Showing posts with label inspirations. Show all posts
Showing posts with label inspirations. Show all posts

Tuesday, September 24, 2024

Nuna Visual Inspirations

This blog is looking poised to become my game dev log for NUNA.

I've no problems with that, I'm raring to go.


First off, what images inspired me in writing the game?

OK, the character choices for Nuna are a bit of a wide palette.


First, this was my inspiration for Inuit:


This is a photo of a then 16 year old Inuit girl Helen Konek walking into her igloo in Nunavut in 1949.


OK, next Neo-Vikings:


This is the Draken ship that sailed across the North Atlantic Ocean from Norway to Canada and down to the US.

Next, whalers:

This smiling chap is a Maori whaler of last century. Picture him covered in whale grease and a fur vest to stay warm. Queequeg meets Mad Max on the ice.

OK, how about a Settler. In Labrador, Settler traditionally meant a European who intermarried with the Labrador Inuit and settled into trapping and hunting ways. The term has fallen out of usage a bit due to political correctness.


This is my great grandfather, Gilbert Blake. He was only 18 when he signed onto the 2nd Hubbard Expedition in 1905 to cross Labrador east to west, and his knowledge of the land helped them make the journey without major incident as recorded in A Woman's Way Through Unknown Labrador. The disastrous 1st Hubbard Expedition of the year before had no native guide, and is recorded in Lure of the Labrador Wild.

(Both books are available on Gutenberg, I believe, although Woman's Way has a beautiful complete edition out a few years back)

Finally, scientists. In Nuna's lore, these are the guys responsible for the world being the way it is. OK, imagine this guy in a heated suit and you get the picture:


And there you have it, an eclectic group of playable characters that are sure to cross swords with one another when times are good and band together when they are not.



Monday, June 10, 2024

Friday, December 22, 2023

Wyatt Earp's GMing Advice

 Just listened to this WILD account by Wyatt Earp of the reality of gunfighting in the Wild West.

A couple of takeaways:


1 If someone got the drop on, 9 chances out of 10 you'll lose.


2 Carrying two guns is not for shooting at the same time, but in case one runs out.


3 People who fan (spam) or quick draw don't always win.


Wednesday, July 6, 2022

Friday, October 17, 2014

Roguelike Lessons





Over at Kill Ten Rats, there is a somewhat deprecating response to Roguelike games.

As for myself, I simply LOVE Roguelikes, especially this Nethack in which you'll find many of my ghosts littered about. The biggest criticism KTR makes is that Roguelikes have no balance in terms of scaling encounters, and he uses the term ‘difficulty cliff’ to differentiate from the ‘difficulty curve’ of games like Destiny or RPGs like D&D 4E.

I think he has misunderstood the appeal of Roguelikes, at any rate ones like the one I play. There is no difficulty curve, nor is there a cliff. There is just pure chaos. You are just as likely to find a Wand of Death as to run into a goblin holding one. You WILL die at some point. I am not a ‘get off my lawn’ grognard, nor a masochist. I just don’t have time for a difficulty curve that strings me along forever – I WANT the game to end badly.

The idea of a difficulty curve is anathema to me. If you like having the game adjust for you, which I found both boring and somewhat patronizing in the few 4E games I played, then have at it. Some people play Monopoly, others obscure Teutonic boardgames, others poker, none is better, each suits a different taste or lifestyle.

Playing Roguelikes suits my life right now, but they also have valuable lessons for tabletop DMing.

1 Dungeons Should Be Breakable – Although there was a lot of posts about Jacquaying dungeons a few years back, i.e. allowing multiple entrance and egress points and thus avoiding topographic railroads, Roguelikes blow this out of the water. In Nethack, pick up a pick axe or mattock and you can make your own damn entrances and exits, even between levels. Or dig a pit, stand on the far side and let monsters tumble in, slay them and take their stuff. The pick axe is the ultimate tool of agency. However, the time and energy spent digging also tires the character and draws attention, which brings us to the next lesson…

2 You should know what you’re getting into – Anyone complaining about dying in a game of D&D, unless they are dealing with a dick DM and their complaint is about them and not the game, seems to have misunderstood the game and its setting. You are a murder hobo in a world red in tooth and claw and out to get you. Dying is not a question of ‘if’ it is a matter of ‘when’ unless you retire the character or switch to another game. Which brings us to….

3 If you don’t like it, there are other games – This sounds so trollish on the interwebs, but make no mistake I am not trying to troll KTR. If Roguelikes seem broken or unfun to you, find something that does work and is fun for you. I cannot stand poker – it just bores and confuses me. Everyone at my workplace loves it and has poker nights, which I skip. Unfriendly? Maybe, but better than me starting to resent some wonderful coworkers just because our tastes differ. And speaking of social effects of gaming…

4 Alignment should have social effects – Alignment in D&D is often a stick to keep character’s actions in line with some ideal. Too often there is little ‘carrot’ to balance this out. In Nethack, creatures of a similar alignment do not attack one another automatically. You may want to strip a pick axe off a dwarf in the mine level, but if you’re a lawful Valkyrie, you’ll have to find a store selling one. If you decide to ignore your alignment and kill a dwarf, you’ll be asked if you really want to, and your dwarficide will worsen relations with your god, who can uncurse objects and may even bestow legendary items on you if you sacrifice to them. This is a wonderful mechanic, and one that I would add to my own D&D games. Speaking of house rules…

5 Games should be hackable – Like Dwarf Fortress but on a smaller scale, Nethack allows players to use the elements of the system and setting in ways that have unforeseen consequences. If you plan on stealing from a shop, digging a circle of pits around the shopkeeper will keep them from chasing you (but you’ll have to sneak your pick axe into the store in a sack first or be denied entrance). If you cast a spell while drunk or confused, it may have altered effects, and I have inadvertently created rustproof armor and weapons this way. Tabletop RPGs should allow for even more unforeseen flexibility than Nethack with its limited programmed elements, and a DM not taking advantage (or letting players take advantage) of this flexibility is missing out on the greatest feature of the game itself.

So, go out there and play a Roguelike today. You may not like the overall experience, but you will learn something, whether to do or to avoid, that will improve your DMing and make your game suit your style and needs more.

Sunday, July 6, 2014

Holmes, Nessie and Cthulhu



Just finished watching The Private Life of Sherlock Holmes (1970). Great film for expanding the mythology of Holmes into Victorian political life, also great inspiration for random events in a Cthulhu session set in Scotland.

1.        The sound of demon bagpipes resonating in the hills with no discernible source of origin.
2.        Trappist monks with vows of silence and obscure plans
3.        A French demoiselle in distress who is actually a Prussian spy with designs
4.        Historical preservation societies who don’t know much about history
5.        A letter from the foe telling you to drop the investigation
6.        Foggy nights on a loch in a rowboat
7.        A fake monster built to take attention away from the real abomination
8.        The appearance of the Queen and retinue
9.        A disappeared scientific expert you must find
10.    Silent folk with physical oddities masquerading as other than they are
11.    Locals always with a story of what truly happened that only muddy the waters further
12.    A silent clansman in kilt who scares you off with two growling mastiffs on chains
13.    A Scotsman with a loaded pistol in his sporran
14.    Children who throw rocks
15.    Dead or deranged animals who tip you off to what is really happening
16.    Cycling around the countryside
17.    A London secret society who offers you membership on success of your mission
18.    A London secret society who tries to thwart your mission.
19.    A British government agent following you.
20.    A hotel staff member who surprises you by knowing all about your mission.

Thursday, January 9, 2014

Interweb Buried Treasure Find – TSR 2001 A Space Odyssey RPG?!?




I have been pretty tied down before my preliminary exam on Thursday (today), but while web surfing to de-stress, I came across two TSR modules for Star Frontiers based on the movies 2001: A Space Odyssey and the sequel 2010. They are available at the Star Frontiers website in the Modules section. They are well made curios invaluable to any Kubrick film or Clarke scifi buffs, but gamers might balk due to their extreme faithfulness to the source materials.


Although I thought maybe the OSR hadn’t stumbled onto these retro goodies, a quick search for images resulted in reviews of them by Grognardia. Whereas James M didn’t see Star Frontiers as a good fit for the game and understandably dismissed the modules’ gaming usefulness due to their extreme railroady nature, I thought they were great resources for someone looking to run Star Frontiers as ‘harder’ scifi than the default setting, an aspect of the rules modifications they present which James also comments upon. More than that, as an inveterate OSR DIY guy, I think these railroads are ripe for Jacquaying and modding with switchbacks, loops, and alternate tracks.

How would I do that? One way to see 2001 is a space where extremely hard scifi (i.e. human technology like HAL and the Discovery) meets extremely soft ‘techno-magic’ (i.e. the monolith and starchild, and more if you’ve read the novel). Put in this way, adding in the goofy space opera of the original Star Frontiers is hardly a stretch, and so my first move would be to ignore the restrictions to human characters outlined in the modules. Next, since the modules and their source films and books take place over enormous spans of time, from the Dawn of Man to centuries in our future, a bit of Star Trek style time traveling from the Star Frontier’s timeline would be in order. Finally, as a DM I would be OK with PCs going off the rails of the film plot. I’ve always had the dream of running Lord of the Rings and letting the PCs try whatever they want to get the ring to Mordor, maybe allowing Gandalf all spells with the caveat that using any unlocks them for the forces of darkness as well. I’d try to do a similar balancing act with these modules. If possible, I’d run the modules without letting players know they are gaming 2001, but I’d also be open to players in the known who are happy to muck about in the setting.


Here’s an example of how I would Jacquay the first chapter, including some of the complications and reactions I would have anticipated:

The Dawn of Man – It is the default Star Frontiers future, and the PCs are contacted through an agent to make a delivery for a princely sum of money. The condition is that they ask no questions and do not pry into the unknown devices installed on their ship or the cargo it holds, and they must sign a Non Disclosure Agreement to that effect. The cargo is, of course, the moon and Earth monoliths, and the mission is to deliver them to our solar system at the dawn of mankind.

If the PCs do not have a ship suitable for transport, one is provided for them, and unbeknownst to them can both travel FTL and in time. Note that I am a big handwaiver with this type of lightspeed/parsecs speed vs time stuff, and as PCs should be ignorant of what is in store for them, I see no need to get into it. If the PCs have a suitable ship, they are asked to leave it with the agent for a day, after which it is fitted with the FTL and timejump devices and cargo is loaded.

Any attempt to tamper with the devices or pry into the cargo should be met with increasing warnings and danger. Players should first be told that the devices make no sense to even the most skilled mechanic or technician in the group, and both their function and purpose are a mystery. Attempting to open them should either not work (cutters can’t cut the material, there are no joints, etc), deliver warning shocks (small damage or unconsciousness) or worse (increasing damage, a warning message from the agent). If the players don’t seem to want to go along for the ride, tell them they are knocked out by some force, awaken unharmed in their ship but with a Breech of Contract notification informing of the legal repercussions if they disclose any details of the agreement they had made.

If the players do play ball, they are put in stasis until their ship reaches our moon in antediluvian times. When they awake, the shipboard AI informs them that their first mission is to bury the monolith on the lunar surface, so PCs will have to suit up and accomplish this. To throw players off, the GM may describe the lunar monolith as a translucent or transparent oblong filled with tiny crystalline circuit structures as in the novel instead of the ebon monolith from the film. As a red herring, the GM may want to add a subplot of lunar quicksand that sucks down either the ship or several PCs and complicates their task (see the Arthur Clarke story ‘A Fall of Moondust’ for inspiration).


The real action starts on earth, which the PCs may not recognize as such due the change in constellations over the millennia and the difference in Earth’s atmosphere and composition of continents. The ship AI can navigate around the system, but will curiously be unable to give time or coordinates in relation to the PC’s normal setting. The ship AI informs them they must plant the second oblong near a group of cave dwelling apemen, then observe and record its interactions with them for two weeks. It’s up to the players to plan – do they knock out the apemen with stunners, or try and sneak it in? (See Jack Kirby’s 2001 comic for inspiration.)



Once the device is set, it comes to life at night, blinking and flashing hypnotically, after which the entire tribe sleepwalks out to stand rapt before it. After the first night, players making a perception roll will notice the apemen are walking more upright and using sticks to knock down fruit instead of climbing to get food as they did the day before.

The GM can introduce several dilemmas here to challenge the PCs. First, a predator jaguar or tiger can threaten the apemen, or a rival tribe could show up and threaten their access to water or food. Have some apemen die or be injured in front of PCs to provoke a reaction. As the apemen are influenced by the alien device, have them become more aggressive and start using weapons such as sticks or bone clubs. Have a Cain-Abel style first murder occur before the PCs to show them that maybe the monolith’s influences are not entirely benign. If players decide to fire on the monolith or stop it, have any human character instantly devolved into an apeman and modify his stats as per the module (p. 4). Now the game can switch to a return to try and restore the timeline.

If the players allow the monolith’s function to proceed, after the two weeks they are placed back in stasis and wake up in orbit around Earth’s moon just before the discovery of the lunar monolith, with US and Soviet teams rushing to reach the object pinpointed by magnetic scans as in the crater Tycho. Their mission next is to stop the Soviet advance and surreptitiously assist the US team. Once again, throw dilemmas at the PCs, such as the hidden armaments of the US team and the unarmed Soviets. Make them question whether their mission is good or not, and make all humans speak Russian if they decide to stop the Americans. Have fun with the wonky paradoxes of time travel and going off the rails of an established property.

Anyway, with my prelim done expect a speed up of posts of the backlog of ideas I’ve had while grinding away at my thesis.

Monday, December 23, 2013

The Weird In Mystic Japan – Part Three




ADVENTURE SEEDS
Here are a few adventure ideas ripped shamelessly from Japanese sources. All adventures take for granted that PCs are under orders of a lord and follow his decrees largely unquestioningly. If not, DMs will have to find different reasons for adventuring. Try to enjoy the weirdness of the adventures and not punch them up with combat too much to please western audiences. Make interactions and social restrictions a vivid part of the world, and you should have the right feel.


1. Possession (Genji Monogatari)
Several murders of night watchmen and travelers have occurred and PCs must find the cause. The bodies are mutilated as if mauled and partially eaten by some animal. Either by stakeout, investigation, or scrying they find that a noble lady is possessed by a demon which turns her cannibalistic at night. The lady is kin to their lord, so they must find a way to out the demon without harming her, all the while keeping the incident quiet from villagers who might raise arms to protect themselves.


2. The Peony Lantern (Lafcadio Hearn, Kwaidan)
A nobleman has started wasting away, losing strength and becoming wan due to sleepless nights. He refuses to divulge the cause of his lethargy, and so the PCs are sent to find out. By either surveillance, consulting a medium or other means, they discover that the lord is haunted nightly by the ghost of an old lover he spurned and caused to waste away from grief or commit suicide. PCs must drive away the spirit, either by satisfying its demands for justice, or convincing the nobleman to repent and either become a monk or publicly shame himself by professing his dalliance.


3. Space Girl (Osamu Tezuka, Hi no tori)
A peasant’s wife has run away while he was at war, and now returning as a minor noble he asks the PCs to find her and his child. She has left behind a magic kimono of shimmering, unearthly colours that radiates magic. The kimono can only be worn by female characters, and transports them to the moon, where the wife originally came from. The kimono-wearing character can miniaturize two other characters and carry them in her sleeves, but any more PCs will have to find alternate transport to the lunar surface. The moon people are pacifists but also great sorcerers using magic items, and PCs will have a hard time convincing the woman and her now grown son to return to war-torn earth and live with a former soldier. One complication may be that the son wishes to return but the mother doesn’t, forcing PCs to help him make his escape back to earth. Another complication is that miniaturized characters stay that way on the moon.


4. Wolf Head Kashira (Osamu Tezuke, Hi no tori)
PCs are ordered to stop a bandit chieftain has been terrorizing the mountain roads, but investigations shows that he is only attacking the wagons of a certain clan. The chieftain is said to have a wolf’s head and is magically protected by animal familiars. If PCs meet the wolfhead, he reveals that he is the clan’s disappeared heir, whose face was flayed by the current clan head, covered with a wolf’s head as an insult, and then left for dead. By some strange magic the heir recovered but with a wolf’s face and animal powers. He will only stop his attacks when the current clan leader is dead and the heir’s rightful place and face restored to him. PCs may have some serious questing to do to achieve this.


5. Moth woman (Osamu Tezuka, Dororo)
Children from a small village have been disappearing at night from their houses, and the lady of the village has asked for help to calm her subjects. PCs are sent to investigate and sensitive characters or priests may be lead by the beckoning of ghostly children to the run down old hut under which their bodies are buried. Under the tatami mats in a tunnel are the children, wrapped in cocoons and undergoing a horrid transformation into mothmen. Following the tunnel to its end brings the PCs come face to face (tail?) with a grotesque moth creature, who turns out to be the underside of the lady of the village. They must battle to stop her while defending themselves from the child-mothmen she awakens with her screams.


6. Dirty Old samurai (Shigurui/Vagabond)
In a small village on the stormy coast, a veteran samurai lives and protects villagers from bandits and rival clans. On a visit to the village, PCs see that the old bushi has gone rogue, is often blind drunk, tests his blade on villagers, and takes their daughter’s maidenhood when they are 12 or 13. The samurai must be stopped, but as he has higher rank than the PCs, is an expert swordsman, and has magical arms and armor from his past adventures, they will have to find some subtle way to discredit or destroy him. Note that the samurai is paranoid and wily, and will not fall foolishly into any old trap, but will kill all who shows animosity towards him. He is just as deadly when drunk or sober.


7. Freak Circus (Suehiro Maruo, Shojokan)
The circus comes to town, and the elder son of the lord starts dallying at the tents of the freaks. The PCs are sent to drive the freaks off, but must deal with threats including Snakelady, who can shoot poisonous snakes from her orifices; Rotting Man, a bandage-enwrapped ex-soldier who cannot be killed by mortal weapons but simply loses gobbets of flesh; Giant Baby, an ogrish man with the temper and jealousy of a child; The Mouth, a limbless obese giant who rolls over PCs attempting to crush then eat them; and Dr Ching, an evil sorcerer from the continent who can thrust characters into their nightmares. If PCs are victorious, they find the son in a sorcerous sleep, which may require questing for holy objects to break.


8. Shadow Banquet (Lafcadio Hearn, Kwaidan)
A distraught young musician begs the PCs to save him from ghostly samurai who visit him every night. He hasn’t slept in days, and if he falls asleep at night when the samurai come to hear his music he will be forced to join them in the hell between worlds. PCs can either fight off the samurai if powerful enough, or more likely should quest to various temples and apothecaries for magic ink to write wards all over the musicians body and Buddhist Sutras on paper which can bind or wound the ghosts.


9. The Phoenix (Osamu Tezuka, Hi no tori)             
The high priestess of the clan is growing old and has started fearing age and death. She sends the PCs to an island where the legendary phoenix has been spotted, with orders to kill it and bring back its rejuvenating blood. The bird is deadly and fearsome, but getting to its lair is made difficult by the presence of savage natives who revere it as a god. If players do manage to kill it and retrieve its blood, which is always boiling hot, the death of the bird causes an eruption of undead who begin plaguing the countryside. PCs may seek to revive the bird, which can only be accomplished by throwing its body into a volcano. If they do bring its blood back to their mistress, she drinks it but is ironically consumed alive by fire bursting from her innards, also giving birth to a newly formed phoenix which flies off back to its lair. Irony!


10. The Spirit Gun (From a Big Comics Original supernatural manga about an antiques shop whose name and author I forget)
Officials of the clan are being assassinated at night by a young gunman who disappears like smoke whenever guardsmen give chase after a killing. PCs are given sketches of the assailant and must try to find him. If they go to the burakumin (social outcast) district, they will find that the boy was from there but died many years ago, and that his father is a woodcutter on the edge of town. If they meet the woodcutter, he is a kindly old man who invites them in for tea, and tells them the tale of how his son died out hunting. In truth, the youth was killed accidentally by a noble also out hunting, and his spirit now haunts his rifle, which the father keeps hidden in his house. PCs will have to assuage the spirit by somehow getting it justice.


11. The Fox Stole (as above)
A lady of the clan is found strangled in her chambers, but with no signs of struggle or intrusion. If characters investigate thoroughly, they find a few items of the lady’s clothing are missing. A few nights later another lady dies in the same way. If characters investigate, they will find more clothes are missing, and one item, a fox stole, is on both missing item lists. If they interrogate the handmaidens, they find one in either case has sold their deceased mistress’ articles to support their family. Tracking down the fox stole to the antiques shop where it was sold, PCs find that it has just been purchased by another lady. They have scant hours to find the cursed garment and stop another killing by the fox stole, which was cursed years ago by a rival clan to strangle the wearer when placed around neck and shoulders of a noble of the clan.

12. Mud Flinging (Ge ge ge no Kitano)
Construction on a new fort has halted as workers are attacked by a strange giant humanoid rising from a nearby pond who flings enormous balls of mud at them. Men have nearly smothered under the mud, and a death will occur if something isn’t done. The PCs are sent and are easily overwhelmed by the creature. Any PC speaking youkai language will learn that the creature is yelling “tanbo kaese!”, or “Give me back my fields!” It is actually the guardian god (kami) of rice fields that have been destroyed  The PCs must find a place for the youkai, preferably in a rice field that is clean and well-kept.

Sunday, December 15, 2013

The Weird In Mystic Japan – Part Two




It seems like my post on Mystic Japan coincided with some other great thoughts on the same subject. Age of Ravens did a great post on his ‘Age of Yokai’ concept for Lo5R, which incidentally made me rethink my opinion of the system and its setting. Wine & Savages responded to my post and mentioned his own post Mappo Monogatari, another interesting setting for Savage Worlds.

I should state that I am not trying to devalue anyone else’s Japan game, just clarifying where I come from and how I would run one based on my experiences here in Kyoto. Someone living in Texas would have a different idea of a western game than someone living in Tokyo, and having lived nearly 1/2 my life in Japan I have a certain perspective on games set here. If you agree with some of my thoughts and could steal them for your own table, have at it. If not, fair enough and good gaming nonetheless.

Back to the subject, there are a few cultural notions that will color character actions, while adventures themselves based on indigenous canon are very different from western stories and adventures. Below I present the concept of girininjo, which I think is integral to understanding things Japanese. In the third and (hopefully) final part of this series, I will give examples of adventures based on literary sources, and end with some youkai monster examples.

THE TWO POLES OF JAPANESE BEHAVIOR – girininjo


If I remember correctly, the old Oriental Adventures added the attribute of Honor to D&D to emulate Japanese aesthetics. Although honor (meiyo 名誉in Japanese) is as important a value to Japanese as to other peoples, the idea of Asian ‘honor’ and ‘saving face’ is largely a western conception used to try and explain Japanese motives. Understanding the Japanese language and people first-hand, one realizes that honor may accord with the outward show of behavior, but often fails to explain the inner moral mechanisms that underlie it. Trying to evaluate Japanese thinking or behavior simply in terms of honour leads to mistaken conclusions or apparent contradictions, especially since what westerners mean by the term ‘honour’ and Japanese mean by ‘meiyou’ can often be very different. A more useful concept, and one that Japanese people commonly apply to their actions and thoughts, is that of ‘girininjou’.

GIRININJO (義理人情)


To understand the motivations and actions of Japanese characters in fiction, and thus reflections of Japanese people in real life and throughout Japan’s history, one has to understand the concept of girininnjou. Girininnjou is a collocation of the terms ‘giri’, or duty or moral obligation, and ‘ninjou’, or humanity or humane feelings. In other words, most Japanese actions can be understood by the paradigm of two values – how they relate to a characters obligations and/or his humaneness.

Thus, Japanese characters would put their obligation to their clan, tribe, sect, or family before others, while these obligations would be tempered by the character’s humanity or humaneness. In Shusaku Endo’s classic novel ‘The Samurai’, if I recall correctly, the youngest brother of 3 samurai ordered to commit seppuku (ritual suicide) is allowed to go first so he can show his older siblings he is worthy of the family and his title of samurai, a ‘kindness’ allowed by their guards. Although the order of death may seem inconsequential to us westerners, as is the kindness of allowing a person to commit suicide at all, Japanese readers would most likely be as moved by the guard’s ninjou and young samurai’s giri as the characters in Endo’s novel are.



In game terms, characters whose actions are lead by girininjou should receive bonuses to XP and NPC reaction. Following one’s lord despite the burdensome nature or questionability of their orders, or letting a downed foe escape because they showed bravery in fighting against insurmountable odds would be examples of giri and ninjou respectively, and should consequently earn rewards and renown for characters. Conversely, NPCs should also be bound by girininjou, and will be helpful or merciful to to PCs who show girininjou and merciless or scornful to those who lack it.

Thursday, December 5, 2013

The Weird In Mystic Japan





From Bushido to Legend of Five Rings, Oriental Adventures to Big Eyes Small Mouth, I have read a lot of rpg material about Japan. As a Canadian who lives outside Kyoto, is fluent in Japanese (日本語能力試験1級獲得), has gotten permanent resident status after 13 years living in Japan, and has studied Japanese mythology, I can say one thing about them all.

They aren’t weird enough.
                 
I don’t mean weird in themselves, as both Lo5R and BESM especially have lots of crazy elements, I mean they lack the delicious alienness, often described as ‘weird’, that Westerners perceive in cultural products from Japan.

Western rpgs about Japan are uniformly examples of the Western tropification of Asia. Characters may wear kimonos and carry katanas, but are usually the same old fighter/thief/cleric/mage made up in Oriental dress as samurai/ninja/soryo/shugenja. In Japanese fiction and fantasy, if characters are not running in terror from peony lanterns, or willing to slice someone’s throat or their own belly at the drop of a hat, something is missing. Ironically, the alienness that makes Japan inherently gonzo to us brought up in Western culture is also the hardest thing to transmit when bringing Japanese concepts over to English contexts.

What is missing is not merely the act of suicide called hara-kiri, which is unthinkable to most western gamers and thus the most prominent symbol of what is lost, but the alien cultural milieu that surrounds it. To Japanese people, tattoos of cherry blossoms (sakura ) representing the transitory nature of life or carp (Koi ) representing luck are far more inspiring than tacky dragons or (Oshakesama forbid!) Chinese characters that so many Westerners love.


This cultural mismatch is equally evident in gaming - whereas Lo5R rpg has clans named after animals like Scorpion and Dragon, the famous fighting clans of the Heike-Genji War were named the less-inspiring Flat (Taira ) and Source (Minamoto ) Clans. Oriental rpg creatures are all too often just D&D dime store monsters with serial numbers painted over in Kanji, but instead should be truly weird specimens like the Long Necked Lady (rokuro-kubi 轆轤首), Eye for Asshole Man (shirime 尻目), or One Eyed One Legged Parasols (kasa-obake 傘お化け) of Japanese Spirit-monster (youkai ) tales. Finally, adventures should not be Samurai Jack style hack and slashes, but missions to protect a libidinous lord against the ghost of a spurned lover, or flush a cannibal doppelganger out of a village.


For those interested in adventuring in Mystic Japan, be warned that it might not match the heroic ideals of Western fantasy, but the experience of adventuring beyond the box of your own culture and embracing the weird of another mindset should largely be a reward in itself. To help GMs and players dip into Weird Japan, here is a list of essential sources.

APPENDIX N for NIPPON

For starters, Weird Japan’s appendix N has to consist of indigenous works, not Eric Lustbader or Frank Miller reflections of Japan. I give here my own anime & manga Appendix N, as these are visual and thus instantly accessible to outsiders.

4 Shigurui (Crazy for Death) – Not supernatural, but a great source for the samurai ethic, or basically the sadomasochism integral to feudal Japan’s hierarchical society. Incredibly bloody and engrossing as a story, this is a must-see anime. The manga on which it is based, although sumptuous with art omitted from the series, lacks the concision and punch of the animated series, so stick to the animation.


3 Inuyasha – There is a lot of pixel-bitching here (i.e. monsters won’t die unless you have the magical McGuffin), and it is more a Japanese RPG video game translated to comics than a traditional supernatural story. Nevertheless, the themes of reincarnation and helpful monsters as well as evil ones are good examples of Japanese weird.


2 Dororo – No supernatural Japan should go without influence from Osamu Tezuka’s unfinished masterpiece about a limbless samurai who uses katana blades as prosthetic arms and legs to hunt down and destroy the 1,000 demons that stole his bodyparts when he was born. Just read that sentence out loud again to feel how weird Dororo is. Tezuka gave up halfway to concentrate on another blademaster, the unlicensed surgeon Blackjack, but the 3 books of Dororo with their haunting Warring States Japan filled with 7-tailed foxes, ratmen, and child-eating caterpillar women is a must-read for weird. There is a live action Dororo that doesn’t seem to be worth the effort.


1 Ge ge ge no Kitano – This is the piece de resistance of modern Japanese Yokai tales. The first anime series has all the weirdness and gonzo a Westerner can handle, while later series were watered down to a Dragonball/Inuyasha-esque explosion of kewl powers. The manga are also fantastic. It is the story of Kitaro, a one-eyed ghost boy who flings his magic wooden clogs at evildoers and is counseled by Otosan (literally ‘father’), his other eye that walks around on its own miniature body. Over the series he is joined in his adventures by the flatulent and untrustworthy Nezumi-otoko (Ratman), the violent clawed Neko-onna (Catgirl), and the gigantic and ponderous Nurikabe (Stickywall) among other monsters. Written by Shigeru Mizuki (born 1922), who wrote and drew the series despite losing an arm in World War Two, this work deftly melds the sensibilities of Edo period youkai tales with the haunting nature of postwar Japan. There are also live action versions, but these are of middling quality.


For art inspirations, the manga of Suehiro Maruo is twisted and amazing, while for a more traditional perspective see  the yokai illustrations of Hokusai (1760?-1849?), who is mostly known for his famous depiction of a wave and also considered the grandfather of the manga style. If you are looking for weird reading, Lafcadio Hearn’s (1850-1904) Kwaidan is the ultimate source of indigenous Japanese ghost tales before the nation’s modernization.








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