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DRAGON AND THIEF

The Dragon and the Thief

Do your PCs spend a lot of time in taverns drinking and gambling? Do you want to role-play the games perhaps as a change of pace or as a prelude to a cracking barroom brawl?

 

The dragon and the Thief is a perfect game for PCs to play when relaxing in their favourite tavern. They can play it among themselves or try to win coins from the locals. Unlike some gambling games, a single round of Dragon and the Thief can go on for some time, but large amounts of money are rarely won or lost as each player usually only puts down or picks up one coin at a time.

A game of Dragon and the Thief is a great way to introduce new NPCs – either normal locals, rival adventurers, thieves, rivals or even potential employers. A game of Dragon and the Thief is also the perfect backdrop for some impromptu information gathering.

How to Play

To play, Dragon and the Thief, each player needs two six‐sided dice and a game board. The game is best played with three or more players.

Game Board by Matt Morrow

Game Board by Matt Morrow

Start: Before play begins, the players must decide what denomination of coin (copper, silver, gold or platinum) to wager. All players start by placing a coin of the relevant value on the number 7.

Who Goes First: The players all roll their dice. The player with the lowest score goes first. Thereafter, play passes to the left.

Playing: Each player rolls his dice. The result determines the player’s action:

  • 2 (The Thief): The player takes all the coins except those on number seven (The Hoard).
  • 3, 5, 6, 8, 9, 10 or 11: The player checks the number for a coin. If a coin is there, the player takes it. If there is no coin the player puts one down on that number.
  • 4: The player does nothing.
  • 7 (The Hoard): The player puts a new coin on that number.
  • 12 (The Dragon): The player takes all the coins on the board.

Play continues as long as the participants want to play; players can join or drop out at any time.

Get it Free

This is an extract from a Raging Swan Press product released as a special Christmas gift. It’s still available as a free download and contains several different printable game boards along with lists of players and in-game events designed to spice up the PCs’ gambling session. You can grab a copy at RPGNow or DriveThruRPG. Get your copy today!

 

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A WORK OF GREAT SCIENCE FICTION?

Is GRR Martin’s ASOIF not every bit as much a work of Great Science Fiction as it is a work of High Fantasy?

(Though, perhaps given the numerous bloody, torturous, criminal, immoral, and amoral events of the story and books, perhaps Epic Fantasy is a far better term than High Fantasy. I should also say that I have read quite a bit of Martin’s science fiction so I do not make this observation in a vacuum.)

In any case look at the background, the events, and the milieu of the world itself. Even the very planet is apparently out of sync, ecologically and biologically. You have a world whose very orbit and rotation seems seasonally misaligned.

You have a past superculture (Valyria), apparently with a fairly highly developed technology, who were abruptly and almost instantly annihilated in what appears to be a self-induced immolation or act of self-destruction.

You have incredible acts of architecture, engineering, and materials control, such as with the Wall.

You have what is essentially a wholly alien race of creatures (the White Walkers) who can disappear into hibernation for untold aeons only to reappear in a mutated and far more dangerous form. You have other species of peculiar natures and seemingly bizarre backgrounds, such as the giants and the Children.

You have a very dangerous long-term degenerating disease which looks very much like some form of designed biological agent. Or yet another mutating agent.

You have a boy who cannot only “warg” himself backwards in time to gain critical information or historical events, he can actually influence people in the past. In other words you have visionary time travel with a built in ability to influence previous timelines.

And I could list many other such elements, including the dragons themselves, and their obviously native and possibly enhanced, not animalistic intelligence.

Now none of these things negate the obviously fantastical elements of the story (whichever you take as the source material for the real story and the truer events, the books or the Game of Thrones show) but they do point out that the frontier between fantasy and science fiction in this case is an extremely thin line of division.

Then again the exact same thing could be said of Tolkien’s work.

The frontier between science fiction and fantasy in the works of both men is an uncertain one indeed. At least when it comes to certain obvious elements.

 

 

 

 

THE SHADOW…

I think that there is actually something to be said for this observation. I have recently been studying the historical sources upon which Tolkien built Middle Earth. Tolkien was meticulous about most sources, some he greatly modified, and a few he dismissed altogether as irrelevant (though they weren’t).

But I do not think that Tolkien would have been pleased, and I certainly am not, at those who followed and how sloppily they drew upon history or changed it into fantasy altogether. Whereas Tolkien wanted fantasy that was realistic and historical as well as fantastic and mythological far too much of modern culture is built upon the opposite premise (to the detriment of modern culture): that fantasy and fiction and myth should somehow inform or even replace history.

That completely misreads fantasy, entirely disregards the whole point of good fiction and totally misunderstands myth.

Shivering in Tolkien’s shadow

Middle Earth has swallowed up our understanding of the Middle Ages

by Josephine Livingstone / July 17, 2014 / Leave a comment
Published in August 2014 issue of Prospect Magazine

There’s a drawing of a smug-faced dragon on the front cover of JRR Tolkien’s newly-published translation of “Beowulf.” Its green, scaly body loops and knots into a pretzel-esque shape that medieval historians call the “interlace” pattern. You might recognise these loops from Swedish runestones, crumbling Anglo-Saxon crosses or bad tattoos.

The drawing of the dragon, however, is not actually medieval—early medieval dragons’ snouts are usually rounded, not pointy. As the copyright page explains, it is a drawing by Tolkien himself. The very dust-jacket of this new book sums up why an 88-year-old translation of an extremely old poem will sell. We don’t want to read medieval poetry, but we do want to read JRR Tolkien. “Beowulf” is only about 3,000 lines long, but it is here fatly supplemented both by Tolkien’s commentary essays and two of his works of fan-fiction, “Sellic Spell” and “The Lay of Beowulf.” These are both his original creations, inspired by—but sadly not as good as—the literature of medieval northern Europe.

Ever since The Hobbit appeared in 1937, Tolkien’s oeuvre has become a cipher for the look and feel of “medievalness.” From Monty Python’s Holy Grail to Game of Thrones, most modern depictions of the 5th to the 15th centuries in European history bear Tolkien’s distinctive mark. Today, the phrase “Middle Earth” conjures hobbit-holes, not the beautiful Old English word middangeard—the middle space between heaven and hell, where humans live out their short lives. The Lord of the Rings has grown so monumental that medieval culture shivers in its shadow.

Tolkien himself was a philologist, and one of the virtues of this translation is his respect for the source material. From sloppy journalistic articles to preposterous movie adaptations starring Ray Winstone, “Beowulf” has invited a lot of nonsense from modern people. This is not surprising, given how little we know for certain about the poem.

These are the facts: It was written down in the 10th or 11th century, but could be hundreds of years older. The manuscript is fairly hefty—about 25cm by 19cm—but looks straightforwardly like a book. Other texts in it are illustrated, but not “Beowulf.” It was singed in the fire that devastated Robert Cotton’s manuscript collection at Ashburnham House in 1731, although the text miraculously escaped destruction, aside from a few lost words. It now resides in the British Library.

“Beowulf” tells of events that take place in the deep past, not in Britain but somewhere in Scandinavia. They concern a hero named Beowulf who arrives to save a community from a monster named Grendel. He kills Grendel and then he kills Grendel’s vengeful mother. The hero becomes a king. Many years later, his kingdom is terrorised by a dragon, which he kills, but which also kills him. He dies heirless…

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