The Evolution of a Superhero setting

 

So in my earliest days of hanging out and playing as a kid at "OSR Famous" Aero Hobbies in Santa Monica, I had access to a lot of older post DND game systems. Bunnies and Burrows, Empire of the Petal Throne, Bushido, etc. But since I was a comic book collecting kid, Superhero 2044 had an instant fascination for me. I mean, the over itself was very Marvel looking, despite none of the characters being Marvel. 

Well, that may be Doctor Strange.

When I got my hands on the game, I used its setting for a brief period as described in the book. And why not? The artwork in the book was very evocative. Especially for a 70's rpg.

This image just makes you want
to do a superhero fight right now!

Anyway, I would very soon create New Haven, and it was very based on Superhero 2044's high tech futuristic Pacific Island nation Inguria. It was also called Shanter Island, and we had a hard time as kids not calling it "Shatner Island."

It was explored in the 1800's by an English sea captain, was the site of combat in WW2, and fell under American control eventually. Nuclear war ravaged the US eventually, and Inguria became its own nation, and eventually joined the European Commonwealth. The nation eventually took in Formian refugees from space, who now lived among the human population. They are described as carnivores who at times might prey on humans, but not much more is written on that. I would evolve away from a lot of the stuff, especially the Formians. I always had the setting be only 20 years in the future, as opposed to Superhero 2044's close to 70.

So in my version, the island was considered very taboo by Pacific Island and Asian people of the Pan Pacific. So though about the size of Hawaii, it was never inhabited permanently for hundreds of years. I decided this was mostly because it was a "weirdness magnet" that attracted strangeness. Gateways to other dimensions and galaxies. And lots of supernatural magic being around. This fed into my desire for a pastiche kitchen sink setting. Where comic book stuff, cyberpunk, future noir, and future supernatural stuff could go on. 

After the US took control after WW2, it became an out of the way place to build some industry, and of course secret science labs. The worker population eventually demanded a city grow out of the jungle, and New America City was born. 

So for decades I had a paper map, but for this recent stuff I did up a revised map of Haven. 

New America still contains all the neighborhoods I devised during those years of steady campaigns. Beverly and Sunrise Park, based on Beverly Hills and West Hollywood/Brentwood. City Center, based on Manhattan and Century City in Los Angeles. Chavez, a working-class part of town. Old Town and Chavez where the first inhabited areas of the city by laborers back in the day. And the Bottoms was the oldest part of town, abutting the marsh and lake areas, and very diverse from the refugee crisis after the great war decades ago. So Pacific Island, Caribbean, and various world supernatural elements might mingle. 

So since I have used Haven in the 80's, 90's, and a little mid 2000s, have retconned a bit over the years. Why not? Most comic companies more or less reboot about every 10 years. Iron Man's origin was in the Korean War I think. Later Vietnam and even later in the Middle East. So I do something similar. I still want to use some NPC's going back to my teens, and I don't want them to all be elderly. Though I have had time go by. Important long time NPC, the Japanese Irish CEO (one of the only non evil ones) who was in her late 20's in old games, will be in her 50's now. But still lovely. 

Wears a ring, but just to keep wolves at bay. 
She is married to her company.

So here is some history from the game Discord "Info Dump" text channel. It by now is only a bit inspired by the setting of Superhero 2044, but very much its own thing that has evolved or 40 years of games. 

"Konoah" was in older times a mostly uninhabited Pacific Island. a bit bigger than size of Hawaii, pacific peoples never permanently inhabited it because as far back a oral history goes, it was considered a cursed and taboo place. Where gods and demons freely visit. Legend has it that it is a place that touches on the edges of other worlds and realities. That it is a realm not always considered as part of the normal world. Such was its reputation. Even fierce nations such as Japan historically avoided it, as it was feared as a place where monsters dwell and relalities collide.. In the early 1800's it was put on many modern charts. Its first real occupation occurred during the 1930's, when The United States established a military base there

During WW2 America kept dominion over the island, though Japanese forces attacked the military fields multiple times. After the war, it was widely reported that the US atomic bomb was developed stateside, when in reality it was secretly mostly created on Konoah. At this time it was renamed by the US as Shanter Island after Samuel Shanter, the chief scientist of the secret government labs started during the war. Into the 1950's Shanter was utilized heavily for scientific and industrial work. As laboratories, office buildings, and a few high tech factories grew, a local populace that worked on these areas, as well as in the military defense fields boomed and a town slowly grew into a city. "New America Town" became "New America City" by the early 1960's. in 1965 the island was rebranded as "Haven."

The island became famous as it was a place where science and industry lived alongside tropical beauty. It became not just a place of a booming permanent populace, but also a tourism trade grew. In 1980, in this reality, Haven was designated as the 51st State of America. As the mainland's Silicone Valley became the high tech capital of the free world, Haven had its own technological breakthroughs and heavy global corporate presence. But at the same time the island local remained steeped in mystic superstition. As the new millennium approached, and the city grew with a newer image in the north districts, while the southern "Old Town" area of the city still presented the old esthetic of retro technological concerns along with the spiritual reputation of the island state. Old neighborhoods such as "Mutie Town," "Electric Avenue" in old town (in the 60's and 70's the high tech sector but now the lower end of the economic scale) and "The Bottoms" with palm tree lined old avenues, and the "Down City" area with its well lit office buildings and shopping areas surrounded by once well maintained mini lakes and canals and adorned with a landscaped portion of the shadowy southern jungle outback that always seems to be creeping into the more lighted areas.

Into the 90's New America City grew, and its northern sectors reflected its focus on science and industry that many of the more privileged people got to enjoy. Long before Hong Kong adopted a city scape of light, the Uptown of New America City lit up the Pacific with neon and laser light.

In 2001 the attack on the World Trade Towers in America began a domino affect that started World War 3. During this period besides escalating world conflicts and refugee crisis', and with anti-mutant sentiment grew across many parts of the world the use of mutant hunting Sentinel machines also grew and the combination of AI aggression in general and activities of military powers of the world in lead in January of 2005 to nuclear strikes across the world but most significantly in parts of the United States, Russia, China, India, and other pockets in the middle east. It was not full scale global nuclear war, but the civilizations were heavily impacted and the great nations of the world faced great crisis. Years of strife and governmental turmoil and and break down were suffered. The global market collapsed.

Some places, such as Japan, Hong Kong, and the newly organized Western European Commonwealth continued to survive and became the new world powers to varying degrees. Haven came out of it fairly unscathed. The newly implemented Weather Control satellites, which Haven had shared the tech with the previously mentioned countries, helped shield these places from some of the affects of short term nuclear winter and Fallout. Haven announced its status as a sovereign nation the day before new years eve 2005, a democracy still close to its American roots. Over the following decades while the once great powers of the world continued to try to recover from apocalypse, Haven leads the new world powers into an age of progress with a theme of the world arising from ashes through science and industry.

Haven announced its status as a sovereign nation the day before new years eve 2005, a democracy still close to its American roots. Over the following decades while the once great powers of the world continued to try to recover from apocalypse, Haven leads the new world powers into an age of progress with a theme of the world arising from ashes through science and industry.

Haven is a democracy, and always has 2-4 viable parties during elections periods, and sadly the Republican and Democratic parties still exist, perhaps evolved/devolved, but in the last two or three decades alternatives often win.

Science Police: originating uniquely in Haven after 2005 as an anti-nuclear/terrorist force, by the late 90's in Haven the Science Police changed into policing dangerous technology in general, and meta humans in general. Now Sci Pol exists across nations as a global force similar to United Nations, but with the aforementioned focus.

The late Lou Zocchi - who knew?

 

I have not been known to write about game designers and other such personalities on this blog. The one exception is probably Paul/Janelle Jaquays, who was a big influence on my childhood rpg mindset. You can search Paul Jaquays in this blogs search function for several related posts, but maybe my most significant post about her was here almost 15 years ago. 

But today I read about this guy who passed away last week, Lou Zocchi. In my mind in recent years, I only knew of the guy as a dice designer. But looking a bit into his history, it is a safe bet that I have heard the name since I was a kid. And it rings dim memories from the deep past. Probably saw the name a hundred times in old gaming periodicals. 

Since I am posting about my Superhero gaming of past and present lately, including the first one Superhero 2044, I must have known at some point that Zocchi published the second, full color cover version of Superhero 2044 in 1977. Damn, that should be pretty important to me since that game inspired a lot of my future comic book gaming. 

And as a kid, before I got into rpgs, I had an elementary school buddy, a Korean kid named Michael Yim, who loved Avalon hill wargames, and Zocchi was involved in that early on. And including Star Trek related stuff, he has his hands in various ways in my precious Judges Guild, including printing some of their out-of-print material, which was likely most of what I got my hands on in the 80's. That shit inspired my campaigns for my entire life. 

And of course I knew the name Game Science. Mostly known for dice, he was an advocate for proper dice that truly rolled randomly. I mean, even as kids we suspected dice of being uneven. We all had dice we swore by. That D20 that seemed to get a natural "20" a third of the time. 

He also invented the D100, and I remember how blown away I was by it back in the day. I was still recovering from the D30. He also was the first to make D3, D14, etc. 

I remember we used to joke about what
a D1000 would look like. It would 
probably just roll off the table and 
phase thorough a wall into Liminal Space

So yeah, a revolutionary to be sure. Oh, he also blunted the D4..

I never owned one. I am sure it is less painful. Yeah,
admit it. You have stepped on the regular one
like a hundred times. Like me. 

So glad to read a bit about him, even though its after he is gone. The guy lived to a ripe 97 years old, so good on him!

Cheers!

Clerical Healing is the Best Healing

 

So the party is heading to a dungeon (taking several sessions to do so), and they leave Shire's End, the last settlement of the southern portion of the kingdom and head into the Grass Wilderlands of the South. 

NPC (non-precious) teen healing god cleric Evador is down in the dumps a bit, having gotten a bit wine tipsy the night before in Montigar Silverglen's tower, and unsuccessfully trying to seduce the almost 300 year old elvish legend. 

Evador grew up a rich girl in Tanmoor (her last name is "Del Tanmoor," and if you have "Tanmoor" in your last name you are from old money), had a year or so at the university studying literature, but discovered the religion of Billick the Healing god and joined the order not long ago. She has chosen to be on the "Blue Heart on the Red Path," which essentially means she is on an adventure quest where she might need to spill blood, maybe her own, to get quick higher status at Billicks great cathedral. Her chosen quest is to investigate the old "Meadowlands Dungeon" south of the kingdom. She is a lovely, tall, but physically awkward (DX 8) 19-year-old (in the last game she missed several attacks in a row on a giant ant).

Evador's troubles are very much compounded while on the road to the mining town near the dungeon area, when a Peryton attacks from the blue. It hits her hard, and she is down for the count and immediately going into Death Save mode. 

The party wins the day and destroys the beast, but Evador is badly hurt. She is one failed save away from death, but Ruvan the young sorcerer from the Riverlands, happens to have healing. I decide Evador is still going to be out for a while, but she is at least saved. 

My first little Roll20 campaign about 3 years ago involved T's elvish bard Xanthia, and she remembered the 20-something Billick cleric "Afina of Mercy" who was encountered on her own Red Path to the same mining town near the dungeon to set up a mini-temple to Billick. So, they haul her into the town and to the small temple that is now a wood building among a lot of tent cabins. 

Afina is encountered locking the building and heading out to dinner. When not clericing in the little temple, she likes to dress in the height of current upper class young person Tanmoor fashion (Billick seems to attract young city girls of wealth to the religion), even though the city is almost 200 miles away. 

Blue is the color of healing in my world

Afina has been successful in the few months since she last saw Xanthia the Bard. Though there is a small tent cabin temple of the fighter god "Diamonnis", the cleric there will only heal those injured in conflict, so Afina has seen a lot of donations from injured mine workers and town maintenance people. Her Red Path has been completed. She is officially high priestess of her own recognized temple (though she is only like 5th level).

So Afina inspects Evadors terrible claw/impact wounds. And there is the focus of this post. 

I don't know where it came from, but on the spot I got hit by a bolt from the blue. In my decades of running games, I never differentiated between styles of healing. Healing was healing. But for some reason I improvised some dialogue from the somewhat serious young cleric Afina. 

"These wounds. Who healed them (Ruvan the sorcerer had healed Evador for 9 points)? Certainly not a cleric much less a Billick cleric. So jagged and sloppy." She eyed Ruvan...

"Was this you?" Afina said. "Are you a sorcerer? 

"What of it?" replied the young caster.

"Well, I suppose you saved her life. We can be grateful for that. But she could be left with terrible scarring. But she still needs more healing, and I think with the blessing of merciful Billick I can help the scars be a minimum."

That was it. Out of the blue after a lifetime of the game I decided that there is different types of healing skill. Billick is one of the first gods I created for the setting as a kid, and over the years I often let Billick clerics have anywhere from a +1 to +1-4 to their heals. But now it is part of my world that you can tell by the leftover wounds and scars if somebody focused on heals did the deed. A sorcerer's heal would be just about saving the life. But a Billick cleric, or most clerics, would be about overall healing which would include a reduction of scarring. 

A very minor thing to be sure, but it's kind of fascinating to me that a DM can just add and alter his world with a whim based on a certain situation long after the world is established. Instant creativity that is unique to rpg's. Man, I love winging it. Even if it's for my own fun.

And at the same time I decided that a cleric of a war god won't heal a non-combat violence wound. 

Of course, clerics of different deities having different affects is nothing new. But for my setting I will be keeping an eye on clerics to seek out little ways to add flavor to them. To differentiate them with the Rule of Cool.  

Cheers.

Roll20 in-game chat makes me feel like a Twitch streamer

 

So, I think we are going on game 15 in my regular Wednesday night 5th ed game in Roll20. I could not be more pleased with how things are going. Despite almost everybody having more 5th ed and Roll20 experience than me, I have yet to lose a single player due to my shortcomings. I'd like to think its my old schoolish style and over 40 years of experience as a DM. But whatever it is I love this group. Good role players, respectful, friendly, funny, patient. It's all there. I may never have a group like this again, and it makes me want to get the most of it. 

One thing that is really awesome to me is the in-game chat box. I did not pay much attention to it for my first few games. But something it has come in really handy for is posting a spell or ability you are using, official text on the particulars. The player simply has to click on it in the digital character sheet and the spell or what not appears in the chat for me to look over. This along with the in-game compendium searcher has made it so I don't really need any books or paperwork at the table. And I use this as a learning tool as well. After a session I have one last beer (or three) and go over the chat box to bone up on the spells and things. 

And once I got in the habit of checking, I discovered something else the players are furtively doing there. They have an ongoing text chat during each session where they comment and discuss or make jokes on the current encounter or occurrence. You see, I'm too busy to always have that chat box open. When somebody makes a dice roll, I look quickly because that is where the modified number shows up. But I'm usually doing 5 things at once. 

But those chat comments. It's a special treat for me to go in after a game and see what the little dickens have been up to there. It's kind of a hoot, and a new thing I am experiencing, and extra pleasure, I never had in face-to-face games.

So, I'm not streaming, but this little feature makes me feel like I am. And it's yet another thing making me feel, more and more, that this is the format for me to DM in for good.

Munchkin and Call to Adventure

 So far I've made posts about boardgames I had played the hell out of in the last couple of years. But on Christmas Day I was able to try two games that are new to me. 

With my nearest family members living hours away, and me hating any kind of holiday travel, I was going to stay in town and hopefully see some of the local friends I've managed to make the last couple years.

My besties B & L (a younger couple who kind of adopted me when I had first moved to my new town) came over to spend Christmas afternoon with me and eat slow cooker chili, drink beer, wine, and cider (maybe a little smokey smokey) and play some games. We had a certain window of time; whenever they would drive the half hour to my part of town they would usually come around 4 or 5 and hang till 9. But a powerful winter snow storm was due at some point. A predicted 4 inches. They have a big truck but currently live in a rural part of town that doesn't have priority for snow plowing. So they came around noon and we put the chili cooker on to bubble and settled in quick to try a couple of new games as snowflakes began to slowly accumulate outside.

Munchkin is of course an infamous game that I have wanted to try since impulse buying the deluxe edition a couple months ago. Call to Adventure was given to me by B & L on the Thanksgiving I spent with them and their local friends. Having not heard of it (it never appeared on the Will Wheaton Tabletop show where I was exposed to most games I currently love) I kind of had doubts about it. 

I spent a couple hours Christmas Eve trying to teach myself Call to Adventure. The rules are a wee bit hard to grasp on whole at first, but as soon as you know the basics you wondered why you thought it was complicated. Its not really. Besides the character/story building aspects, things like memorizing what various runes mean seem hard on the surface but in like two minutes you got it. The first game will go slower mostly from trying to correctly pick out the needed runes for your challenges. But after a couple of turns we were in full swing, not having to look up advanced rules until the need came up.

The second game goes much faster (game one was around an hour and a half, the second a bit less than an hour). 

It's a fairly quaint and dare I say maybe a bit elegant game engine. It goes from awkward to intuitive fairly quickly.  You basically start with an origin card (you are a hunter, farmer, merchant, etc), a motivation card (Bound by honor, seeking vengeance, etc) and a destiny card that spells out your final fate and what points you get at the end for various other cards you obtained that relate to the destiny card. 

Runes stand for the usual character traits; strength, dex, con, Widom. You cast runes representing how many of these you have to defeat challenges that get you more cards to expand your story cards. 

The character and story building elements, that you have a lot of control over, promotes role playing and storytelling by default. B & L are not community theater rpg types by a long shot. But they extrapolated their cards into compelling stories. 

What really struck me was the spirituality aspects built into the game. In my late teens and eearly twenties I had a period of exploring many religious, spiritual and occult things. So I was famiar with rune casting. And there is a lot about the relating of various cards here that reminds me a lot of reading tarot. Exploring the artwork imagery to expand upon the card relations even further helps foster the storytelling fun of the game. 

OK, the storm was on. Snow was coming in sideways. But it was not packing significantly. So my pals decided to stick around long enough to get in a game of Munchkin (it was around an hour).

I personally found it clunky at first. Pulling high level monsters you had no chance against, and constantly having to ditch cards. If you have too many you cannot discard. You have to give them to other players. So it seemed there would be a lot of crap cards going back and forth a lot. But very quickly things started tying together so you could use more cards, and as levels were gained the more powerful monsters you could fight. Just like D&D, how about that? 

It is an amusing RPG parody, but I think the game play has to potential to be kinda deep. I didn't think I'd like it much due to the level of the whimsy in the artwork, but the nods to D&D really won me over.

The storm deepened and B and L hit the road. Our exploring these new games was the highlight of my long weekend, and can't wait to play more. New Years weekend?

I need to play both of these games a bit more to have a final verdict, but they made for a fun few hours. A heavy role-playing game and a not so much one. I'll post more in the future about both games and will also try the solo feature Call to Adventure includes. 

Merry Chirstmas and Happy New Year!

The Lichway - "why are they here?"

 

The Lichway is a dungeon that originally appeared in issue #9 (Oct/Nov 1978) of White Dwarf magazine out of England. It was an old favorite of mine, and over the decades I've now used it probably 4 or 5 times. It would have been more than that, but my groups tended to be long lasting, years, and I could only spring it on an entirely fresh group of players. 

Many old schoolers probably are more about using Keep on the Borderlands and the Caves of Chaos multiple times (I've used them maybe twice since I was a kid). But while KotB is about as basic and vanilla as it gets (just fight endless caves of humanoids and maybe a nice-seeming cleric is a homicidal asshole), Lichway is an artifact of old indy style D&D like Arduin Grimoire and Judges Guild. The old school common dungeon elements are abundant:

The location has a gritty background (necropolis for deceased undead worshippers).

It has a shallow waterway running through it.

A deep variety of mostly offbeat monsters inhabit the area. 

There is plenty of grim mood and dungeon dressing (hundreds of open crypts, worms that will choke you in the fresh water sources, vampire statues, a long-ranging rustling sound emitted by a unique creature, a horrifying possible no-win scenario...think quick!).

But most iconic to me is the fact that several (and by several I don't mean like just 2) different groups/gangs are currently inhabiting the dungeon with for the most part no real goal or purpose other than await murder hobo's a'coming to call. I mean, there are a pair of Man Beasts (character class out of White Dwarf and another favored old school thing of mine)  just sitting around in a small enclosed hallway. Just like old school you need to inject your own motivations and reasons, whether the designers planned it like that or not (I suspect in most cases not. The style was just to give little description, because D&D was once a game about just killing monsters. Period.). 

I always injected a little of my own juice here and there since the first time I used it as a teen. It was easy just to assume the 2nd level Man Beast, a male, is training his lower level female follower, and a crypt with all kinds of creatures in it seemed like a good spot. 

I think that in all but one of the times I used it, the party manages to release the Sussurus, the ape-shaped thorn creature that emitted a windy sound that put undead in earshot to sleep. In my second to last use around four years ago back in LA the MU cast silence on it. So I've experienced that joy of playing out the party running away in chaotic "every man for himself" style through the part of the dungeon they hadn't explored yet to get away from hundreds of angry undead. Always a hoot. I think a player or two has been lost over the play through due to a bad decision or delay (describing a body being torn to bits by a howling mob of skeletons never gets old), but so far no TPK. but its come close almost every time.

So anyway, my first campaign in my new town the other year ended up geared towards Lichway. It didn't start out that way. This was an entirely new group and I was using 5th edition for the first time. To say I went into it NOT studied up on the rules in an understatement. Since all my players were newish to the edition, I used that as a way to learn. As the players learn while using their characters I would tap into that and learn along. 

And to be honest, on an old school note, I was able to wing things much more than I thought I could. Just tap into the stat base save mechanics for everything and you are good to go. Really, outside of magic use the system is pretty easy peasy. 

But since I was new to it I started slow. Running each game in sort of a simple episodic manner. At first not really looking to the future, but as time went by, the characters made contacts and friends in the way of NPC's, I had to start looking at a direction. And I knew I wanted to use an old school module, in part because I knew the players would not be familiar with anything I had from the old days. They were all a good bit younger than me. 

So first thing was to be prepared to use Lichway for 5th editon. No worries. Really nothing in there was too out of the ordinary. Man Beasts and the Susurrus were needing to be adapted. Not much else. 

But this time I decided to do something entirely different. This was a twist for me, and since it might be for you, you might want to consider it if you ever use this really excellent dungeon setting. What did I do?

Two things. First I decided to give all the groups in the dungeon an actual reason, and actual purpose, for being in the dreary place. A convergence of coincidence for good reasons.

Second, I would have the party, early on adventuring a hundred miles south of the Lichway in the big city Tanmoor prior to the Lichway delve, actually meet and interact with some of the inhabitants whom I had yet to set up shop in the Lichway. There would be a variety of things ahead of time that would set up the dynamic elements within the necropolis. And in so doing quadruple the feeling of gravitas once the location was reached. Sort of a prequel to Lichway as presented, starting  maybe a month before the actual dungeon delve.

I switched the female MU gang leader Dark Odo from a human to a young drow magic user. Highly charismatic and specializing in charm magic, the dark elf enchantress' gang was almost complete as shown in the module.. The Man Beasts were paid scouts and body guards working for Odo, hirelings more than charmed henchmen, while all the other members of the gang were recruited by Odo's considerable, manipulative charms.

Why would Odo go to the Lichway? And who where the unrelated thieves who were exploring the Lichway? Not to mention the former adventuring party that was slaughtered except for Odo's gangs captives. How did the character party get involved in all this? 

In my next post I'll lay out how I took my first 5th edition campaign towards the Lichway, and why all the NPC's are in it when the party finally shows up at the Korm Basin necropolis. 

Cheers

Kevin Mac

The Early D&D Pirate Ship

 Below is another of a series of articles I wrote a couple of years ago for a pop culture entertainment site.

The Smell of Wargamers is In the Air

It was a beautiful August day in Lake Geneva, Wisconsin, and a throng of men old and young were lining up at a sign-in desk at the entrance to the historical Horticultural Hall to sit at a table indoors all day. It was 1976 at GenCon, originally a tabletop wargaming convention that had evolved to cater more to the players of a new game: DUNGEONS AND DRAGONS.

Inside at the many tables set out for the event sat middle-aged WW2 and Korean War vets clinging to their historical wargames.

Geek Asgard circa 1976

Some scowled over at the nearby college-aged youths who in the last couple of years were invading the stodgy event, pretending to be elves and dwarves in the newish game Dungeons and Dragons.

Occasionally a paunchy, neckbearded wargamer would sidle over out of curiosity, and eventually ask a question non-D&D players would ask for decades. “How do you win?”  Each player had a different answer.

“Blah blah blah Hitler. Blah blah blah Napoleon. “

In one corner of the hall, not far from several seller’s tables, a blond, bespectacled 21 year old was hanging a fabric banner on the wall. The edges of the sign had been burnt and dirtied to give the impression of an old timey treasure map. On the banner were the words JUDGES GUILD.

Building A Pirate Ship

The young man’s name was BILL OWEN, and he was there to represent he and friend BOB BLEDSAW’s new game company, Judges Guild. Bob was back at home sick and could not attend, and they had forgotten to arrange the use of a merchandise table, but that wasn’t going to stop Bill. He and partner Bob Bledsaw had a product to sell, and it was to be a game changer.

Based on Bledsaw’s home D&D campaign, it was a beautifully designed and intensely detailed map of a fantasy city they called CITY STATE OF THE INVINCIBLE OVERLORD.

The map immediately evoked inspiration in even the most skeptical D&Der, with it’s dozens of buildings labelled as mundane businesses such as rope maker or bath house, to more fantastic shops such as wizards supply and monster hunter. It had an intricate system of alleyways and streets with names like Slaver Street and Misty Street. The maps were snapped up, but many buyers wondered about the details of the locations.

That had yet to be worked out; Bob and Bill had assumed Judges (what Dungeon Masters were called then) would want to add their own details. After all, Gary Gygax and TSR didn’t produce settings for the game yet, assuming there would be no demand. Bill thought for a second, then led any who inquired to his car, where he provided Bob’s address. “send us your address and 10 bucks, and we’ll put you on our subscription list for further info and releases.”

Bill had just invented Judges Guild’s subscription model. With few hobby shops specializing in role playing games yet, this turned out to be a winning move. The Judges Guild pirate ship had launched, matey.

“Avast there, me dorkos!”

Flash back a few months. 32 year-old Bob Bledsaw, who had fallen in love with D&D almost as soon as it came out, had been running a locally popular campaign for some time. He and young player Bill Owen had talked a lot about producing game materials, and Bob’s incredible map design skills made them decide to visit TSR Hobbies in hopes of convincing Gary Gygax to agree to let them produce game materials for D&D.

They were unable to gain audience with Lord Gary, but D&D co-creator Dave Arneson was happy to meet them. TSR didn’t think game setting products would sell, assuming everybody was happy doing their own homebrews. Dave went ahead and gave verbal permission, and Judges Guild was born (Gygax would much later say he would never have made the agreement).

The Ship Launches

The City State map proved wildly popular, and in order to fulfill the first subscription requests, Bob whipped out the details of the city he created. The vibe he instilled in it would be his gameworld standard. Bob’s personal home game setting was Tolkien’s Middle-Earth, but this new location could not be more different from the lands of Bilbo and Aragorn. It was totally gonzo.

The style was part ancient Greece, part Hyperboria, and part Lankhmar, the city of Fritz Leibers Fafhred and Grey Mouser. The city was designed as an outdoor dungeon, and walking the streets could lead to random monster and villain encounters. Walking into a shop and roughing up the haberdasher could be unwise; he might just be a 10th level sorcerer or even a demi-god.

Interesting to note, The City State’s Pegasus-riding Overlord was himself unabashedly evil, as well as 90% of his advisors and council.

Years of campaign play could be enjoyed without the characters ever leaving the city. This was not a setting for wanna be novel writers. It was pure sandbox. Characters were supposed to wander the city and encounter non – player characters who would react to them.

There were charts and tables describing random encounters and events, and each shop location featured it’s own rumors being discussed by customers and shopkeeps. If players heard a rumor that a dolphin had appeared out of thin air at a bathhouse, characters could hightail it over to see what was going on. It was up to the dungeon master to wing it and adjudicate the situation.

Bob continued expanding his City State setting. Calling his lands THE WILDERLANDS OF HIGH FANTASY, many adventure modules and packets containing maps and info on other locales and city states in the setting were gobbled up by the new Judges Guild faithful. The tropes of The Wilderlands included having it’s city state communities exist in isolation in the middle of howling wildernesses, with little real power outside their city walls.

A Gritty Sandbox to Play In

The Wilderlands were lands in decline, full of ruins of older civilizations, with little in the way of usable trade roads or safe havens. Bandits, monsters, mutants, and even aliens could kill you as you journeyed. If you were a resident of a town in the lands, a ten mile hike to visit your cousin was a suicide mission. Much like The City State, populations of all sizes (at least the human dominant ones) tended to be evil in nature. In most fantasy settings there were pockets of evil. In the Wilderlands, it’s good that is hard to find.

The brutal Wilderlands made Westeros look like Tolkien’s Shire.

Another labor of love of Bob’s was Tegel Manor, a haunted super-mansion set in the Wilderlands, a dungeon chock full of ghosts, ghouls, vampires, and an endless variety of threats. With many gags, tricks and traps, it was a total funhouse dungeon. Playing in the mansion was like being on Disney’s Haunted Mansion ride, except you have to fight everything you see. It featured over 150 rooms, and a maze of hallways. It was both deadly and goofy as hell. At the main foyer you might be greeted by a butler in the form of a Balrog’s ghost, or you might enter a room to witness several zombies bowing before a large white rat wearing a plumed hat. In typical Bledsaw fashion, single sentence descriptions were the norm.

It was up to the haggard DM to decide why the hell zombies were bowing to a rat.

The manor halls were adorned with a hundred magical paintings of former residents with mystical affects.  There’s no evidence that Bob Bledsaw was a coke hound like Gary Gygax, but he sure came up with some wild-ass stuff.

Fans of Judges Guild ate it up. It seemed the perfect weird fantasy world to D&D in.

Bill Owen would leave the company in 1978 for other pursuits (his true love before and after the Guild was the travel industry). But The company continued to expand, gaining the ownership of Dungeoneer Magazine, a fanzine-like product chock full of new monsters, magic items, and new adventures to add to the growing Wilderlands.

Sailing Along

Judges Guild produced over 250 products related to D&D, and by the early 80’s employed over 40 people. Not bad considering many of these items were poorly edited, very often contained fairly generic and unappealing artwork, and almost always were printed on poor and flimsy paper stock. And this was one of the reasons The Guild was heading into a decline to rival the decaying civilization of The Wilderlands.

Gary Gygax and company over at TSR had wised up and realized there was a demand for settings and adventures. The items they began to produce were well edited and typeset, done up with high grade paper stock and hard covers, and professional artwork. Judges Guild rejected these notions.

“But the sign in front of my office is bitchin’!” – Bob Bledsaw

Also the Guilds ideals of dungeon gauntlets, jokey puns and gags, and devotion to gonzo concepts were already becoming old. The D&D fanbase was changing and becoming more sophisticated. Ironically, players of a game where you pretended to be elves faced a growing realism movement.

“Realism will make our dorky elf game legit!”

Sunk

Judges Guild lost it’s license from TSR in 1982, and this proved to be the nail in the coffin. After a few last gasps (The Guild had a few licenses with other companies), the gangplank to the pirate ship was pulled up in 1985.

Glub glub

But, A Legacy Among the Faithful

Many years later Bob would briefly team with others to reprint some old Guild items, keeping his name in the gaming loop. Bob passed away in 2008 (the same year as Gary Gygax), but to this day his legacy carries on, through his son Bob jr. teaming up with small press game companies.

Original printings of Guild items sell for high prices on Ebay and Amazon.

The pirate ship is long gone, but the gonzo lives on in the hearts of Judges Guild faithful, like yours truly.