead to present Krezk as a small village dominated by the Monastery of Saint Markovia*, a location that does not exist in pre-5E Ravenloft. The Red Vardo Traders were founded by Jacqueline for a specific purpose, and thus both their legitimate business operations and their criminal pursuits are but shells for their true purpose: to find Jacqueline Montarri's head.

* - Saint Markovia himself was initially presented in the late 3E reboot adventure "Expedition to Castle Ravenloft", as one of the inhabitants of Castle Ravenloft's crypts; Markovia was changed from a man into a woman as part of Curse of Strahd, and the Sanctuary of First Light, the largest church of the Morninglord in Ravenloft pre-5E and placed in Krezk by its developers, was re-written in Curse of Strahd as the Monastery of Saint Markovia.

Montarri sought the secret of eternal youth, and in doing so, consulted with the Vistani seer Madame Eva to find it. Eva originally resisted, but finally revealed that the secret rested within the library of Castle Ravenloft, and Jacqueline, out of a desire to be the only possessor of such a secret, out of a need to do evil, or perhaps both, murdered Eva before departing for Strahd's castle. Unfortunately, Jacqueline's infiltration of Castle Ravenloft attracted Strahd's attention, and she was captured, turned over to the villagers in Barovia, and beheaded for her crime against Strahd. However, some of Eva's fellow Vistani asked to take custody of the body, explaining that the woman had murdered their leader, and Jacqueline eventually awoke -- wearing Madame Eva's head. She since learned that she could 'wear' the decapitated heads of others, and cannot survive long without one. Jacqueline's body has not aged, but her head ages a year for each day she wears it, requiring her to continually murder (and possibly assume the identities of those she murders) to survive while she searches for her original head, the only thing that can break the curse that Eva's kin placed upon her.

That's a pretty amazing backstory, and one I'd think would be very worth including in a new Ravenloft setting, save for one problem: Madame Eva's death. Now this isn't actually a big problem in the context of classic Ravenloft: both Eva herself and her tribe of Vistani were known to have a 'curious' relationship to time (former Ravenloft writer John W. Mangrum explicitly called Madame Eva a "time traveler" when it was pointed out that Eva's continued existence in Ravenloft canon suggested that she had not actually been killed), but it did cause confusion among those with a more static approach to continuity. Since Eva unambiguously exists in 5E Ravenloft, being referenced in both Curse of Strahd and Van Richten's Guide to Ravenloft, it appears that the decision to jettison Jacqueline and her Red Vardo Traders comes mainly from a desire to untangle that confusing bit about Eva actually being dead but still walking around.

Granted, the need for an organization like the Red Vardo Traders is perhaps less significant in a Ravenloft where the Core doesn't exist and every domain is its own Island of Terror, but given that Van Richten's Guide to Ravenloft still lists a number of organizations known to be capable of travel between domains, including two that they just invented out of whole cloth, it would seem as though making use of a pre-existing organization might have worked just as well. The other complicating factor is that Montarri is not herself a darklord; with the focus of the 5E Ravenloft experience on darklords as linchpins of the setting, having a compelling NPC who isn't a darklord (but who honestly could be made into one fairly easily, as her curse lends itself to a darklord's punishment and her formation of the Red Vardo Traders into her way of dealing with the limitations of being a darklord) would seem to detract from what the 5E designers were trying to do with the setting.

But this isn't the only or even the worst example of a female character deprived of her agency in the new regime...

Gabrielle Aderre

Unlike Jacqueline, whose elimination from Ravenloft seems like an editorial red pen taken to an otherwise merely irritating issue, anyone familiar with Gabrielle Aderre's backstory realized that her background would have to change significantly given the changes to the Vistani in Van Richten's Guide to Ravenloft.

In pre-5E Ravenloft, the Vistani were an exotic human culture of outsiders, driven by their heritage and abilities to make their own way within the Domains of Dread, and having developed mysterious abilities and customs to protect themselves from its dangers. Non-Vistani were viewed with suspicion, to the point where the Vistani had a specific word ("giorgio") for non-Vistani, and those who chose to breed with non-Vistani and their offspring were frequently outcast from Vistani culture. Female Vistani were often gifted with 'The Sight', a precognitive or divination ability, but the Vistani took great pains to ensure that no male children were born with The Sight, lest that child grow up to be a prophesied doom-bringer known as a Dukkar. (One such seer was Hyskosa, whose legendary prophesies eventually led to the Great Conjunction which nearly tore the realms apart.) Because of their separation from mundane society, more traditional settlements tended to fear the Vistani, especially their rumored skill with fashioning deadly curses when wronged, and though Vistani would often trade with such settlements, they were never truly welcome in them; ultimately, the Vistani would follow their wanderlust and move on, leaving even more strange tales and confusing lore in their wake.

Van Richten's Guide to Ravenloft changed all that. Now, the Vistani are simply a sprawling human culture who "refuses to be captives of a single domain, the Mists, or any terror." Their abilities are no longer unique -- there are a number of Vistani who "possess the Mist Walker Dark Gift" that can be taken by any character -- though they are said to "understand how to employ Mist Talismans" with their "traditional magic". Instead of being seen by others as mysterious outsiders, now "the news and goods Vistani bring ensures a genuine welcome" from more traditional settlements, and only "more dismal communities view Vistani with suspicion"; likewise the Vistani themselves no longer refer to non-Vistani as "giorgio", nor do they seem to have any issues with those of mixed Vistani blood traveling or dwelling among them. Most significantly, the legends of the Dukkar no longer exist, with both male and female Vistani serving as spellcasters "with many favoring divination magic for the practical help if provides in avoiding danger." In fact, Hyskosa is no longer a lost seer prophesying the doom of the Dread Realms, but "a renowned poet and storyteller" who is alive and leads his own caravan of Vistani through the Mists.

Given all of this, Gabrielle's pre-5E backstory would need to change quite drastically. Gabrielle's mother was half-Vistani, and possessed enough of The Sight to prophesy that Gabrielle could never seek to have a family or tragedy would be the inevitable result. Learning to hate the Vistani based on her mother's incessant refusal to acknowledge her desires for a family, Gabrielle eventually abandoned her mother during a werewolf attack, fleeing into Invidia where she was captured and brought before the darklord, who sought to enslave her to command her exotic sensuality. Instead, Gabrielle made use of the traditional Vistani "evil eye" to paralyze the darklord, murdering him and assuming his lordship over Invidia. Not long after, Gabrielle was visited by a 'mysterious gentleman caller', after which she discovered she was pregnant, eventually giving birth to a boy who proved to possess The Sight. Delighted that she had managed to give birth to a Dukkar, she failed to realize how quickly the boy grew or how powerful he proved to be until her son, Malocchio, usurped her throne (but not the dark lordship of Invidia) and cast her out of his court. Though there are definitely some problematic things in this story, it's not so terrible that it couldn't still serve as the foundation of a tragic Darklord's origin.

In Van Richten's Guide to Ravenloft, Invidia is detailed among the short descriptions of "Other Domains of Dread", and her pre-5E backstory has been utterly thrown out. There's no indication of how Gabrielle became darklord of Invidia, who the father of her child is, or anything from pre-5E lore. Instead, Gabrielle has become one of the parents from the story of Charlie and the Chocolate Factory -- a rich, bad mom convinced of her child's greatness and willing to accept anyone who supports that story while turning a blind eye to her child's misbehavior and cruelty toward his servants and teachers.

Pre-5E Gabrielle wasn't ideal, but at least she had a drive: she wanted a family, and refused to accept that her desire could not overcome the inevitable grinding wheel of fate. 5E Gabrielle arguably isn't even evil, just supernaturally deluded (ironically, her main flaw is her blind acceptance of the rightness of her own privilege), so it's not even clear why she rather than Malocchio is the darklord of Invidia. Rather than wanting a thing she can never have, 'modern' Gabrielle assumes she has a thing that doesn't exist, and is less a tragic figure desperately trying to assert her own agency than a deluded puppet, acting out a part in a drama that makes no sense. Granted, as we noted above, some degree of Gabrielle's old backstory would need to change to accommodate the other changes to Ravenloft lore as part of the 5E transition, but the decision to simply throw out the old Gabrielle and turn her into a character who isn't even aware of her own lack of agency in her situation is, in its own way, even more tragic than Gabrielle's original pre-5E story.

Isolde

Isolde is a fascinating character, because she was created after the Carnival, the group she leads in Ravenloft lore. In pre-5E Ravenloft, the Carnival was the Carnival l'Morai, run by a sinister being known as the Puppetmaster. The events that led to the Carnival breaking free of the Puppetmaster's influence are detailed in the 1993 Ravenloft novel "Carnival of Fear". Then, in the 1999 supplement "Carnival", John W. Mangrum and Steve Miller take the Carnival l'Morai and introduce them to Isolde, a mysterious woman who joins the Carnival and assumes the role of its leader and protector. Much of the internal story within the supplement itself involves the theories that many of the other characters have about who Isolde is and where she comes from, and how various aspects of the Carnival, such as the Twisting (a change that comes over those who remain with the Carnival for any signficant amount of time and seem to bring hidden or secret traits to the surface as exotic abilities or mutations), relate to her. In the end, though (spoiler alert!), Mangrum and Miller reveal Isolde's true backstory -- she is a chaotic good ghaele eladrin who voluntarily chose to enter Ravenloft in pursuit of a fiend named the Gentleman Caller (thus the Carnival supplement is also the origin of the Caller, one of the signature non-darklord villains of the setting). The Twisting is revealed to be a side-effect of Isolde's 'reality wrinkle'; as an outsider, Isolde can re-make reality in a short distance around her, and one of the ways she does this is by bringing someone's inner self out and making it visible to others. Honestly, if you wanted a domain or group whose underlying reason-to-exist seems tailor-made for a modern RPG audience, it would be one where having your inner self revealed to the world, one that you've been taught is freakish and strange, proves to be beautiful to those who accept you.

But that's not what we got in Van Richten's Guide to Ravenloft, perhaps because of the book's insistence on page 6 that "Nowhere Is Safe". Instead of the 3E ghaele eladrin, Isolde is now just an eladrin, a 4E planar elf variant. Instead of entering Ravenloft and finding the Carnival l'Morai in need of a leader and protector, she was manipulated first by a powerful archfey into leading a fey carnival, then inexplicably decided to swap carnivals with a different carnival run by a group of shadar-kai through the Shadowfell, even going so far as to accept the intelligent (and evil) sword Nepenthe, who is the actual darklord of the Carnival.

Again, as with Gabrielle, some simplification of Isolde's backstory was probably inevitable, as the original backstory made use of very specific Ravenloft mechanics that the 5E version simply doesn't want to deal with (mainly Isolde's 'reality wrinkle' which drives the Twisting). But not only did the designers take a character who had explicitly chosen both to enter Ravenloft in pursuit of the Gentleman Caller and to take leadership of the Carnival to serve as its protector and changed her into a character who is manipulated into doing everything she does that gets her into Ravenloft (and leaves her no memory of how or why she got there), the designers didn't even decide to keep Isolde as the most significant character in Carnival, allowing the sword Isolde carries to take that starring role.

Oddly, a lot of the changes to Isolde's story are reminiscent of the classic Ravenloft story of Elena Faith-Hold and how she became the darklord of Nidala in the Shadowlands, which suggested to me that perhaps at one time the Shadowlands were not going to be included in Van Richten's Guide to Ravenloft, and the changes to Isolde's story were meant to be a call-out to what would be the missing story of Elena. But the Shadowlands also exist as an "Other Domain of Dread", so in the end, the changes to Isolde served no real positive purpose.

Interlude

It's worth taking a moment to contrast the characters above with the domains in Van Richten's Guide to Ravenloft that gained female darklords who didn't have female darklords previously:

Dementlieu, formerly ruled by Dominic D'Honaire, is now ruled by Saidra D'Honaire; it is hinted but not stated explicitly in Saidra's backstory that she is not actually related to the former darklord, but simply assumed the family name as part of her assumption of the rulership of Dementlieu, in which the Grand Masquerade must be maintained above all else.

Falkovnia, formerly ruled by Vlad Drakov, is now ruled by Vladeska Drakov; Vladeska's backstory makes it plain that she is a female re-skin of the original Vlad Drakov, himself a character from the Dragonlance world of Krynn. Other than her origin, which is now no longer tied to Dragonlance, her backstory is largely the same as her predecessor's, save that instead of the dead rising to battle Drakov's attempted invasions of their northern neighbor, Darkon, now the dead rise to reclaim Falkovnia itself from Vladeska's attempt to 'pacify' it.

Lamordia, formerly ruled by Adam, the creation of the mad doctor Victor Mordenheim, is now ruled by the mad doctor Viktra Mordenheim; Victor's hubris in his attempt to create life are matched by Viktra's attempts to defeat death.

Valachan, formerly ruled by Baron Urik von Kharkov, is now ruled by Chakuna; in one of the few backstories in Van Richten's Guide to Ravenloft that acknowledges a former darklord, Chakuna's backstory is that she had to become a monster (a were-panther, specifically) to defeat a monster (a panther who was polymorphed into a man as part of a revenge plot, fled from the Forgotten Realms into Ravenloft upon realizing what he was, where he was transformed into a vampire...look, not every convoluted backstory for the old Ravenloft darklords was necessarily a good convoluted backstory).

I'd argue that each of the darklords above retains her agency in Van Richten's Guide to Ravenloft, but it's curious to note that each of those darklords seems to have inherited that sense of agency from her relationship to the male darklord that preceded her, sometimes literally (in the cases of Saidra and Chakuna) and sometimes figuratively (in the cases where Vladeska and Viktra are mainly female re-skinnings of the original male darklords). The designers clearly have the capacity to allow a female darklord to exercise agency and have drive and purpose to her existence, if that drive and purpose was inherited from or inspired by an original male character. If the character was a woman all along, though, then agency and drive and purpose are not really important to the designers, if they can fit that character into the specially designed hole the size of the concept they had for the new domain. Which brings us to the character who I feel was done dirtiest by the designers in moving from classic Ravenloft to 5E...

Jacqueline Renier

Jacqueline Renier is one of the original Ravenloft darklords, tracing her origins all the way back to the original "Black Box" campaign setting released by TSR in 1990. She appears in two different places in that boxed set -- once as the chaotic evil darklord of Richemulot in the Realm of Terror booklet, and in a portrait of the Renier family included as a handout in the box. The Renier family was actually an ancient wererat clan in the world they originally came from, and Jacqueline herself was the granddaughter of the patriarch of the clan, Claude Renier. When the Reniers fled into Ravenloft to escape the justice of their original world, they first appeared in Falkovnia, where they ruled the sewers until finally forced out by Vlad Drakov's troops. Fleeing into the Mists, the Reniers found themselves in the new domain of Richemulot, and Claude found himself the domain's darklord.

Jacqueline proved an eager student in the manipulative ways of her elders, however; both her grandfather, who maintained control over the clan through a combination of coercion and sheer force of personality, and her mother, who murdered Jacqueline's father seemingly only so that Jacqueline and her twin sister would not need to lose the Renier name. Jacqueline learned the game so well that one day she manipulated her own grandfather into his destruction at her hands, so cleanly that no one else in the family dared to oppose her ascension. Jacqueline was now the matriarch of the Reniers, and the ruler of Richemulot.

But 3E Ravenloft added a few additional wrinkles to Jacqueline's backstory. In the Ravenloft Gazetteers, it was revealed that Jacqueline's ambition to assume control of her clan and the domain of Richemulot were not just driven by a desire for power, but in the name of a vision of the future where wererats would reigns supreme over all other humanoids. She began encouraging migration into the largely undeveloped and underpopulated lands of Richemulot, while overseeing work in putrid laboratories to develop the Becoming Plague -- a disease that would transform humanoids en-masse into wererats under Jacqueline's ultimate command. In every speech Jacqueline would give about the glorious future of Richemulot, it was not the future of humanity she was referring to, but rather the coming age of the rat.

Jacqueline's backstory wasn't perfect -- as with other female darklords, she also got saddled with the 'she desperately wants to be loved and is terrified of being alone' trope -- but for the most part, this is a truly impressive backstory. And in our age, a domain featuring an ambitious politician pushing nationalism to motivate her partisans, only for that nationalism to not be what her partisans believe it is would seem to be an extremely fitting template for horror. It would certainly seem possible to re-write the few problematic aspects of her character with more modern tropes; make Jacqueline an 'ace' (asexual) but who still craves romance based on her upbringing and is both attracted to and terrified by anyone who might potentially prove to be her equal, and you've got what I'd consider to be one of the best darklords in the setting.

As you might expect, given Jacqueline's placement on this list, that's not nearly what we got in Van Richten's Guide to Ravenloft.

Instead, Jacqueline was born as a noblewoman within Richemulot, and was quick to notice that the rise of the bourgeoise would threaten the power of the nobility and lead to their diminution in society. Jacqueline's grandfather was not the charismatic, sadistic mastermind of a clan of wererats, but an aging nobleman growing infirm in his old age, and he proved unable and/or unwilling to work to change things, so Jacqueline would need to be the person to reverse her family's fortunes and the decline of the nobility in society. Not by doing anything herself, mind, but rather by trying to find an organization of nobles working to maintain the supremacy of the nobility. Finding them, she learned too late that they were secretly a society of wererats when she was forcibly made into one of them, but she quickly adapted, rising to command both the rat and wererat populations before finally unleashing a plague -- the Gnawing Plague -- upon the populace. Rather than converting the population into wererats, the Gnawing Plague just killed them, and when the people begged Jacqueline and the nobles for aid, Jacqueline made helpful noises but did nothing useful (it's not recorded if she uttered the words "Let them eat cake," as she watched the peasants die). Her 'torment' as a darklord is that she wants to return to the privileged life she had as a noblewoman, but can't, as the need to supervise the creation of new, more virulent plagues and unleash them to keep the peasantry from revolting and overthrowing the nobility prevents her from building the kind of society that would actually support a thriving nobility.

Instead of a domain where we have seen the future and humanity has no place in it, we have a one-percenter using every ounce of her privilege to stay above the ranks of the peasants she despises. Instead of an intelligent, ambitious planner capable of executing long-range goals flawlessly, we have a vapid, shallow socialite yearning to return to her days as a debutante. As villains go, Jacqueline has fallen a long, long way from her portrayal in pre-5E Ravenloft.

Probably the most offensive part of the redesign of Richemulot as 'the plague domain' is that we've spent over nineteen months living through a plague of our own, and the kind of horror that is presented as Richemulot's primary adventure cycle, the Cycle of the Plague, bears almost no resemblance to the reality we've lived through. Van Richten's Guide to Ravenloft presents a world where common people are to be feared, and authorities abuse their power to heartlessly quarantine the sick to stop the disease from overtaking everyone, yet say nothing about the horror of those who refuse to accept that the plague exists, or who profiteer from bizarre 'cures' and treatments. The designers present Richemulot as an example of 'disaster horror', where "the world has fallen into ruin -- or it's getting there fast," when the domain could be an example of the most classic of all horror tropes: humans are the most horrible of monsters.

Thus, the final quote leading this essay. It's not my place to argue that the folks who wrote Van Richten's Guide to Ravenloft are good or bad writers, and as Raymond Chandler noted, it's not really necessary. After all, "[t]he poor writer is dishonest without knowing it, and the fairly good one can be dishonest because he doesn't know what to be honest about." And ultimately this entire drive, to try to distance the product from the mistakes of the past by also distancing it from its successes, all while presuming that one can correct the deficiencies of the past without committing mistakes that, in hindsight, will seem just as obvious to our successors: that undertaking is fundamentally dishonest. The people writing, editing, and publishing Dungeons & Dragons today grew up on the old tropes that are now being rejected as no longer being relevant, as unnecessary complexity, as potentially harmful, without realizing that the harmful bits aren't just what was written down, but what was learned, such as a woman's motivation and agency meaning little unless they correspond with those of a man.

Yes, there's a lot of stuff published before 2014 that seems bad to us today that, for whatever reason, didn't seem bad to us back when it was published, read, and became part of our fictional worlds. But there's also no reason to assume that process ended in 2014. Update the lore where it's needed, but realize that the process never ends, even with the lore you're writing today to replace it.

#dnd

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thedeadflag · 3 years

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Sorry to bother you, not even sure if you'll be able to answer, but do you know if the World of Darkness/Chronicles of Darkness games (Vampire, Hunter, Werewolf, Changeling, Wraith and Mage) are compatible, or are they different genres/styles of games, just the same general setting? Some friends of mine are interested in playing, but they are interested in different ones (a couple want to play VtM, one wants to play Hunter and another wants to play Changeling), so I was wondering if it's possible to mix them up, or if the games have different systems/styles of play

Someone else asked me essentially this same question a ways back (here, although the links on that post are broken).

Some things have changed since then. but the answer is a general yes, you can mix and match. I would not recommend that you do so in your first time playing a WoD game, and that you at least give a few test runs in one shots to find your balance, as it's not a perfectly smooth carryover without having some help and understanding of what's going on, and whether each sourcebook you're bringing in is going to be a good fit for your group.

One thing that has since been released that can help with this crossover process is the Chronicles of Darkness: Contagion Chronicle book (you can find it here). DrivethruRPG has a sale going on right now, so you could save a few dollars on it. If you're looking to crossover, it's a good resource in helping you out with that.

I will reiterate that you should not have mages in a crossover game. That's where I feel the balance really breaks past the tipping point, and thematically, it's not the best to include them IMO.

I would definitely try to get a feel for each game. Each of the games has its own themes they're rooted around, and it's important to get an understanding of them and determine whether that would be a good fit and could be something you could explore in a crossover game.

Most play fairly similarly, but there are generally different motivations and goals involved with each. I wholeheartedly recommend cycling through the systems in a series of one shots to get everyone acclimated and afterwards, y'all can make a more educated call on what kind of crossover you might like to dig your fingers into.

The WoD games are generally more social interaction/RP based, with combat as a necessary evil that's generally to be avoided unless necessary. Some subsets of WoD lean more towards combat than others, though. Werewolf is probably the most combat heavy outside of maybe a high-power Hunter campaign. Of course, with Hunter campaigns, you’re re-rolling new characters a few times per campaign, probably (since mistakes in combat vs supernaturals are generally lethal). Werewolf can lack social elements if you’re not careful, but it’s nowhere near as wild as the classic/oWoD Werewolf game, which was more or less an all combat all the time end-of-days holy war struggle (FWIW, pretty much all oWoD games were end of days holy war struggles to some extent).

But combat here has a cost that you don’t really tend to see in D&D games outside of maybe early levels where D&D parties can be pretty vulnerable and lack access to healing, but even then.

If you want a TL;DR kind of explanation of each game, this reddit thread covers some of the basics fairly well.

So, uh, TL;DR is Yes, it's 100% possible to mix and match, but it's best to know exactly what you're getting into and how to handle it before you do, not as an entry point. Contagion Chronicle can be really helpful in balancing and finding a good approach. Figure our the concepts of each game first, run some one shots to get a feel for the ones you and your group are interested in, then dive in.

Best of luck, anon!

#nWoD #WoD #world of darkness #chronicles of darkness #long post

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benjisbento · 4 years

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Hello! I am just a random person who stumbled across your wonderful beautiful art of a Warforged and a Triton in love, and I want to know the story behind it! Please, do tell~

Omg hello there ;v; Sorry it took me a couple days to see this!!!

I guess there are sorta two stories: their canon story, and the story behind the art specifically (which I guess is technically not “canon” lol), which I guess would have to do more with the inspiration behind it

But I will literally yell and cry about these two all day any day tbh

So a bit of backstory, Torin “Squash” Buckler is my triton tempest cleric and B0B is my friend a co-player’s warforged barbarian (I don’t know shit about barb subclasses and honestly have no idea which one he is lmao). We started our campaign in Feb at I think 3rd level with something like ten players split between two groups. Some players played in both groups and had two PCs, and then some players dropped out and we combined into one group with six players, all of whom eventually made second characters so we essentially had two parties (that mixed up every now and then) and it has been WILD (all 12 PCs were together very briefly and hearing other players roleplay with themselves was a fucking delight). They’re all part of a group of mercenaries called the Hedge Knights, who ended up getting control of a small Hold by defeating its ruling lord and are currently trying to stop an apocalypse.

Anyway, Squash is kinda a dick, and pretty early on he learned that he didn’t have to actually walk anywhere if he asked B0B to carry him, because B0B is very nice. They pretty quickly formed a ride-or-die relationship. At one point in their travels, they were up against a paracidic fungus that was killing anything it attached itself to, and that’s when they came upon a wode (which they lovingly called Baby Treant) that was infected. Knowing how dangerous the fungus was, and how low the wode’s chances of survival were, Squash voted to just kill it immediately. B0B defended it (and ultimately found a way to cure it!) and that, surprisingly, was when Squash realized that...oh no... I think I love him? B0B carried the wode around in a baby bjorn for a while, and it eventually made its home at their HQ.

A lot of their initial attraction go each other was made in jest (B0B would smash something really hard and I’d joke that Squash was turned on, or Squash would explode something with lightning and B0B’s player would say the same), but it grew into a fierce mutual protectiveness between the two, to the point that Squash will only really willingly heal B0B (what a shitty cleric!) and B0B will fight anyone on Squash’s behalf.

Their relationship moved to the next stage when B0B went into a solo fight in a gladiator-like arena. Squash produced a matching set of platinum rings as he cast Warding Bond, essentially lessening the damage B0B would take in battle, but also taking on some of that damage himself (and as a squishy cleric, well... that’s a lot!). B0B viciously won that fight, but it was still pretty intense.

They were in a party that explored an underground temple and were trapped down there for a while, B0B finding remains of other warforged but no real hint to his own past. Squash comforted him through that with a patience he showed for no one else, and with empthy that no other party member was able to show.

Their journeys continued and Squash felt called by his deity to destroy a cursed mask one of the other party members carried. B0B had promised fo protect the mask, and Squash didn’t want to make him go against his word, so after a complicated series of events, Squash and the other member left the group together and Squash was able to make his attempt without putting B0B in a tough position. Since the mask was magically linked to the other party member, there was a chance that destroying it would also destroy him, and even knowing this, Squash tried anyway. It didn’t work, but now fearing for his life, the other member fled.

Squash began to curse his deity for sending him on this stupid quest and pulling him away from B0B. He felt that he had spent years asking his deity for purpose, and then once he was beginning to find happiness instead, his deity stripped that away.

While apart, the Squash and B0B had a shared dream, tho how much they realized it was shared is still unclear. In it, Squash weilded the stormy powers of his god and was presented with a figure on a seaside cliff. B0B found himself on top of a cliff, praying for Squash’s protection. Using the powers he had, Squash struck the figure, and B0B was embued with power, somehow eternally bonding their very souls together. Upon waking, many miles apart, they both felt their bond to the other grow, and could even sense the direction in which the other was. In a weird way, they were now married. The first time B0B introduced himself as “B0B Buckler” I shed a legitimate tear.

They’ve been through other trials since, but have been the other’s rock through it all. The party has split and rejoined and every moment spent away from each other has been terrible. Currently in-campaign, they find themselves underground once again, at the sight of the forge believed to be the source of the impending apocalypse, and possibly the source of some answers about B0B’s past.

Through the campaign, they’ve pulled each other out of darkness, and in the event that they don’t survive, I’m confident that they’ll at least go down togethed. Tho the dream is for them to retire from this mercenary life and travel the seas together. Squash was raised as a pirate, but B0B has never even seen the ocean. It’s the life they deserve.

Oh yeah, and Squash 100% has Ceremony prepped so that he can, at some point, offially wed them abd get all the good juicy bonuses. Saving that for before the BBEG tho

The art itself tho is based on the song All I Ask Of You from Phantom of the Opera. And how that inspiration came about it actually a really stupid story. My roommate and I were playing the newest Pokemon SwSh dlc and he made some joke about how one of the new Pokemon had some serious Phantom vibes and I was like “lol ur right” and realized I hadn’t watched or listened go PotO in a while, so I was listening to the soundtrack during my commute to work, and was apparently in an extremely sappy mood, and when that song came up, Squash and B0B were all I could thing about. And while breaking up the lines by which character actually sings them doesn’t quite make sense, there is a lot of both Christine and Raoul in both Squash and B0B and many of the lines could come from either of them. Anyway, I then also rewatched PotO (2004) and based their outfits off Raoul’s and Christine’s during that song. Also in my little PotO universe, Squash’s deity is 100% the Phantom and there was a concept for this with him lurking ominously in the background, but I opted for the lighter, happier version.

So yeah, it doesn’t necessarily depict something that happened in their canon, but the sentiments are there. The running joke in all the art of them together seems to be that Squash’s feet are NEVER on the ground lmao Which is kinda a Crime because they have like a 2+ foot height difference that I LIVE for

Anyway thank you so much for asking and I hope their story is everything you hoped it would be. Sorry if it seems a but disjointed, but retelling bits of D&D campaigns without going into too much un- or semi-related detail is wild lmao

#i saw this ask earlier today and was like #oh yes time to info dump ;v;#seriously tho it brightened my day so much!!!#it warms my heart when people want to know about my characters or my art #and like i love these two so much #they really helped make 2020 bearable #i really love all my fellow players and all their characters and our dm is incredible #ive been so truly blessed 😭#mito answers #dnd

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kolbisneat · 4 years

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MONTHLY MEDIA: June 2020

Still staying in as much as I can and reading/watching/playing lots of stuff. Stay safe out there, wear a mask, and maybe check out some of this stuff!

……….FILM……….

Color Out of Space (2019) I didn’t know much about this outside of it being based on a story by Lovecraft and seeing the poster and I’m glad that was the case. It was trippy and tense and a little arty and silly in moments but all great.

……….TELEVISION……….

Mad Men (Episode 3.04 to 4.06) First, this show continues to be fantastic. The season 3 ending would’ve been a great place to end but I’m really digging the change of scenery in season 4. It sets the characters up as underdogs again and that’s fun. Also I can’t believe Don Draper was ever seen as a role model; he’s clearly the worst. Sure he’s charming and comes up with some cool ideas, but I really appreciate that the series isn’t shying away from showing him as a garbage dude. He’s a garbage dude. Peggy driving a motorcycle, that’s what a true role model looks like.

Queer Eye (Episode 5.01 to 5.10) I’m not sure what’s happened but this season felt different for me. Maybe it’s Antoni’s....chaotic energy, or the way it seems to show the class and race divide in Philadelphia, but it’s not landing the same.

……….READING……….

Dracula by Bram Stoker (Page 114/325) The classics often don’t quite click for me but this is really great. Maybe it’s that the horror genre taps into the core of humanity and so ages better than other speculative fiction? I dunno, but that bulletin about the ship’s crew slowly getting picked off by Dracula while it transports him to England is enough to carry its own horror movie.

The Pirates! In an Adventure With Scientists by Gideon Defoe (Complete) Wonderfully silly and an excellent pastiche of those classic young reader adventure novels. I admit I’m not sure if kids will get half of the jokes but it’s still fun and full of pirates and a little danger that I think they’d enjoy.

lluminatus! Part 1: The Eye in the Pyramid by Robert Shea and Robert Anton Wilson (Complete) I really wasn’t sure about this. The plot was, and continues to be fun, but it’s so thoroughly interrupted by monologue after monologue on the goals and methods of the illuminati. It’s all fun, but I’m hoping that parts 2 and 3 serve as acts 2 and 3 to the bigger story so that we can move past all the introductions and setup.

The Sheriff of Ynrameer by Michael Rubens (Abandoned) I really wanted to like this, but I just couldn’t connect with the lead character (a Han Solo-type...and those sorts really work best as compliments to the true lead character). Dissecting humour is a fool’s errand so I’ll just say the jokes didn’t land for me and while I can’t describe why, I will contrast it to say that I lean towards the Terry Pratchett/Douglas Addams-end of the spectrum. So if you want a sci-fi comedy with a roguish scamp as the lead, check it out.

Delicious in Dungeon Vol. 8 by Ryoku Kui (Complete) Every volume is consistently strong and it’s just baffling. The new characters are engaging (and having picky eater as a party member is such a logical and interesting pairing) and the world-building is excellent. Each volume really does a great job at blending character development with that world building while still delivering the core concept (making meals using monster parts) and I’m still amazed it all works. Plus it’s funny! Maybe not as funny or silly as earlier volumes, but I feel like it’s been a natural evolution. Ugh it’s just so good!

Hellboy In Hell Library Edition by Mike Mignola (Complete) Oof. What an ending. I’m really glad to have this as a nice capstone to the Hellboy mythos (even if he continues on in the future). It was nice having Mignola illustrate these last handful of adventures and storytelling and it’s absolutely some of his best. The pacing was maybe a little weird at the end, but who am I to push back against such a singular vision?

……….AUDIO……….

Walkin' My Cat Named Dog by Norma Tanega (1966) A song really stood out in one of those “made for you” playlists by Spotify so I went to listen to the album and the first track is the theme song from the What We Do in the Shadows tv series so that’s pretty awesome. This whole album is great and as haunting/fun as you’d expect.

……….GAMING……….

Neverland: A Fantasy Role-Playing Setting (Andrews McMeel Publishing) I’ve started posted more in-depth campaign diaries on Reddit (not for my players to read) and right now they’re doing a little regrouping in the Gnome Hamlet before setting off on one of their...3 quests right now. Gotta capture a star, gotta kill some spiders, gotta find the bespoke jacket of a mermaid. So much to do.

D&D Homebrew Adventure (Menace of Merlin) The group is stuck in a daisy chain of quests (kill the yetis so the ents will show the Party the way to the unicorns so they can get some of their hair so that the hermit can make a cure for the town’s stone curse). They’ve spent an entire session avoiding a young dragon but next time it won’t be so easy.

And that’s it! As always, let me know if you have anything to recommend and stay safe out there!

#Monthly Media #Rambles #Kolbisneat #Andrew Kolb

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glgaming835 · 4 years

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How much money is spent on gaming

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alexsmitposts · 4 years

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Why Nagorno-Karabakh and Why Now? Several months ago, I wrote that things had been tense on the Nagorno-Karabakh conflict zone since the collapse of the USSR, but only now are we hearing of a resumption of active hostilities, the deployment of heavy weaponry and heated engagements. Observers on the ground have no doubt that the heaviest fighting in years is going on, and this is only the early stages of what may develop into a larger geopolitical conflict, involving proxy sources. Each side is posting videos of their forces destroying the heavy armour of the other. Both Azerbaijan and Armenia may be playing to a domestic audience by mobilising, but Turkey is involved too. As ever, anything involving military aggression in support of an ally also plays well for a Turkish domestic audience. Outside meddling in the Azerbaijan-Armenia conflict is nothing new, and one should keep in mind that much is below the surface. Different actors have different reasons for wanting this conflict to either remain frozen or escalate, and what happens will be governed by how much these actors respect each other, or don’t. Moscow and Washington may be happy for the conflict to stay frozen, as they can then pursue their own agenda, goes the traditional theory. Those who don’t like either Moscow or Washington, either now or historically, see a potential geopolitical victory over both sides in resolving the conflict by force when the big boys have failed to do so. All the while neither country fully develops, and the status quo is maintained, at least in the case of Azerbaijan. After thirty years, negotiations have not worked and the populace of Azerbaijan is tired, seeing others spout off about “territorial integrity” while not being interested in restoring its own. Mutual Cards House Select Committee on Intelligence Chair Adam Schiff (D-CA) was the first US Congressman to condemn Azerbaijan’s alleged pre-emptive attack back in July, saying, “I am very concerned by the recent provocative and destabilising actions taken by Azerbaijan in recent days along the Armenian border, including the shelling of Armenian soldiers.” His diatribe continued with “how these actions must also be viewed in the context of Azerbaijan’s consistently bellicose rhetoric towards Armenia and Artsakh, and its refusal to allow international monitoring of their borders. I urge the State Department to make clear to all parties the need for restraint and diplomacy, and reduced tensions.” Making such statements about one side of a conflict is hardly going to reduce tensions. But Schiff is talking to Armenian donors to his campaign chest, and Armenian voters in his district. The Armenian lobby has always been better organised than the Azeri one, another factor which might propel Azerbaijan to war against what it sees as the rest of the world. But that very imbalance of international support can be used to win friends. Back in the 90s MEGA Oil, a US-CIA proxy company, was importing fighters from Afghanistan to fight on the side of Azerbaijan to keep some balance on the battlefield. The Azeris could not fight, as they lacked training and equipment, and seemed to have no taste for it. But an Armenian victory would have benefitted Russia, its greatest ally, more than the US, and, however, much the US listens to Armenians, it wouldn’t want that perceived threat to its own interests. Turkey obviously supports Azerbaijan, as it is a fellow Turkish nation. Once again, the Turkic Council, this little-known international forum few are interested in, is showing that it is more ruthless than any other in achieving its aims, which are ultimately about the religious and ethnic cleansing of the highest order. Turkey now needs to relocate Syrian operatives and other US/Saudi trained and paid “freedom fighters,” and is glad the opportunity this long-frozen conflict presents. With all sides playing what appears to be a very big game of chicken, a sudden influx of mercenaries with nothing else to do is certain to change the situation in Turkey’s favour—or at least that was the plan. All Of A Sudden The conflict has been more or less frozen since 1994 when Armenia occupied not only Karabakh itself, which is ethnically Armenian, but several districts surrounding it, which are not. Armenia argues that this has actually prevented further conflict, but the US used the same argument to destroy the Native American population, and Argentina’s “disappeared” died of the same logic. Things are spinning in a different direction now with offensive fighting, and pro-war rallies in Baku. Several weeks prior to the start of fighting in July I personally saw lots of Green Evergreen containers, freight forwarding company, crossing the Georgian border. Border guards and customs officials both told me that it was not possible to check them, but agreed that weapons were within. I wouldn’t put anything past Ankara either, despite the danger of Turkish engagement in the Caucasus inviting an immediate and strong response from Moscow. The two governments have already locked horns in Syria and Libya, but this has not dissuaded Turkey from pursuing an ever more openly aggressive international agenda. Sheep in Wolves’ Clothing The bits and pieces I have read about who has started it this time just don’t add up. What is written says nothing, which is why I am all the more suspect, especially about pro-war protests. Take for example, “… thousands of protestors rallied earlier in the centre of Baku, calling on the government to mobilize troops and retake Nagorno-Karabakh. News outlets estimated that 30 to 50 thousand protestors gathered in front of the parliament building.” Why now, and why is this one of the international news items chosen to be reported? If the Azeri are tired of this frozen conflict, tens of thousands of them are not going to come into the streets demanding further engagement with it unless they think they can end it on terms they find acceptable. So, who has guaranteed what, and why are they bothering? However, the move towards conflict is still more likely to have come from the Azeri side. Armenia has done pretty well out of international sanctions and blockades imposed since 1994. These have enabled it to remain friendly with Russia, its only real supporter, and find a way for good terms with the West, without compromising its national independence. No other regional state can do this, but if the conflict ended, Armenia would have to find a wider group of friends and sink back into the pack like the rest. It is money paid by US and Turkish defence contractors, and therefore by the US government indirectly, which is painting the conflict in a new light. Azerbaijani oil prices are low, Dutch Disease is running rampant, there is little diversity in the economy and corruption is well-ingrained and supported by networks of patronage (especially the ruling family). Armenia has similar problems. The Pashinyan government has been highly criticised by a wealthy and influential political and business figure, Gagik Tsarukyan, and some legal and political backlash has been felt in this case. The trial of former president Kocharyan is also sputtering along in fits and starts, and a major reform package directed at the country’s Constitutional Court has also brought up significant controversy. But none of that dents Armenia’s dependence on Russia, and the benefits it is gaining from that which the US never wanted it to. It seems the US wants Armenia back in the pack, and this is the way of getting it there. Certainly, it will act as this is a regional affair to be sorted out by the local players, diplomatically or by brute force. Old Hands Make Light Work Who might be linking these indirect US government funds to the Azeri side? No one is ever likely to put their head above the parapet. But as often happens in this region, the name Matthew Bryza is one which keeps coming into the frame. Bryza was once the US Ambassador to Turkey, and subsequently Azerbaijan. He is married to Zeyno Baran, a Turkish-born foreign policy analyst at the Hudson Institute. She has worked with Neo-Con think tanks in the past, which is why Bryza kept insisting in interviews that he no longer worked for the (Bush) White House but for the State Department, even when he was not being asked a question about this. In 2005 Baran told a US Senate hearing that she opposed the Congressional resolution on the Armenian Genocide, a position generally seen as partisan as that of Richard Verrall’s book on the Nazi atrocities, “Did Six Million Really Die?”At the same time, Bryza was busy telling reporters that Turkey was his “second home,” and was removed as Ambassador when he too made statements opposing the Armenian Genocide. Bryza is no longer a diplomat. He claims to earn his living as a consultant on “business and democratic development,” which is a not very subtle way of saying that he is still finding new markets and areas of influence for his friends, but is no longer restricted by diplomatic protocols. But he is still a regular visitor to Turkey and is a board member of Turcas Petrol, which is linked to the Party of War in the US and the corporate interests behind it. His explanation is that Turcas is “a private company that is traded on the Istanbul stock exchange” but “has no affiliation of any sort with the Turkish Government (or the Azerbaijani Government). In fact, the Turkish Government’s energy policies often work against the commercial interests of Turcas.” This is despite the fact that Turcas is an affiliate of SOCAR, the Azerbaijan state oil company. Through this, the Azerbaijani and Turkish governments either own, fund or sponsor most business in the Caucasus, thereby buying off many politicians along the way. In Georgia in particular, you see a connection with SOCAR (share ownership, personnel, supply) whenever you look at the lists of business owners, or investigate the many businesses whose known real owners do not appear on the published lists. This helps explain why Georgia, having partly reformed itself since the Saakashvili years, is no longer the regional arms smuggling hub but has simply exchanged illegal arms for semi-legal oil. Turkish and Iranian business interests have been subject to investigation in Georgia on charges of oil smuggling. New, modern-day versions of MEGA Oil, US-funded companies, have inevitably been involved. These include Frontera Resources, a company which once ostensibly left Georgian, but re-entered it when a new US Ambassador was appointed. Following this, the Government of Georgia suddenly decided not to terminate its contract with Frontera Resources Georgia Corporation, under hard US pressure, and allowed the company to continue operating in part of the original contract area, where oil has been produced since Soviet times. The justification used for this at the time was that this was necessary, “especially in times of low oil prices and heating up conflicts.” The phrase “heating up” cannot refer to new conflicts but to dormant ones which are starting again. Making such a comment casually, when talking about a seemingly unrelated issue, is an old trick for establishing in the minds of listeners that everyone knows a conflict is going to heat up again. Which conflict is being referred to, and to whom is it inevitable that the fighting will resume? You Know Who Still Knows Too Much Do we have anything else which will support this assertion? In the words of an old radio show, “It’s That Man Again.” If the US is up to something by proxy, it always chooses the same, compromised mouthpiece. The aforementioned Mikheil Saakashvili, the President of Georgia when Bryza was the US envoy to the region, can’t live in Georgia anymore because he is wanted there on a multitude of criminal charges. Having been ratlined out to Ukraine and given a job in its government, he was also expelled from there facing more criminal charges. He has since lived in Poland and Hungary, also US allies like the other two countries, where he likewise faces multiple criminal charges. Saakashvili has more criminal indictments against his name than Al Capone and Pol Pot put together. Yet his US protectors (for now) present him as a politician and buy him column space in newspapers that otherwise don’t care about him, or are sick of seeing his name. Misha has suddenly reappeared from wherever he is hiding now with the following statement: Nagorno Karabakh is Sovereign Territory of the Republic of Azerbaijan and nothing will change it. What does he have to gain by saying this, especially now, given how many Armenians live in Georgia, and he ruined his own relations with Azerbaijan by making advances to Aliyev’s wife? All Saakashvili has to live for is the continued protection of his handlers. They want to build a climate of opinion in which everyone expects Azerbaijan to go to war with Armenia over the injustice of the Armenian occupation. The Azeri government and people may not be interested, but they can easily be blackmailed or at least manipulated by international opinion pointing fingers at them for not doing what they expect, as if they are not worthy of support, independence, or office. However strong the Armenian lobby is, the US interest is paramount. An ongoing war, and funding committed to it, always ensures policy continuations in election years, regardless of who wins those elections. The US wants this war, and its Armenian lobby will donate more to politicians who blame Azerbaijan for it, in the hope of getting more US themselves in return if Azerbaijan is successful. The only question is how much Turkey will be blamed for pulling the trigger when it is all over.

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