Greyhawk as a Post Apocalyptic World

At it's core the world of Greyhawk is a set in a post apocalyptic time period. The two great empires of old, the Suloise and Baklunish, waged a war that devastated both empires and reshaped the continents. The story that is told in official publications is that the end of these empires came about due to the "Invoked Devastation," a magical attack so devastating that it's like could never be seen again. The thing is that we're talking about an event that is millennia old within the timeline of the fictional world of Greyhawk and what could pass for magic today might have been advanced technology then. 

Imagine for a moment that our world as we know it were to end in a thermonuclear war tomorrow. The very landscape might change depending on how many bombs were used and their power. Everything touched by the radioactive fallout would be changed. Mutations would run rampant on those that survived as their bodies would have to develop new ways to cope with the radiation and the new environment that the world presents them. In the survivors of this nuclear apocalypse we would see new evolutionary developments. As the millennia pass they would slowly crawl their way back into the arms of civilization and as they did so it is inevitable that they would eventually discover ancient technologies. What would they think of our phones, computers, statues, cars, and air planes? Would they know what they were or would they think us wizards who bent the very fabric of reality to our whim?

I think that their reaction would be as Arthur C. Clark once said: "Any sufficiently advanced technology is indistinguishable from magic." They wouldn't have the understanding necessary to distinguish the difference between a gun and a magic wand. Our whole game world could be nothing more than the by-product of a civilization not understanding what they're dealing with. The monstrous creatures they encounter could be mutated animals and human beings or evolutionary excursions as life keeps trying to find new ways to exist. The various races of the planet could be aliens from the far corners of the galaxy who have been trapped here so long that they can't remember being from anywhere else. Demons, devils, and dragons could all be extra-dimensional beings who have made it here through tears in the fabric of space-time leftover from the nuclear devastation. Magic, in all its various forms, could be the expression of a particular mutation within the wider population that is either gaining prominence or being weeded out of the species. 

Art by Moebius

With this understanding of the world of Greyhawk we could easily imagine it being akin to M. John Harrison's Viriconium, the wildest comics from Heavy Metal, or from the works of Moebius. It could be Jack Vance's Planet of Adventure and Edgar Rice Burroughs' Mars. However you liken the setting, the point is that the world has become far more exciting and wide open again rather than bound by the trappings of a semi-Medieval world and that makes it reinvigorating to my imagination. I hope it does to yours as well. 

Dungeons & Dragons Doesn't Have to Follow the Traditional Foundation Laid by Tolkien.

As far as I am aware it has long been established that the game worlds of any Dungeons & Dragons game is essentially a quasi-Medieval world wherein the concepts of Arthurian and Tolkien fantasy hold sway over the possibilities available to the players. Knights, dragons, trolls, and whatnot rule the landscape with legendary quests on every horizon. Over the last few years, though, I've begun to wonder if this isn't only a partial picture of the game worlds available to us as colored by the overriding appetite of the average Dungeons & Dragons consumer of the early years and TSR's need to fulfill that hunger. 

Unknown title by Melvyn Grant

I started thinking about this when I first read the introduction to the Appendix N of Gary Gygax's Advanced Dungeons & Dragons Dungeon Masters Guide: ". . . Inspiration for all of the fantasy work I have done stems directly from the love my father showed when I was a tad, for he spent many hours telling me stories he made up as he went along, tales of cloaked old men -who could grant wishes, of magic rings and enchanted swords, or wicked sorcerors and dauntless swordsmen. Then too, countless hundreds of comic books went down, and the long-gone EC ones certainly had their effect. Science fiction, fantasy, and horror movies were a big influence. In fact, all of us tend to get ample helpings of fantasy when we are very young, from fairy tales such as those written by the Brothers Grimm and Andrew Long. This often leads to reading books of mythology, paging through bestiaries, and consultation of compilations of the myths of various lands and peoples. Upon such a base I built my interest in fantasy, being an avid reader of all science fiction and fantasy literature since 1950 . . ." (Gygax, pg. 224). The list he then provided to the reader stretched from the fantasy works of authors like J.R.R. Tolkien, to pulp authors like Edgar Rice Burroughs, and genre defying authors like Jack Vance. 

1920 - Warlord by Jakub Rozalski

Over the years I've read stories from the early days of the hobby where Dungeons & Dragons players played in games that defied what has become known as the fantasy genre. Tanks, laser guns, machine guns, rocket ships, aliens, and B movie monsters made appearances. They pushed the boundaries of their imaginations and went wherever their fancies took them whether it was up an elevator or down a water slide into a mountain of treasure. So why did that stop? Why did we go from having a game that jumped the shark at every opportunity into one that dogmatically declared that you must play in a quasi-Medieval world where magic was in the ascendancy and technology was languishing behind?

Snail Mail by Jean-Baptiste Monge 2016

My suspicion is that as TSR continued to publish adventures and supplements to meet the ravenous appetites of Tolkien's fan base that it steadily pushed players who wanted to do other things to wayside. Instead of riding rocket-powered, mechanical, flying horses and chasing space pirates across the night sky in Dungeons & Dragons they moved on to other games; and as they left so too did the wilder, pulp, and genre defying side of the game. The fantastic Medieval world became the standard genre and for a lot Dungeons & Dragons enthusiasts the literary exploration of Gygax's inspiration begins and ends with the fantasy authors of Tolkien, Moorcock, Anderson, and Leiber. The games become homogeneous and the stories we tell are nothing more than trite rehashes of the same adventures people have been having for the last forty years. We don't make new things, just re-imaginings of past glories; and it leaves us all with a boring wasteland of mediocrity as a result. 

Tavern,

Dungeon,

Orcs,

Goblins,

Dragons,

Treasures,

Repeat.

Repeat.

Repeat.

Over and over, and over, and over, and over again. 

It's past time we start breaking that cycle.

Works Cited 

Gygax, Gary. Official Advanced Dungeons & Dragons Dungeon Masters Guide. TSR Games, 1979. pg 224

The Whole of Fantasy and Dungeons & Dragons

Jupiter and Europa by Marit Berg

Last night I was reading a pdf copy of Europa when I ran across an article by Gary Gygax, How to Set Up Your Dungeons & Dragons Campaign - and Be Stuck Refereeing it Seven Days per Week Until the Wee Hours of the Morning! This was actually the second part of a series he had been writing, which I have yet to fully explore as I haven't found any other copies of Europa other than this one, and I noticed something that I had suspected for some time but not actually seen in print before. Gary wrote, ". . . Now fantasy / swords & sorcery games need not have any fixed basis for the assumptions made by its referee (my own doesn't) except those which embrace the whole of fantasy . . . Settings based upon the limits (if one can speak of fantasy limits) can be very interesting in themselves providing the scope of the setting will allow the players relative free-reign to their imaginations. Typical settings are: Teutonic / Norse Mythology; Medieval European Folklore (including King Arthur, Holger the Dane, and so on); The Fafhrd and the Grey Mouser; Indian Mythology; and Lost Continents such as Atlantis or Mu. Regardless of the setting you can have it all taking place on an 'alternative earth' or a parallel world . . ." (Gygax, 18).

The part that got my attention was that first line, that ". . . fantasy / swords & sorcery games need not have any fixed basis for the assumptions made by its referee . . . except those which embrace the whole of fantasy . . ." (Gygax, 18). Embrace the whole of fantasy.

Too often when I read and discuss role-playing games - especially when concerning Dungeons & Dragons - I find that there are all of these established boundaries that delineate what I'm allowed to do with my games. The world must be set in a quasi-Medieval time period. Guns, if they exist at all, should be rare. The world should feel big and the players a small part of it. Oh, and the literary inspiration for your games should come from Tolkien, Martin, or Gygax's Appendix N. 

Fantasy, especially the way that the term was understood before we decided to subdivide everything to death, was so much larger than the truncated spectrum that comes from limiting our imaginations to any guiding light. Take for example my own favorite source of inspiration: pulp fantasy. 

I know that for some of my readers they might be reminded of James Maliszewski's exploration of pulp fantasy and his definition of the term or as he put it ". . . In general, 'pulp fantasy' roughly equates to what we nowadays call 'sword and sorcery.' However, the term is more expansive than that, because it also includes authors and stories that do not, strictly speaking, fall under sword and sorcery, such as Burroughs and other 'sword and planet' authors, as well as 'weird tales' of the Lovecraftian variety. I chose the term because, by and large, most of the authors whom Gygax cites as influences in the famous Appendix N of the AD&D Dungeon Masters Guide were published in the pulp magazines of the 20s through 50s . . ." (Maliszewski).

Unfortunately James' definition of pulp fantasy ignores a large part of what made up the pulp fantasy of the era. As a result, if we were to hold to his definition than we wouldn't consider pulp standards like Doc Savage, Buck Rogers, Tarzan of the Apes, The Shadow, Green Lama, or Zorro as something that we should look to for inspiration in our Dungeons & Dragons games. Our heroes would be craven things who acted out of a slavish devotion to selfishness rather than because they were doing the right thing. We wouldn't have alien battles, tanks, high speed car chases, mystical hokum, or super heroics. Instead we would be bound to endlessly repeating pale imitations of Howard's adventures and Tolkien's quests.

Listen, It's all too common for people to coalesce around an idea and codify it as conventional wisdom. Today in our hobby we have as our conventional wisdom the standard refrain that our Dungeons & Dragons styled games are all supposed to be pseudo-Medieval affairs hinged on the literary roots of Conan the Barbarian, Fafhrd and the Grey Mouser, and the Lord of the Rings; and James held to this line of thought in his discussion of pulp fantasy. As a community we have internalized this conventional wisdom and now it is taken for granted that if we are playing Dungeons & Dragons then it must be this way and any deviation is anathema.

Yet it doesn't have to be that way. 

Yes, we can explore a setting bound by certain limits as Gary noted in Europa, but we can also go further and take the game in different directions without it being something other than Dungeons & Dragons. We can hop a ride on the back of a floating cart with hairy aliens and six legged horses to take back our lives like Prince Valentine did in Robert Silverberg's  Lord Valentine's Castle. Or we can race across the globe in a desperate race to get back home after we crash landed on some god forsaken planet like Adam Reith did in Jack Vance's Planet of Adventure novels. We could even fight evil like Buck Rogers in Philip Francis Nowlan's Armageddon 2419 A.D. But we don't; because too often we let ourselves be convinced that if we're playing Dungeons & Dragons it has to be the same way that everyone else has always played it. We have to be Aragon dragging some fat, little halflings half way across the world to save it on an epic quest; or we have to Conan sneaking his way through the palace. 

I have spent the better part of the last decade having fun exploring worlds like that but they're not enough any more. I want my games to be more. I want aliens. I want laser guns and high speed rocket chases across the universe. I want to fight evil. I want to out smart the villain and save the day. I want to go to sleep and wake up a thousand years later only to jump right into a gun fight as I rush to the aide of some poor sap beset by vicious gangs. 

There is so much out there for a Dungeons & Dragons game to be that isn't just a rehashing of Howard and Tolkien. I want all of it. I want the whole of fantasy.

Works Cited

Gygax, Gary. "How to Set Up Your Dungeons & Dragons Campaign - and Be Stuck Refereeing it Seven Days per Week Until the Wee Hours of the Morning!" Europa. April 1975. pg 18. pdf

Maliszewski, James. "What is Pulp Fantasy?" GROGNARDIA, http://grognardia.blogspot.com/2008/04/what-is-pulp-fantasy.html. Accessed February 21, 2017.

The Book Shelf: City of the Chasch by Jack Vance

The City of the Chasch is the first novel in the Jack Vance's Planet of Adventure tetralogy and it's also the first novel I've ever read by the author. Having hear of Vance's reputation for years before picking up this story I had high hopes for what was to come, but the first 16 pages almost did me in. Vance begins writing the conversation his introductory characters are having in what I recognize as a Robert Heinlein style only he clearly doesn't have Heinlein's ability for delivering a quick paced and witty dialogue. Thankfully Vance quickly abandons the style for ground where he's clearly more comfortable. 

The lead character of the Planet of Adventure series is Adam Reith - a quasi-combination of scientist, engineer, and Green Beret - who crash lands on the newly discovered planet of Tschai and is promptly captured by a bunch of savage humans who mysteriously live on the planet. It's here that we meet one of his two long time companions in Traz Onmale. Traz is the leader of the tribe Reith has been captured by and the two slowly but surely develop a report. Soon, however, events transpire to make their report Traz's downfall and the two are forced to flee from the tribe and make their escape across the wilds of Tschai. It's in their escape across Tschai that the adventure really begins in earnest as Reith meets his third companion, Ankhe at afram Ancho (simply referred to as Ancho by Reith and Traz), and then encounters a wide variety of aliens deadly wildlife. 

Vance's writing really shines in the scenes where Reith, Traz, and Ancho are making their way through the wilds and encountering the early dangers of Taschai. Every new encounter feels familiar and yet alien enough to remind the reader that Reith isn't on just another version of earth but on a whole new world. It's a clear sign of a master working at his craft. Which leads me to the other thing that I really love about this book, and about the series as a whole, and that is how Vance skillfully blends the use of futuristic technology with medieval weaponry. In the same scene where you'll see aliens flying about in sky cars he'll also have sword wielding human beings and gun totting bandits. It's a juxtaposition that serves him well and that makes these wild moments where Reith is racing to save himself or one of his companions all the more exciting. His exploration of the Chasch city and his revenge on the bandits who control the city of Pera exemplify why this juxtaposition works so well. 

Overall the City of the Chasch was an excellent introduction to Vance and a very enjoyable book. I cannot recommend it highly enough. I do have some advice to offer if you plan on picking it up; though, instead of purchasing the four individual books in the series save some money and buy the omnibus like I did. 

Also, check out this bitching cover without the text on it. Not at all how I pictured the Blue Chasch but it's pretty fucking awesome all the same.