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GURPS 4th edition. Fantasy PDF

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Preview GURPS 4th edition. Fantasy

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 N 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 GURPS, Warehouse 23, and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramidand the names of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license. GURPSFantasyis copyright © 1990, 1995, 2004by Steve Jackson Games Incorporated. All rights reserved. Printed in the USA. The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal, and punishable by law. Please purchase only authorized electronic editions, and do not participate in or encourage the electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated. 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. 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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. 8 P 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. P 9 LANNING THE CAMPAIGN

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