Resource: Video Games

An introduction to video game analyses that will be appearing on the blog. More coming soon!

Estimated reading time: 9 minutes

Video games and TTRPGs have a long history that needs no introductions. Many great computer role-playing games (cRPGs) are based on TTRPG systems or at least their settings, as you probably know well enough. Like other media, video games can be a great resource for your game, and sometimes the less obvious choices can be more interesting. Everyone got some inspiration from some cRPG they played, but great gems to add to your game can be found in any video game genre, and even in those that are not really good as video games.

The other strong point I’d like to make is that video games are very accessible and in my opinion can make TTRPGs more accessible as well. Not everyone starts with ASCII Dwarf Fortress or Space Station 13, but there are tons of games even casual gamers or non-gamers recognize. You are probably thinking about some examples right now. On the other hand not everyone who wants to play TTRPGs is a devoted tabletop gamer, well-versed in all the editions and different systems. Many times your friends are not even avid readers, having read perhaps Lord of the Rings or Harry Potter because everyone read it at the time. They might play video games though, and through them you can explain TTRPGs, whether it’s the mechanics or general principles. I know I have had players whose only connection to TTRPGs was through video games, and the experience helped them get into tabletop gaming.

In this series of articles you will find not exactly reviews, but rather analyses of different video games. Sometimes they will be in-depth, sometimes I will only cover a select mechanic, piece of lore or storytelling, or just make stat blocks for a few interesting monsters. The selection of covered games is not really governed by any principle other than what I find interesting to write about, but if there is a game you would like me to have a look at, please leave a comment and we’ll see about it!

Genres

As I stated above, the obvious genre choice is cRPG. Some amazing titles fall into this category and surely some of them will appear on this blog. There is, however, more to video games than role-playing games, that can be used in your tabletop games. The closest to cRPGs in terms of TTRPG relevance is the triad of adventure, action, and strategy games.

Adventure

Adventure games usually share much with cRPGs in terms of rich story and worldbuilding. What’s usually missing is the progression of the main character(s), but even this is not always true. Adventure games also often rely on puzzles and item combination rather than combat or other contests. Exceptions exist, but generally the are not that common. There are action adventures where there’s combat and platforming interwoven into the adventuring part, like the Legend of Zelda games. There are RPG-adventure hybrids that are not exactly RPGs, but contain many RPG elements, such as character selection, levelling, and combat, with the Quest for Glory series being a wonderful example.

The very beginning of the VGA Quest for Glory I. All rights reserved to Sierra Entertainment and/or other respective owners.

Obviously you can take inspiration from the story, puzzles, or characters in an adventure game. You can also focus on the visual side of these games. Unique environments, fantastic creatures, or spectacular spell effects all find their place in adventure games. Especially in later 90’s and early 00’s with studios such as Cryo there has been a trend of beautiful graphics and wondrous locations that can give you a creative boost.

Action

Action games come in many flavours, from simple shoot-’em-ups or fighting games through platformers and shooters, metroidvanias and souls-likes, to action RPGs. They even differ inside their category, mainly when it comes to depth of the story and worldbuilding. Story is not top priority in these games, but there are exceptional titles with top-notch storytelling – pick any title from Supergiant Games for an example.

Even if an action game isn’t an “action RPG”, RPG elements are often present. Most of the time it’s some form of character progression or selection, and equipment management. Having multiple choices isn’t that common, though again, not unheard of.

The Prince enjoying a beautiful view in Prince of Persia (2008). All rights reserved to Ubisoft and/or other respective owners.

The various subgenres offer different experiences, but concerning what they can offer your tabletop gaming needs, they are quite similar. Environment and level design, puzzles, enemies, weapons and spells, or character options are some of the features that can be found in most action games. Of course the weapons will be different in a shoot-’em-up like Tyrian from those in Doom or Prince of Persia. The environments will also be of a quite different scale. Can you use them all for inspiration? That’s up to you!

Strategy

As with action games, there is a large spectrum of strategy games at your disposal. The basic distinction is whether they are real-time or turn-based, and this often dictates other parameters of the game. They can be peaceful with little to no fighting involved, or full-scale wargames. The emphasis can be on tactical decisions or large-scale strategy, micro- or macromanagement. Whatever the case, usually there is enough inspiration to be found for your tabletop game in any strategy.

Tactical strategies are often closest to TTRPGs, and the inspiration probably works both ways. As with action games, you can pick enemies, weapons, spells, and all sorts of other options from tactical strategy games. Whether real-time (Commandos, Desperados) or turn-based (UFO, Jagged Alliance, The Banner Saga), they offer plenty of options that can inspire you. RPG elements are often present in the turn-based camp, not so much in real-time games.

Builders such as The Settlers, Cultures, or Anno series offer different scale and experience. While combat is commonly present, it’s usually much simpler than in tactical strategies, and only supplements the main focus of these games – building settlements, bases, kingdoms. Exceptions exist, with Stronghold being a good example of a builder with heavy emphasis on combat of the siege variety. Usually mid-scale economics play a large part in this type of games. They can be used as an exercise in settlement design, and for learning how to think in a slightly larger scale than party-level in your worldbuilding.

Just another day in Crusader Kings 2. Also a good plot hook for your next adventure. All rights reserved to Paradox Interactive and/or other respective owners.

The 4X or grand strategy games are the next step in scaling upwards. Often the focus of these strategies are whole nations, worlds, or planets. The Civilisation series and games by Paradox Interactive are good examples of this subgenre. Again you can get inspired concerning the large-scale matters of your TTRPG. The way kingdoms and empires interact, the issues that need solving both inside and across borders – all of this you can try out in this kind of strategy games before using at your table. Just start a game of Crusader Kings, let the time flow, and you’ll have tons of ideas for your setting in the first ten minutes.

Other genres

What other video game genres you can get inspiration from? Well, the obvious answer is “anything you feel inspired by”! Like racing games with car tuning and championships? Maybe you can use similar ideas but in your game it’s chariots instead of racecars. What about other simulators, such as train simulators or fishing simulators? I bet you can see where this is going. You can also cater to your players’ preferences if you know what genre they like and add just a few noticeable traits from there.

What to use?

You can choose between two approaches. You can lift an element as it is in the source game, i.e. a monster, and use it at your table. Give it stats, maybe figure out its place in your world. Your players will recognize it and either scold you for laziness or praise you for using something they liked elsewhere. Best make sure the second option is more probable before you do this. If you know your players you might have an estimate, but you probably don’t want to do this for your first session with a new group. Either way you should be careful with this approach, as after the twentieth monster and fifteenth item from the games your players love, it might get quite annoying.

A plasmid vending machine in Bioshock (2007). All rights reserved to 2K Games and/or other respective owners.

The other approach is to analyze what makes the element you like work, and then build upon that. Let’s say you like plasmids and tonics from the Bioshock series. They are essentially consumables that grant spells or spell-like abilities, and are commonly available from vendors. Don’t use the terms “plasmid” or “tonic”, invent a different set of effects, maybe a different delivery method. Someone might still see the inspiration, and you make no claims otherwise, but it should fit better in your setting, and not come off as a rip-off. This is of course applicable to any source of inspiration, not just video games.

I have to say one of the best campaigns I experienced as a player was heavily based on Icewind Dale, where the DM essentially copied most of the plot and added his own elements (a lot, to be fair). But what you get with this approach is often a clash between your players’ expectations and your adaptation. If you’re lucky, you will only be reminded of this a few times each session.

Final remarks

It is quite possible that there’s nothing new for you in this article. You are probably familiar with video games and have used them as inspiration at least sporadically in the past. In that case you may consider this article an obligatory introduction, in which I state my goals and methods. If, on the other hand, you are not at home with video games, you might want to check some out as there are many original ideas scattered around.

As mentioned in the beginning, there will be analyses of video games in the future. Some of the games mentioned in this post will surely have their own articles, and there are many more I would like to write about. I hope you will find the articles interesting and inspiring. First of these will be posted soon, so you might want to follow the blog so you don’t miss anything!

Slingshots part I

Do slingshots have place in fantasy settings? In this article I’ll look at all the angles.

A slingshot is a weapon many may have had their hands on, especially as children, when they made one out of a natural fork and some leftover rubber. With many commercial and artisan makers, and whole clubs and competitions dedicated to target slingshot shooting it’s quite easy to get into the hobby even as an adult. 

While their history is rather short compared to other weapons, slingshots are sometimes used in various works of fantasy fiction. Mostly they are depicted as a “youngster” weapon, or a makeshift weapon. Are they worth using in your game? Short answer of course would be: if you want to, use them. But read on if you want to see my thoughts about slingshots in fantasy settings. In this first part I will provide some basic information and examples from fiction. In the next one you will get the when, how, and why I would use them in a fantasy setting.

Sling vs. slingshot

First thing we have to get off the table is this – slings and slingshots are completely different devices, using different laws of physics to propel the projectile, and should not be confused. Often they are, though in a world of ringmail, studded leather armor, and dire flails that can hardly surprise anyone. 

A sling is essentially a piece of string with a pouch for a bullet in the middle that you shoot by swinging the whole thing above your head or to your side – no spinning – and releasing one end of the string. A slingshot on the other hand is a rigid frame of wood, metal or other material, usually Y-shaped. The pouch is connected to the ends of the fork by bands of rubber, and you shoot the thing by drawing the pouch with bullet like and letting go. With a sling you need some some space, slingshots should work fine even in tighter places. This of course has implications concerning their usefullness in various situations. You might not be able to use a sling in a long narrow corridor (have to test this), and trying to use a slingshot to shoot someone a hundred metres away is probably inefficient.

Materials

The slingshot consists of three main parts – the body, bands and pouch. While competitive shooters would probably disagree, the pouch doesn’t matter from our point of view. Leather is ok and easily obtainable in probably every setting. What matters are body and bands. The body can be of any material strong enough to withstand the stresses put on it by flexing the bands. This can be the most traditional wood, but also metal, bone, or various plastics (with or without a metal core). So the body is also quite clear and easy to find in any setting. What makes it difficult are the bands. 

Slingshot bands are made of rubber. That’s it. That’s why slingshots didn’t exist in our world until rubber was invented and widespread enough. It’s also why slingshots in a world without rubber or a passable substitute look out of place. Catgut is not a good substitute, as it’s not flexible enough. Try using violin strings for your first slingshot. Though it probably could be used in a sling.

But we are in fantasy and there might either be another material with qualities similar to rubber, or rubber itself might be available via the wonders of alchemy (more on this in an upcoming post). For example the body parts of some monster might be flexible enough to substitute rubber. Maybe even whole bodies of some worm species could serve as bands. It’s fantasy, so it shouldn’t be hard to come up with something, but I believe you should have that something thought through, so when someone comes asking, you have an explanation ready. 

Slingshot wielders

Let’s take a look at some characters using a slingshot as their preferred weapon. I’m not trying to count every one of them, since folks over at TV Tropes have already done this quite extensively. I’m picking a few that come up to my mind when I think of slingshot-wielding characters, and only in fantasy (-ish) settings. So no Bart Simpson, sorry. 

Evil Twin: Cyprien’s Chronicles (2001)

There was a time when platformers enjoyed a much greater popularity even among PC gamers. One of those is Evil Twin by In Utero. The main character is the titular Cyprien, an orphan who has to visit a grotesquely fantastic world to save his friends. It has a very Alice in Wonderland feel, and from what I remember it had cool level design, if somewhat less original story. I’ve been trying to get my old copy to work, but to no avail. Once I’m able to replay the game, I might write a post about it.

Cyprien shooting some plant monster. Borrowed from myabandonware.com, all rights reserved Ubisoft, In Utero and/or other respective owners.

However the reason I’m mentioning the game is that Cyprien uses slingshot as his primary weapon. This goes well with the “youngster” image of slingshots in media. Throughout the game special ammunition can be found, including bubblegum and paper planes. That doesn’t make much sense, but since the game setting is some kind of nightmare dreamworld, I guess it doesn’t matter.

Kender

I have never read a Dragonlance novel, nor have I read either the old or the recently issued setting supplements. I know next to nothing about the setting other than that it has dragons and kender. Based on what I learned on various sites I probably couldn’t appreciate the kender in a game (or novel). Maybe if I read the novels they could grow on me, who knows? 

Anyway they use a number of signature weapons and two of these employ slingshots in their design. They are the hoopak, essentially a staff with a slingshot on one end and a spear tip on the other, and the chapak, which is a hand axe with the back of the axe head extending into a slingshot. Both supposedly also serve as musical instruments – the hoopak as a bull-roarer, and the chapak handle is hollowed with finger holes, so you can remove the axe head and plugs in the finger holes and use it as a flute. And those two belong to the more sensible weapons in the kender arsenal. 

a staff with a slingshot on one end and a spear tip on the other
A rendition of the hoopak from the Shadow of the Dragon Queen supplement. All rights reserved to Crystal Sully, Wizards of the Coast, and/or other respective owners.

The hoopak is referred to as a staff sling, which it obviously isn’t. It’s a slingshot on a staff and that’s not a terrible idea. Joerg Sprave even reviewed his rendition of a weapon like this from the One Piece manga (see below). The descriptions of hoopak I found vary but it seems it is supposed to be working both as a slingshot when planted in the ground by the spike, or as a staff sling. I think this goes with the general theme of kender weapons – trying to slap as many diverse uses on them until they become unusable or silly. If we keep it as a staff/spear with a sling on one end, it’s ok. If we change the sling into a slingshot and find rubber somewhere, it could work as well. Just stay away from catgut, please.

The other one, chapak, is supposed to be a handaxe with a slingshot on prongs extending from the back of the axe. The slingshot uses catgut, of course. I imagine this setup would provide a very uncomfortable and weak grip when shooting the slingshot, and the bands and pouch would get in the way of hacking with the hatchet. That the haft is hollow with drilled fingerholes (plugged when not in use), so it can be used as a flute, blowgun, and snorkel is just a cherry on top of this unpalatable pie. Again there seems to be a desire to cram every possible utility into one weapon. And it would not work well.

One Piece

During Joerg Sprave’s slingshot era he made a reconstruction of a staff slingshot used by the character Usopp. Apparently it’s one of the character’s three different slingshots. I’m not familiar with either the manga or anime One Piece past “it’s got some wacky pirates”, but it seems using a slingshot isn’t the strangest thing and it probably doesn’t look out of place. Feel free to share your thoughts in the comments, if you’re a fan.

Usopp with one of his slingshots. All rights reserved to Toei Animation and/or other respective owners.

Legend of Zelda

Link from Ocarina of Time wielding a slingshot. All rights reserved to Nintendo and/or other respective owners.

Link uses a slingshot in several of the titles. My firsthand experience with the series is quite limited, having played only Ocarina of Time for a short while. From what I’ve gathered online, the slingshot is not a particularly powerful weapon in the games, and often it is used to solve puzzles rather than fight enemies. Sometimes it may stun them, which is always nice. In some of the games Link only uses the slingshot while he’s a kid, so again it goes with the “youngster” themes. Not much is told about the materials used for the slingshot construction, but we know that Deku seeds are used as ammunition. As a side note, for shooting stuff like seeds, nuts, etc. a slingshot seems to be a better choice than a sling. Slingshots don’t rely that much on the weight of the projectile.

The Hobbit series (2012-2014)

The Peter Jackson adaptation of The Hobbit is very good overall (though nowhere near the Lord of the Rings trilogy) and mostly makes sense. There are comedic elements interwoven into the narrative and each successive movie strays further from the books.

the dwarf Ori shooting a slingshot
Ori shooting his slingshot at orcs. All rights reserved to New Line Productions, Inc. and/or other respective owners.

Our interest this time is one of the dwarves, Ori. He is portrayed as a young scribe using a slingshot for a weapon. It is only a minor detail in the scope of the movie, but it suffers from the same problems as other slingshots in fantasy. There should be no rubber available to make the bands, and it doesn’t fit the setting. I understand that the creators wanted to make each dwarf unique a tried to give Ori the unarmed youngster image, but this wasn’t a good choice. Slingshots don’t really belong in Tolkien’s Arda. It is however interesting that during the dwarves’ flight through the goblin warrens Ori uses a sizeable warhammer. So he’s not limited to the slingshot.

Walking Dead series (2010-2022)

Not so long ago (well, a few seasons I guess) several new characters appeared in the Walking Dead and two of them, the sisters Connie and Kelly, were using slingshots.

Connie with a slingshot, Kelly in background. All rights reserved to AMC and/or other respective owners.

Somehow this felt out of place even though Jörg Sprave based a great portion of his Youtube channel on zombie-killing slingshots. Maybe this has something to do with the slowly deteriorating quality of the show in general, with new characters being a lot less likeable than the original survivors or even the ones we got a bunch of seasons in. Anyway it’s an example that ticks the “youngster” archetype (at least with Kelly) and actually doesn’t need any handwaving, because there would be a lot of usable slingshots available after the walker apocalypse. 

Dungeons & Dragons: Honor Among Thieves (2023)

I have left this one for the end of the article. It could be seen in the trailer, but I wanted to watch the full movie before finishing this article. The young tiefling druid Doric uses a slingshot mounted sideways on her forearm. She uses it for flinging stones at her enemies, but more like a distraction or stun than for doing serious damage. For that she’s got her Wild Shape. Near the end of the movie Doric also shoots a small sachet from the slingshot, so here it’s used as a delivery system.

Doric using her forearm-mounted slingshot. All rights reserved to Paramount Pictures and/or other respective owners.

Once again no explanation for the slingshot’s existence is given, so it’s probably a case of fantasy handwaving. Since Forgotten Realms is a more colorful setting than Arda, it didn’t look out of place. And if you don’t need it explained, this is the way you can do it in your fantasy setting. Just stay away from catgut.

Final remarks

In this first article of two I have provided a very basic description of a slingshot, hopefully distinguished it from a sling, and listed a few examples of fantasy fiction featuring slingshots. As I said in the introduction, part II will be about using slingshots in your game.

The examples from fiction are quite arbitrarily picked and I’m sure you could find a lot more even without consulting TVTropes. I might seem a bit harsh on the kender weapons, but those things are really bad. Any handwaving is better than totally missing the mark, as with using catgut for slingshot bands. In The Hobbit the slingshot Ori uses is unnecessary and feels out of place for no good reason. On the other hand, the Dungeons and Dragons movie handles its slingshot quite well. The creators probably relied on the fact that it’s a high-magic fantasy setting and it works.

What about you? How do you feel about slingshots being used as weapons or tools in fantasy? Do you care whether it makes sense or don’t need any explanations as long as it’s cool and/or the slingshot has good stats? Leave a comment and follow the blog or our social media so you don’t miss the second part!

Frozen Horrors

Liked True Detective: Night Country? What about the Thing? Let’s take a look at some other works in similar vein and I will briefly describe the setting or subgenre I call “Frozen Horror”.

Estimated reading time: 13 minutes

It’s been over a week since the Season 4 finale of True Detective by HBO, and it’s been a thoroughly enjoyable ride this past few weeks. Maintaining the high quality writing and production values of the series, the last season takes us to the fictional Alaskan town of Ennis. This is where you might consider stopping reading if you haven’t seen the show, yet. I’m not going to go into any details of the plot, but some technical spoilers might appear. And further down there might be spoilers for other works, so walk softly.

A few minutes into True Detective: Night County.
All rights reserved to HBO and/or other respective owners.

With the exception of Season 2 True Detective always contained elements of supernatural mystery. Season 4 ramps this up quite significantly and due it feels like a mystery/horror series rather than a crime series most of the time. The structure also seems very usable as an inspiration for a tabletop adventure. I can already see an outline with several dungeons and encounters.

Due to its setting there is a resemblance to other works, and I mean it in the most positive sense. The season fits into a category I call “Frozen Horror” and this article will cover that. I will share my thoughts about the characteristics, things that make it unique and that can be used in your game. Afterwards I will provide a short overview of some works that I consider Frozen Horror.

Frozen Horror themes

There are certain themes that are essential for the Frozen Horror feel and I will outline their potential for your games here.

Adverse weather

First of all it’s the adverse weather. We’re dealing with polar areas where outside temperatures fall deep below zero. While this is obviously not an insurmountable obstacle (even more so in a fantasy setting), it sets some rules and boundaries. To stay outside most of the time you need good winter clothes. What if you have no access to them for a reason? Or if they get torn to shreds by a monster attack? Many surfaces get slippery due to ice, and handling equipment without necessary precautions can also be tricky – swords can freeze in their scabbards for example, and some liquids can freeze in their containers.

Low visibility

Snow storms can be fatal even when properly clothed, and this can be used to control when and where can the party go, if you have need for such things. With snow storms there is also the danger of low visibility. All sorts of monsters can move at pike’s length unseen and unheard by the characters due to a raging snow storm. Distress signals, burning settlements, and magical effects can also be hidden by a storm.

Long periods of darkness

If your world is a planet with Earth-like properties or similar season arrangement there are regions where night lasts for weeks at specific times of the year. The resulting darkness of a polar night can be oppressive, depressing, and bring all sorts of trouble – light-sensitive monsters are free to roam, light-based magic might not work as well while dark arts might grow in potency, solar technology is effectively disabled. An interesting twist is the opposite state or polar day, but that has a whole different set of implications. Either way it sets a timeframe for the plot. Things might get better after the long night passes, or perhaps something has to be done before it passes, or even worse things will arrive.

Remoteness and isolation

Another heavily prominent feature of Frozen Horror is the remoteness and isolation experienced throughout the story. These works take place at the edges of settled regions, at remote outposts separated by barren wasteland, or during expeditions into unknown lands. Help and support is often unreachable due to distance, weather conditions, lack of suitable transportation, or a combination of all mentioned. This is even more effective if there’s a specific need that can only be fulfilled elsewhere – the cure for a condition, research capacities, “silver bullets” for a specific monster. As with darkness this might set a timeframe, though differently. A supply ship might arrive only in certain intervals, or mountain passes might be snowed in for a good part of the year.

Frozen secrets!

And last but not least, there’s no Frozen Horror like one with frozen secrets! Whether it is some kind of disease or monster trapped in the ice, or forgotten structures and technology, it’s a classic. The ice might be thawing naturally, or there might be deliberate attempts to release or discover whatever it is that is frozen. Of course not everything that’s frozen is a menace, sometimes it’s the exact opposite. There might be technology, knowledge, or some power that the party needs. But there might be other things frozen with the desired goal, not as much desired.

A good Frozen Horror doesn’t have to include all of these themes, but often it does. Some of them are specific for a certain environment, some can occur elsewhere. You can be very remote and isolated in a desert, and a desert storm will provide low visibility, but there will be no natural long-term darkness (assuming an Earth-like world) and certainly no frozen secrets.

Next there are some examples that I have tried to keep short and without spoilers. There are certainly other works that could be given the Frozen Horror label, and I will be glad to read about them in your comments.

  1. At the Mountains of Madness (1936)
  2. Who Goes There? (1938) and Frozen Hell (2019)
  3. The Thing (1982)
  4. The Thing (2002 game)
  5. 30 Days of Night (2007)
  6. The Thing (2011)
  7. Fortitude (2015-2018)

At the Mountains of Madness (1931)

The H.P. Lovecraft novella deserves to be mentioned first, as it’s the one that many others have taken inspiration from. It’s also one of the best works by HPL, and it should be on your reading list if you want to base your setting or adventure on Frozen Horror.

A modern illustration for the novel. All rights reserved to François Baranger.

At the Mountains of Madness tells the story of an Antarctic expedition. An accidental discovery leads to mysterious disappearances and deaths, and ultimately the protagonists find themselves in a lost city. Eons forgotten, the city reveals unsettling secrets, some of which are still alive and dangerous. Narrowly escaping with their lives (but not sanity) the heroes witness things too terrible to describe.

I’m being vague on purpose, because I really wouldn’t want to spoil this to anyone. Go read the novella as soon as you can, it’s public domain already! Lovecraft wrote it later in his career, so he already had an established mythos to reference and draw upon.

One can find themes of isolation and remoteness, and secrets frozen in the ice in At the Mountains of Madness. Even if Lovecraft wasn’t their creator he used those themes expertly. And as I mentioned before, he influenced further works immensely.

Who Goes There? (1938) and Frozen Hell (2019)

Who Goes There? was written by John W. Campbell and published in 1938. In 2018 an original longer manuscript was found and released in 2019 as Frozen Hell. I haven’t read either, but the new release is on my list. Since I can’t offer my own views, I’ll keep it short and only remind that this is the work The Thing was based on. When I get my hands on a copy of Frozen Hell, I’ll either update this post or maybe write a new one. Leave a comment if you have read it!

The Thing (1982)

For me this is it, the perfect example of Frozen Horror, and a top notch horror movie overall. I have seen different opinions, stating that The Thing is overrated. What do those people expect from a great horror movie that they didn’t find in the Carpenter masterpiece is a mystery to me. But hey, I don’t like some generally-accepted masterpieces either, so I accept it with only a little grudge.

The outpost at night with MacReady's cabin in the focus
MacReady’s cabin in the night. All rights reserved to Universal Pictures and/or other respective owners.

The 1982 adaptation of Who Goes There? by J.W. Campbell is set in Antarctic on a remote scientific base, where suddenly things go very wrong (these vague descriptions are a pain, but I wouldn’t like to spoil too much). There’s a lot of psychological horror, body horror made with perfect practical effects (certainly for the time), and an ambiguous ending. The setting ticks off all the hallmarks of a Frozen Horror, with remoteness and isolation, bad weather conditions, and frozen secrets being the most prominent.

It is perfectly adaptable to tabletop gaming, as many have done already. There is also a sequel video game and a prequel movie. If you liked The Thing, check them out as well, or at least read the following paragraphs.

There has also been an earlier adaptation of Campbell’s novella in 1951 under the title The Thing from Another World. I have not yet seen the movie and as with the book I don’t want to rant about it basing my knowledge on what I read on the internet. Therefore until I have the opportunity I will only mention it. As always comments if you’ve seen it are welcome!

The Thing (2002 game)

Intended as a direct sequel to the Carpenter movie, the game picks up right after the ending. It chooses one possible explanation for the ending as canon and elaborates from there.

Wallpaper from the game. All rights reserved to Konami and/or other respective owners.

In this 3rd person team-based action game you are Captain Blake, an US Special Forces operative sent with his team to investigate. Being an action game it offers a lot of shooting and jump scares. I remember when it was new I couldn’t play it myself because of the tense atmosphere and scariness, and instead watched as my dad played the game.

Even though it lacks the slow burn psychological stuff of the movie, the game gets many things right in my opinion. The events of the game don’t collide with what the movie started, or at least as far as I remember. I’ll have to play it myself for a deeper analysis, so expect an article on the game itself in the future. Meanwhile you can check this post by Syfy for some background information and plot synopsis, if you like.

30 Days of Night (2007)

Let’s take a break from The Thing and the Antarctic for a while and visit Alaska again. Based on a comic book 30 Days of Night takes place in Barrow, Alaska (now Utqiaġvik) during the polar night. The local events take a wrong turn after the arrival of a sinister cargo on a ship. The long polar night is central to the plot and you can make a guess what thrives in the long dark.

Oil plant in Barrow, AL
Barrow’s oil plant after night has fallen. All rights reserved to Columbia Pictures and/or other respective owners.

Once again the themes of remoteness, isolation, long period of darkness, and severe weather take the lead. After the movie a miniseries prequel (2007), sequel (2008), and also a direct-to-DVD movie sequel (2010) were made, but I haven’t seen those. The ratings make me a bit uneasy about spending my time on them, but do leave a comment if you have seen them!

The Thing (2011)

A prequel rather than remake to the 1982 Carpenter movie of the same name. I find it commendable that in an age of cheap remakes the creators instead elected to make a tie-in with the original movie. It is up to everyone’s judgement whether they succeeded.

The story is set right before the events of Carpenter’s Thing at another research station, this time Norwegian. You can watch the 1982 movie right after this one and the story will continue almost seamlessly.

Helicopter arriving at an antarctic base
All quiet at the Norwegian base. All rights reserved to Universal Pictures and/or other respective owners.

In my opinion it is not bad. There’s not exactly the level of mystery and suspense as in the 1982 movie, and it’s more predictable as far as I remember. There are similar themes, similar progression, you are aware that this has to do with the other movie all the time. Don’t expect any great novelty or originality, but it does what it aims to and it really feels more like a loving homage than a cash-grab remake.

Fortitude (2015-2018)

I have saved this one for the last, because it is one of my favourite shows, and also one that the latest True Detective series reminds me the most. Fortitude is set in a fictional town of the same name in Svalbard. The inhabitants are employed mostly as scientists, miners, or fishermen, plus the necessary services.

The first season is mostly a crime investigation show with little hints of mystery. With the second season Fortitude goes full mystery/horror with supernatural elements, and this is the season I find both most fun to watch and most usable TTRPG-wise. The latest True Detective series reminds me of this second season in a good sense, as I mentioned before. There is also a third season, but it’s inferior to the first two. It feels like an attempt to tie things up after being scrapped by the producers. What I find the worst about it is what happens to the characters. Formerly complex characters are flat in the last series and behave stupidly. And also it seems the creators tried to make everyone look bad. I’d say you can safely leave the third season out.

Two persons rappelling into an icy cave
What lies below the ice? All rights reserved to Sky Atlantic and/or other respective owners.

Fortitude has a great atmosphere overall and uses the themes I wanted to talk about really well. There is severe weather, darkness, isolation, various political and social tensions as well, and of course frozen secrets. The supernatural is well interwoven into the “normal” problems of an arctic settlement. The cast is very good and the characters and their motivations are well-written (until Season 3). As with True Detective: Night Country, there is a lot of potential for someone who would like to turn it into a tabletop adventure (or campaign).

Final remarks

What I call Frozen Horror (and you might call it differently) offers a unique experience, lately revived by the fourth season of True Detective. I have put some of my thoughts on the topic into this article, as well as some examples I would recommend. Of course there is more to each of them than the things I described – The Thing is a different story than 30 Days of Night. In this article I tried to point out some of the similarities that lie mainly in the environment and setting. I am eager to read your thoughts on this matter and perhaps your suggestions for other movies, TV shows, video games, etc. The more inspiration, the better.

I will also prepare separate articles about some of the media mentioned here. Requests and suggestions will be happily considered. If you found this post interesting, it would be great if you could share it with your friends. Comments are welcome, and don’t forget to follow the blog or our social media accounts for more content!

Dungeons: How to Behave

Does the party have to clear the whole dungeon every time? Does it always make sense? Are there different approaches? Let’s see in this part of the Dungeons series.

Estimated reading time: 9 minutes

This post is part of a series analysing several aspects of one of the most recognizable parts of the TTRPGs we all love – the dungeons. The posts can be read in any order and they will be cross-linked when necessary. Throughout the series (and also elsewhere) “dungeon” is used as a technical term and can be used to describe any clearly defined environment containing multiple non-random encounters. These include natural caves, mines, keeps and castles, crypts, temples, ships and other vehicles, and many others.

In this part I would like to look at the PCs’ behaviour during their stay in a dungeon. Not necessarily about vandalism or littering, though these can also play a part in what I’m talking about.

The archetypal “dungeon crawl” consists of the party entering a complex of rooms and systematically (or not) clearing one after another, often with combat and puzzle encounters waiting in most of the rooms. While this is what many players expect and many gamemasters deliver, it often does not make sense. In the cases it makes sense for the dungeon, other parts of the plot are probably lacking. It makes for static dungeons that are easier to prepare and manage, but less immersive, believable and in my opinion rewarding. That’s not to say that people can’t have fun with such dungeons, but you might be looking for something more if you’re reading these lines.

To help make my point I will refer to master Tolkien and his works. They of course need no introduction and I will assume you are familiar with both The Hobbit and The Lord of the Rings.

Reasons for entering

The best example I can think of is Moria. Khazad-dûm was an underground dwarven kingdom that has fallen at some point in the history and was occupied by goblins, orcs and cave-trolls. An expedition led by Balin, son of Fundin, aimed to reclaim (sic!) the halls of Moria. After some success it ultimately failed. The Fellowship then enters Khazad-dûm with an intent to get across (or under) the Misty Mountains expecting a welcome by the dwarves. After discovering their fate, the Fellowship takes flight through the deep halls and manages to leave through the East-gate of Moria.

The Mines of Moria concept art for “Lord of the Rings” (1978) by Ralph Bakshi. All rights belong to the author, who shared the painting here.

We have two different “dungeon crawls” going on with Moria. The first of these, Balin’s reclamation expedition, was probably quite a massive undertaking. Though we don’t know any numbers other than a few named characters, I believe we can safely assume there were hundreds of dwarves. The fighting was of course done by the soldiers, but many others, including craftsmen and servants had to be part of the expedition. They started reclaiming Khazad-dûm from the east and established a colony in a small part of the former kingdom that lasted five years till it succumbed to the orcs and worse. The dwarves had to proceed systematically, retaking room after room, securing entry points, building strongpoints and safe zones. Clearly that’s not something a party of four to six can manage. Unless the dungeon is static and the monsters are content with staying in their rooms until the heroes get their long rest, of course. In a dynamic dungeon this could not happen and a small party would lack the manpower to keep the cleared areas clear. Ambushes and attacks from behind would happen all the time.

The other instance is the Fellowship’s crossing of Moria, where after finding out there won’t be a welcome party the Fellowship’s goal was to simply cross to the other side. They moved fast, trying not to make their presence known, and certainly didn’t go room to room slaying monsters. And the party was rather high-level even without considering Gandalf, the only low-level members being the halflings.

I want to propose several different ways of handling dungeoneering, each with its own merits and shortcomings. They can overlap slightly, or they can change during the course of adventure. There are plenty of ways to ensure the party has to explore, even if they only need to get from A to B. But I believe there ought to be a better reason for exploration or room-by-room cleaning.

Apart from reclamation (Balin) and transit (Fellowship) we can have other reasons to enter a dungeon. The party might be after a certain foe (assassination). They might be after every single monster in the dungeon, but not care about the dungeon itself, then it’s not reclamation but rather extermination. If searching for an item let’s call it treasure hunt, regardless of whether it’s an actual treasure or for example hostages.

Let’s put those into a table with some factors that interest us:

Explore everythingDefeat everythingTime spanManpower needed
Transitnonoshortparty
Assassinationnonomediumparty
Exterminationyesyesmedium to longarmy
Treasure huntnonomediumparty
Reclamationyesyeslongarmy

Many TTRPG dungeon crawls fall into the assassination, extermination, or treasure hunt categories, or their combinations. Either way you have to crawl through the whole dungeon to finish it. It is especially true in video games, where there are often items placed in a way that you have to explore everything. I guess it makes sense from gaming perspective, but not from the dungeon design one.

Does it work elsewhere?

Apart from the already mentioned Moria from Lord of the Rings, can we get some other easily recognizable and acknowledgeable examples from media? Sure we can!

What about another legend, Star Wars: A New Hope? Did the heroes clean room after room full of stormtroopers aboard the Death Star? No, they had their objectives and went after them. In this case we would talk about a combination of treasure hunt and transit. And in the prequels, did Obi-Wan and Anakin clear out the whole flagship of General Grievous while rescuing Palpatine from Count Dooku? On the other hand, when Darth Vader captured the Tantive IV corvette carrying Princess Leia and the droids the stormtroopers had to eliminate all opposition. The same can be said of the attack on the Rebel base on Hoth. See the pattern?

I believe that should be enough to get a feeling for what I’m trying to point out, if it wasn’t clear before. Unless your goal is to clear out the whole area, you won’t do it, you just do what you came to do and get out. But since we don’t want to present players with just a string of encounters, they should be introduced to a larger dungeon than necessary. More on that in another part of this dungeon series, now I’d like to finish with party behaviour.

Do’s and don’ts

Depending on the party goals and the dungeon crawl category there are some things the players and gamemasters should keep in mind. From the player point of view time should matter – if you’re on a rescue mission, you leave looting for after the rescue, and stay on the move. They should also be conscious of their position within the dungeon and of the positions of potential foes. Of course you as a GM won’t hand them a plan with marked enemies. The party should however take mental notes of unexplored corridors, rooms, and other potential risks, especially if there’s going to be a return journey or a later return to the same dungeon (more on that in another post). Battle encounters should be avoided if possible, as even weak foes can buy time for an ambush or flanking move by others.

On the other hand, if your party is clearing out an old keep to serve as their headquarters, let them take their time. It is also necessary to be conscious of what’s happening where, but there should ideally be secured areas behind the party. And those could be contested as the occupants try to expel the invaders or break out and flee. The party would try to eliminate all opposition, although fighting is not always the best option – some monsters might rather accept eviction than death, even if highly repaid.

And what about extermination? Even when your goal is to kill or subdue all enemies you could have a better plan than just room-after-room slaughter. Stealth is always your friend and if there are leaders or enemies whose presence makes other stronger, it would be wise to target them first. There might also be means of calling reinforcements, and eliminating those is also something that should be prioritized.

Note that I have omitted exploration from my categories. Of course one can imagine a party that just ventured down some stairs to see what’s down there. But I also think in this kind of situation there is something missing – motive. It’s in the meta-gaming territory when players just go into a dungeon because the gamemaster prepared it and the PCs have no real motivation. At least have them search for valuables (treasure hunt), or menaces to surrounding lands (extermination). Or if it’s a mine or something similar, they would probably want to stake their claim to it (reclamation).

Dungeon dynamics

To conclude this article I will just outline the focus of a future post, the dynamics of a dungeon. At the beginning I mentioned static dungeons and that I found them less interesting and believable. Without devouring the upcoming article I can share that dynamic dungeons are another thing that makes room-by-room dungeon clearing unnecessary. The enemies are not going to wait until you slaughter their friends on the other side of the door; they either come to their help or fortify their positions. And that’s just one aspect of dungeon dynamics, but more in the coming article. There won’t be any sources for this one, but if you have been living in a dungeon and haven’t read either The Hobbit or the Lord of the Rings by J.R.R. Tolkien, yet, you better do it fast!

As always, your thoughts and questions are welcome in the comments. Can you think of another dungeon crawl category? Is there an example from media that supports or even refutes that categorization that you would like to share?

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