Psycho-Sexual Ravenloft: Heart of Midnight II

If you thought I was just whistlin' Dixie with all this "lycanthropy as metaphoric cover for unspoken gay desire," check out this description in which Casimir attacks a drunkard at a bard party in order to steal his fancy costume: "Even through the roses, Casimir could smell his prey--not the salty, natural tang of a commoner, but the sweet, liquor-tainted scent of a nobleman. His mouth was watering again. The man's odor brought a savory taste to his tongue. His heart felt suddenly hot in his rib cage" (45).

Nevertheless, that's not to say that Casimir isn't attracted to women as well. However, Casimir's desire for Julianna Estovina is also depicted in terms of male queerness; the quantity of his desire for her is matched by the quantity of his desire to be penetrated by her: "The kiss felt painfully hot, but Casimir didn't pull back. Her breath was sweet and intoxicating. Her small hands pressed him mercilessly against her, as though she hoped to cut him open and crawl inside. Casimir trembled. Her very soul seemed to force its way into him. The sensation was wonderful" (57). Though this encounter is but a dream, it seems that his subconscious is revealing the overall shape of Casimir's desires through an obfuscated trajectory. Another layer of sexual strangeness is added when Casimir and Julianna include the similarity of their coloring and appearance as part of what makes them want each other: "'It's as if we are blood kin,' Casimir ventured cryptically" (61). The inversion of desire toward one's family here replicates and compliments the attendant fear of the inversion of desire toward one's own gender.

Of course, this being a Ravenloft novel, Heart of Midnight at last goes Full Freudian on us. As readers we've already been party to Casimir's quest for revenge against Zhone Clieous, but now we learn that his vengeance is nothing less than the Oedipal Complex writ large: Zhone Clieous is Casimir's father. Casimir's revenge must go to the final extremity; Clieous is the phallus-wielding father who must be killed so that the son can come to terms with the man he is inside. "I want to kill my father, not just frighten him," Casimir is forced to admit to himself (86). In this case the symbolic phallus materializes as control over Harmonia; after killing his father, Casimir assumes his "scepter" and becomes the new lord of the land.

Casimir's metaphoric confluence of homosexual desire and lycanthropy isn't just staged in terms of violence in Heart of Midnight; it also informs the ways in which Casimir will be accepted or rejected for who he is both by himself and by others close to him. When Casimir transforms into wolf form and finally kills his father in a blaze of Oedipal glory, his long-time friend and companion Thoris witnesses who Casimir really is. Horrified by the revelation that his friend has a secret self that he cannot understand, Thoris takes to the streets where he is robbed and left for dead by thugs. Upon finding his crumbled and battered form, Casimir realizes that his secret has consequences for those he loves. This puts Casimir at a crossroads: he can't change who he is, but he needs his friend to accept and understand him. "I can't go on without him," he says, acknowledging the painful interplay between what he is and how that endangers the homosocial bonds the nourish him. 

He also needs to find a way to accept himself. Indeed, self-acceptance is what Casimir finds most alluring in the masterful bard Harkon Lukas: "The scent that come from him was jaded, confident, sober. He was the first man Casmir had met who was perfectly at home in his own skin" (142). If we read Heart of Midnight as a bildungsroman, we might argue that this is what Casimir's coming-of-age moment will entail: self-actualization in the form of owning who he is both internally and to the outside world. Will he get there with Lukas's help? Let's see how things progress in our next installment.

Psycho-Sexual Ravenloft: Heart of Midnight I

I knew I wanted to do another series of Psycho-Sexual Ravenloft for the Halloween season, but I had a fear: what if the next novel in the line-up played it straight and there was no raw material to expose as sexually uncanny?

Why on earth did I worry about that? This is Ravenloft, baby, things are bound to get weird!

If you haven't read any of my psycho-sexual Ravenloft posts before, here is what you can expect: I will read a Ravenloft novel from the 90s and pay attention to the psychosexual undertones that emerge from the text's literary unconscious. It's all done on a lark, but eventually I will get hate mail from fans of these books or the Neverwinter Nights community. It's okay, fellas, I like Ravenloft too--we're just funnin' here. On with the body count, as Ice T said.

J. Robert King's Heart of Midnight is essentially a revenge tale. Young Casimir is out to avenge the death of his mother by confronting her killer: Zhone Clieous, the meistersinger of Harmonia. What is a meistersinger, you ask? Well, what you need to understand about the nation of Kartakass is that it is a nation of bards. (Shudder) Each town elects its executive official (the meistersinger) through a yearly singing competition. So our setting is a country of bards governed by the results of American Idol. Let the implications of that sink in; if the US was run like Kartakass, Kelly Clarkson would have been president in 2002.

But back to the matter at hand: the novel begins with a wolfman attacking a watchman. But of course, this being Ravenloft, this is a wolfman attack with a difference: it carries with it all the danger, beastliness, and secrecy associated with homosexual cruising. The wolfman is driven by a hunger he both cannot contain and cannot countenance during the daylit hours: "He had known he would kill a man tonight, known the moment he donned the black cape and slipped through the window. The hunger had been inexorable" (3). Note that the target of the attack is a guardsman, that favored class of trysting partners in the urban Victorian sexual landscape. 

While this encounter leads to pleasure for only one of the pair--the wolfman "consumes" his prey with relish--its resolution carries with it some rather unsubtle sexual symbolism: "He was naked except for the blood that coated him from nose to knees" (3). The wolfman, our surrogate urning flaneur, finds himself naked and covered in another man's bodily fluids after their chance meeting on the dark streets. Heart of Darkness is a novel that equates the ravenous, bestial side of man with the errant perambulations of the love that dare not speak its name.

Up to this point in the novel, Casimir has only exacted minor-key vengeance upon the hated Zhone Clieous. One such vengeance comes when his friend Thoris offers to spit on Clieous as they spy on him from atop a cliff. This also conflates illicitness (they will spit on him from afar), desire (revenge is as hot-blooded as love), and violence (they view spitting on Zhone as a sort of assault and know they will be harmed if caught in the act). Consider also that this form of revenge is literally meant to embarrass Clieous by ejaculating a bodily fluid upon his face.

Of course, this tangle of secrecy, desire, and violence is confusing to Casimir; he's a youth of eighteen struggling to define exactly what his passion for revenge actually means as well as struggling with bodily change and how that defines who he is. When Thoris follows Casimir on one of his nightly explorations--one of his "cruising" sessions--Casimir takes himself to a lonely cliffside spot and attempts suicide; unable to cope with the realization that he is something the world won't accept, death seems like the only option. "What can I do, Thoris?" he asks, "I've tried to fight it, but I'm too weak. I'm so ashamed" (29). Of course, being that he's the protagonist and we're only two chapters into the novel, Casimir survives.

For the record, Thoris isn't to be taken as a bedrock of supportive heterosexual normalcy in the novel. When we first meet him in a flashback to the duo's childhood, Thoris is hanging out with and talking to the corpse of his mother. If Thoris puts on a dress and stabs a woman in the shower by the end of the book, J. Robert King owes me a Coke.

The Brontes Were Better at World-Building Than You Are

The Brontes created their own pseudo-historical RPG setting called Gondal, making them early practitioners of collaborative setting creation. Also, they wrote their Actual Play reports up in poetic form, so they're basically shaming us all.

First para of that Wiki link: "Gondal is an imaginary world or paracosm created by Emily Brontë and Anne Brontë in their youth. Gondal is an island in the North Pacific, just north of the island Gaaldine. It included at least four kingdoms: Gondal, Angora, Exina and Alcona. The earliest surviving reference comes from a diary entry in 1834. None of the prose fiction now survives but poetry still exists, mostly in the form of a manuscript donated to the British Museum in 1933; as do diary entries and scraps of lists. The poems are characterised by war, romance and intrigue. The Gondal setting, along with the similar Angria setting created by the other Brontë siblings, has been described as an early form of speculative fiction."

They were probably better DMs than you are to boot. 

And don't even get me started on how Robert Louis Stevenson made better campaign maps than you do. I mean, come on, dude didn't wring his hands over how big the hexes were even once.

Dice Coffin - RPG Arts and Crafts

I know that the bag from a bottle of Crown Royal is the traditional dice-holder of choice, but for my money (a little less than $4, to be exact) you can't go wrong with a DICE COFFIN.

Around Halloween time you can find small, hinged wooden coffins at the craft store for about $3. Buy one, treat it with whatever leftover wood stain you've got in the shed or basement, hit with a coat of sealer, and you've got a pretty spectacular (and portable) container for your dice.

Better yet, you can spend another seventy cents for a piece of felt and line the interior. Regular white glue will do the trick. Now you have a dice carrier *and* a nice, quiet dice tray for rolling the bones during your games. No more dice rolling off the table if you've got one of these.

How to Make Your Own Soundtrack for Horror Games

Playing music in the background while gaming is a tricky proposition: if the music is too engaging on its own merits, it can distract you from the game; if the music doesn't fit the game, it works against the atmosphere you're trying to create; if the music is too obvious, it cheapens the effect you're going for, etc.  

In horror games, music can be especially problematic: you don't want the music to be more scary than your game, you don't want to play something too light that spoils the mood, and you don't want to rely on "Tubular Bells" again.

The solution that avoids all those pitfalls is to DIY your own horrorific ambient soundtrack.  It sounds like a lot to ask, doesn't it?  "I have to make my own adventures, draw my own maps, learn the rules of the game, and now I have to make music too?"  

You're going to be surprised by how easy this is.

1) Download Audacity, a free audio editing program here.  Install the program.

2) Start Audacity.  File-->Open--> and load any music mp3 you've already got on your computer.  Seriously, it doesn't matter if your source file is Carly Rae Jepsen or Rammstein, this process will make it into a long, creepy ambient track.

3) Effect-->Change Speed--> and reduce speed by about 90% or so.  It will take a while to apply the change, as this makes the track significantly longer.

4) File-->Export the file as a mp3 at the bitrate of your choice.  You're done.

The end result will be a slow, eerie track full of ominous rumblings, unexpected noisome growls, and Cthulhoid mutterings.  If there was a pronounced beat in the original file, it will now likely be at a dragging, funereal tempo that sounds like footsteps through an abandoned slaughterhouse.  

Play your new soundtrack at a low volume in the background for your next Call of Cthulhu or Don't Rest Your Head game and marvel at your ingenuity. 

As an example of what the end product might sound like, here's one I made from a Combichrist song.

As another example, here's another one made from a Smiths song.

Beyond the Wall and Other Adventures (part 4)

First part of the review.

Second part of the review.

Third part of the review.

The bestiary section of Beyond the Wall is short, functional, and offers no real surprises.  The standard fantasy creatures are covered: goblins, ogres, cockatrices, worgs, etc.  That said, the descriptions of even these standard creatures have the same quality of brief-but-evocative flavor found in the magic section.  For example, we're told that Wights "are the spirits of long dead kings, found wandering their barrows and the surrounding lands."  Similarly, Wraiths aren't simply ghostly undead but rather are "incorporeal spirits trapped between this world and the next, caught in agony between worlds and hungry to spread their pain. Plants wither as they pass, and any creature touched by a wraith’s icy presence loses its personality and will."  Certainly not ground-breaking stuff, but definitely just enough flavor to make the description interesting and inspiring to read.

I'm also rather enamored of the minimalist statblocks for all the creatures in the bestiary.  For example, even a mighty Demon of Vengeance is presented elegantly:

Hit Dice: 20d10 (110 HP)

AC: 24

Attack: +24 to hit, 1d6 + 20 damage (stick)

Alignment: Chaotic

XP: 17,300

Notes: Great Strength (Dom Ilska’s attacks do extra damage, included in the profile above), Invulnerable (may only be hit by magical attacks), Magic Resistance (Dom Ilska has a 30% chance to resist magic), Swift (Dom Ilska gains a number of attacks equal to the number of opponents in close range of him, up to a maximum of three attacks), Unholy reflexes (Dom Ilska has a bonus to hit, included in the profile above).

The bestiary also includes systems for generating Demons and Dragons, since these might benefit most from being personalized for a campaign.  If you'd like even more monsters to choose from, definitely check out this free supplement which has a ton of new monsters and also features systems for generating personalized Undead creatures.

Of course, part of the stated purpose of Beyond the Wall is to be able to get a game on the table with a minimum of preparation.  To that end, the game comes with a sample Scenario Pack that is very much a DM-facing analog to the players' playbooks.  The featured adventure is called "The Hidden Cult," and it offers a variety of random tables that allow a DM to roll-up an adventure pretty much on the fly.  This first bit of the Scenario Pack is meant to be used while the characters are generated; you grab the locations and people connected to the characters and plug them into tables of who has betrayed the characters and who/what the evil cult desperately wants to get a hold of.

Further random tables generate the cult's purpose as well as the cult's leader.  There are other tables to generate a "dungeon" (not necessarily an actual dungeon) associated with the adventure.  However, these dungeon tables are not the sort of random-stocking tables old-school players may be used to; rather, they suggest the nature of the dungeon's guardian and what final challenge it poses.  Additional tables detail what hints might be available as to the nature of the cult, as well as what red herrings might throw the characters off the scent.  The Scenario Pack is rounded-out by tables of "recent events" and tables geared to push the characters into action.  All in all, this seems like it would quickly generate the skeleton of an adventure that could easily take multiple seasons to complete.  If you want to make a campaign of it, you're on your own after that, of course.

I want to return to the two stated purposes of Beyond the Wall.  One is to provide a game that veteran players could grab and play with a minimum of preparation.  Beyond the Wall easily accomplishes that.  Players could grab Playbooks while the DM grabs a Scenario Pack, and I imagine they could be ready to go with new characters and enough adventure to hit the table in 20 minutes. 

Of course, if Beyond the Wall is to be a series of one-shots there's going to be a need for many more Scenario Packs.  Also, frankly, the characters generated by the playbooks are so interesting that it would be a shame to abandon them after a single adventure.

The other stated purpose of the game is to be a smooth entry point for new players.  This is where I think Beyond the Wall wildly exceeds its goal.  I feel confident in saying this: Beyond the Wall is the best introductory game based on classic fantasy RPG rules I've ever encountered.

Beyond the Wall has replaced Labyrinth Lord as my go-to D&D game.  I think this is the finest new game I've seen in ages, even if its roots stretch far back into the genesis of the hobby.  I definitely recommend giving this game a chance if its premise appeals to you.

The game can be found here in PDF and print.

If you'd like to add elves, dwarves, and halfling Playbooks into the mix, there are freely available as a set here.

If you'd like to tell a story of courtly intrigue and the nobility, there are freely available Playbooks for that here.

If you'd like another Scenario Pack to fool around with, check out the freely available Goblin Infestation here.

Review: Beyond the Wall and Other Adventures (part 3)

First part of the review.

Second part of the review.

Beyond the Wall doesn't make use of the usual "Vancian" magic system found in D&D and D&D-derived games.  There are no traveling spellbooks, memorization, or fire-and-forget magic.  Instead, there are three types of magic, each with its own rules: cantrips, spells, and rituals.

Cantrips are minor magical effects.  To use a cantrip, a player needs to roll less than their character's Intelligence or Wisdom (which ability is specified by the cantrip) on a d20.  On a failure the player gets to decide whether the character's magical energy is depleted (they cannot use any sort of magic until they spend a night resting) or if the magic has spun out of control (which means the DM gets to decide what the magic does.)  Sample cantrips include producing light, hexing a foe, or conjuring an illusory sound.  An example:

Second Sight  (Intelligence)
Using this cantrip allows the caster to see spirits of all sorts: the dead, faeries, and demons of all stripes. This cantrip only grants the caster the ability to perceive these spirits; if she wishes to converse with them, she must know their language.

The Second Sight cantrip may also give characters certain additional powers over spirits or demons as noted in their monster descriptions found in the ‘Bestiary’ booklet.

Spells are more powerful and more reliable than cantrips.  No roll is required to use a spell; rather, a character can cast as many spells per day as they have levels.  Thus, a 3rd level character can cast three spells per day.  Once their spells are exhausted, a character may cast cantrips and rituals as normal.  A character can cast any spell they have learned; to learn a spell, they must simply study the spell in a tome or from a mentor and make a successful Intelligence check.  A character can know any number of spells, but is still limited in how many they can cast by their current level.  Sample spells include entangling a foe, banishing the undead, or creating an illusion.  An example:

Terrifying Presence 
Range: Near 
Duration: 2 rounds/level 
Save: yes
The caster of this spell moves and speaks with terrible authority and causes his enemies to quail before him. The caster may turn his baleful will toward any one opponent per round for the duration of the spell, causing the target to run or hide for the remaining duration of the spell. A successful saving throw on the part of the target negates the spell.

Rituals are the most powerful magical effects.  Like cantrips, they require the caster to make a successful Intelligence or Wisdom check; a failure means that the ritual achieves both its intended effect and the DM gets to invent a further negative consequence.  In addition, each ritual has a level, and a character must be at least equal in level to a ritual to cast it.  (This is such a small thing, but I love it because it means I don't have to explain to new players why a 3rd level wizard can't cast 3rd level spells. I've always found that to be a particularly embarrassing artifact of Gygax's design.)  Also, a ritual requires a number of hours to cast equal to the level of the ritual--as well as requiring special ingredients.  Sample rituals include conjuring long-lasting protection, summoning otherworldly beings, and creating apocalyptic maelstroms. An example:

Friends  (Wisdom)
Range: Self 
Duration: 1 day/Level 
Save: no
Blessing himself with powers of leadership and trust, the mage rants himself 2d4 points of Charisma for the duration of the ritual. While the ritual is in effect, all who meet him are impressed by his words and bearing.

The mage requires various mystical herbs, which he makes into a thick drink and then imbibes. To make his words sweet, he then paints his lips with his own blood at the culmination of the ritual

I'd have to see how this all plays out, but from my reading of the magic section of Beyond the Wall I think I vastly prefer how it handles spellcasting over D&D's "Vancian" system.  The division of magic into three different types of sorcery fits the folkloric and literary depiction of magic far better.  The spells are also quite flavorful; for example, look at the description of Flame Charm: "Some mages know the tongue of the flames. They can speak soothing words to them, causing fires to dwindle to small coals, or they can speak words of anger, causing the flames to leap higher and dance about."  The selection of cantrips, spells, and rituals feels very comprehensive, certainly offering more options than would get used in a campaign.  But if that isn't enough, the text encourages you to adapt spells from other games, with the group deciding on how powerful the spell should be in game terms.  Very nice and collaborative, that.

The magic chapter is rounded out by a good selection of magic items that could be uncovered in play.  While the function of the magical items detailed here aren't too far afield from D&D standards, their brief descriptions have far more flavor.  An example:

King’s Thief Reds
Worn by Oswald the Red when he stole the crown from the Stone King, this red-dyed leather armor grants +2 AC as normal, as well as +2 to all Stealth checks.

NEXT TIME: Monsters and adventure.