A column on roleplaying
by Robin D. Laws
In The Gaean Reach Roleplaying Game, your team of interstellar grudge-holders journeys to the galaxy’s darkest crannies in search of the arch-criminal Quandos Vorn. In reprisal for the despicable wrongs he’s done each of you, you’ve sworn to track him down and send him to his grave. But with his vast resources and illimitable flair for chicanery, he’s so far managed to stay one step ahead of you. A flurry of contradictory new reports places him on a variety of worlds. Pick one, if not several, of these, giving your GM sufficient advance warning that you’ve found your next destination.
(Worlds listed here do not appear in the works of Jack Vance, the late science fiction master and creator of the Gaean Reach setting. So feel at liberty to destroy them.)
Thick, verdant flora covers the rocky continents of Ballairides. Despite its lushness, the plant life proves thinly rooted, surviving on a shallow but super-nutritious soil layer. Scientists prize not its run-of-the-mill carbon-based botanical species, or the lackluster food network of decapedes, crawlers and air slugs it supports. Ballairides’ true interest to researchers lies in the rocks themselves. Before meteoric spores seeded its present ecosystem, this world hosted a silicon-based fauna. Crystallized fossils of these bizarre, asymmetrical lifeforms fill its sedimentary rock layers. Licensed geo-plunderers drill deep beneath a hard igneous stone wrapper to find and harvest them. Prized both as museum pieces and as art objects spawned by rogue, whimsical nature, the fossils attract a criminal element of illicit looters. Dodging the efforts of understaffed rock wardens, these paleontological pirates covertly meet interstellar demand for Ballairides fossils.
Your informants tell you that Quandos Vorn now commissions a notably ruthless crew of fossil looters, insisting only on complete specimens of the most gigantic extinct lifeforms. Have his laboratories perfected a method, long thought possible in theory, to resurrect these lumbering titans? If so, to what destructive use does he intend to put them?
The last planet allegedly discovered by the legendary world-prospector Lamint Cegiel veritably burst with exploitable life and mineral resources. Probes from his ship, the Tactile, noted temperate climes, abundant timber, and, in its northern region, magma lakes literally made of liquid gold. Yet when eager clients flew to the coordinates he sold them, they found nothing. Or rather, the five per cent of them who returned said they’d found nothing. Occasionally communications arrays pick up messages from purported descendants of those vanished would-be settlers, begging others to join them on their paradisaical but sadly underpopulated planet. Now and then another group of crack-brained utopians falls for this obvious hoax and sets course for Cegiel’s coordinates, never to be seen again.
Some deluded believers say that Cegiel’s Ghost can only be a real planet, cut off from the rest of the galaxy by a space-time ripple. Those lucky enough to approach it at the right instant pass from our molecular resonance into the pocket reality it resides in.
Wiser heads presume that the world is as imaginary as ever, and that starmenters ambush those lured in by their faked beacon signals. After stealing their ships and supplies, the pirates leave them floating naked in space, their last thoughts wistful dreams of Cegiel’s World. Who might lead such vicious starmenters, if not Quandos Vorn?
Shallow seas cover the whole of Grentic. A long-lived, highly boredom-resistant person might circumnavigate the entire planet by wading, without ever getting wet above the mid-thigh. Occasional circuitous loops might be required in one’s path, to avoid its few ocean trenches. Settlers on Grentic live on interconnected platforms, chained to the profusion of granitic spires rising through the muddy seabed into the salt-choked sky. Feeding on a rich variety of quasi-crustaceans and cod-mollusks, Grentic’s people adhere to the founding maxim of its deliberately nameless first explorers: “We’ll mind our business and you mind yours.” Only the principle of unity against outside interference binds its population of sodden-toed libertarians. They join together with projacs and harpoons against any who would attempt extradition of any resident, no matter how recent his arrival. Fugitives tend not to tarry long here, due to its lack of amenities and excitement. Quandos Vorn, it is said, takes occasional Grentic idylls, freeing his turbulent mind from the pressing issues of arch-criminality.
|Dithermal image showing Quandos Vorn on Grentic. Note the newly acquired scar on his left cheek.
Don your flame-suits when you step from your ship onto the heat-baked surface of Myrt. A luxuriant grassland covered its surface when first settled, five hundred years ago. By clearing it for farming, its pioneers triggered catastrophic climate change, turning it into a desert hellhole. Too proud to admit either defeat or fault, they tunneled beneath the surface, undergoing rapid hyper-evolution. Now blind, bald, hunched, and bleeping and burbling in a sonar language standard human ears cannot fully apprehend, Myrtans worship the stern fungal god Bletch, rigorously enforcing the many sanctions of their faith. Rumor has it that We-9Y, the psychotropic communion brew quaffed during its solemn festivals. confers extraordinary sensory powers. That users untrained in the psychic arts of Myrt often drop dead after a handful of doses does not deter questers after heightened perception.
You hear that Quandos Vorn has entered the We-9Y market in force. From this one can safely assume that he can at times be found in the tunnels of Myrt, or clues to his whereabouts might be found there. Persons less intent on vengeance than yourselves might note with caution the extent to which off-world trade in We-9Y has stoked divisions in Myrtan society. But what trouble could a little civil war cause you, now that you finally have a solid lead to Vorn’s whereabouts?
By Robin D Laws
Any game design that starts with me reading an enormous stack of Jack Vance novels is one after my own heart. Before re-acquainting myself with his classic cycle of novels set in the far future Gaean Reach, I assumed that Pelgrane’s companion to The Dying Earth Roleplaying Game would use its rules—or rather, the streamlined and reconfigured version of them that now appears as Skulduggery.
Reading the books, including the Demon Princes and Alastor series, as well as Ports of Call/Lurulu and such standalones as Maske: Thaery and The Night Lamp, I realized that, despite the many similarities between Vance’s fantasy and SF settings, a different underlying structure was at work here, one that would require another core rules set—one that, fortunately, lay to hand in convenient GUMSHOE form.
In both the Dying Earth and Gaean Reach, characters speak to one another with an elevated wit, encounter horror and beauty in equal measure, and embody the eternal selfishness and cupidity of humankind. Though a mordant irony suffuses all of Vance’s works, the space opera titles concern themselves less with the constant one-upmanship and reversal found in the three mature works of the Dying Earth (Eyes of the Overworld, Cugel’s Saga, and Rhialto the Marvellous.) The lead characters of these books are scoundrels, nearly as deserving of comeuppance as the antagonists they strive to outwit. Their schemes and plots take place under the rules of Swiftian satire. As readers, we are as amused to see their fortunes overturned as rewarded. The Skulduggery core resolution system, with its rolls and rerolls, emulates the dynamic of constant reversal found in these books.
The Gaean Reach books, on the other hand, extend to the reader a more traditional sense of heroism. Their self-reliant protagonists are sympathetic heroes whose success we root for. The villains earn our hatred, though varying degrees of vicious psychopathy and contemptible pettiness. The self-interested, caviling types of the Dying Earth appear, but as secondary characters placing minor obstacles in the heroes’ paths. Nearly without exception, they draw us into the action with a simple device. The villain wrongs the hero; the hero seeks vengeance. At a midpoint in the action the hero may suffer a single, mammoth setback, which we suffer alongside him. Showing his resolve, he perseveres, and, by following a trail of clues to the villain, whose identity and location are generally obscured to him, achieves the retribution for which he, and we, burn.
This is not a structure of constant reversal, of dueling scoundrels. It is a story centered around investigation, which may be interrupted by scenes of action and danger, sometimes to the great detriment of the protagonists. That is to say, it’s GUMSHOE.
All along Pelgrane-in-Chief Simon Rogers and I assumed that this project would entail some crossover between the company’s two house systems. But instead of GUMSHOE-flavored Skulduggery, the end result revealed itself as Skulduggery-flavored GUMSHOE.
It wouldn’t feel like a Vancian setting without the sometimes florid, sometimes terse, always barbed repartee at the heart of his work. So the first Skulduggery import had to be the tagline system, which rewards the player with tokens for adroitly deploying supplied lines of Vancian dialogue. This system encourages players, including those who otherwise wouldn’t try, to speak in this heightened lingo. Although the results are inevitably less polished than on Vance’s pages, the tagline process reliably succeeds in evoking that spirit—even in players who think they can’t do it, and without the boost wouldn’t let themselves try.
In Skulduggery, the tokens you earn for tagline use buy you ability refreshes. They do this in The Gaean Reach, too. But that can’t be their only function, because GUMSHOE characters don’t deplete their pools as quickly or constantly as their Skulduggery counterparts, especially during a scenario’s investigation-heavy stretches.
Adding a new currency, the token, to GUMSHOE allowed me to solve other design challenges. Gaean Reach guns instantly kill on a single shot. This runs counter to the roleplaying tradition of the extended fight sequence, in which life ebbs away in increments. No one wants their characters to die after a single unfavorable roll. Likewise, many plots end prematurely when heroes can kill their enemies with the same solitary die result.
As one would expect, Vance writes his way around the lethality of his setting’s weaponry. He constructs his situations so that his vengeance-seekers don’t immediately meet and shoot dead his main bad guys. Henchmen and alien creatures die by the drove, but the primary antagonists elude their fire…for a time.
The game emulates this narrative convention by requiring you to spend additional tagline tokens to gain story permission to shoot key antagonists. On the flipside, you can spend tokens to explain your way out of situations in which your enemies ought to be able to shoot you dead.
One way to keep a game currency scarce is to give the players lots of ways to spend it. As in the original Dying Earth RPG, tokens also function as experience points, which you can spend to gain new abilities or add to the ratings of those you already have.
This dovetails with another import from the Skulduggery incarnation of the Dying Earth rules: a lightning-quick character generation process, in which a set of randomly distributed cards defines the characters’ abilities and outward personae.
On-the-fly, players can then spend tokens to fill out crucial but missing abilities, especially the investigative ones. (A backstop process makes sure that someone has a needed ability even if no one has any tokens to spend.) Buying an ability shared by no one else costs less than adding someone else’s existing specialty to your character sheet. This wrinkle prevents spotlight hogs from generalizing their way to omni-competence.
Along with a simplified ability list, these changes make for the most streamlined, newbie-friendly iteration of GUMSHOE yet. I’ve configured this version like this because the game’s default premise activity—pursuit of a terrible enemy who has wronged each member of the party—assumes a finite series, which ends with his climactic defeat.
(As the word “default” implies, we also include options to continue past the nemesis’ destruction, or to adopt alternate frames.)
As a side-effect of this choice, those hankering for an instant-start GUMSHOE with a collapsed ability list now have a game tuned for convention runs—presumably ones in which the PCs avenge themselves not over the course of a series, but in four fast, fatal hours.
With Hillfolk in outside playtest and on the brink of a crowdfunding campaign, I’m now in the early stages of The Gaean Reach, Pelgrane’s game of interstellar vengeance, based on the classic cycle of SF novels by Jack Vance. While I originally thought this would be a Skulduggery variant with some GUMSHOE grafted on, it turns out to be the other way around: GUMSHOE with a touch of Skulduggery.
The game’s default campaign frame pits the characters against a nemesis, who they hunt by increments over the course of the series. Every group defines its own nemesis, usually called Quandos Vorn. During character creation, each player indicates what Quandos Vorn did to incur his or her PC’s wrath. This delineates both the nemesis and the player character.
In the in-house game, this is why the protagonists plot revenge against Quandos Vorn:
“After I critiqued his academic paper, he saw to it that I lost everything—my tenure, even my family.”
“I used to be a corrupt interstellar cop on his payroll, until he killed my partner and framed me for a series of crimes I didn’t commit.”
“When my casino would not accommodate his obscene requests, Quandos Vorn shut it down.”
“His ponzi scheme collapsed the star-spanning financial empire I was supposed to one day inherit.”
“To keep himself sharp, Quandos Vorn hunts, battles, and kills clones of himself. The only clone to ever survive one of these pursuits, I seek to avenge the humiliating defeat that left me hideously disfigured.”
From those five statements, we know much about Quandos Vorn’s behavior and capabilities—and even more about the people who seek him.
The Gaean Reach is a brand new game written by Robin D Laws with Jim Webster and Peter Freeman based on the science-fiction works of Dying Earth author Jack Vance. It will use a new GUMSHOE-meets-Skulduggery system.
The Gaean Reach is a fictional setting developed across a series of loosely connected novels. It exists in the far future and can be defined as those parts of our galaxy in which human colonies have become established. The scope of the Gaean Reach varies between novels, growing large over a timeline of several millennia at least.
The richness of the settings, the vast array of cultures and races, each with their own bewildering customs and traditions ensure that this is a setting unlike any other. This is not a background where NPCs exist purely to provide clues for the next stage of the adventure, instead, the NPCs are complex individuals, with their own aims and objectives, with whom you have to interact and that interaction may send the game off in surprising directions.
|Stock #: PELV01
||Author: Robin D. Laws
|Artist: Chris Huth
||Pages: 108pg, 6 x 9, Perfect Bound
Pelgrane Press acquire the rights to publish an RPGs based on the Dying Earth and Gaean Reach Books By Jack Vance.
LONDON, ENGLAND: Pelgrane Press Ltd, a UK-based company, announced today that it has acquired the rights to produce games based on Jack Vance’s seminal Dying Earth stories and The Gaean Reach series.
Pelgrane Press publishes the Dying Earth RPG and supplements, and more recently the GUMSHOE series of roleplaying games, including the Ennie-award-winning Trail of Cthulhu.
“When the Dying Earth licensed expired last year, we ran a closing down sale, and this was so succesful it enabled us to renew the license, and branch out into Jack Vance’s science fiction settings,” says Simon Rogers, Managing Director of Pelgrane Press. ” The Gaean Reach series offers a galaxy full of exotic cultures, flawed characters and complex machinations. It combines the crafted dialogue of the Dying Earth with Vance’s deft way with mysteries – ideal fodder for roleplaying games.”
John Vance, son of the 93-year-old author, says, “My father and I are very pleased to see Pelgrane Press developing further game modules based on these signature Vance worlds, and we hope they provide many hours of enjoyment, both to his long-time fans and to gamers new to the works.”
Robin D Laws will write the core rules for the Gaean Reach with Jim Webster and Peter Freeman providing first an Encyclopedia, then setting material and supplements. Expect to see a series of releases based on the many regions of the Gaean Reach. The Dying Earth will be on sale again shortly, with new material by Ian Thomson and new issues of XPS.
Jack Vance is the world’s greatest living Fantasy author. He wrote the DYING EARTH series of books over many years; the original volume “The Dying Earth” was released before Lord of the Rings. His loosely connected Gaean Reach fiction includes The Demon Princes series, Ports of Call and The Cadwal Chronicles.
Pelgrane Press is an award-winning RPG company established in 2000 and has published more than thirty books and rpg supplements, now translated into four languages.
Simon Rogers is the and owner of Pelgrane Press Ltd and co-owner of ProFantasy Software Ltd, creators of the Campaign Cartographer 3 map-making software for gamers.