GURPS 4th edition. Fantasy

242 Pages·2004·6.755 MB·English

by  William H. Stoddard

From ancient myths to popular films, tales of heroes
and magic have captured the imagination. Now GURPS
Fantasy offers roleplayers a comprehensive guide to the
entire fantasy genre. Building on the flexible, streamlined
F
Fourth Edition rules, it lets you develop a campaign to
explore the world of your favorite book or film – or create A
a new one from your own dreams. The main emphasis is
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on historical fantasy, in settings from the Bronze Age to the
Renaissance, but the principles apply to any fantasy setting, T
from the prehistoric past to the remote future.
A
But there’s more here than theoretical guidelines and toolkits.
S
You’ll find examples of imaginary plants and animals, unique
monsters, nonhuman races, occupations, spells, and enchanted
Y
objects, ready to use in your own campaign – or to use as models
for inventing your own.
A complete campaign setting, Roma Arcana, is ready to use in your own
game. It can stand on its own, or fit into the Infinite Worlds background
from GURPS Fourth Edition. Send a band of adventurers on impossible
missions in a magical Roman Empire, as they struggle to win honor and
hold back the darkness.
You’ll find help in running your campaign here, in Roma Arcana or any
other setting: advice on creating balanced parties, devising scenarios to
challenge them, and using the game rules to achieve dramatic effects.
Take the most flexible, most consistent RPG system there is, and
use it to run the campaign you dream of.
GURPS Fantasy requires the GURPS Basic Set, Fourth Edition.
The information and ideas here will work with any fantasy game.
By William H. Stoddard Edited by Andrew Hackard and Jeff Rose
Cover Art by Denis Loubet, Pat Morrissey, Bob Stevlic, and John Zeleznik
Illustrated by Abrar Ajmal, Alex Fernandez, Denis Loubet, Bob Stevlic,
Eva Widermann, and Eric Wilkerson
3RD EDITION, 1ST PRINTING
PUBLISHED NOVEMBER 2004
ISBN 1-55634-519-4
9!BMF@JA:RSTPXVoYjZhZ_ZdZ`
STEVE
JACKSON
Printed in GAMES
SJG03495 01-1001
the USA
01-1001
Written by WILLIAM H. STODDARD
Cover by DENIS LOUBET, PAT MORRISSEY, BOB STEVLIC, and JOHN ZELEZNIK
Edited by ANDREW HACKARD and JEFF ROSE
Additional Material by MICHAEL SUILEABHAIN-WILSON
Illustrated by ABRAR AJMAL, ALEX FERNANDEZ, DENIS LOUBET,
BOB STEVLIC, EVA WIDERMANN, and ERIC WILKERSON
Cartography by PHILIP REED
ISBN 1-55634-519-4 1 2 3 4 5 6 7 8 9 10
STEVE JACKSON GAMES
C
ONTENTS
INTRODUCTION . . . . . . 4 Using Magical Objects in Mana and Life . . . . . . . . . . . . . . . .44
Campaigns . . . . . . . . . . . . . . . .29 Magical Networks . . . . . . . . . . . . .45
About GURPS . . . . . . . . . . . . . . . . .4 MAGICALBEINGS . . . . . . . . . . . . . . . . .29 Spirits of Place . . . . . . . . . . . . . . . .45
Spirits . . . . . . . . . . . . . . . . . . . . . . .30 PLANTSANDANIMALS . . . . . . . . . . . . . .46
1. PLANNING THE Spirits in the Material World . . . .30 Plant and Animal Legends . . . . . .46
CAMPAIGN . . . . . . 5 Gods, Spirits, and Mana . . . . . . . .30 Imaginary Species . . . . . . . . . . . .47
Gods . . . . . . . . . . . . . . . . . . . . . . . .31 Magical Species and
GENRES . . . . . . . . . . . . . . . . . . . . . . . . .6 Angels . . . . . . . . . . . . . . . . . . . . . . .31 Mana Organs . . . . . . . . . . . . . .48
High Fantasy . . . . . . . . . . . . . . . . . .6 Demons . . . . . . . . . . . . . . . . . . . . .32 Plant and Animal Spirits . . . . . . . .49
Low Fantasy . . . . . . . . . . . . . . . . . .6 Evil Gods . . . . . . . . . . . . . . . . . . . .32 MONSTERS . . . . . . . . . . . . . . . . . . . . . .49
Myths and Games . . . . . . . . . . . . . .6 Half-Mortals . . . . . . . . . . . . . . . . .32 Giants . . . . . . . . . . . . . . . . . . . . . . .50
Dark Fantasy . . . . . . . . . . . . . . . . . .7 Using Spirits in Campaigns . . . . .33 Behind the Curtain:
Light Fantasy . . . . . . . . . . . . . . . . . .7 Being a God . . . . . . . . . . . . . . . . . .33 How Strong Is a Giant? . . . . . .51
Sword and Sorcery . . . . . . . . . . . . .7 MAGICALREALMS . . . . . . . . . . . . . . . . .34 Hybrids . . . . . . . . . . . . . . . . . . . . .51
On the Borders . . . . . . . . . . . . . . . .7 Dreamlands . . . . . . . . . . . . . . . . . .34 The Chimera’s Pedigree . . . . . . . . .52
Crossovers . . . . . . . . . . . . . . . . . . . .9 Faerie Realms . . . . . . . . . . . . . . . .35 Possessed Creatures . . . . . . . . . . .52
SETTINGS . . . . . . . . . . . . . . . . . . . . . . .10 Afterworlds . . . . . . . . . . . . . . . . . .35 Unnatural Swarms . . . . . . . . . . . .53
Fantasy Worlds . . . . . . . . . . . . . . .10 Spirit Worlds . . . . . . . . . . . . . . . . .35 Magical Creations . . . . . . . . . . . . .53
Motifs, Part 1 . . . . . . . . . . . . . . . . .11 Heavens . . . . . . . . . . . . . . . . . . . . .35 Victims of Curses . . . . . . . . . . . . .54
Fantasy in the Real World . . . . . .13 Hells . . . . . . . . . . . . . . . . . . . . . . . .36 Offspring of Gods . . . . . . . . . . . . .55
Motifs, Part 2 . . . . . . . . . . . . . . . . .14 Archetypical Realms . . . . . . . . . . .36 Primordial Entities . . . . . . . . . . . .56
SCOPE . . . . . . . . . . . . . . . . . . . . . . . . . .15 Pocket Universes . . . . . . . . . . . . . .36 RACESANDCULTURES . . . . . . . . . . . . . .56
Point Campaigns . . . . . . . . . . . . . .15 THEDEAD . . . . . . . . . . . . . . . . . . . . . . .37 Exotic Customs . . . . . . . . . . . . . . .57
Area Campaigns . . . . . . . . . . . . . .15 Ghosts . . . . . . . . . . . . . . . . . . . . . .37 Races . . . . . . . . . . . . . . . . . . . . . . .58
Arc Campaigns . . . . . . . . . . . . . . .15 Ancestor Worship . . . . . . . . . . . . .37 Interfertility . . . . . . . . . . . . . . . . . .58
Base and Mission Campaigns . . .15 Afterworlds . . . . . . . . . . . . . . . . . .37 Wugs . . . . . . . . . . . . . . . . . . . . . . . .59
Campaign Style: Reincarnation . . . . . . . . . . . . . . . .37 Alternative Lycanthropies . . . . . . .60
Aspects of Realism . . . . . . . . . .16 Resurrection . . . . . . . . . . . . . . . . .38 Unique Beings . . . . . . . . . . . . . . . .61
Ascension and Deification . . . . . .38 Cultures . . . . . . . . . . . . . . . . . . . . .61
2. THE SUPERNATURAL Revenants . . . . . . . . . . . . . . . . . . . .38 The Place of Humanity . . . . . . . .63
. . . . . . . . . . . . . 17 Languages . . . . . . . . . . . . . . . . . . . .64
3. WORLDS . . . . . . . 39 MAGICANDTECHNOLOGY . . . . . . . . . . .64
Behind the Curtain: Point Costs . .18 Alternative Technologies . . . . . . .65
MAGIC . . . . . . . . . . . . . . . . . . . . . . . . . .18 FRAMES . . . . . . . . . . . . . . . . . . . . . . . . .39 Magically Enhanced
Intrinsic Magic . . . . . . . . . . . . . . .18 Planets . . . . . . . . . . . . . . . . . . . . . .39 Technology . . . . . . . . . . . . . . . .65
Subjective Magic . . . . . . . . . . . . . .19 Places . . . . . . . . . . . . . . . . . . . . . . .40 Variant Natural Laws . . . . . . . . . .65
The Three Laws of Magic . . . . . . .19 Many Worlds . . . . . . . . . . . . . . . . .40 Technomagic . . . . . . . . . . . . . . . . .66
Nature and Supernature . . . . . . . .20 Above and Below . . . . . . . . . . . . . .40 When Magic Becomes
Knowing Good and Evil . . . . . . . .21 PLAYINGWITHMAPS . . . . . . . . . . . . . .41 Technology . . . . . . . . . . . . . . . .66
Using Magic in Campaigns . . . . .21 Earth . . . . . . . . . . . . . . . . . . . . . . .41 Technologically
MAGICALOBJECTS . . . . . . . . . . . . . . . .22 Altering the Map . . . . . . . . . . . . . .41 Enhanced Magic . . . . . . . . . . .66
Natural Magic . . . . . . . . . . . . . . . .22 Creating the Map . . . . . . . . . . . . .41 Exotic Settings . . . . . . . . . . . . . . . .68
Alchemy . . . . . . . . . . . . . . . . . . . . .23 MAGICALLANDSCAPES . . . . . . . . . . . . .41 CIVILIZATIONS . . . . . . . . . . . . . . . . . . . .68
Enchantment . . . . . . . . . . . . . . . . .23 The Living Earth . . . . . . . . . . . . . .41 True Kings and
Runic Enchantment . . . . . . . . . . .25 Enhanced Environments . . . . . . .42 Sacred Covenants . . . . . . . . . .68
Familiars and Fetishes . . . . . . . . .26 Impossible Environments . . . . . .42 Supernatural Elites . . . . . . . . . . . .69
Named Objects . . . . . . . . . . . . . . . .26 Unevenly Distributed Magic . . . . .43 Pirate Commonwealths . . . . . . . . .69
Holy Relics . . . . . . . . . . . . . . . . . . .26 Aspected Mana . . . . . . . . . . . . . . .43 Fantastic Customs . . . . . . . . . . . .70
Foci . . . . . . . . . . . . . . . . . . . . . . . . .28 Mana Basins . . . . . . . . . . . . . . . . .43 Everyday Magic . . . . . . . . . . . . . . .70
PGroMUPdrRaGuoncPUdAatSuiRgrPoctiPSn antDiygS goMsienrtLE eeaDidAcmnnetiraeots tog DiirEgsree ❚ntdr❚ s ❚Sii❚ ❚tAgTAoMPnNrELHDO ❚ E❚VIRSNSEXLTEEII JFPQEAWAE VUNRC REHEE KPN AESJCUAACDOHNNCKNACKDAPHESRMOZDANN GURPEPSMrrrePFaaprAtrrSaikeQna esCtl tse MoiB snCo uagMhriy dneDeaictrninakr aa ❚ieentgrcMoe et ❚rrorO Mr ❚ ❚ ❚ N ❚ASROIPNTCONAÉDASIUPC YSSHLA TJV ACEESENHPTPTESEHARO PPETOHNMHNMEASÉINNLRSEIAULT
Lead Playtester:Peter V. Dell’Orto
Playtesters:Kimara Bernard, James L. Cambias, Mike Dokachev, Kenneth Hite, Phil Masters, Kenneth Peters,
David L. Pulver, Gene Seabolt, Michael Suileabhain-Wilson, and Chad Underkoffler
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or used under license. GURPSFantasyis copyright © 1990, 1995, 2004by Steve Jackson Games Incorporated. All rights reserved. Printed in the USA.
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2 C
REDITS
The Genius of a People . . . . . . . . .70 Alternative Wizards . . . . . . . . . . .124 Through a Glass, Darkly . . . . . .181
Magic as a Resource . . . . . . . . . . .71 Why Are These Learning Experiences . . . . . . . . .182
The Control of Magic . . . . . . . . . .71 People Together? . . . . . . . . . . .127 The Responsibility of Power . . .184
Religion . . . . . . . . . . . . . . . . . . . . .72 ADVANTAGES, DISADVANTAGES, Shore Leave . . . . . . . . . . . . . . . . .184
Foreign Relations . . . . . . . . . . . . .73 ANDSKILLS . . . . . . . . . . . . . . . . . .128 SUBPLOTS . . . . . . . . . . . . . . . . . . . . . .186
Multispecies Empires . . . . . . . . . .73 Appearance . . . . . . . . . . . . . . . . .128 WARINFANTASYSETTINGS . . . . . . . . .186
Advantages . . . . . . . . . . . . . . . . . .128 Varieties of Forces . . . . . . . . . . .186
4. HISTORIES . . . . . 74 Behind the Curtain: Cost of Divided Strategic Positions . . . . . . . . . . .188
and Restructurable Magery . .130 Battles . . . . . . . . . . . . . . . . . . . . .188
FRAMES . . . . . . . . . . . . . . . . . . . . . . . . .75 Ally or Asset? . . . . . . . . . . . . . . . .132 Player Characters in Battle . . . . .190
Historical Time . . . . . . . . . . . . . . .75
New Perks . . . . . . . . . . . . . . . . . .132 Magic and Warfare . . . . . . . . . . .190
Mythic Time . . . . . . . . . . . . . . . . .75
Disadvantages . . . . . . . . . . . . . . .132 Mythical Beasts in Combat . . . . .193
Prophecy . . . . . . . . . . . . . . . . . . . . .75
Magical Afflictions . . . . . . . . . . . .133 The Armies of Darkness . . . . . . .194
Mythology, Part 1 . . . . . . . . . . . . . .76
New Meta-Traits . . . . . . . . . . . . .133
PLAYINGWITHTIMELINES . . . . . . . . . .77 Skills . . . . . . . . . . . . . . . . . . . . . . .134 9. ROMA ARCANA . . 195
Real History . . . . . . . . . . . . . . . . . .77
New Techniques . . . . . . . . . . . . .136
Mythology, Part 2 . . . . . . . . . . . . . .77 Roma Arcana in the
Skills and Size Modifiers . . . . . . .137
Divergent History . . . . . . . . . . . . .78 Multiverse . . . . . . . . . . . . . . . .196
WEALTHANDSTATUS . . . . . . . . . . . . .137
Zeitgeists: Spirits of Time . . . . . . .78 Currency and Prices . . . . . . . . . .137 A TIMEOFTROUBLES . . . . . . . . . . . . .196
Invented History . . . . . . . . . . . . . .79 Foes and Menaces . . . . . . . . . . .196
Status and Cost of Living . . . . . .137
HISTORICALERAS . . . . . . . . . . . . . . . . .79 Income . . . . . . . . . . . . . . . . . . . . .138 Imperial Assets . . . . . . . . . . . . . .197
Dawn Ages . . . . . . . . . . . . . . . . . . .79 EQUIPMENT . . . . . . . . . . . . . . . . . . . . .140 MAP: THEROMANEMPIRE . . . . . . . .199
City-States . . . . . . . . . . . . . . . . . . .80 Order of Battle . . . . . . . . . . . . . . .200
Exotic Weapons . . . . . . . . . . . . .141
Empires . . . . . . . . . . . . . . . . . . . . .81 Men of Destiny . . . . . . . . . . . . . .200
Vehicles . . . . . . . . . . . . . . . . . . . .141
Decadence . . . . . . . . . . . . . . . . . . .81 Reunion . . . . . . . . . . . . . . . . . . . .201
Petards . . . . . . . . . . . . . . . . . . . . .143
Exhaustion . . . . . . . . . . . . . . . . . . .82 Vehicular Weapons . . . . . . . . . . .144 ROMANFAITH . . . . . . . . . . . . . . . . . . .201
Catastrophe . . . . . . . . . . . . . . . . . .83 Gods and Spirits . . . . . . . . . . . . .201
Dark Ages . . . . . . . . . . . . . . . . . . . .84 7. MAGICAL ARTS . . 146 Ancestors and
New Beginnings . . . . . . . . . . . . . .85 Household Cults . . . . . . . . . .202
DISTURBANCES . . . . . . . . . . . . . . . . . . .85 USESOFMAGIC . . . . . . . . . . . . . . . . .147 The Imperial Genius . . . . . . . . . .202
Natural Disasters . . . . . . . . . . . . .86 Low Magic . . . . . . . . . . . . . . . . . .147 Sacrifices . . . . . . . . . . . . . . . . . . .202
Plagues . . . . . . . . . . . . . . . . . . . . . .88 Formulaic Magic . . . . . . . . . . . . .148 Prayer . . . . . . . . . . . . . . . . . . . . . .203
Wars . . . . . . . . . . . . . . . . . . . . . . . .89 Man Proposes, Divination . . . . . . . . . . . . . . . . . .203
Magical Disasters . . . . . . . . . . . . .89 God Disposes . . . . . . . . . . . . .148 Priesthoods . . . . . . . . . . . . . . . . .204
Divine Punishments . . . . . . . . . . .89 Naming the Arts . . . . . . . . . . . . . .150 Sacred Grounds . . . . . . . . . . . . .204
SHADOWSOFTHEPAST . . . . . . . . . . . . .90 High Magic . . . . . . . . . . . . . . . . .151 RIVALBELIEFS . . . . . . . . . . . . . . . . . .205
Genealogies . . . . . . . . . . . . . . . . . .90 Mystery Cults . . . . . . . . . . . . . . .205
Ruins . . . . . . . . . . . . . . . . . . . . . . .90 Sorcery . . . . . . . . . . . . . . . . . . . . .207
Relics . . . . . . . . . . . . . . . . . . . . . . .91 Black Arts . . . . . . . . . . . . . . . . . .208
Skin-Turner Animal Forms . . . . .209
5. LOCALITIES . . . . . 92 Astrology . . . . . . . . . . . . . . . . . . .210
Philosophy . . . . . . . . . . . . . . . . . .210
SETTLEMENTS . . . . . . . . . . . . . . . . . . . .93 THESTRUCTUREOFMAGIC . . . . . . . . .153 The Anger of the Gods . . . . . . . .210
Isolates . . . . . . . . . . . . . . . . . . . . . .93
Levels of Power . . . . . . . . . . . . . .153 Christianity . . . . . . . . . . . . . . . . . .211
Villages . . . . . . . . . . . . . . . . . . . . . .93
Levels of Skill and BESTIARY . . . . . . . . . . . . . . . . . . . . . .211
Towns . . . . . . . . . . . . . . . . . . . . . . .94
Skill Hierarchies . . . . . . . . . .153 Empedocles’ Quest . . . . . . . . . . . .212
Cities . . . . . . . . . . . . . . . . . . . . . . . .94
Speed . . . . . . . . . . . . . . . . . . . . . .154 CHARACTERS . . . . . . . . . . . . . . . . . . . .213
Agrarian Magic . . . . . . . . . . . . . . .95
Range . . . . . . . . . . . . . . . . . . . . . .154 Racial Templates . . . . . . . . . . . . .213
Temporary Settlements . . . . . . . . .95
Duration . . . . . . . . . . . . . . . . . . . .154 Ethnic Traits . . . . . . . . . . . . . . . . .213
Imperial Capitals . . . . . . . . . . . . . .96
How Much Detail? . . . . . . . . . . .154 Occupational Templates . . . . . . .214
City of Wonders . . . . . . . . . . . . . . .96
Ritualization . . . . . . . . . . . . . . . .155 Advantages, Disadvantages,
SERVICES . . . . . . . . . . . . . . . . . . . . . . . .97 SYSTEMSOFMAGIC . . . . . . . . . . . . . .155 and Skills . . . . . . . . . . . . . . . .219
Medical Care . . . . . . . . . . . . . . . . .98
Custom-Built Magic . . . . . . . . . .155 Wealth and Status . . . . . . . . . . . .221
Transportations . . . . . . . . . . . . . . .98
Alternative Magic Systems . . . . .155 Equipment . . . . . . . . . . . . . . . . . .223
Inns and Taverns . . . . . . . . . . . . . .98
Behind the Curtain: BURDIGALA . . . . . . . . . . . . . . . . . . . . .224
Information Sources . . . . . . . . . .99
Making Gold . . . . . . . . . . . . . .156 Description . . . . . . . . . . . . . . . . .224
Courts and Castles . . . . . . . . . . .100
Modified Magic . . . . . . . . . . . . . .160 Who’s in Charge? . . . . . . . . . . . .224
Holy Places . . . . . . . . . . . . . . . . .101
Magical Lenses . . . . . . . . . . . . . .163 MAP: BURDIGALA . . . . . . . . . . . . . . . .225
Sanctity . . . . . . . . . . . . . . . . . . . .101
True Names . . . . . . . . . . . . . . . . .164 Temples and Cults . . . . . . . . . . .225
Magical Capabilities . . . . . . . . . .102
Nonhuman Magic . . . . . . . . . . . .167 Schools . . . . . . . . . . . . . . . . . . . . .225
Schools for Sorcerers . . . . . . . . . .102
EXPANDEDSPELLLISTS . . . . . . . . . . .168 Adventurers Wanted! . . . . . . . . .226
Behind the Curtain:
MAGICALPLURALISM: HOWTO Sponsors of the Arcani . . . . . . . .226
How Many Mages? . . . . . . . . .103
USETHISCHAPTER . . . . . . . . . . . .172 THREATSANDSTORYLINES . . . . . . . . .226
Human Foes . . . . . . . . . . . . . . . .226
6. CHARACTERS . . . 104 8. STORYLINES . . . 173 Zoroastrian Magic . . . . . . . . . . . .227
CAMPPOAIINGTNVSATLYULEESSA .N .D . . . . . . . . . . . . . .105 ADVIEnNtoT UthREeS L a. b. y. r. i.n .t h. . . .. .. .. .. .. .. .. .. .. .. ..117744 NAdovnehnutmuraen S Feeodess .. .. .. .. .. .. .. .. .. .. .. .. ..223310
RACIALTEMPLATES . . . . . . . . . . . . . . .105 Perilous Journeys . . . . . . . . . . . .175 Glossary . . . . . . . . . . . . . . . . . . . .232
From Creature to Character . . . . .106 ROMAARCANABIBLIOGRAPHY . . . . . .232
Hunting Parties . . . . . . . . . . . . . .176
Cold Iron . . . . . . . . . . . . . . . . . . .109
Behind the Curtain: Warfare . . . . . . . . . . . . . . . . . . . .176 BIBLIOGRAPHY . . . 233
Treasons, Stratagems,
Selkie Design . . . . . . . . . . . . . .110
and Spoils . . . . . . . . . . . . . . . .177
Undead Lenses . . . . . . . . . . . . . .112 Diplomacy . . . . . . . . . . . . . . . . . .178 INDEX . . . . . . . . . . 238
Player-Designed Races . . . . . . . . .113
Investigations . . . . . . . . . . . . . . .179
OCCUPATIONALTEMPLATES . . . . . . . . .114 Confrontations . . . . . . . . . . . . . .180
C 3
ONTENTS
I
NTRODUCTION
Fantasy is the realm of the imagi- A great resource for creating fan-
nation. If a fantasy writer wants to tell tasy comes from the legends, myths,
stories about dragons, wizards, or and folklore of the past. Everyone
fairy kingdoms, he doesn’t need his- knows about dragons, so readers and
torical documentation or scientific players are already halfway to believ- ABOUT
explanations – he can just imagine ing in them. GURPS Fantasy
A
them. This gives writers more freedom describes many legendary beings, THE UTHOR
than any other genre. creatures, and objects, and gives
William H. Stoddard is a freelance
But “more freedom” doesn’t mean advice on using GURPS for your
writer and editor living in San Diego,
unlimitedfreedom. The reader has to own fantasies.
California, in an apartment crammed
believe that the characters and events The final chapter puts it all togeth-
with books. He was introduced to
are possible in the world of the story. A er in a new fantasy setting, Roma
RPGs in 1975 and has played them
fantasy world with its own logic – Arcana, based on the legends of
ever since. His main other hobby is
what critics call the inner consistency ancient Rome in its darkest and most
research; new game books give him an
of reality– yields more interesting sto- exciting time. If you want to start a
excuse for even more library visits
ries than a world where anything can new campaign in a familiar but exotic
than he would make anyway. His pre-
happen. setting, Roma Arcana is ready to play.
vious work for Steve Jackson Games
In roleplaying games, one source of If you’re using the Infinite Worlds
includes GURPS Steampunk and
that consistency is the rules system. A framework from the GURPS Basic
four other books, as sole or co-author,
good set of rules isn’t a barrier to the Set, Fourth Edition, you can fit Roma
as well as contributions to numerous
GM’s imagination . . . it’s a tool for Arcana into it as an alternative history,
other books.
making everything he imagines hold at once familiar and weird. And if
He dedicates this book to the mem-
together. GURPS Fantasyshows how you’d like to design your own original
ory of Felon, felis optimus max-
to run the fantasy campaign you real- world, Roma Arcana is a model you
imusque, who supervised the writing
ly want. can follow.
of its earlier drafts.
About GURPS
Steve Jackson Games is committed to full support Errata. Everyone makes mistakes, including us –
of the GURPSsystem. Our address is SJ Games, Box but we do our best to fix our errors. Up-to-date errata
18957, Austin, TX 78760. Please include a self- sheets for all GURPSreleases, including this book, are
addressed, stamped envelope (SASE) any time you available on our website – see below.
write us! We can also be reached by e-mail: Internet. Visit us on the World Wide Web at
[email protected]. Resources include: www.sjgames.com for errata, updates, Q&A, free
webforums, and much more. The GURPS Fantasy
Pyramid (www.sjgames.com/pyramid/). Our
web page is www.sjgames.com/gurps/books/fantasy/.
online magazine includes new GURPSrules and arti-
Bibliographies. Many of our books have extensive
cles. It also covers the d20system, Ars Magica, BESM,
bibliographies, and we’re putting them online – with
Call of Cthulhu, and many more top games – and
links to let you buy the books that interest you! Go to
other Steve Jackson Games releases like Illuminati,
the book’s web page and look for the “Bibliography”
Car Wars, Transhuman Space, and more. Pyramid
link.
subscribers also get opportunities to playtest new
GURPSnet.This e-mail list hosts much of the online
GURPSbooks!
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e23.Our e-publishing division offers GURPSadven- this one.
tures, play aids, and support not available anywhere
else! Just head over to www.sjgames.com/e23/.
4 I
NTRODUCTION
C O
HAPTER NE
P
LANNING
C
THE AMPAIGN
And, as imagination bodies forth Rhys said, “I’ll be there in a minute. face challenges and perils that are also
The forms of things unknown, the I have to get this tablet properly larger than life.
poet’s pen packed. Tell her to wait for me.” Most of the preparation for a fan-
Turns them to shapes, and gives to tasy campaign goes into the develop-
Fantasy occupies the middle
airy nothing ment of the setting. However, the set-
ground between history and myth.
A local habitation and a name. ting exists for the sake of the cam-
History attempts to describe what
– William Shakespeare, paign. It’s much easier to decide what
actually happened. Realistic fiction is
A Midsummer Night’s Dream to include after deciding what kind of
as close to history as possible; it may
campaign it needs to support. This
David Rhys brushed carefully at not have actually happened, but the
applies to all kinds of gaming, but
the unearthed clay tablet. Its surface reader believes its events could have
especially to fantasy. A fantasy cam-
was hard, as if it had been fired, but he happened. Myth attempts to describe
paign offers a wider range of possibil-
didn’t want to risk damaging the what captures the imagination; a good
ities; narrowing them down takes
cuneiform inscription. The words story creates its own sense of truth.
more work.
were Hittite, but in some peculiar Fantasy has elements from both. Its
This chapter explores the different
dialect, archaic or simply early. There heroes escape the limits of human
fantasy campaigns by considering
was something about “... that which existence. Their actions and their abil-
three categories: genre, setting, and
defeats the sorcerer ...” ities can be larger than life. And they
scope. If you’re basing a campaign on
“Professor!”
a favorite book or film, these defini-
Moving with exaggerated slow
tions of genre and setting can help you
care, he turned partway toward the
bring it into clearer focus.
ladder that Andrew Jenkins had just
descended. “Have you found some-
thing?” he asked.
“Rose said I should ask
you to have a look. It’s
some sort of forge, she
thinks, and there’s
some sort of sword
there. It looks rust-
ed, so it might be
iron.”
P 5
LANNING THE CAMPAIGN
G
ENRES
Genre is a way of predicting what Characters in a high fantasy setting names, “He is Fire. She is Dance. He is
people will like. If two stories (or two may encounter true powers of the Destruction. She is Love.”
campaigns) are in the same genre, world – gods or other mythic beings. – Roger Zelazny, Lord of Light
people who enjoy one will usually Often, these encounters will be con-
enjoy the other. Each genre has its versations instead of battles. Facing L F
OW ANTASY
own audience, typical challenges for mythic foes in combat should frighten
characters to face, and certain back- even the most capable adventurers. Low fantasy, is closer to realistic
grounds for the action. Each genre However, attracting such beings’ fiction than to myth. Low fantasy sto-
also emphasizes certain emotions and attention raises the heroes above ordi- ries focus on people’s daily lives and
moods. nary mortals. Gods may single out the practical goals; magic provides a way
Few stories are pure examples of greatest or worthiest mortals as their to achieve those goals, and makes it
any one genre; some have elements champions, or even as potential future interesting. A low fantasy campaign
from allof them. The same is true of recruits to godhood – or as problems asks what it’s like to live in a world of
campaigns. Statements about genres to remove before they ascend to real monsters, magic, and demigods.
are guidelines, not unbreakable rules. power. Most low fantasy magic is evenly
Genre definitions can help suggest distributed in the world, not sharply
Godhood is more than a name. It is
things to include in a campaign to get focused in certain places. Its effects
a condition of being ... Being a god is
the effect you want. are predictable and knowable. Low
the quality of being able to be yourself to
fantasy magic is less a source of won-
such an extent that your passions cor-
H F der than a toolkit.
IGH ANTASY respond with the forces of the universe,
Characters in low fantasy are
so that those who look upon you know
If fantasy occupies the middle more concerned with practical goals,
this without hearing your name spo-
ground between myth and history, less with great passions. A high fan-
ken. ... One rules through one’s ruling
high fantasy is closer to myth. tasy traitor might be motivated by
passion. Those who look upon gods
Myths are about gods; high fantasy passionate jealousy, tempted by the
then say, without even knowing their
is about demigods, heroic warriors, devil, or perversely sympathetic to
and powerful magicians. But there’s
more to it than that. In a high fantasy
campaign, the power level is a means
to create wonder and amazement.
Magic should still evoke this won-
der. For thousands of years, myths and Myths and Games
folktales made flying a symbol of
If fantasy falls between history and myth, then where does myth fall?
power. The gods lived in heaven and
If it’s possible to run a fantasy campaign, is it possible to run a mythic
flew down to earth, or sent winged
campaign? It depends on the myth.
messengers on errands. Sorcerers
Some myths are much like adventure stories. In Norse legend, Thor
wove flying carpets, and cunning
and Loki go to Jotunheim, the land of the frost giants, and have adven-
inventors made artificial wings. Now,
tures there. For example, they visit a giant’s house and engage in sport-
millions of people fly all over the
ing competitions with its residents. This could be an episode in a role-
world – and it’s not much more excit-
playing campaign, especially if the players like a touch of comedy.
ing than taking the bus. Routine use
During one of the contests, Thor tries to empty a drinking horn that’s
can turn anything from a wonder into
magically linked to the ocean, and drinks so much that he causes the first
a convenience. If magic, especially
tides. Action on this scale is beyond the scope of any spells, enchant-
powerful magic, is common and reli-
ments, or powers in most fantasy games.
able, then it’s just another technology;
Characters in myths are personifications of cosmic forces. Stories
it won’t feelmythic.
that emphasize this personification are often adventure stories, love
Several things help keep magic
stories, or murder mysteries, and can turn into game scenarios.
amazing. First, distribute it unevenly.
However, the cosmic forces inspire other kinds of stories – stories that
Intensely magical events stand out
explain the world’s origin, prophesy its end, or express horror at its
more if they contrast with a less mag-
inhuman vastness.
ical background. Second, stress its
Nothing prevents cosmic forces from entering a game. But they’re
unpredictability, even to people who
usually best presented through pure storytelling (see Mythology,pp.76-
use it regularly. Third, if possible,
77, for some suitable stories), not through rules. The powers of mythic
make some magic unknown – not
beings are never fully measured, nor their motives fully understood.
just to the protagonists, but to every-
one . . . perhaps even the gods.
6 P
LANNING THE CAMPAIGN
the other side; a low fantasy traitor along the way. These threats usually Classic sword and sorcery usually
wants 30 pieces of silver. Merchants aren’t lethal or irreversible. If the makes the swordsmen the main
and criminals are minor figures, or heroes get turned into something icky, heroes. Sorcerers might be threats to
entirely absent, in most high fantasy. there will be a way to turn them back. the hero or the people he protects, as
In low fantasy, they are not only If they face a monster, it will have in Robert E. Howard’s Conan series
prevalent, they may be the heroes. some unexpected weakness. Many and C.L. Moore’s Jirel of Joiry stories.
light fantasy plots deal with complica- Or they might be the heroes’ mentors
D F tions instead of threats; for example, a and patrons, as in Fritz Leiber’s tales
ARK ANTASY
heroine may have to find odd magical of Lankhmar. More recent sword and
Dark fantasy borrows the mood of ingredients to free the hero from a sorcery often has heroes who can
horror. It portrays magic as ominous spell. work magic. They may be equally
. . . more likely to harm than help. Spells in light fantasy always risk skilled at nonmagical combat, or
Supernatural beings are powerful going wrong in unexpected ways. belong to teams of adventurers where
and indifferent to human concerns, if Supernatural beings are eccentric or some members provide the swords
not outright malevolent; their atten- tricky, controlled by peculiar rules and others the sorcery. Adventurer
tion is feared, not sought. Remember that give clever mortals ways to get teams have been the basis of most fan-
the ancient custom of talking about the better of them. Learning their tasy roleplaying, all the way back to
“the fair folk” (faeries) or “the kindly names (see True Names, p. 14) is a the original Dungeons & Dragons.
ones” (the Furies of Greek myth) to classic example, as in the fairy tale Magic for adventurers has to be
avoid giving offense. Any use of “Rumpelstiltskin.” The same theme fast, largely designed for combat effec-
magic, even for virtuous purposes, shows up in stories about wishes tiveness. The wizard adventurer isn’t a
should have a price. going wrong, or about making bar- scholarly recluse or a clever trickster,
The elaborate mythologies that gains with the Devil and wriggling out but a human artillery weapon. Or, if
underlie much high fantasy also form at the last minute. his powers are subtler, he needs non-
an essential element in dark fantasy – In some ways, light fantasy relates magical combat skills to keep himself
but in dark fantasy, most people may to low fantasy. Putting everyday peo- alive. Either approach avoids scenes
not even have heard of them. In the ple and practical problems together where everyone else fights and the
darkest settings, the ultimate truth with mythical beings and powerful wizard takes cover and waits for the
may be maltheistic (p. 32), and the magic is a natural source of humorous battle to end.
heroes may be doomed to struggle incongruities. Sword and sorcery can resemble
hopelessly against evil and horror. On the other hand, some light fan- any other genre, but focuses mainly
A great theme in dark fantasy is tasy comes closer to high fantasy. on action and combat. The sword-
the hero’s sacrifice. This may be his Stories influenced by classic swash- and-sorcery version of high fantasy
life, willingly given to kill a foe or buckling adventure, such as Steven features impressive spells, epic heroes,
close the gates of hell; wounds and Brust’s The Phoenix Guards, have and battles that decide the fate of
scars that will never heal; madness; or heroes who face real danger, but take kingdoms. The dark version is full of
his own corruption by using evil to it lightly, or even welcome it out of a evil sorcery and terrifying monsters.
defeat worse evil. He faces constant sense of personal honor. The low version often sends adventur-
fear – not only for himself, but also ers into gritty urban environments to
for the people he defends. Dark fan- S contend with thieves’ and assassins’
WORD AND
tasies often end in tragedy. Their guilds or corrupt priests and aristo-
heroes have appropriate traits, from SORCERY crats. In light sword and sorcery, the
tragic character flaws to curses or heroes have to deal with flashy rivals
unhappy destinies. The focus of sword and sorcery is and their own bad judgment. A cam-
adventure, and the mood it produces
paign focused on adventure can be in
LIGHT FANTASY is excitement. The settings for sword any of these styles.
and sorcery campaigns allow as much
Where dark fantasy is full of grim adventuring as possible. Well-organ- O
N THE
consequences, light fantasy avoids ized civilizations are rare. Empty
them. Its goal is to amuse the audi- lands roamed by barbarian nomads, B
ORDERS
ence (or the players). Inspirations for corrupt and decadent city-states, or
this kind of fantasy include the haunted ruins of earlier civiliza- A number of other genres have
Shakespeare’s A Midsummer Night’s tions offer more entertainment – and some kinship to fantasy. Some have
Dream, with its faeries playing tricks have fewer inconvenient laws. clearly fantastic elements, but aren’t
on mortals, and fairy tales with happy Backgrounds for sword and sorcery usually classified as fantasy and may
endings. Dark fantasies are often are often just quick sketches. appeal to different audiences. Others
tragedies; light fantasies are usually Elaborate worldbuilding isn’t the appeal to fantasy audiences and are
comedies. point of this genre; what matters is classified as fantasy, but lack one or
Naturally, characters in light fanta- that there are armies to conquer, more typical elements.
sy have to face problems and threats monsters to slay, and ruins to loot.
P 7
LANNING THE CAMPAIGN
Christian probability. Many stories in this genre, chivalric past. As a rule, time-travel
Supernaturalism from The Prisoner of Zenda and the romances don’t have time machines
Titus Groan novels to The Princess or other scientific props, or explore
Not everyone regards supernatural
Bride, take place in nonexistent lands, the logical paradoxes of visiting the
forces as fantasy. Millions of
which makes them fantasy by one def- past. The time travel is effectively
Christians (as well as adherents of
inition (see Fantasy Worlds, p.10). magical, even if there’s no other
other religions) believe that the super-
magic in the story. Other “romantic
natural is real and omnipresent. A Martial Arts
fantasy” novels have mortal heroines
number of novels, such as Frank
Martial arts films, especially who fall in love with supernatural
Peretti’s This Present Darkness, portray
Japanese chambara and Chinese beings, or portray the romantic
these supernatural forces in war in the
wuxiamovies, have heroes with super- effects of magical or psychic talents.
modern world. Such novels aren’t usu-
human or supernatural gifts, often Worldbuilding is less common,
ally considered fantasy, and the super-
explained as mastery of chi(life ener- though books classified as futuristic
natural powers aren’t described as
gy). Heroes run the gamut from those romance may be set on other planets
magic. This is partly semantics, but
who are simply amazingly skilled, to with fantasy aspects, such as Owens’
reflects a real point of theology: If
those with esoteric powers or who cast Celta (see Other Planets, p.10). These
supernatural events come from God,
spells and work magic. These are “dis- books focus primarily on romantic
the right way to describe them is not “I
tant land” settings for Western audi- relationships instead of the setting’s
cast a spell” but “my prayers were
ences, but not for audiences in Japan details, much as sword and sorcery
answered by a miracle.” A campaign
or Hong Kong; many take place in the emphasizes action and combat over
based on this assumption wouldn’t
legendary past. The abilities of real setting.
require the tools presented in this
martial artists are impressive enough,
book, though the rules for clerical Superheroic Adventure
and legends of their superhuman feats
magic (p. B242) might be useful.
help make outright fantasy elements Comic book superheroes include
Anything that looks like magical spells
acceptable to both Asian and magicians and magically empowered
will be a snare of the Devil, and its
American audiences. characters: Dr. Fate, the Spectre,
effects will be illusions (see Glamour,
Wonder Woman, Captain Marvel, Dr.
pp.20-21). Paranormal Romance
Strange, Thor, and Promethea, among
Exotic Lands During the past quarter-century, others. The uniqueness of the super-
romance writers such as Sharon hero, or the supervillain, is part of the
This genre has little or no super-
Green, Melanie Jackson, Kathleen classic formula. The presence of
natural content, but includes all the
Nance, and Robin Owens began magic does not change the world any
other trappings of historical fantasy.
exploring themes from science fiction more than the technological spinoff of
The settings are remote countries, the
or fantasy. Time travel is the most other superheroes’ amazing inven-
heroes are often aristocrats, and their
popular; it allows a present-day hero- tions. Magical characters may become
feats transcend the normal limits of
ine fall in love with a man from the involved with various magical worlds:
the Christian heaven and hell, the
realms of the Greek and Norse gods,
or the land of dreams or death.
Typically, only a superhero or supervil-
lain can visit these other planes.
Supernatural Horror
What’s the difference between
supernatural horror and dark fantasy?
That’s a good question. Critics don’t
agree on the answer, or whether there
even is a difference.
Supernatural horror is akin to
Christian supernaturalism in its view
of magic. Human involvement in
magic is perilous and often reflects
sinful pride; salvation comes from
faith in a higher power. In dark fanta-
sy, heroes defeat the horror with their
own courage, or discover ways of
using magic against it.
In any case, the boundary between
the two is debatable. Which side a
campaign is on, or a book, or a film, is
often a matter of opinion.
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LANNING THE CAMPAIGN
Crossovers
Fantasy is a rich genre all by itself – but GURPS Swashbuckling
allows GMs and players to combine different genres.
The swashbuckling era saw the creation of scientif-
GMs may want to run a campaign of “fantasy plus”:
ic astronomy, physics, and anatomy – and the pursuit of
fantasy and another genre, working together.
occult and supernatural lore, often by those same early
scientists. In a magical setting, spymasters such as
Cyberpunk
Walsingham and Richelieu can employ diviners and
Cyberpunk started out with the idea that future
sorcerers along with assassins and cryptographers.
computers, or virtual reality, might looklikemagic. But
Swashbucklers themselves may favor flashier magic as
what if things that just look like magic collide with
well as swordplay, as in Steven Brust’s The Phoenix
things that really aremagic? A cyberpunk future might
Guards. For a more freewheeling setting, move the
have elves, dwarves, and orcs living in postmodern
campaign to the pirate-ridden Caribbean, where slaves
cities, as in the classic roleplaying game Shadowrun.
create new magical traditions as protection against
Magic might enhance the skills of programmers, or
their masters (see Tim Powers’ On Stranger Tidesor the
summon spirits to inhabit computers as a shortcut to
film Pirates of the Caribbean).
artificial intelligence. Conversely, cybermages might
use computers to aid magical rituals. Can a chat room War Stories
host a ceremonial magic spellcasting?
War is one of genre fantasy’s main themes – usually
based on pre-gunpowder weapons and tactics.
Espionage
However, modern warfare could combine with fantasy.
If magic did exist, would the government tell us?
World War II makes a perfect setting for a cryptic fan-
Spies and secret agents already live in an occult world.
tasy campaign, with British and German occultists
Perhaps it has darker secrets than anyone knows, and
casting spells on each other and seeking out potent
illuminated operatives guard them . . . or steal them. A
mystical relics (see, for example, Katherine Kurtz’s
team may work for a government’s paranormal investi-
Lammas Night).
gations agency, the Vatican, a cabal of sorcerers, or a
supernatural power. They may even be supernatural Westerns
entities, sent from heaven, hell, or the faerie realms to
The Old West certainly forms part of American
intervene in human affairs.
mythology, but most people aren’t aware of Western
folklore’s supernatural elements. Magic must be inte-
Police Procedural
grated into a Western setting with care. Wizards
“Criminals are a cowardly, superstitious lot” – but if
throwing fireballs could upstage gunslingers, and
magic works, some superstitions might pay off. The
destroy a central motif of the Western genre. Subtler
police may deal with everything from succubus street-
magic is better.
walkers and thieves’ cantrips to murderous curses and
The theme of conflict between civilized and tribal
blood sacrifice. Every department may house a
societies – “cowboys and Indians” – can be enhanced if
Sorcerers, Witches, And Thaumaturgists team – or indi-
the tribal peoples have access to supernatural powers
vidual police officers may pick up tricks that they can’t
that civilized people have forgotten. In classic Westerns,
talk about in public.
the civilized people will be the heroes; in subversive
Retrotech treatments, American Indians have spiritual insights
whose loss is a profound tragedy. They may also pro-
Steampunk combines the antique charm of gas
vide a refuge for other “uncivilized” elements, as in Pat
lamps and airships with technological speculation
Murphy’s lycanthropic Western, Nadya. Or civilized
about mechanical computers and wireless electric
people may have their own magic. For example, many
power. However, the age of steam was also fascinated
gamblers in the Deadlands setting have supernatural
with the supernatural, from the Arabian Nights and
powers, and Hoyle’s Rules of Gamesis a grimoire!
Gilbert and Sullivan to high ritual magic, spiritualism,
Westerns could be a model for campaigns in other
and theosophy. Two GURPS sourcebooks, Castle
historical eras. Ancient Persian Empire nobles learned
Falkensteinand Deadlands, combine steampunk and
to “ride well, shoot straight, and tell the truth.” Their
magic. The technological fancies of earlier ages also
Zoroastrian faith in a cosmic battle between good and
work well, from the clockwork automata of the 18th
evil, with lying as the ultimate evil, could inspire a
century back to the legendary inventions of Daedalus.
struggle between their civilization and tribal savages
Retrotech also may use magic to enhance technology.
such as the Greeks. Zoroastrian magi able to hurl fire
and lightning could even substitute for gunslingers.
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LANNING THE CAMPAIGN