This month’s freebie is drawn from a previous piece: Five Exotic Dragons. With just one of the dragons: this piece is a look at Caron a draconic religious convert.
P.S. Quote from today’s game: “Don’t fight demons with porridge”
This month’s freebie is drawn from a previous piece: Five Exotic Dragons. With just one of the dragons: this piece is a look at Caron a draconic religious convert.
P.S. Quote from today’s game: “Don’t fight demons with porridge”
Once again we come to the Third Thursday – the earliest one possible in fact.
As this saturday is Free RPG Day, we’ve decided to go with something slightly larger this month – a pair of Minor Adventuring Parties, each with their own flaw keeping them from hitting the big time.
This month’s theme is colour and what it can mean in story and games.
Colour is a big part of our world, we use it in many contexts and each colour can have multiple important meanings, so it only makes sense that colour is a big part of the fae world too. Different colours can show what powers the fae may have or what they are linked to within the world. This time I’m going to talk about the small ones with wings, fairies themselves (especially the small pixies), since they can come in all the colours of the rainbow though the most common colours for these little guys are green, blue, white, purple and orange.
This piece talks about how they can be seen within popular culture: stories, books, and games.
They show their colour in a few different ways: skin, wings, clothing, their fairy dust, or their glow. A lot of fairies have peach coloured skin and wear clothing or have wings of one particular colour, this can be any colour, such as pink or yellow or reddish-brown/orange but that colour usually links them to something like a flower or season.
Plant fairies are one example of these nature-linked fae, each fairy is linked a type of plant, most often flowers but those can include the flowers found on trees. They not very powerful and their job is to help their plant grow and spread. The flower fairies that were depicted by Cicely Mary Barker in the 1920s are a form of this type of fairies, the art work is less than a century old but the concept that there are little fairies for plants helping them grow and that live within them is eons old.
Monstrous Mondays has had its first month, and I hope you enjoyed it, but to avoid burnout April’s going to have a somewhat different focus – each Monday we’ll be talking about a different one of our ongoing or upcoming projects, plans and/or products.
This week it’s Jigsaw Fantasy that’s on the agenda
Jigsaw Fantasy is our monthly series of RPG setting elements on Patreon, a stream of releases aimed at middling to experienced GMs lacking either the time or the energy to create every aspect of the world they’re running – or who simply want a little extra inspiration to help them on their way.
Each release is between 18 and 22 pages long and details a region, set of characters, or organisation in sufficient detail to provide fodder for at least half a dozen game sessions.
There are a lot of RPG setting pieces out there, but Jigsaw Fantasy takes its name from its unique trick – Jigsaw Links.
Each Jigsaw Piece includes a set of footnotes explaining how to link it in to other pieces of writing, including established settings, mythology, and our other creations – making it easier for a GM to fit it into their own world by providing context on how things can be clicked together.
Next week we’ll be looking at Emperor’s Hand – a card game that has been brought home for redevelopment to expand its player range from 3-6 to 2-8.
Ed Note: This was meant to go up on the first week of March, but I, umm, forgot…
They are the creatures of your deepest, darkest nightmare, and yet we use them to tell stories, to protect, to explain the things we do not understand – or do not wish to – and so much more.
We need them for all these reasons but most of all, we need them because they cause fear, a powerful feeling. It is a feeling that we need to protect us from things like fire and to help us understand the world – but it also can be used against us. This is why we need to understand fear, which monsters help us to do, they create a context to which other fears can be compared.
Monsters can come in many forms – legendary creatures, illness, mutations of man and animals. Over the centuries we have learned to fight, understand and explain these monsters but we still use them to tell our stories. Sometimes those stories twist the original myths almost unrecognisably – but the core is always drawn from something that came before.
What I find most interesting about monsters is the history, stories, and what caused these stories to begin – what the monster could actually be and their physiology.
So I will be giving a write up of a monsters each week, from Z-A to help you with your game and stories.
In fitting with the theme of this week’s post, it’s coming out a few hours late.
Why? Well, this week I want to talk to you about our schedule. First things first:
With that said, one thing might stick out – it’s a week shorter than most kickstarters. There are a number of reasons for that, and I’d like to go through them:
1) A shorter Kickstarter means less slowdown in the middle.
Our previous kickstarters have had less than 20% of their funding happen in the middle two weeks, with only ~5% or so in the middle 7 days. Missing out on that 5% isn’t great, but there’s no guarantee that we will. In fact, by having only 3 weeks the starting rush and the ending jump may run together – as some kickstarter’s have found in the past – and create more hype.
2) Running a Kickstarter is a lot of work and stress.
We already have a lot to do, and marketing etc. for a Kickstarter eat into that time, along with the stress of every day where the backing drops below the prior, and never knowing how much it’ll pick back up in the end. Dropping the middle week cuts that stress significantly – by at least 1/4, but likely closer to 1/3.
3) We want its profit in this tax year. (By April 5th)
We’ve been converting some stock into cash this year by trading at conventions, but we have made very little net profit. For various reasons we’re optimistic of much more income next tax year, and having nothing this year and all of it next is suboptimal, so we want to end this tax year.
Given that we’re not ready to launch this week, a three week Kickstarter is the longest we can fit in.
And last, but certainly not least
4) We have big things planned for later this year.
Clash of Blades, the game I’ve been working on for the last 6 years, is finally ready to launch, with no more nits to pick. But I don’t feel ready to send it out to crowdfunding right now. In all our previous kickstarters something has gone wrong, and we’ve delivered slightly behind schedule. While our Patreon has shown that we can stick to a monthly schedule, we want to do something bigger, with more moving parts and some physical fulfilment, to prove (both to our backers and to ourselves) that we are ready for all the trials involved.
But we also want to launch Clash by the middle of this year – and that means that we have to have the precursor project done and dusted by that point.
We also need a name. That’s where you can help right now. We have four names we are considering:
It’s a fun, elegant card game themed around the five Chinese elements: Fire, Metal, Earth, Tree1) Sometimes called Wood, and Water. Each card represents one element, and is numbered from one to ten. As the elements have a complex interplay of creation and destruction, each card also gains a bonus from each card in play that represents the element that feeds it, and a penalty from those that harm it. Lower numbers gain bigger bonuses and smaller penalties, and vice versa.
Each round, The Emperor plays a card face up, then everyone else plays one face down. When all the cards are revealed, whoever has the highest number, after taking into account bonuses and penalties from other cards, wins the round and becomes emperor. Players can try to second guess each other to gain bonuses and avoid penalties. There are a few optional rules, such as the Dragons of the Four Seas, that mix things up a little and increase replayability, but that’s the core of the game.
So, from those four names, which is your favourite?
References [ + ]
|1.||↑||Sometimes called Wood|
T is for milk-and-two-sugars – no, T is for Tiamat, Sumerian goddess of primordial chaos.
The Mesopotamian worldview is obsessed with water.One can understand why – in a part of the world where there is limited fertile land, and therefore control of water supply is the definition of power, the gods are going to be wet. Tiamat then is the personification of the primordial waters of the sea – uncontrollable and frequently angry.
She does have a role as a creator – mating with the sweet waters to create the younger gods, but this is as an adjunct to her primary role. For most gods, I would add something here about their worship, but Tiamat wasn’t worshipped so much as feared. Avoided. A turn- round- three- times- and- touch- wood if you mention her name kind of fear. And yet, the myths have her die at the earliest age of the world, so why should she be feared now? Perhaps because she is such an imminent personification, she can never really be fully banished from the world.
I’m going to be a bit D&D specific for the next bit… TSR got Tiamat all wrong. The Monster Manual gives her alignment as Lawful Evil, so she can rule over chromatic dragons. She only shows herself as a dragon if she feels like it – she’s more likely a sea serpent or even a waterspout (see, there’s that Sumerian obsession with water again) But you can’t stat such a changeable creature, so I guess she was always going to be D&Different.
As usual, today’s tale is a blend of myth and fiction. The original has many more characters, whose role is to be the different kinds of destruction. I’ve simplified the story – and omitted the dozens of interim stories about how Marduk gets his names – partly because such tales are often an excuse for ‘we conquered you, so your god is our god now’ Most of the gods we recognise benefit from, or are victims of, such syncretization. This would be in part because the characters we know are only those that were recorded – in many cases, long after the tales were formulated.
Tiamat is the serpent and the sea. In the time before men ruled the world, when all was new, she and her children created and destroyed at a whim, and the world cannot stand such chaos,
Of the younger gods, the bravest was her grandson Marduk. And Marduk resolved to gain from her the Tablets of Destiny, which gave her much power to destroy. But he knew that she would not give up the tablets short of death.
And Marduk went from place to place to collect the things he would need to kill the serpent. In each place where he stopped to rest, he performed some feat that won him a name. Fifty places he slept, and this is why he is called Marduk of the Fifty Names. Each settlement gave him a name, and with it a little of their power.
In a place to the North where all is cold, he was given shards of ore to make a sword
In a place to the East, on the edge of the sea, he gathered water from a spring that sprang from the depths of the earth
In a place to the West, in the deep desert, he learned the art of making a sword whistle through the air
In a place to the South where all is hot, he took the shards to a volcano, and made himself the sword, and quenched it in the water, and he named it Shu Hada Ku, the Supreme Bright Weapon.
So Marduk went to the centre of the earth, where Tiamat raged, and there he fought to control her. For three days and nights he fought, until Shuhadaku pierced the monstrous throat of the goddess.
He took the sword and carved her into pieces. He placed her ribcage overhead to support the heavens. Her blood became the thrashing seas, and her eyes he placed nearby, to weep forever down to the sea. The left eye was called Tigris and the right eye was called Euphrates. Her great tail he placed in the sky, and we now call it the Milky Way.
The Tablets of Destiny he took with him, and went we know not where. Some say he walks the world still, using the power of his names and the power of the Tablets to right wrongs, destroy monsters, and banish evil.
Tiamat does have a historic connection with dragons, but the mythological goddess is ruler over (and probably mother to) all kinds of monsters. Expect a place blessed by her to be very well-guarded by fierce creatures – many of which could be chimeras. From snake-lion-goats to scorpion-centaurs, chimerae (the form of the plural is debatable depending on your adherence to classical language forms) are monsters with a mix of parts.
Chaos is an excuse for cultists! Since Tiamat doesn’t really have priests or paladins, her followers are likely to be insane cultists, looking to bring the end of the world. Not so good for protagonists but great for opposition.
Of course, she’s not a current goddess, but a dead one. My spell checker objected to the word “deicide”, but it’s a perfectly valid way to describe god-murder. Under what circumstances might one be able to kill a god? Does one need to create disbelief in it? Must one use a particular weapon? Does one need to be another god? And why do your protagonists feel it necessary to go to such lengths, upsetting the cosmic balance, and leaving a domain with no god….
So, seeing as Halloween falls on a Mythic Monday this year, I thought I’d step aside for a week and cover a little bit of the mythic significance of the Celtic New Year.
The end of the harvest, the start of winter – Samhain was one of the two nights when ancestors could return to Earth (the other being what is now May Day)
To thank the ancestors for their guardianship of the fields, some of the fruits of the harvest were set aside for them. Apples, beer or cream were common, with cakes or biscuits for those who had no harvest but their labour. Lords would feast their households, providing for the whole community out of respect for the powers of nature that had provided the harvest.
It became traditional for people who could not provide their own feasts to disguise themselves and accept the spirits portion on their behalf. This also applied to the newly betrothed or married, who had no harvest yet in their new home.This tradition was taken to America by Irish emigrants, and became Trick or Treat.
The name Hallowe’en is from the Catholicized All Hallows Eve – the following day is a day to pray for all those who have gone to purgatory. Some churches still have a potluck supper around this time, to share food with those who have less. Some schools share food with the elderly, and many folk use the onset of winter as a reminder that hard times can affect anyone.
Of course, not all spirits who return are benevolent, and the Jack O the Lantern was an invocation set to watch for malevolent ghosts and scare them away.
So, now ghosties and ghoulies and long-leggedy beasties haunt the night when the walls to the Underworld grow thin. So, take care tonight, and perhaps leave the ancestors a little something?
Some witches excel at shapeshifting, and the duel between them is called certamen. There was once a witch who wished to kill a Laird, but the Laird rarely left his castle.
But one day the Laird went to help one of his tenants with the lambing. On a snowy hilltop, the Laird and the Witch met.
“I have you now!” Said the witch.
“I will duel you for the lambs, for the people and for my life” said the laird.
She became a duck and Claimed the pond
And He took the shape of a hound and fetched her
She became a trout and Claimed the stream
And He took the shape of an otter and caught her
She became a star and Claimed the sky
And He took the shape of a thundercloud and muffled her
She became a rose and Claimed the earth
And He took the form of a bumblebee and stung her
Finally, the witch became her own form
And the Laird resumed his own shape.
“By what power have you Beaten me?” asked the witch
“By the power of three things – My land, and my people, and my God.
And by these things, I banish you.”
And the witch was gone, and not seen again
Editors note: We’ve mentioned Certamen previously, with respect to Gwydion Gwyn
Different folk celebrate different festivals, so think about the folk in your story. What feasts do they celebrate?. Is New Year in the depth of winter, or in Spring?. Most communities, however urban, recognise the farming year, and have some kind of festival for planting, growing, harvesting and winter. Common also are national recognitions – the king’s birthday, Guy Fawkes Night, Bastille Day.
Fantasy festivals might be dedicated to any of the gods we’ve covered, and any published god might have such a day. When crafting a world, or a nation, don’t forget saints and national heros – the Day of the First Emperor, or St Patrick’s Day. Borrow from real-world festivals to offer details. Perhaps Pelor’s followers dance a maypole in Spring. Perhaps Offler has a Crocodile Day, when everyone brings food to appease the holy crocodiles. Perhaps Raiden sponsors a midwinter storm festival – lock your doors and fast until sunrise.
When is this – summer, winter, all week, an hour at dusk, a minute at 11 AM?
Who has this festival – the whole community, just followers of Hera, just hobbits?
If it’s the whole community, how do devotees of the god feel about this?
What does the festival looks like – Diwali lights, Eid Fireworks, Jack O Lanterns?
What are the smells and sounds – Incense reminiscent of many ceremonies from Catholicism to Shinto, or Chinese New Year firecracker smoke?
What do people eat – feast or fast? Unleavened bread, Diwali sweets, nothing between sunrise and sunset?
What do rituals do people do – Confess their sins, wash, dance, sing, kneel, wave flags?
What taboos are enacted or redacted – women are free to have sex, curfew after dark, slaves served by masters?
How does the festival end? Sunrise, when the bell tolls, when everyone drunkenly passes out?
If you want more detailed festivals for your game, join us at Jigsaw Fantasy and vote for our pieces on religions, races, or cultures.
One of the oldest forms of his name is Guidgen which means ‘Born of Trees’, and his historic origins may well have been as a forest deity. The Celts saw their gods as personifications of aspects of nature. After the Christianisation of Ireland and Wales, these spirits of land and water became mischievous fairies.
Like many of the Children of Danu – the main family of Celtic Deities – Gwydion is a magician. His exploits feature in many stories in the Mabinogion, which is also where we meet some of his more famous peers – Gawaine, Taliesin and Arthur.
Arianrhod was to become the wife of a great chieftain. As was the custom at that time, she was tested for her virginity, and it turned out that she failed.
“But I lay never with a man, save for a dream I had, that the light itself became a human shape and stayed the night with me” she said.
This was taken as that the Lord of Light, Lleu himself, had slept with her, and that made her no fit wife for the chieftain.
Ashamed, Arianrhod ran to the door, but on her way out something small dropped from her. Gwydion took the token, wrapped it up and placed in a chest at the foot of his bed. Some time later, he heard screams from within the chest, and opened it to discover a baby boy.
Seven years later, Gwydion accompanied the boy to Caer Arianrhod, and presented him to his mother.
“Arianrhod, here is your son”
“If that is my misbegotten child, then I lay a geas on him that only I may name him”
So Gwydion took the child and disguised himself and the boy as cobblers. His skill was such that all the people of the castle came to have their shoes made, and at last Arianrhod came to the courtyard where the two were working. Whilst the elder cobbler wielded the sharp knife on the leather, the bored child threw a stone at a nearby wren. He struck it so accurately that Arianrhod remarked “it is with a skillful hand that the fair-haired one has hit it” and so the boy was named Lleu Llaw Gyffes, which is Fair-haired one with the Skillful Hand.
Furious at having been so tricked, Arianrhod placed another geas on the boy, that only she should arm him.
Gwydion went and borrowed a pack of hounds, and by enchantment caused them to seem as Irish raiders, tall and cruel. He set them on the gates of Caer Arianrhod.
“Woe unto us, that we are beset! Who will drive back the raiders?”
Lleu, disguised this time as one of the serving folk, came to the gate and volunteered to defend the castle “save that I have no arms nor armor”
In desperation, Arianrhod clothed the servant in a fine suit of mail, and gave him a spear and shield. And he went out and single-handedly drove off the pack of hounds. He returned to the castle in his own form, wearing the armor and wielding the weapons his mother had given him.
Seeing that she had been tricked once again.she laid a third geas on him: that he should never have a human wife.
To counteract Arianrhod’s third curse, Gwydion and his brother Math took flowers from each of the forest trees and conjured a maiden from them – Blodeuwedd, meaning Maid of Flowers.
Of course, with no soul, she could not be faithful, and caused nothing but grief. But that is hardly the fault of Gwydion Gwyn, whose part in this tale is done.
Gwydion can appear as his own self, as a guide and teacher of magicians. His magic tends towards the transformative – turning hounds into people, and the illusory – disguising himself. He also, elsewhere in myth, is a master of certamen – the wizard’s shapeshifting duel, chronicled in both “The Sword in the Stone”, by T H White (filmed by Disney) and in the song The Twa Magicians (recorded many times in different ways, for instance Damh the Bard’s recording of “The Two Magicians” which differs greatly from Steeleye Span’s “Two Magicians”)
The Celts didn’t really do temples in the Classical sense, but any place sacred to the Fair Folk could be a portal to their world – either the Underworld, or Fairyland (the Celts didn’t distinguish) Pools and fountains are good for this, as are caves and hollow hills. Even a simple crossroads at midnight on the full moon could become a road to faraway places.
As a god of magic and craft, Gwydion’s name might be invoked by talismongers and smiths alike. His influence might be sought in Ogham, or chanted over a quenching pool, or sung whilst weaving a baldric. As a forest deity, he might especially be patron of carpenters and fletchers – guiding the selection of the proper wood, and used as a meditative focus to carve smoothly.
For a fantasy setting that lets you more easily weave in the gods, try Jigsaw Fantasy