Saturday, September 17, 2011
Friday, September 16, 2011
Tuesday, September 13, 2011
"Is it not the glory of the people of America, that whilst they have paid a decent regard to the opinions of former times and other nations, they have not suffered a blind veneration for antiquity, for custom, or for names, to overrule the suggestions of their own good sense, the knowledge of their own situation, and the lessons of their own experience?" James Madison
Tuesday, August 30, 2011
Sunday, August 28, 2011
Saturday, August 27, 2011
Thursday, August 25, 2011
Monday, August 22, 2011
I will further explain by posing among the commentary some fictitious (though not tongue-in-cheek) examples; for this "Build a Better GM"challenge is certainly beginning to look like a group of older artists, say from the late 1800's to early 1900's, who upon gathering at Paris or Brussels find themselves sipping tea or coffee whilst discussing among themselves their various techniques.
Back drop: A notable art gallery. Seated in one of the viewing rooms are several artists who have a number of their pieces on display and within view. They openly discuss the merits of these and the techniques used in crafting them...
Seurat (to Gaugin): Your paintings jump before the eyes, Guagin! They illuminate even this dull parlor.
(looking sidelong at Van Gogh): Unlike poor Vincent's, which are too dark, I fear.
Gaugin (absently): Ah, but the hand minds the eye's choice in such matters, does it not? True, the shades are darker, and in Paris his works do not sell as well, mostly for lack of appreciation of them I'd say, but they do voice his intent.
Van Gogh (to both): I paint what I feel. I express. And I do not want for others; it is not that I detest light so much as I can appreciate the darker shades, as well. Life is my palette and no other.
Seurat: Yes, indeed, but you miss the greater import of which Gaugin has exposed in part. Impressionism, Vincent, is now upon us. The galleries, the institutes which you despise, they are alive with it! The students, the public and the art sellers, they all clamor for more. You are not adapting to the times; even your brother thinks so.
Van Gogh: Times change as do moods. There have been masters before us and there will be many that follow. I am not concerned with the past or the future, but only with that moment when I apply my brush.
Gaugin: Well said, Vincent; and in that you remain you, Seurat remains himself and I remain Gaugin. Time for some more refreshments. Absinthe anyone?
Note: The 3rd highest priced painting to sell in the world was VVG's last self-portrait: 72+ million dollars. He is notable for being one of the few to resist institutional learning (i.e., conformist views of the time), though he had some institutional training in anatomy/human proportion. Though having great respect for the artists of his time and their methods he stayed to his own course. He did not start painting until he was 20 years of age.
Moral Questions1 (grouped): How best will we as neophyte instructors of RPG teach newcomers who seek learning, and in the broadest possible sense of that term, when we just could be, just may be, be teaching another M. A. R. Barker to be without even knowing it? And who is to say that all players or DMs could not be up and coming geniuses? For as Picasso said:
All children are artists. The problem is how to remain an artist once he grows up.
My commentary from the second response in that thread:
Let me conclude this part by saying that the bolded sentence--If they exist at all it is within the specific confines of an individual who has implemented these according to their creative thrust;--refers in fact to what all of those responding to the challenge have indeed emulated! Each and every one of you has discovered over time, by learning, by challenge, by reading, by thinking, and by many other methods distinct to each and every one of you, you have discovered and brought into being from your experiences 3 creative particles. There was value in that learning, that discovery for you, wasn't there? That is why you can feel assured now in presenting these points. And now you want to pass yours along to "Build" (I suppose that means create) those in an image of it as you faintly understand it. In so doing you hope to help those who supposedly can not help themselves (even though each of you have done so in each and every case, that is, over time you have learned and progressed).
Moral Questions2 (grouped): Doesn't this very combined process expose all too clearly a dichotomy? In implementing this to "indoctrinate" newcomers and thus steer them among the choices presented, is this not channeling them along different paths that each of you took for arriving at your own individual viewpoints? How does this fit within the description and exercise of individuality for newcomers as each and every one of you have experienced for yourselves? If your past experiences and processes have produced for yourselves a heightened degree of knowledge, what are the consequences of not allowing (or foreshortening) that same learning and growth path to occur in others? Do you agree or disagree that only value-added experiences spur growth (if you believe that these two mix, then please refer to the preceding question which I reiterate as my last)?
Continuing Upon the Event Stream...
A short conversation between Socrates and a student, Ancient Greece
Student: Socrates. As you have instructed me, I have a question.
Socrates (nods): Continue.
Student (smiling): Who taught the first teacher?
Socrates (unshaken): Life.
Student (puzzled): If that is true then I need only to learn life; and if that is true, then why am I here and why do you teach?
Socrates: In answer to the first: You have not acquired that path due to indolence, a common human failing. In that lies the answer to the second.
Moral Questions3 (grouped): Are we to assume that every newcomer who is drawn to our creative hobby is doing so only for base reasons, such as: Boredom? Companionship? Lack of anything else better to do? Game-play fun? Or might they have been attracted for some of the same reasons that many of us were? Such as artistic inclination? Creative freedom? Related intellectual pursuits? Broadening of knowledge? The list is endless, of course, in both extremes, so how do we best serve the whole without limiting its parts?
Conclusion: We are dealing with unique individuals; they are not plug-and-play objects easily fitted one after the other into categories no matter what we think is true, or is the "norm," amongst ourselves. We owe it to newcomers and ourselves to be cautious and concerned in the matter of teaching and its methods.
These are the "3" I feel most strongly promote that balanced goal:
1. Each person is different, thus you have an obligation to identify that difference and nurture it in the best way that you can for their benefit. This specific tact will benefit the whole group.
2. That this course is best served by specific approaches rather than inundating each individual with a shot-gun blast of information and choices. This will allow each person the time to grow, understand and communicate their needs and interests, which thereafter can be honed by your participation in a mentoring situation.
3. Through this course you as the DM and your players will grow and excel, not just in the game, but in life as well. It will prepare your players for DMing with a courage they have won, a knowledge they have gained, and all through your patience, perseverance and subtle guidance.
Ending event stream, Master Owl and the Grasshopper
Master Owl: What is best? To serve or to be served?
Grasshopper: They are one in the same, Master Owl.
Master Owl (pausing): How so?
Grasshopper: In either I do my best and appreciate the contentment displayed in the acts
Master Owl: You are wise, grasshopper...
Sunday, August 21, 2011
Friday, August 19, 2011
Wednesday, August 17, 2011
Thursday, August 4, 2011
Wednesday, July 20, 2011
While you're out perhaps exploring the City of the Gods, I was wondering if anyone hanging about here had any thoughts on the movie "Valhalla Rising." I just saw it and was baffled. I read a few reviews and they're split into two camps -- those who see it as genius and those who regard it as a steaming pile of dung. I am of both opinions, strangely. This is what I wrote in reaction to one of those negative reviews and I was wondering if anyone had an enlightened (and enlightening) take on it -- even if it's a violently negative one:
I enjoyed your review: it perfectly described half of my reaction to this movie. But the other half of me wanted this movie to say and mean something. I actually got invested in two of the characters , One-Eye and the Boy (predictably, I think). I felt the cinematography was breath taking and invested with symbolic meaning – but for the life of me I couldn’t decode it (at least on a first viewing – I don’t know if I’ll give it a second look). The strange thing is that I’m usually pretty good at finding meaning – it’s what I do for a living (teaching and writing about some of the most obscure English poetry ever conceived). I also know a fair bit about old Norse mythology and about mythic syncretism – e.g. the relationship between the stories of Odin (a one-eyed sacrifice) and Christ – but, still, the meaning wasn’t really coming together.
However, after reading some extremely negative reviews of the film (including yours – which I really have no argument with) and a few positive ones (that call it “genius” without really saying why), I started to cobble something together. The violence of that negative reception, is that anything like the violence in the film? Your review isn’t really “violent” per se, but it is frustrated and pissed-off, right? You want the film to say something (like me) and it doesn’t – isn’t that a bit like One Eye? There are interpreters (like the Boy) – various reviewers you might say – and they make guesses at what his meaning is, what One-Eye is doing or thinks or wants – but he’s as mute as a hanged Odin, as mute as this film. People try to enslave, beat, dominate and control One Eye but, like the totally obscure meaning of this film, it/he can’t really be summed up and “controlled” by any one explanation. In the end, One Eye is killed by multiple figures all as enigmatic and silent as himself – multiple meanings that can go in all kinds of different directions (and simply fade into the wilderness). It’s a meta-film, you might say, about interpreting film.
I think this also relates to the mythic syncretism of the movie – how it wants to draw parallels between Odin and Christ, how they are echoes of each other in many ways. As the Chieftain says to the kid in that interminable boat scene, the story of Christ essentially gives you an explanation for who you are and where you’re going: it puts the chaos of experience in order. That’s a fairly interesting take on religious motivations (although it’s been done before). The need to make meaning from a film is the same need that gives rise to religion.
I usually don’t like interpretations such as this because it assumes there’s a meaning (that it’s all about meaning-making) when, in fact, it could just be a poorly crafted movie. I felt frustrated through the whole experience, thinking that I deserved just a few clues about what was going on – but your review got me thinking and I feel better, now. I don’t imagine I’ve convinced you, but I wouldn’t mind hearing from some of the people above who felt they “got it” – I’d like further clarification. I realize that, to the extent that I’ve made any meaning out of this film, it just amounts to an act of faith.
Wednesday, May 25, 2011
Wednesday, April 27, 2011
Saturday, January 29, 2011
Given these questions, which each player and DM answers in their own way, a perennial 'discussion' bounces around the Internet about a character's 'endgame'. What happens when fortune and glory are earned by a character over a course of time?
H.S. Bennett's book, Six Medieval Men & Women, can offer DM's and players some simple and accessible ideas on fleshing out the active life of a hero or heroine and basic treatments for campaign life beyond the dungeon. The book casts a light on the following lives from history (linked below to their Wikipedia articles):
- Humphrey, Duke of Gloucester
- Sir John Fastolf
- Thomas Hoccleve
- Margaret Paston (Mrs. Paston doesn't have her own Wikipedia page, but the family letters do.)
- Margery Kempe
- Richard Bradwater (in an ironic twist, the only peasant written about in the book doesn't have a Wikipedia entry. Some things never change...)
From the book's text on its subjects, a DM can take away much insight:
- Humphrey's life gives insight into familial and political connections and the lives of royalty. While most adventurers don't necessarily hail from the 'upper class' strata of a game world, the rise and fall of a nobleman offers useful NPC background info. Humphrey's life suggests the value of characters building connections with the powerful, and his life offers more than a few 'slots' where adventurers 'outside the system' could gain prestige. As a member of the Order of the Garter, it ties in with chivalrous (or nefarious...) orders and how such pledges and allegiances both build stability but are rarely protection against the winds of political change. A peasant can, perhaps, rise above his station by exemplary deeds - a noble is always in the cross hairs of political intrigue and dare not ignore it.
- Falstof's life is perhaps the most valuable insight into the 'endgame' mentioned above. What does a fighting man in the service of a lord do with his wealth? At no point in the book are there mentions of strongholds or dungeons to protect huge chests filled with gold. In medieval history, wealth was invested and Sir John spent most of the latter part of his life at a desk managing the wealth and property of his lifetime. It suggests that even for the most 'epic' warrior, the 'endgame' path is one of literacy, management, dealing with subordinates and paid specialists, visiting judges and hiring clerks. In short, everything that a battlefield is not. For those players not willing to 'settle down' or seeking the 'thrill of the hunt', Falstof's life offers plenty of reason to jump at the high level challenges of distant lands, other planes, or expeditions into the unknown. This chapter is a treasure trove for a DM's campaign, and new adventurers can find several opportunities in the service of an aging adventurer trying to keep his stronghold(s) alive and healthy.
- Tom Hoccleve's life is perhaps the most antithetical to an adventurer's and yet closest to our own time period: he was a clerk. Note that, prior to the printing press, such clerks were important parts of the bureaucratic machinery of both Church and governments. Interacting with clerks to fetch or deliver documents could be a great 'pre-adventuring' career for player characters, and the bureaucratic background of a kingdom is overflowing with NPC's.
- Margaret Paston's life, as expressed in the book, puts the role of wife in the spotlight during the time period in which she lived - a time of great turbulence in England. It is a revealing chapter - showing much more of the 'feminine half of history' that rarely enters into chronicles - and portrays a character of great competence and determination holding a family and their property in her care.
- Margery Kempe's trials and tribulations will be a strike against the romantic image of adventuring clerics. She was a mystic and religious pilgrim, causing disruption in many places in her journeys, but keeping steadfast in her faith. She was married and bore fourteen children before being 'chosen' for a path of faith and pilgrimage, so she was not born into fanaticism. Her story and her sufferings along her strange and winding path is good fuel for campaigns that involve different faiths and service to gods. An adventurer without a weapon, and a traveller without a fixed destination, her gifts and the responses those gifts evoked are certainly great material.
- Finally, Richard Bradwater's chapter gives us a tiny glimpse into a peasant 'hellraiser' and troublemaker. This chapter's value to a DM isn't just the glimpse - it is the description of the background of courts, grievances, and 'official' interaction between peasant and ruler that is of greatest value. If the 'endgame' of a character is to be discussed, then the institution and maintenance of justice and order through a regular 'court' structure is something worth paying attention to.
Bennett's LibraryThing Link
Friday, January 21, 2011
Thursday, January 20, 2011
Sunday, January 9, 2011
Saturday, January 1, 2011
Chance favors only those who court her.
Philip Ziegler's The Black Death.
There are a few things that truly define the wonderful, beautiful yet troubled abstraction known as Western Civilization. The shift from polytheism to monotheism would be one. The scientific method would be another. The printing press. Seafaring. Electric light to push back The Night.
One of the most significant is the Black Death, or more appropriately, the effects of the Black Death on how we think, how we behave, and what we believe in.
Ziegler's text, written in 1969, offers a comfortable readability and is not a 'dry history book', as the events of the Black Death that are not his primary focus. Rather, the real 'subject' of the book is the Plague's aftermath and impact. Things happened in Europe between the years 1348 and 1350 that were a lot more than just a body count.
The Short Review
Buy it and read it. I highly recommend this book to anyone with an interest in history. As someone who 'drones on an on about modules', I strongly urge DM's to read this and consider Gygaxian D&D, and Greyhawk materials, in this time period. A Gygaxian-flavored campaign is strangely like Europe before the spread of the Plague, even though much of the game's worlds fall within an 'ascendant/post-apocalyptic' symbolic base.
The Longer Review
Just some brief information from the book's text.
Chapter 1: Origins and Nature - A background of what the pandemic really was, and its three forms (attacking the flesh, blood, and breath). It mentions the ecological disruptions in the Far East, which combined with the Little Ice Age, caused a friendly stage for a pandemic. It is significant that the concept of an airborne disease clouded investigations into the cause and spread of the illnesses during the period, as only one of the three forms was truly airborne
Chapter 2: The State of Europe is a concise look at the stage set prior to the Plague's wrath, and it was already a grim stage. Civilization in Europe had, in a sense, stalled. Climactic catastrophes and conflict over resources were already putting 'the West' in peril. To quote the text:
“The most grave consequence was a series of disastrous harvests. There were famines in England in 1272, 1277, 1283, 1292 and 1311.” which, added to the overpopulation and under cultivation of resources was already a disaster in the making and Zeigler mentions the fallacy of considering the Black Death to be a natural counterbalance to overpopulation like a Malthusian Catastrophe.
Other chapters go into more detail about different countries and how they reacted and are listed below:
- France: the State of Medical Knowledge
- The rest of Continental Europe
- Arrival in England: the West Country
- Progress Across the South
- Sussex, Kent and East Anglia
- The Midlands and the North of England
- The Welsh Borders, Wales, Ireland, and Scotland
- The Toll in Lives
- The Social and Economic Consequences
- Education, Agriculture and Architecture
Of special note to our context of classic D&D are a few select chapters from the text's coverage of this horrible period of time:
- Chapter 5 - Germany: the Flagellants and the Persecution of the Jews covers the inevitable downward spiral mix of faith, desperation, and breakdowns of order. In reading about the Flagellants, you will see echoes of every 'evil cult' that ripples through classic D&D materials, only much more severe. The frightening parts of this chapter aren't the activities that took place during that time (including self-mutilation and attempts at resurrection of corpses) or the Church's eventual suppression of them. The horror is that these weren't 'evil' people at all - they represented a penitent fanaticism and an attempt to create the 'divine miracle cure' by cleansing away sin. In spite of the beliefs of the time, the data suggests that the Church did not fail, overall, to attend to the sick and the poor: records indicate the Church sustained very heavy losses of personnel to the Plague. Unfortunately, as the Clergy represented a pillar of social order that often contained the only educated persons for miles, their absence and dwindling numbers offered fewer hands that could write, fewer eyes that could read, and fewer minds that could inspire.
When even the penitent fanaticism failed, scapegoating of Europeans who were Jewish, Arab, or even lepers became common as lawlessness took hold. The Kosher diet was a very good defense against consuming contaminated meat, and persecution of Jews seen as 'suspicious survivors' swept through many of the areas ravaged by plague. Both of these horrors are useful reading for a game world that takes evil and brutality seriously.
- For anyone creating a medieval city, Chapter 9 London: Hygiene and the Medieval City is bound to be of great use to build more detail into the day to day living of the time period, particularly at a time of crisis. London was ravaged. I'll quote from this chapter:
“Not only had many of the efficient cleaners died or deserted their post and the machinery for the enforcement of the law been strained beyond its capacities but also technical problem of transporting something over twenty thousand corpses to the burial grounds had an imposed an extra and unexpected burden on the skeleton force which remained”
- In Chapter 17 The Effects on the Church and Man's Mind, Zeigler confronts the real object of his quest: what did the Black Death do the survivors? I offer below some quotes from the text:
“The villagers observed with interest that the parish priest was just likely, indeed more likely, to die of the plague than his parishioners. God's wrath seemed just as hot against Church as against people: a significant commentary on those preachers who denounced all their fellows with such tedious zest. [...] That the parson was mortal, everyone knew, that he ate, drank, defecated and in due course died. Often, indeed, he came from the same village as his flock and had relations living near him to testify that he was but flesh and blood. Yet, with his ordination, surely he acquired too a touch of the superhuman; remained a man but became a man apart? After the plague, his vulnerability so strikingly exposed, all trace of the superhuman must have vanished.”
Unfortunately, like in any crisis, those of heroic nobility really do give their lives for their beliefs, and those that remain are, perhaps, less likely to die to save their neighbor. This affected the medieval Church, in addition to the massive amounts of wealth that were willed to it from wealthier patrons (in some cases, whole families were wiped out, leaving no heirs).
Further, monastic orders took a huge hit during the Plague. While there was a certain safety to 'run for the hills', a monastery's cloistered environs had no hope of stopping certain types of the plague, particularly infected livestock.
In general, much anti-clerical philosophy is borne of this era, and Medieval man felt the Church had failed him. Without free flow of information and record keeping, the isolation of villages from each other meant that any information was hearsay, if any came at all.
Socially, the massive decline in the numbers making up the labor pool caused a massive shift in the relationship between landowner and laborer. This culminated in the Peasant's Revolt, which Zeigler sees as a direct result of this shift. Indeed, our modern definition of 'social unrest' or 'revolt' could be spawned from this.
(On a personal note, I found this chapter to be integral to understanding the spawn of Colonization and the search for the New World (relating to my C1 posts). It's almost like, unable to combat God's Wrath, those that 'conquered' the New World had, in fact, found 'Eden' and committed a terrible revenge against the 'Adam and Eve' that they found there.)
In Chapter 13: The Plague in a Medieval Village, Zeigler hits what I consider the high point: an attempt to theoretically model a real village during the spread of the Plague. It is classic 'worldbuilding' and presents the imaginary village of Blakwater. A few quotes from the text:
“It was entertaining to listen to the tale of travellers in the same spirit as, to-day, one might crowd to hear the words of an astronaut; but only the romantic or the reckless actually want to go to the moon and the inhabitant of Blakwater was no more likely to want to go to London or to Calais.”
“Though Roger himself made a point of keeping the domestic animals out of the house this was by no means an invariable rule. In some of the houses goats, sheep and sometimes even cows lived jumbled up with the family, spreading their fleas amid the soiled straw and adding their smells to the rich compound which the medieval household could generate without such extra help.”
“[...] on the fringe of the village, a ramshackle hovel provided shelter of a sort for poor Mad Meg; deformed from birth, shunned by her contemporaries and now grown crazed in squalid loneliness. Some said that she was a witch and the children used to enjoy chanting rude slogans outside her hut but nobody seriously believed that she could make successful mischief.”
“With the parson's death and the steward away the steward's clerk was the only villager left who knew how to read and write.”
You get the idea. What happens to these... characters reads like a good piece of background text for an adventure, and yet plumbs the depths of horror in a world without access to the magic that is so integral to tabletop fantasy and its roots in pulp writings.
The subject of this book relates directly to your gaming for a few reasons:
Gaming and gambling have a long history, but by the 1400's were becoming almost epidemic. Rolling the bones - pitting fate against Chance, became extremely popular in Europe after the Black Death. Gaming continues, but it's interesting that despite the adversity D&D suffered decades ago, no one attacked it as a 'game of chance', even though players really do put their fate in the hands of dice rolls.
While many classic D&D adventures seem like 'natural snapshots', I would submit that, from a historical perspective, they reflect the 'pre-Plague' Europe hovering at the edge of disaster and needing heroes while also being 'post apocalyptic and ascendant'. Is Greyhawk a schizophrenic environment or a conflicted one? I believe it's neither and part of the 'glow' of the classic adventures is, in truth, a dual-themed game world: a place existing before one disaster, but after a previous one.
Finally, note that most of the multitudes that were slain by the Black Death were peasants, raised without education in a time of faith and living in small villages rich with folklore. Did their parents, in an attempt to keep them close to home and safe, fill their imaginations with 'monsters in the forest' or 'goblins in those caves by the creek'? They have no grave markers, and in some cases, no records of their existence. Did they, working the fields by day, dream of being heroes?
If so, then the popular fantasy theme of 'a nobody rising to become a hero' may be something imprinted on us from this terrible period of time. What did a peasant child dream of in 1348?
Are you playing out the dreams of the lost and nameless dead? Are you silently fulfilling their wishes when you role up a character?
Something to think about in a New Year.