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.

Sunday, December 8, 2013

Mystery Solved

It seems Alex took down the OSR Planet due to some complaints about copyright mumbo jumbo.

I guess some may have valid gripes, but it just seems to me another case of some folks peeing in the water and poisoning the well for everyone.

Oh well, thank you for the hard work Alex. First Eternal Keep, next Old School RPG Planet - looks like anything nearing a community forum gets destroyed. Is this some natural OSR cycle of creation and destruction I wonder?

OSR Planet Takeover?

Is it just me or has the Old School RPG Planet website been taken over by RPG Bloggers?
I suppose it is a free site so no cause or right to gripe, but a head's up would have been nice.

Oh well, the layout is a bit commercial, but is also clear and has categories that may steer traffic a bit more.

Wonder what happened?

Friday, December 6, 2013

Perfunctory Dyvers Response

So anyway, everyone's talking about Dyvers' list of OSR blogs. Might as well jump on the bandwagon.

Charles Atkins' list of OSR blogs with mini-reviews is one of those ideas so brilliant in their simplicity you slap your forehead and wonder why you hadn't thought of it first. More importantly, OSR blogs are sometimes like icepans (as a Newfoundlander, I am familiar with those miniature icebergs and icebits that rime my arctic island homeland), old ones submerging and news ones rising, disappearing and reappearing, being sometimes solid and others treacherously transitory. It is good to have a guide like Dyvers to what is out there and where to aim your feet (or clicks in this case).

Like any blogger, I get a kick (what psychiatrist Eric Berne would classify as a 'stroke') from other people reading and responding to my blog posts. Atkins' review of this blog is refreshingly positive:

Tomb of  Tedankhamen A relatively new OSR blog (it started in March of 2013) that has lost a bit of steam due to the author's attempt to get through his thesis papers. I'm hopeful that once their through with the academia side of things that this insightful blog will pick up steam and continue to look at those little words that bother us all so much: like railroad, profile, and like. Updates: About five times a month.
 .
Finding your voice as a blogger takes time for most, and although Atkins' review focuses on the semantic exercises I sometimes indulge in, I don't see myself as limited to those, but will continue to write whatever pleases me. Instead, Atkins' identification of what works on my blog implies I am finding my voice and subjects that both I and others find worth writing and reading.

And that's what it's all about isn't it?

Good job Charles, keep it up!

PS: I have a few months before the (hopefully) final chapter of the dissertation, so expect more posts in the near future.

Thursday, December 5, 2013

The Weird In Mystic Japan - Part One





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 桜) representing the transitory nature of life or carp (Koi 鯉) 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 平) and Source (Minamoto 源) 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 妖) 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.








NEXT TIME: SAMPLE MONSTERS & ADVENTURES

Great article on thieves' cant

Read it HERE

Friday, November 29, 2013

Japanese Art Inspiration – Bounty from the Sea





The above painting is by Shigeru Aoki (1882-1911), a Japanese painter of fantastic scenes who sadly died before the age of 30 from tuberculosis. Aoki is known for using impressionist and western religious painting techniques and applying them to Japanese myths. Aoki was of samurai lineage, and some of his paintings have been named important Japanese cultural properties.


Many of Shigeru’s paintings, with titles such as ‘Path to the Underworld’ and ‘Paradise under the Sea,’ are great inspirations for fantasy gaming. Look at ‘Bounty from the Sea’ again. Could it depict a group of Tanaroan tribesmen from the Isle of Dread returning with their catch to feed the village? Or perhaps a band of sea-elves bringing in shark heads as bounties to the fishermen who pay to keep their fishing grounds, traps and nets free from such predators?