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MIDDLE-EARTH ROLE PLAY

 

The Adventures in Middle-earth Player’s Guide from Cubicle 7 Entertainment is probably the one gaming supplement that role-players have waited the longest for. With this book, the Dungeons & Dragons game is united with the Middle-earth of J.R.R. Tolkien’s writing for the first time, officially. It only took 42 years.

Yes, there have been Middle-earth role-playing games already. Iron Crown published Middle-earth Role Playing in the 80s and 90s. Cubicle 7 Entertainment also currently publishes The One Ring Roleplaying Game. Despite the great influence that Tolkien exerted over D&D, the two streams never officially crossed before now.

Now D&D players and DMs can officially delve into Middle-earth and interact with the character’s of Tolkien’s fiction. At least partially, for now. The Player’s Guide is exactly what it says on the tin, and it contains everything that players would need to create characters native to Middle-earth, along with the basics of adventuring in that world. Creatures, characters from the books and a deeper look into the setting itself are for a further book (or books).

For decades, the concepts that many consider to be traditional fantasy, or more to the truth D&D fantasy, have been evolving in this cooking pot of tabletop games, video games and tie-in media, and now we are getting to see the raw materials for the stew getting thrown back into the pot.

I recommend the Adventures in Middle-earth Player’s Guide for people wanting to bring a more authentic Middle-earth experience into their D&D games, but I think that they might be surprised by some of the directions of the book. It is not without flaws, and I will try to address some of those as I go.

First off, the art in this book is wonderful. From the samples of the cultures of Middle-earth to the landscapes of Middle-earth to the “None Shall Pass!” Gandalf illustration on the book’s cover, the Adventures in Middle-Earth Player’s Guide has some great art in it. If, for some strange reason, you have never seen a Lord of the Rings or Hobbit movie, the art in this book will give you plenty of visual cues as to what Middle-earth would look like. This is great art. Few people do brooding landscapes as well as Jon Hodgson.

The new classes in this book are very interesting, and they bring to the foreground some of the genre conventions of Tolkien’s works.
The Slayer is the barbaric warrior type from the less civilized lands. The Scholar is knowledgeable about the world, and a healer. The Treasure Hunter is a burglar. Wanderers are travelers who wander the roads and forests of the land. Warriors are hardy and disciplined fighters. Wardens are guardians and protectors who inspire as well as protect.

Each class has archetypes that allow for specialization and differentiation, should you have more than one representative of a class in your party of characters. The niches, while they can be thinner among the fighting classes, are well defined enough so that each class can stand out among a group of characters, and have things to do.

Instead of races, like in baseline D&D, the Adventures in Middle-earth Player’s Guide instead uses cultures. When you have a handful of non-human “races,” and then a bunch of different regional ways to say “human,” going the cultural route makes sense mechanically. In this book there are eleven cultures covering dwarves, the various regional types of humans, hobbits and the elves. Each has their own traits, suggestions for names, bonus equipment and other things. For the non-human cultures there are also “racial” abilities. Each culture also has a type, which figures into the types of equipment that starting characters would have access to.

The Adventures in Middle-earth Player’s Guide also adds virtues that help to reinforce the Middle-earth feel, and to give some additional mechanical support to cultures. Basically these are renamed feats and are broken out by the various cultures of Middle-earth. They also go a long way towards helping to differentiate different characters of the same classes. How a Barding approaches being a Warrior and a Man of Bree does that are different, and their virtues can help mechanically add those flavors.

Tolkien is held up as one of the exemplars of epic, high fantasy, but the tone that much of this book is of a darker and dirtier style of fantasy than that of the D&D style of fantasy that the game has perpetuated over the years. The Slayer and Treasure Hunter classes would be as at home in a game inspired by Howard or Leiber as they would be in a game set in Middle-earth. Other rules, such as Corruption and Shadow Weaknesses reinforce the dark fantasy feel of the book.
The Shadow over Middle-earth is growing, and encounters with it, and its allies, can cause corruption to those who are trying to fight against it. This can lead to interesting character development issues, but it can also mean a loss of player agency when Corruption can take a character out of play entirely.

The things that I didn’t like are fewer than the things that I liked in this book. I’m not a big fan of the Journeys rules. I think that these rules, and some elements of the Corruption rules, take away player agency, and the Journeys rules place more emphasis on random rolls than the actions of the characters. I wouldn’t see myself using these rules, only because the handful of handful of dice rolls made at the beginning of the journey would have too much of an impact of things that would happen at the journey’s end. Moreso than the actual actions of the characters during the journey. I’m not a fan of taking control out of the hands of the gaming group, and neither are the people with whom I tend to game. I know that, in an actual journey, a bad event at the start of things can color what happens for the rest of the journey, but there should still be a chance to overcome. For a game that pushes the idea that the characters are heroes, not being able to overcome the environment would make me wonder if the characters could have any chance of overcoming the growing threats of the Shadow.

Honestly, outside of the occasional wandering monster, I am not a huge fan of using a lot of random tables to shape play anyway because the results tend to be inconsistent and can, at worse, poke holes in the suspension of disbelief of those playing. Journeys and travel are an important element of Tolkien’s works, but they are typically the parts which appeal to me the least, so excising them shouldn’t be that hard.

Whether you want to play a game of Tolkien inspired fantasy, or your games go for something a bit darker, there will be things that you can use from the Adventures in Middle-earth Player’s Guide. There is plenty to bring new directions to D&D games that are looking for an influx of creativity.

Mechanically, the material in the Adventures in Middle-earth Player’s Guide is tightly integrated and on point. The more indie design idea that the function of rules should inform the form of the game influenced this book a good deal. The various mechanical pieces from cultures to virtues to classes all work together to enforce the feel of the game’s setting, and to make it a part of the rules of the game. This book is the product of designers and a publisher who know what they are doing and are working to elevate the design of their games. Once the physical version of the book is out, it should become an integral part of the D&D sections of any fantasy gamer’s gaming collection.

I am glad that Wizards of the Coast wised up with the fifth edition of Dungeons & Dragons and went back to the less restrictive OGL of the third edition game. We are definitely getting an explosion of creativity in support for this edition of D&D that we didn’t previously receive, with the last edition. While the D&D game itself seems more interested in replaying the past, because of the OGL we get books like the Adventures in Middle-earth Player’s Guide that are willing to look at the core elements of the D&D game while still making something that is bold and new. Hopefully the third party creativity that we see in books like the Adventures in Middle-earth Player’s Guide and other works like those being published by companies like Kobold Press will inspire the base of D&D development to push for new and exciting directions for the game.

I am eager to see what Cubicle 7 Entertainment does next in their Adventures in Middle-earth line, and where they take the game next. The Adventures in Middle-earth Player’s Guide is a grand slam from a publisher at the top of their game.

Read more: http://www.enworld.org/forum/content.php?3568-Take-Your-D-D-Adventures-Into-The-Realms-Of-Middle-earth#.WBKC4jXQfct#ixzz4OKQku6Ub

HIGH CRAFT – LOST LIBRARY

HIGH CRAFT

This article on Viking clothing reminded me of something I’ve been meaning to discuss for some time now. In my games and in my writings, Craft (and by that I mean High Craft), often plays a large and beneficial role in both individual matters and even in larger events.

Using boots and shoes as an example characters have both found and had created for them (by master craftsmen) footwear that is not magical but rather so well crafted that it provides real benefits, such as resistance to extreme temperatures, resistance to wear and replacement, comfort befitting improved endurance or resistance to things like trench foot or blistering, and when they concentrate upon certain tasks (such as running, hiking, climbing, jumping, or stealth) they give definite though temporary advantages.(The characters must concentrate upon the task, for instance, and declare or show evidence that they are trying hard to sneak, or paying attention to their climb – but then such boots give temporary but definite advantages).Such boots or other items and gear (weapons, clothing, tools, etc.) are not magical at all but rather of such high quality and clever construction that they give measurable advantages over other items not constructed by master craftsmen.

(Though really well constructed items of High Craft might very easily be discovered far more susceptible to being enchanted at a later date than more mundane items. That is to say items of High Craft can be far more easily enchanted or ensorceled and such magics will far more easily affix and permanently secure themselves to objects of High Craft than to less well made implements.)

 

The same could be said to apply in a larger sense to whole groups of people. Nations with master craftsmen or smiths or even entire shops, foundries, and industrial operations devoted to High Craft (and invention and innovation) can produce gear and weapons and armor and equipment that gives a particular army a real and measurable advantage over another less well equipped force. Maybe even, en masse, a very large advantage. Again, not a magical advantage but a qualitative advantage of High Craftsmanship.

Though in a Tolkienesque sense it could easily be argued that High Craft is a form of “magic.” That High Craft is precisely what much magic really is.

With me however, at least in games, I usually use Magic as something “added to” or above and beyond even the Highest of Crafts. Though in my writings and novels High Craft and Magic are sometime synonymous and interchangeable or fungible, depending upon the particular circumstances of precisely what is being discussed.

I know that some use craft as a part of their game(s) and writings and some do not, but if you do, then what are some of the ways you use High Craft as an advantage on any level?

How do you use and employ High Craft in your own creations?

 

The Vikings Used Comfortable Shoes

Osberg Ship Viking Shoe One of the original boots found in the Oseberg Burial Mound dating back to 834 AD. (Photo:skinnblogg.blogspot.no)A number of complete Viking Age shoes found in Scandinavia and England have the same characteristics. They are flexible, soft and mostly made of cattle hide, but also other kinds of leather was used.There are complete shoes found in the Oseberg ship burial mound in Norway, Hedeby trading center in Denmark, and Coppergate (York, Viking Age Jorvik, Editor’s note) in England.

All three of these discoveries show a similar construction and form typical for the Middle Ages.

The shoes found in the Oseberg ship consists of two main parts, soles and uppers, and are so-called “turn shoes”.

(Article continues)

Reconstructed Oseberg Viking Shoes

Reconstructed boots found in the Oseberg burial mound, by Bjørn Henrik Johansen. (Photo: Bjørn Henrik Johansen/ skinnblogg.blogspot.no) 

The shoemaker stitched the shoe together inside out, and then turned right side out when finished. This hides the main seam, prolongs the life and prevents moisture from leaking in.

Viking Age shoes (793 – 1066AD) were well suited for use in wintertime by using thick, felted wool socks and fur inside.

Materials and Tools

Studies of the leather shows that mainly cattle hide was used from the 9th to mid-11th century and was typically 1 – 3 millimeter thick.

(Article continues)

Coppergate Viking Shoe York

Anglo-Scandinavian Shoe found in Coppergate, York, England. (Photo: definedlearning.com via Pinterest)

A bristle or metal needle was used stitching flax, hemp, or a combination of the two. Shears or blades were used to cut the leather, and a simple awl to punch the holes.

At Coppergate twelve examples of iron shears were found.

Tanning and Color

Vegetable tan was the primary method for tanning, but also alum tans and oil tans were used in luxury leathers.

(Article continues)

Reconstructed Coppergate York Viking Shoe

Reconstructed Anglo-Scandinavian Shoe found in Coppergate, York, England by Bjørn Henrik Johansen.  (Photo: by Bjørn Henrik Johansen/ skinnblogg.blogspot.no)

Modern vegetable tans are much stiffer due to industrialization and shortening of the process and are unsuited for turn shoes.

Like today, elaborately made clothing and shoes were visible proves of high social status.

Scientists have concluded that the better-quality shoes and boots had much more color than can be seen from archaeological discoveries.

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 ANGLO-SAXON WAY

The Anglo-Saxon War-Culture and The Lord of the Rings: Legacy and Reappraisal

 The Anglo-Saxon War-Culture and The Lord of the Rings: Legacy and Reappraisal

By Pritha Kundu

WLA: War, literature, and the arts, Vol.26 (2014)

The saints and missionaries of the Anglo-Saxon era (1897)

Introduction: The literature of war in English claims its origin from the Homeric epics, and the medieval accounts of chivalry and the crusades. In modern war-literature, produced during and after the two World Wars, themes of existential trauma, alienation of man as victim, horrors of the nuclear warfare and the Holocaust, and the evils of a totalitarian government, critique of narrow nationalism have become dominant; yet some memories of the Classical and the Medieval war-culture can be found, either as subtle allusion, or as a means of irony or satire, as in Catch-22 or Mother Courage. However, another ancient culture of war—that of the Anglo-Saxons—has failed to hold its sway over the thoughts of the modern war-poets and novelists. In fact, the process of oblivion began as early as the 12th century, when the image of loud and boasting warriors, bursting the mead-halls with their genial laughter, and fighting to death for the love of their lords, was replaced by the courteous Christian knights on their quest for the Holy Grail, rescuing damsels in distress, representing abstract virtues and ideals of a feudal culture. In the long run, the medieval image of the knight-warrior, alongside the raw and ‘real’ quality of the Homeric battles, has found ways into the modern imagination, and produced modern reappropriations of these old materials, whereas re-works on Anglo-Saxon literature are of a poor amount. John Gardner’s Grendel offers an existentialist and psychoanalytic approach to Beowulf, rewriting it from the monster’s point of view, and G.K. Chesterton’s The Ballad of the White Horse recalls the tone of sadness and lament in the Old English elegies, but none of them shows interest in the war-culture of the Anglo-Saxons, which, notwithstanding the ‘fantastic’ elements of monsters and dragons, remained so realistic in the battles themselves, and a strong bond of love and duty between the warrior-king and his thanes.

Considering the scarcity of the Anglo-Saxon influence in modern war-literature in general, one may wonder and stop by a work like The Lord of the Rings or Silmarillion, which few would be willing to categorise as serious war-literature. The fictional writings of J.R.R. Tolkien are said to have revived the genre of fantasy and magic-realism, and they have been readily assimilated into the new genre of popular literature. What seems to have been forgotten in this process is Tolkien’s own passionate and critical engagement with the war-literature of the Anglo-Saxons, which has gone into the making of his otherwise ‘fantastic’ creation of the ‘Middle Earth’. Tolkien’s lecture, later published as an essay, “The Monsters and the Critics”, brought a formative and seminal change in the course of Beowulf -criticism. His fictional works are at the same time holding the Anglo-Saxon legacy with devoted fondness, yet his reappraisal is of a critical kind—it critiques, reconstructs and reappropriates several Anglo-Saxon themes and ideas while constantly referring back to an old war-culture passed into oblivion…

A SUPERB WORK OF ART

 

The Lord of the Rings

£60.00
Pages: 1244
Format: Hardback
Author: J. R. R. Tolkien, Illustrated by Alan Lee
Published Date: 19/06/2014
ISBN: 978-0-00-752554-6
Detailed Edition: Illustrated Slipcased edition
Since it was first published in 1954, The Lord of the Rings has been a book people have treasured. Steeped in unrivalled magic and otherworldliness, its sweeping fantasy has touched the hearts of young and old alike. Well over 100 million copies of its many editions have been sold around the world, and occasional collectors’ editions become prized and valuable items of publishing….

SHADOW OF MORDOR REVIEW

Yes, I would definitely play this…

FLY NOT, BUT TURN AND HUNT

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EARENDEL, BRIGHTEST OF ANGELS

Actually I know something both of this poem and of the source materials from which it arose. Earendil actually refers to the angel Earendel from the Advent Lyrics of Crist (Christ) in the Exeter Book. That was Tolkien’s real source material for the Flying Mariner who sailed the Silmaril upon his shining brow.

 

Eala Earendel engla beorhtast

ofer middengeard (as the Anglo-Saxons called Middle Earth, our Earth, and similar to what the Vikings called Constantinople, Miklagarð) monnum sended…

 

Still, the article is interesting in some background sense.

Birth of a new world: the Tolkien poem that marks the genesis of Middle-earth

On this day in September 1914, as war broke out, Tolkien created the mythical land that led him to The Lord of the Rings. Here’s the story of the poem that changed his life

Mordor, he wrote: how the Black Country inspired Tolkien’s badlands

Martin Freeman in the film version of The Hobbit
Origin story … Martin Freeman in the film version of The Hobbit. Photograph: Warner Bros/AFP/Getty Images

A century ago today, Russian forces were beginning the 133-day siege of Przemyśl and the German army took Péronne. Meanwhile, in a Nottinghamshire farmhouse, a young man wrote a poem about a mariner who sails off the earth into the sky. The Voyage of Éarendel the Evening Star deserves its day in the spotlight alongside war commemorations. It was the founding moment of Middle-earth.

Neither elves nor hobbits were yet in JRR Tolkien’s mind. But the star mariner is remembered in The Lord of the Rings, as Eärendil, forefather of kings, whose light in a phial wards off Mordor’s darkness. In the vast backstory of The Silmarillion, he carries the last Silmaril, a jewel preserving unsullied Edenic light, seeking aid against the primal Dark Lord.

None of this is in Tolkien’s poem from 24 September 1914. As an invented origin myth for the evening star, it is all energy and enigma:

Éarendel sprang up from the Ocean’s cup
In the gloom of the mid-world’s rim;
From the door of Night as a ray of light
Leapt over the twilight brim,
And launching his bark like a silver spark
From the golden-fading sand;
Down the sunlit breath of Day’s fiery Death
He sped from Westerland.

 

 

 

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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