Gamebook store

Showing posts with label Sparta. Show all posts
Showing posts with label Sparta. Show all posts

Friday, 24 February 2023

The really real

I’m not coming with any answers this time, just a question.

“To understand the Athenians properly, we must recognise that it isn’t just that they perceived the world differently, but that the world itself was different. […] That we tend to see [objective reality] as a ‘natural’ feature of the world and not as our own construct is inherently bound up with the development of colonial modernity in the West. On these grounds, histories of pre-modern cultures that make use of modern Western ontologies fail to capture something essential about the world as it was. Shackled to our own ways of understanding, we can only ever write what amounts to a shadowy prehistory of ourselves.”

* * *

That's from Claire Hall's article "The Day A God Rode In" in The London Review of Books. If you want to read the whole thing, I'll wait.

So should a historical Spartan RPG include divine favour? I'm not talking about a fantasy setting here, but one where you’re trying to recreate Classical Greece as it really was. Clearly that was a world governed by the same physical laws as ours. The Greek gods don’t exist now and they didn’t then. The cosmos didn’t care whether this or that Greek hero lived or died.

Yet if the rules reflect that, the players will think like 21st century characters, not like Greeks of the 5th century BC. So maybe you need to include things like POW (in RuneQuest terms) to fix that. I'm thinking about it because at some point I mean to finish my Sparta roleplaying sourcebook Λ and Basic Roleplaying seems like a good set of rules to use for that.

But what do you think? Can we ever achieve objective reality in a historical setting? Or must we make game rules that fit the worldview of the people who lived there? 


Friday, 7 August 2020

The art of the possible


It was a pleasure and a privilege to be invited by Ralph Lovegrove onto his Fictoplasm podcast recently. Normally the structure of an episode involves Ralph reviewing a novel and then considering how it might inspire roleplaying games. Particularly recommended: Nineteen Eighty-Four, Mythago Wood, The Tremor of Forgery, The Chronicles of Prydain, Kill the Dead, The Eclipse of the Century, Lyonesse, and Elric of Melnibone. Talking of that last one, Ralph is currently embarking on a marathon read-though of Moorcock classics, so stay tuned.


A previous guest on the Fictoplasm podcast was my wife Roz Morris so to balance things out I guess Ralph just had to ask me. Tune in here for our long discussion which takes in Brexit (鎖国), Tetsubo (鉄棒), my planned Sparta RPG (Λ), Mirabilis (), Frankenstein (🧠), Tirikelu (₸), and of course Jewelspider (💎🕷 or 宝石クモ, take your pick). We also talk about politics, gamebook design, the Congo, Nazis, Sagas of the Icelanders, and roleplaying in soon-to-be-sunken lands from Abraxas to Lyonesse but I've got no kanji or other symbols for those.

Jamie mentioned after listening to the podcast that I came across a bit like Tony Blair at times. Apparently he meant because of my vocal inflection rather than my politics. I suggested we might do a regular Fabled Lands podcast. (Jamie would be the Gordon Brown of the partnership, presumably.) So far I haven't been able to convince him, but maybe if there's enough demand...

Thursday, 6 April 2017

Scenarios


A little while back, Erik observed in a comment that sometimes when I post a scenario I can seem to be holding it at arm’s length, as though it’s “old hack and slash stuff you're slightly embarrassed about”.

Well, it’s true that I’ve never really cared for dungeon bashes. I mean by that the kind of adventure that’s just one damned thing after another – a hydra in this room, three orcs in the next. Sometimes with a riddle, but never with any rhyme or reason.

The trouble with that kind of scenario is it fails the criterion that SF author Damien G Walter identifies as necessary to generate a powerful and satisfying experience:
“Humans are creatures of emotion. And stories are powered by our hunger for emotional experience. The problem – the huge problem – for science fiction is that it wants to dispense with emotion and deal only with the intellectual. And so it obsesses over novums, concepts, ideas, explanation and other intellectual modes. And that leads to stories that might be interesting, but are never compelling.”
Now, not all dungeons happen underground. Sometimes you can be on a quest of hundreds of miles across forests and deserts and swamps, but if that’s just an excuse to thread together a bunch of unconnected encounters then – yeah, maybe interesting, as Damien says, but never compelling.

Likewise, going underground doesn’t always lead to a dungeon bash. Empire of the Petal Throne players who’ve visited the wizard Nyelmu’s Garden of Weeping Snows will know that sometimes you can descend into a mythic dreamtime where the journey through the underworld mirrors an inner psychic journey. By the way, that's also why (despite the picture above) I never use figurines. I want players to use their imaginations and be the character, not look down on them like counters on a board.

Most of the times dungeons are just a way to pre-plan a highly structured session so the GM can be lazy and not have to engage with the player-characters. Or have to think up anything interesting, come to that. I’ve perpetrated a few dungeons in my time - mostly for White Dwarf, for which I wrote to order. There are some dungeons too in Dragon Warriors, a concession because we knew the game would initially be played by 10-13 year-old novice GMs for whom a dungeon can be the refereeing equivalent of bike stabilizers. Though I hope (and you’ll correct me if I’m wrong) there is something special in those scenarios that raises them above the level of goblins in ten-foot-square rooms.

In my own games, the nearest I might get to a dungeon is something like “The Honey Trap”. More usually the scenario is a set of loose notes that can be fitted around the player-characters’ current activities, as in “Friends in Foreign Parts”, “Just off the Boat”, or “In the Wrong Hands”.

Here are some other scenarios that I most definitely wouldn’t hold at arm’s length. You won’t find an ochre jelly or black pudding in any of ‘em.
  • "The King is Dead" - a scenario set in 5th century BC Greece. The version I ran took the sci-fi road into Highlander territory, but you could play it as straight whodunit or throw in a pinch of Cthulhu horror.
  • "The Hollow Men", set in the Dragon Warriors world of Legend. In our game the characters were members of a mercenary band out for revenge, but there are other ways in.
  • "Silent Night", a scenario and mini-campaign setting in Legend, which you can run with new or existing characters.
  • "A Ballad of Times Past", a one-off scenario set in a world where magic is rare and hard to come by. Originally published in White Dwarf 51.
  • "Wayland's Smithy", my version of what "finding a magic sword in treasure" ought to feel like.
  • "More Precious Than Gold", set in the Ophis universe that Oliver Johnson and I originally devised for Games Workshop's never-published Questworld book.
  • "Internecine!" - a Tekumel scenario involving the Hlüss with a few nods to the first season Star Trek episode "Arena".
  • "A Box of Old Bones", a very early Dragon Warriors scenario from White Dwarf 71. Are those bones a real holy relic or is it all just down to the power of belief, persuasion and propaganda? You decide.
And lastly there's the Champions scenario "The Enemy of My Enemy". Here's something to get you in the mood for that...



Thursday, 9 June 2016

Ways into Sparta


I’m not one of those who are scornful of the struggles that actors face in getting into character. It’s not as hard as coal mining? Can’t argue there, but it does drive some needles very deep into the actor’s psyche and sense of self-worth. Don’t discount emotional hardships, is all I’m saying.

Take Charles Laughton, driven almost to despair by his inability to get a handle on his part in I, Claudius. He finally solved it by playing a gramophone recording of Edward VIII’s abdication speech right before he’d walk on set. Similarly, though with a lot less of the hand-wringing, Sir Kenneth Branagh reportedly sought advice from Prince Charles before embarking on the role of Henry V.

The point is: you need to find a way in. Paul Mason and I used to talk about finding “the Englishness of Heian Japan” or whatever abstruse setting we had picked for our latest roleplaying campaign. It’s not that we really believe there is any “English” component there, and in particular not that we wanted to anglicize the setting in any way, just that you’re looking for the stepping stones that will get you started. Once you have that first step, you can start to build a mental model of your character within the exotic setting – until eventually it doesn’t feel exotic any more. You have passed through the stage of liminality and, now that you inhabit the setting, you can jettison those familiar analogies that got you started.

That’s the good way to do it. The bad way is to try to conform the setting to tropes you find familiar. Leaving aside the speedos, Frank Miller reduced Spartan culture to a bunch of violent libertarian nutters. That said, Miller reduces everything to violent libertarian nutters, so maybe we shouldn’t read much into it. As an approach to roleplaying in Sparta, it’s barren ground; it will lead you back into your own concerns and cultural views, not closer to the mind-set of a Spartan. The film adaptation of 300 likewise. The 1962 movie The Three Hundred Spartans was long mocked for being inauthentic, and lord knows I’m not recommending it, but arguably it’s still a lot more authentic than anything Zack Snyder has ever perpetrated.


You could look at Steven Pressfield’s book The Gates of Fire. Pressfield was a Marine, so he knows about soldiering. Trouble is, the type of soldiering he knows is likely very different from the experience of a hoplite in 480 BC. I’m not talking about drill or weaponry. Recruits into modern Western military forces tend to be rural or suburban and from a lower socioeconomic status than the general population. This leads to a specific style of training, a particular idiom of social interaction, which in British Army terms we might characterize as the “you ‘orrible little man” attitude. Or, going back to the US Marines, who can forget the Gunny’s welcoming speech from Full Metal Jacket?


If Pressfield were familiar with the Gurkhas, he’d know that if your soldiers come from a society that esteems military service you don’t need to treat them like dirtbags to get what you want. No sergeant or officer in the British Gurkha units ever needs to scream at a Gurkha soldier. Theirs is a martial culture. In such a culture, discipline flows from self-discipline. That is nearer (perhaps, for we can only surmise) to the Spartan way of thinking. All of these spartiate warriors are, after all, the aristocracy of their world. Martial values have been inculcated in them from childhood. They’re not unruly rednecks who you have to break down and rebuild into soldiers.

That suggests to me another analogy. You know the saying, apocryphally attributed to Wellington, about the battle of Waterloo having been won on the playing fields of Eton. Those young Spartans, graduates of the agoge, are maybe not so different from the pupils of a tough Victorian or Edwardian public school. That system produced exactly the sort of chap who adhered to the values of his parents and grandparents, who would politely give up his seat to an elder, and who had the reckless courage to throw himself into battle at the head of his men armed with just a pistol and a stiff upper lip.

That’s one way into Sparta, anyway. I’ll reiterate that you’re not aiming to describe Sparta in terms of Rugby School or the Marine Corps or NRA anti-federalists or Baywatch extras. That would just be cultural chauvinism and it gets you nowhere in either acting or roleplaying. What you want is the key that opens a door in your own imagination so that you can construct a credible and internally consistent Sparta there.

And incidentally you might need several different keys. One of my players, seeing the map in the Sparta Sourcebook, said, “I never realized there were so many shrines and temples.” If you’re a Westerner who has travelled in the Orient, particularly somewhere like Taiwan, you won’t find that kind of society hard to comprehend. Even less so if you’re Taiwanese, of course.Another player was surprised that Ares wasn't much worshipped in Sparta, except as a cult among immature boys. The truth is that professional soldiers throughout history have rarely regarded war as anything admirable. A Spartan would tell you that it's not battle they worship, but victory.

Roleplaying in non-traditional settings doesn’t appeal to all tastes. It takes commitment, but when you carry it off it reaches a deeper place and yields more rewarding results than any campaign with Scottish dwarves and hippy elves ever can. So, if places like Tekumel or Sparta or Heian Japan are your bag, what tricks do you use for finding your way in?

Some sources that may prove useful and/or inspirational:

Friday, 27 May 2016

"The King is Dead" (Sparta scenario)

This scenario is set in Sparta in the year 485 BC. To play it, you're going to need the Sparta sourcebook. And, pretty obviously, if you're not going to be running the game then you might want to look away now. Nothing but spoilers from here on in.

Still here? OK, the characters are young men investigating the death, apparently by suicide, of the Agiad King Cleomenes five years ago. That happened. I won't list all the history here because you can look it up. Our own campaign is fantasy (a trope I was stuck with - see previous post) so the characters' enquiries spun them off into an adventure involving the Antikythera mechanism, an interstellar wreck that caused the Thera eruption, and various other madly OTT elements. Frankly, if you ask me, you'd do better to keep the fantasy out of it. Maybe Cleomenes faked his death so that he could live in quiet retirement with his Athenian lover Naira. That's one possibility. It's your campaign; you decide...

The characters, having reached age 20, have been given their first staff (bakterion, a mark of adulthood), their first red tunic, and have just been inducted into their platoon (enomotia). Together they comprise a sub-unit of syskenoi, or “tent companions”, comprising a table in the fraternity (or mess-hall, syssition) to which they all belong. All have been picked to be members of the Royal Guard, the hippeis (“equestrians”) which means they are regarded as elite for their year.

Characters who attended the same school will know each other from an early age, but it’s likely they all got to know each other over the “gap years” as epheboi before they became young adults.

Each character will have a 50% chance of having an admirer (erastes). These are buddies/lovers in their 30s or 40s who, as full adult citizens of the Spartan state, can make introductions on a character’s behalf. The characters will need at least one admirer to get anywhere, because as youths they are not allowed into the lesche (club-houses) or the Agora. Having more than one admirer between them would be better because that is less suspicious (you’re not asking one person for a whole bunch of favours) and quicker (spreads the load). The chance of getting your admirer to do you a favour is based on charisma and/or appearance.

The festival

The Karneia is a week-long festival to Apollo (though also having secretive associations with Dionysos) involving dancing, sacrifices and athletic events in a sacred wood west of Sparta.

The chase
Five youths (ie 20-30 years) are picked as hunters. Starting from a stone carved with an image of Apollo Aphetaeus (“the starter”) they must pursue an agetor, an older priest who is garlanded in flowers. To win they must return with his garland, which is a good omen for the year ahead.

There is prestige in avoiding five younger trackers, so the agetor won’t just give it to them on a platter. But the hunter with the garland isn’t out of the woods yet – at least one other hunter has been sneaky enough to hang back, refreshed, planning to grab it off him as he returns and take the credit.


The kill
This is a wrestling contest, fought in three rounds. Anybody can take part. Just do those as competitive skill rolls. Only the final round (if a PC gets into it) needs to be played out.

While that’s going on, the helots have their own wrestling bouts in a field half a mile away. Some young Spartans go to watch, pretending nonchalance. But the helots are not prohibited from wrestling, so some of their fighters aren’t bad.

(What might strike the characters about the helot celebrations is that they are a much more drunken affair. On the rare occasions helots are given wine, they drink it stronger and in far greater quantities than the abstemious Spartans.)

Ankylos could speak to them here; see below.

The feast
Everyone dines in tents to mark the end of the festival. There is a rhapsody competition and anybody can join in. It’s while taking a piss away from the feast that Ankylos approaches them – assuming he didn’t speak to them already if they sneaked off to watch the helots wrestling.

Ankylos (40) is well known in Sparta. He is a veteran of the Battle of Marathon, having been in Athens at the time. (Sparta sent no army as the Karneia that year meant they had to wait for the full moon.) They would know that he is close to the Agiads.

He points out a helot called Talus from a village called Gythio. “I want you to keep an eye on that one. There’s a suspicion he’s gathering arms for a little band of helot trouble-makers. See if that’s true. If it is, deal with him. But only after you have proof – we’re soldiers at war, not crude butchers.”

If they watch, they will see Ankylos go back to consult with Cleombrotus (55), Leonidas’s brother.

At Gythio

The characters have to decide how to watch Talus. If they travel undercover, they would be best advised to do so in small groups. Together they look conspicuously tall to be helots. They would also need to hide their long hair – the mark of a Spartan, forbidden to lesser ranks (though in fact credible in any free Greek citizen, even though few outside Sparta retain that style today).

They could of course go openly as Spartans, under the pretext of official business (assessing the workers and crops, scouting locations for military manoeuvres, etc) or leisure (hunting, for example) or ritual (visiting remote shrines or relatives in the country) or indeed with no excuse at all. But any of those might make it hard to get a close look at what Talus is up to.

Or they could nominate a small group to be “the helots” who can go undercover, travelling with the rest as their servants.

Talus is a woodcutter and lives in a house next to his lumber yard, up a track about half a mile from the rest of the village. Observing the timber carts going up the track, perception roll to notice they are not empty.

If they look in the carts they find bows, arrows and hard cudgels.

At Talus’s house
Talus has very high perception skills so will not have any difficulty spotting them – not least because he knows they are coming. “Why don’t you come inside?” he says.

Inside they are met by Ankylos. He explains this was the only way to meet them well away from prying eyes. They can trust Talus, by the way; he’s a “step brother” who served as a scout for the army. It’s a sensitive issue and Ankylos says that the purest Spartans are the young. They are fresh with the ideals that too often become alloyed with convenience, politics and self-interest. That’s why this has to be completely confidential. They’ll understand when he tells them what they have to do.

(Another advantage, though Ankylos has the good manners not to labour this point, is that senior Spartans will not really take them seriously. The questions they will need to ask could raise suspicions if an older man asked them, but coming from them will seem like youthful enthusiasm, an eagerness to find out about the world. They can, in short, count on being both indulged and discounted.)

Ankylos tells them about the ex-king Cleomenes. Supposedly he killed himself five years ago after going mad. But there are enough suspicions and loose ends that Cleombrotus and his brother, the new king, Leonidas, want it looked into.

“You might do worse than to start by talking to Cleomenes’s old comrade Vabis – if he’ll talk to you, that is. Or maybe the undertaker who supplied the coffin; I forget his name. If you have any news, give it to Talus here or to my sergeant, Ktesios. If you come to any conclusions or uncover any evidence, be discreet.”

Conducting the investigation
Cleombrotus himself can’t do much for them because he mustn’t be seen to be involved, but he will send occasional information or instructions via his friend Ankylos or the perioikoi sergeant Ktesios, and he can also provide resources such as a ship if they need it.


Investigating Cleomenes’s death

Cleomenes apparently committed suicide in his cell and was buried at the Agiad vaults a few miles outside Sparta. That was five years ago.


Who had cause to want him dead? After reigning thirty years, during which he pursued a very active foreign policy, he had made many enemies:

◦ The Persians, whom he resolutely opposed his whole life
◦ Ex-king Demaratos, whom he effectively deposed six years ago
◦ The Argives, six thousand of whom he massacred ten years ago
◦ The island of Aegina, whose entire ruling council he arrested and took to Athens for trial six years ago

How to conduct the investigation
It’s not easy. As 20 year-olds, the characters aren’t able to enter the Agora or the market-places, and are generally looked on as “freshmen” by older Spartans. They have some options, though. They can get information and even introductions from their erastai (older male admirers). Also, they can try and approach people they want to talk to:

◦ At a temple
◦ In the Dromus while exercising
◦ At the Hippodrome
◦ By inviting them to a hunt (above-average wealth needed to host a hunt)
◦ By calling at their mess-hall (if they have a mutual contact to introduce them)

The arresting officer’s story
With the help of an erastes, or through their own contacts if any of them have been groomed for the Krypteia, the characters might get to talk to Akratos (42) who was one of the Krypteia men sent to arrest Cleomenes and is one of the few who have first-hand evidence of his madness:

“When we asked for his sword he handed it over without a fuss. Said how he didn’t want to spill Greek blood. Greeks, he called us. Well, obviously they had to lock him up.”

The order to arrest Cleomenes was issued by the Ephors immediately after a sub rosa meeting with him in the Senate. The meeting was at Cleomenes’s request and lasted several hours. The Ephors at the time are now private citizens (the term of office being one year) but of course they will not speak to the characters or to anyone else about what went on behind closed doors.

The old comrade’s story
They can also try talking to Vabis (55), the king’s long-time campaigning comrade who has fallen on hard times and is now an “inferior”, so can be approached (which is why Ankylos suggested it) – though he still has his pride and may bridle at being questioned by mere youths. A good time to approach him might be while he’s exercising on the Dromus. They will need to impress him somehow to get him talking.

Vabis knew of Cleomenes’s love for the Athenian Naira and spoke to him when he came back to Sparta just before his arrest. Cleomenes said he wanted to forge an alliance of all Greece against the Persians.

If they ask about Naira: “She was the wife of the archon of Athens, only the Athenians booted them out despite King Cleomenes’s support – or maybe because of it. The archon and his wife moved here, only he died about six months later. Ten years back, this was. Just after that fuss about burning those Argives alive in their grove.”

If pressed, Vabis admits to wondering if love of Naira drove Cleomenes to poison his friend Isagoras, her husband and the former Archon of Athens, and the guilt drove him mad. Certainly he can attest to Cleomenes being increasingly obsessed by the threat of another attack by Persia, and that he had come to believe that the only way to deal with that was to unify the whole of Greece – an idea that, to most Greeks, certainly seems insane.

The jailer’s story
In jail Cleomenes was guarded by a one-armed helot called Hogros (50). The characters will probably assume he’s a lot older than his fifty years, incidentally, because helots lead a hard life. Hogros admits to giving Cleomenes the knife he killed himself with:

“He said bring me a knife so I can cut this bread up. Well, I’m not going to argue with a king, am I? Or any Spartan come to that. Then he said bugger off and let me eat in peace. So I did. And he did himself in while I was gone, and I’ve not had a nice job like that since.”

Where was Cleomenes imprisoned? In a small lock-up just off the Street of Barriers. Hogros was assigned to stand guard outside the door.

Where was the fatal wound? Hogros can tell them as much as the undertaker Eumaeos can (see below).

Who came to visit Cleomenes? Hogros knows where “that fancy lady” (he doesn’t know Athandania’s name) lives and will try to get money for taking them there – he says she came to the cell but he was under orders not to let her in, “nor that Athenian bint neither” (ie Naira). Cleomenes did see “the king and his brother” (Leonidas and Cleombrotus) and a couple of the Ephors. “Other’n that, just me.”

The undertaker’s story
They can talk to the peroikoi undertaker Eumaeos (39) who lives in Therapne, a town south of Sparta. He collected the body for burial but instead of bringing it back to his mortuary, he was instructed to take it to Cleomenes’s house and bring the coffin there. He tells them that Cleomenes slashed at his arms several times, leaving multiple cuts, then finally drove the knife into his heart.

Who was the last person to see the body before it was placed in the coffin? “The Athenian woman, Naira. She drew out the knife with her own hand. Ice-cold, those Athenians.”

If they probe further, Eumaeos will mention that Naira was accompanied by a Spartan noblewoman, Athandania. He was specifically ordered not to treat the body in any way, just put it in the coffin.

The family friend’s story
They can talk to Lady Athandania (40), a cousin of Cleomenes. They’ll need to arrange a meeting, possibly inveigling an invitation to one of her afternoon salons at her decidedly non-regulation grand house in the outer suburbs of Limnai.

Have each player roll 3d6 for family wealth. Anyone with above-average family wealth is eligible (13+ on 3d6) then make a charisma, poetry, or appearance roll to get an invitation. Or a player might come up with a clever way to get themselves invited, of course.

Athandania thinks that the Ephors murdered Cleomenes and hushed it up. She’s not too discreet about keeping this view a secret, though she wouldn’t come out and say it to a bunch of youths. If a character eavesdrops on her, he may hear her mention it to an Athenian guest.

She is willing to tell them that her friend Naira (40) left Sparta right after the funeral, having lived here in exile from Athens for nearly twenty years.

Where did Naira go? “I had a letter from her a couple of years ago saying she was living in a remote place and missed other women to talk to, but she expected to be back in the swing of things in a few years. Oh, and she said something about how she ought to be able to see Aphrodite’s birthplace on a clear day.”

[Naira is actually now living on the island of Antikythera, about three days’ sailing to the south. A lore/mythology roll is needed to identify Aphrodite’s birthplace as Kythera.]

At the cemetery
They will need to sneak into the Agiad burial vaults as there are patrols of veteran Spartans. With timing to run in between patrols, an uncontested stealth roll will do it. Failure means the sentries come searching and you need a hide roll.

(An important question is how many of the characters will attempt this. Too few and they may not be able to open the vault where Cleomenes’s coffin is entombed – or may fail to find a clue. Too many and they will be spotted.)

To open the vault quietly requires a difficult strength roll Failure makes a noise and they’ll need another hide roll – or one of the characters could make a run for it to decoy the sentries away.

Inside the vault there is room for three characters. The coffin is open and the body is not here. Make a search roll to spot an obol (intended to go under the tongue of the corpse) in the broken remains of the coffin.



After making the report

They again arrange to meet at Talus’s house, only this time Cleombrotus, the king’s brother, comes with Ankylos. Naturally he only hears the bits that interest him.

“There’s going to be war with Persia. The old king Demaratos has gone over to their side. No doubt they’d love to turn up here and restore him as their puppet. We don’t want any legitimacy issues.”

Ankylos: “It might be worse. There could be two ex-kings drifting around out there. A madman and a traitor. To have a challenge to the Eurypontid line is bad enough, but suppose there’s an Agiad pretender too.”

“Even if Cleomenes is alive, which I don’t believe, he would never side with Persia. He’d sooner – ”

“Slit his throat? He did that already. It’s a risk, is all I’m saying. And this isn’t a good year to be taking risks.”

They turn to the player-characters:

“Go and look into that last expedition, when he went to arrest the council of Aegina. Whatever drove Cleomenes over the edge, it happened on that trip.”

Investigating Cleomenes’s final expedition

The year before his death, Cleomenes took a fleet of fifteen ships (ie his entire Royal Guard) to arrest the twelve councillors of Aegina who had paid tribute to the Persians. He had been thwarted in an earlier attempt to do so by his co-regent Demaratos, but since then he had managed to replace Demaratos with a new Eurypontid king, Leotychidas, who was his ally.

The councillors fled east towards Rodos, but Cleomenes intercepted and captured them in the Aegean on his flagship the Hydra’s Tooth. He then returned them to Athens.

Talking to marines
Some of the Royal Guard who accompanied Cleomenes’s expedition are willing to talk about it. (As the characters are royal guards themselves, it’s not hard to find a pretext for meeting.)

Xiphos and Stibades are a couple of guardsmen whom the characters might end up talking to. They’re not clear about details like navigation, but they can relate how there was a storm, the flagship got separated from the rest of the fleet, they found the Aeginetan ship in a lagoon and there was a boarding action.

“Twenty of us, thirty Aeginetan marines. Not much of a fight.”

“Well, it wouldn’t have been, only – ”

“Oh yeah. We hit a rock and the king went overboard. Full armour, you don’t come back from that.”

“Only he did.”

“He sure did.”

It comes out that Cleomenes was thought lost but later showed up on a nearby island. “Must’ve got his armour off and made it to the shore. Sixty years old, too. Fitter than a man half his age.”

The difficulty is getting details out of the Royal Guard without pressing the point too much. In addition, they aren’t giving a statement, they’re reminiscing – embellishing the bits that stuck in their minds, glossing over things (like precise navigation) that aren’t what they know or care about.

Talking to the sailors
To look for some of the sailors who were on the expedition, the characters need to travel to the port of Helos, about twenty miles south of Sparta.

It’s pretty easy to find sailors who can talk in general about the fleet – where it sailed from (Helos), when (early 491), where it returned (Zarax, though five ships went to Athens), when (late spring 491), and so forth.

Use streetwise or diplomacy skills to find a sailor in Helos who was actually with the fleet. Roll once a day. This is easier in ports along the east coast of the peninsula (Zarax, Kyphanta, Prasiai, Tyros) in which case allow a bonus to the roll. A special on the roll indicates a sailor who was actually aboard the Hydra’s Tooth.

Any sailor can relate the basic facts of the expedition: that the Aeginetans seemed to be heading for Rodos, a Greek colony that has been in Persian control since 490 BC but which was then (in 491) autonomous. The fleet was scattered by storms in the Cyclades. If the characters think to ask, the prevailing winds were driving the ships south of a true course from Aegina to Rodos.

A sailor called Sophilus who was a crewman aboard the Hydra’s Tooth can tell the full story:

“We caught up to them in the lagoon of Callista. We needed to intercept them before they got to the open sea because that was a trim fast ship – we’d never have overtaken it under sail. Hurrying to get across their bows, we ran her onto an oddly shaped rock in the lagoon and the whole ship nearly went over. I remember old Thrulon saying, ‘That’ll blunt the tooth.’ The general went over the side – ”

“The king.”

“King, was he? So he went over the side, gone like a stone, but the Spartans mopped up the Aeginetan forces – their chief told them to surrender, in point of fact. We were resupplying water on one of the islands there – not Callista itself, but an island on the north-west of the bay where the water’s less salty – and the rest of the fleet showed up. A few days later, the top men went to make an offering at an old shrine to Apollo. Well, they say it was to Apollo – I saw it and it wasn’t like any shrine to Apollo I ever saw. Anyway, who do you think they found there, naked as a babe and twice as lifelike? Only the old king that was thought drowned. So that was a lucky escape, only they do say he went mad and killed himself, which just goes to show a man can’t cheat Hades for long. If the gods want you dead, they’ll first take your wits away.”


Travel at sea

Ankylos can provide them with a letter from Cleombrotus to secure a twenty-oared galley in Helos, along with fifteen other rowers (five perioikoi, ten helots) which means that five men can be free as marines at all times. If that's where you want to go with the scenario, you could do worse than look at Tim Severin's Argo as an example of a twenty-oared Grecian galley. This article by Lionel Casson has everything you could possibly want to know about sailing speeds in ancient times.

Friday, 20 May 2016

Obedient to their laws

Maybe you noticed the Sparta roleplaying sourcebook that popped up in the sidebar recently. Here’s the story with that. One of my group’s longest running campaigns is the Immortal Spartans, devised by Tim Harford, in which a bunch of young Spartans discover they have Highlander-like regenerative powers. As a meta-campaign, it has proved a robust armature on which to hang individual mini-campaigns set in Alexander’s empire, Caligula’s Rome, 9th century Baghdad, and even 1930s New York.

The irony is, the campaign hasn’t till now had a whole lot to do with Sparta. We began the game already on the march to Thermopylae. (We could hardly slink back home afterwards. You know how the Spartans treated deserters?)

But as a long-time Tekumel enthusiast, I’m always more interested in the social and cultural side of roleplaying than all the scary monsters and super creeps. So I got to thinking it would be fun to run a prequel game before our little band became immortal, back in their salad days as junior soldiers of the Spartan state. That meant drawing a map – I always like to start with a map. And so I got to researching Spartan society from a gaming perspective.


I should insert a caveat here. Nobody knows a lot about daily life in Sparta in the early 5th century BC. Our best source is probably Herodotus, writing only a generation later. Pausanias’s descriptions come from the 2nd century. Plutarch was separated from the heyday of Sparta by half a millennium; by his time all that was left was a sort of theme park Sparta for Roman tourists. The upshot is that I had to create a Sparta, not necessarily the Sparta.

Another caveat: there are no women player-characters in this campaign. We do have one woman player, but her character is a man because the game required us all to be soldiers in Leonidas’s royal guard. Women in Sparta at this time actually have a pretty good life compared to, say, Athens, where they would be shut up behind closed doors or obliged to go about veiled. Spartan women owned property and conducted business, they were confident and outspoken, they mingled on the street with men and wore no veils. In fact, they were sneered at as “thigh showers” in the rest of Greece because of their revealing split skirts. Meeow. So you could have a game based around a group of Spartan women, but it would have a very different character from one involving Spartan men.

The best equivalent I can think of off the top of my head is the way men’s and women’s roles are portrayed in classic westerns. Out on the wild frontier, men are men and they let their fists and six-guns do their talking for them. But that society is at heart matriarchal. Women don’t take a back seat the way they would in the drawing rooms of cities back east at the time. Think of the Spartan mother pointing to her son’s shield as he set out for war: “With it, or on it.” They could be as laconic as their menfolk, those Spartan dames.

Anyway, if you pick up the Sparta sourcebook, bear in mind that it’s just designed for roleplaying male characters. Which is also something of an irony, as the game I chose to run didn't involve any of the fighting for which we nowadays think the Spartans famous. This scenario was 90% investigative. The players are tasked with uncovering the full story of King Cleomenes’s suicide -- if it was suicide. That scenario would have been equally suited to female characters, but as it was a prequel I was stuck with the characters we already had. If you play it (coming up next week) with women characters, drop a note in the comments about how it went.

Setting the scene for the PCs

The year is 485 BC – five years after the Battle of Marathon, but Persia remains an ominous storm cloud in the east. You are Spartans youths who, at 20, have just entered the lowest category of adulthood. Who knows what the future holds for you. Great things? But to you as individuals that is meaningless; a great future means a great future for the Spartan state which is your whole lives.

In creating your character, recall the advice given at Delphi. First: know thyself. You are Spartans, trained for the specific purpose of being hoplite infantry, the world’s most effective shock-troops. Never mind what you later became; maybe the seeds of that were in you even this early, but right now you are soldiers of the phalanx. Secondly: nothing in excess. There’s a temptation to max some stats and minimize others, but a well-rounded character may do better in the long run.

The virtues of a Spartan are: obedience, loyalty, courage, steadfastness, and piety. Reflect those how you will, but bear in mind that you are the aristocrats of your society – the knights, in effect – and civilized behaviour is important to you. Your principal training is in spear, shield, javelin and military manoeuvres. And yet you are very far from the brutal, half-savage warmongers of 300. It is said that it is easier to convince ten thousand Athenians to go to war than one Spartan. To draw an anachronistic parallel with today’s Marines, you are the sheepdogs. Your training is aimed at making sure that, while Spartans rarely start a fight, they can be sure of being able to end it.

While choosing your other skills, you may want to consider how you spent your late teens – that is, the “senior high” of the Agoge. This is where you pick up those extra-curricular skills.

Maybe one in ten of the 18+ group are considered as recruits for the Krypteia (think: Special Branch meets the Freemasons) and to test their mettle this “regeljugend” are sent out into the countryside to spy on helots and murder any who seem like they might be trouble-makers. So in that case you might pick up stealth skills and outdoor survival, for example.

Other late teens focus on subjects like diplomacy (learning languages, history and oratory) or on religious matters (lore and ritual) or on athletics and sports (especially the rugby-on-steroids ball game episkyros). Or maybe you’ve stepped out of one of the main school paths to do your own thing: travel, hunting, even medicine; those would count as eccentric choices but are tolerated in moderation.

Friday, 17 July 2015

Ties that bind


What keeps the characters in a role-playing game together? When I started gaming, it wasn’t something we thought about much. With no template for how we were ‘supposed’ to role-play, we took turns. Each player got 20 minutes with the umpire (‘GM’ to you non-wargamers) and it took a few sessions before we twigged that by banding together we’d all get more playing time.

Having come by that route to the whole notion of group play, we were lucky to have begun with the best: Empire of the Petal Throne. In EPT's rich social setting there are many ways that player-characters might be colleagues, united by family, clan, temple, legion, or political faction - and usually more than one of those at once.

In our non-Tekumel games, Tim Harford has given most thought to group cohesion in the campaigns he’s run. I’ve spoken before of the Company of Bronze, a group of mercenaries held together by long comradeship and the desire to avenge the massacre of the rest of the company. In Tim’s Spartans campaign, we’re all survivors of Thermopylae who grew up together through boua and Crypteia to phalanx – a stronger band of brothers you couldn’t find.

Both of those campaign set-ups could be characterized as ‘Starship Enterprise’ groups. The characters are first and foremost a team. There may be rivalries or close friendships, but nobody gets left behind. In Tim’s Redemption campaign, however, he brought us together with a shared need (the clue is in the campaign name) and a means to achieve it. But, although sent out with nominally a common goal, there was plenty of scope for the betrayals, alliances and disharmonious aspirations that make for an interestingly fraught drama.

The Redemption idea works well for a quest campaign. The characters are thrown together, usually en route to some geographical objective, so to a large extent they are held together just by that plot momentum. But how about campaigns that aren’t built around a single goal? In Jakalla or Lankhmar or Lyonesse Town, characters inhabit a fully realized social milieu. Why should they stick together?

As I mentioned above, the characters could be held in a group by membership of the same factions or institutions. In a 19th century British setting, for instance, they might have gone to the same public school. That helps to explain a friendship in later life, but it’s not a sufficient condition. Tom Brown may or may not have hung out with Harry Flashman in later life – stranger things have happened, but more likely they’d belong to different clubs, different social sets, and pass each other with but a faint curl of the lip going up Pall Mall.

Still, you’d prefer not to have everything sweetness and light in the group. Conflict and rivalry make for sparkier character dynamics and more interesting sessions. In Tim Savin’s upcoming Victorian campaign, there’s a gathering thunderhead of mutual antipathy between my own Anglo-Indian aesthete (Who's Who entry above) and Oliver Johnson’s bulldoggish hearty. It promises to be fun. But players should never have their characters act in way that simply serves the entertainment value of the ‘narrative’. For the really interesting and unexpected developments that make role-playing unique, you need to think entirely from inside the character. So why would my and Oliver’s characters not simply decide to have nothing to do with one another?

A useful pointer comes from Joss Whedon. Xander and Spike loathe each other, but both care about Buffy. If you have one character in the group who is a really good friend, relative or dependent of all the others, there’s the gluon that will hold them together. Ideally it should be a particularly well-liked player-character, but at a pinch you could make it an NPC. Affection for a sweet little mutual godchild might make even Holmes and Moriarty grit their teeth and shake hands.

With the gluon character, you can have as disparate and mutually hostile a bunch of characters as the players care to (or happen to) create. They can’t escape from each others’ orbit, so the tensions can freely crackle around the group and nobody gets to just shrug and walk away. And trust me, that kind of role-playing beats multi-classed thief-witch gnomes doing Detect Traps hands down.