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söndag 6 september 2026

Birth and Death in Alderland

 

  
Free League Publishing just opened preordering of my concluding trilogy expansion Alderland for their RPG Forbidden Lands.
 
To celebrate, I decided to share a chapter with you from a Forbidden Lands novel I've been writing on. This chapter actually takes place in Alderland, and I submit it to wet you appetite. The novel is written in Swedish. I've automatically translated this chapter into English and then edited it myself, so please forgive the errors.
 
 

Birth and Death 

As chief notary Peregiel hands the ceremonial pickaxe to the ferrale Isenfals, the old man's eyes are so clouded that he initially grabs the tool by the wrong end. Following some confusion, the priest eventually does get the handle in his hand. Such a mistake may be considered minor, but since wood and iron are sacred among the attendants, any disruption of the ritual is considered soiled orthopraxy. Still, no one pretends to notice in order to avoid a forced repetition of the procedure. Only the chief notary pales, since the responsibility is his. The consequences also will be.

The high priest raises the tool in both hands. "Mondewald Berden - now your childhood dies!" he shouts and on the first attempt actually manages to hit the wooden doll on the table in front of him with the sharp iron beak. The force of the blow sends waves of pain through his creaking joints, for a moment twisting the the old man’s face. He massages his wrist while the notary Peregiel pries the iron loose and with excessive zeal returns it to the old man's trembling hand.

"Mondewald Berden - now your youth dies!" chants the ferrale, this time putting less force into the blow. The pickaxe does make a mark, but this time without getting stuck in the doll. The iron falls to the side, onto the table. Sighs are heard, bordering on groans. If the tool had ended up on the floor, everyone would have been forced out of the room to start the ritual over.

"Mondewald Berden of Terovia! Stand up to your adulthood!" Isenfals shouts.

With the third blow the pickaxe cuts perfectly into the heart area of ​​the wooden figure where its tip remains seated. Beyond the table, a dark-haired, large man rises from his knees with the call. He is as naked as when he was born the first time, his oiled and tattooed body shining, eyes showing no emotion. The man's calm is not broken for a moment when the ferrale carves him diagonally across the chest so that blood flows, first with sharp steel and then with a pointed wooden stake so that the marks form a cross over the heart.

"I baptize you, Mondewald Berden of Terovia, to completion; with iron from the god Rust; with wood from the goddess Heme; with fire from their fire!" A glowing coal is held sizzling against the man's chest. He still does not move or flinch.

The ferrale turns back to his assistant. Red velvet is unwrapped from an oblong bundle, uncovering a long sword, as old as it is princely. The chief notary places it carefully on the old man's outstretched hands. “Mondewald Berden of Terovia, the council of the priests of Rust grants you as a gift this sword, once wielded by Rintra the Dehander, a sign of the church’s heartfelt gratitude for your past deeds and faith. May the sword of the avenger spur you on to even greater deeds to come, giving joy to the iron god, giving warning to the apostates!”

The naked man accepts the weapon, about which many legends have been woven – none of them peaceful. He pulls the blade a hand’s breadth from its scabbard, finding it gleamingly sharp. In order to better study the runes of the steel, he wets his finger with blood from the ritual wounds and draws it along the side of the blade where characters appear in red sunken relief.

The first spectator to eagerly rush forward wears the most expensive clothes of all those present. “My dear boy! My count! Let me be the first to congratulate you! Let me welcome our newest member to the high council!” The man is not concerned that his jeweled tunic is stained with blood and oil from the newborn body. He owns many more, and he cordially embraces the muscular one, but gently since the sword is between them.

“After all these years, Terovia finally has its rightful master!” the man continues. “I am eager to be informed of your plans for the estates. My last trustees have all been incompetent!”

“You are too kind, Your Grace,” replies the naked one who does not bother to dress despite the fact that two women are present among the witnesses. Instead, he meets the gaze of the eldest.

“Duchess Malva of Gardenville – mother – you honor me by witnessing my inauguration as count! Your participation is an appreciated favor.”

“Formalities govern my presence rather than care,” the woman replies. “Parts of my dowry are still locked up here in Berdenvall. The legal interpreters assure me that the funds will be released more smoothly after I served as a witness to your appointment.” In the mother’s gaze lies her ill-concealed contempt for what her son has become: a simple soldier and hunter of infidels. Never mind that most of the blame lies with Duke Wolfrad Kantamar of Greda, who, against her expressed wishes and advice, has been her son’s guardian throughout his youth. The legacy from her former husband nevertheless shines through the boy’s countenance with disgusting clarity. All affinity and warmth between them has long since vanished.

The other woman in the party, the limbella Mirkenna, is dressed in natural colors. She feels embarrassed from the fumbled ceremony and comes forward expressing greetings of well-being from the priesthood of the goddess. Not without pride, she points out that the hilt of the Dehander sword has been gifted with new wood from the sacred alders of Heme for the handover. The naked, new count studies the hilt and thanks her with a short bow, seemingly still untroubled by his unclothed state.

“I see that neither Grudenstaal nor any representative of the Bringer family are here?”

The chief notary finds himself called to answer, but is silenced by a gesture from the ferrale Isenfals.

“Your colleague, Captain Grudenstaal, was called on an urgent mission at short notice, but he leaves sincere wishes for your rebirth and well-being. He hopes to enjoy your company in the field even now that you have become a high nobleman,” says the old man, adding a smile.“I think Grudenstaal used the word 'tight assed', which the gods naturally forbid me to repeat. As for the princely family, Barganon Bringer informs that he and his consort certainly intend to attend your official appointment at the next new moon.”

Since the newborn count does not answer, the priest continues. “We agreed to keep your initiation within a very limited circle of witnesses in order to keep your position as inquisitor, judge and pathfinder within the Ironbrow order secret. I note with satisfaction that, in order to preserve discretion, you have sent your servants away from the estate for this holy evening.”

“They were not difficult to persuade,” replies Mondewald Berden of Terovia.

The pceremony takes place in the prayer room, the heart of his newly assigned estate of Berdenvall. Along one wall, rusty chains dangle from the ceiling, in honor of the iron god Rust. The links jingle faintly, set in motion by the floor draft. In addition to the naked count, there are six people in the room: the ferrale Isenfals of the Rust Church, accompanied by his lictor from the Order of the Silent; the chief notary Peregiel; Mondewald’s mother, Duchess Malva of Gardenville; his former guardian Duke Wolfrad Kantamar of Greda and the limbella Mirkenna from the holy sisters of Heme. Together they form a very honorable collection of witnesses, albeit limited in number.

“Master Peregiel, hand me the count's cloak!” urges Isenfals, but Mondewald Berden stops the notary.

“We are all born naked and we are all examined naked before the Nightwanderer after we have left this life,” he says. “Concealment suits neither bodies nor truths. Let me therefore remain naked and honest for a while longer.”

A certain discomfort permeates the assembly as whispers indicate discontent. The day may belong to the new count, but who is he to dictate the ceremony before dukes and high priests? It is rumored among the initiated that he interrogates heretics completely naked. Who knows what perversions he forces the condemned to undergo? The ferrale Isenfals finds himself in a position to take command of the situation. He possesses a powerful voice that has not completely lost its authority with age.

“The custom declares that every nobleman appointed to the high council is invited to take a cognomen. What name do you choose, Mondewald Berden of Terovia?”

The naked count takes a few deep breaths as he considers the question.

“From what I understand, a cognomen should attach the bearer to tradition and duty, as well as to his background, disposition and calling. You have already chosen a name for me on all these grounds. I will henceforth call myself Rintra the Dehander – in reverence of the avenger who stepped out of our history with his sword!”

Someone manages to nod in approval. Next the new count draws the Dehander sword and with a quick blow separates the lictor’s head from his body. This guard was the only one besides Mondewald Berden himself who had carried a weapon in the room. Blood fountains from the bodyguard’s twin severed jugular arteries. It splashes over the limbella Mirkenna as his body falls over the cracked wooden doll on the table and then onto the floor. Fittingly, the woman worships the blood goddess Heme.

No one finds words to utter.

“Sit down on the floor!” the killer orders and they obey without thinking, sinking into the pools of warm blood that mixes with someone’s equally warm piss, as the tip of the legendary weapon sweeps in an arc in front of them. The old ferrale slips as his knees buckle.

“My boy, my poor boy…”, the Duke of Greda whispers, but that boy was killed with the wooden doll just minutes earlier.

“You pig! You traitor!” hisses the mother.

The naked man ignores then both.

“As the ferrale pointed out, I am an inquisitor, judge and pathfinder within the Order of the Ironbrows. In these capacities, I intend to administer justice, here and now.”

The high-born on the floor still have trouble concentrating on anything at all, so the count continues.

“For the past two weeks, I have been given access to my father’s estate of Berdenvall, where as you well know we find ourselves,” he says. “Moving through the rooms has awakened memories from my childhood. My father, Mondefort Baerd of Terova, once showed me his secret study. I recently rediscovered the door after searching a couple of days and was also able to remember how it was opened. In that hidden chamber I found my father’s work notes. As you know, he studied the history of the Rust church.”

“He was a heretic!” snarls the ferrale Isenfals. “Your father blasphemed in his delusions and was justly sentenced to exile by divine law!”

“And you were the ones who judged him!” the Count replies. “All of you in this room judged him.” “Didn’t you yourself testify against him yourself during the trial?” Isenfels responds with contempt.

“I was a child!” roars the naked one. “I was a child deceived without even realizing it! You, limbella Mirkenna became my secret friend in the park, disguised as a raven sister so that I would later testify how infidels secretly visited my father’s estate.”

The man regains his calm.

“I have to live with my guilt,” he says. “You, however, will die with yours. Each one of you may, if you so wish, here and now present your case, but do not expect more mercy than you showed my father. And when I have found you all guilty, I still intend to spare one of you as a witness. That favor is all you can hope for. So give me the truth as payment for being the only one!”

“You bastard! Do you think I will crawl in front of my own offspring?” his mother replies. “I dare you to raise your sword against the one who brought you into this world. Sully your soul for the rest of your life and beyond death! Let me show you how noble blood flows in the face of base brutality!”

“Proud words from the one who betrayed my father more than others, lady Malva! Even though you neither passed nor carried out the sentence, you betrayed the one you swore to honor and protect until death. You distanced yourself to save your own position. Was your gain worth the sacrifice of husband and child? Not even an animal would stoop so low.”

The woman stares, but chooses to remain silent.

“And you, Mr. Wolfrad, stepped into my withered life as a poor substitute for the very father you betrayed. Did you aim to wash away your shame with your generosity, only to find that the acid of guilt had etched itself right into to your bones? Do you still sleep poorly at night? If so, be calm, because poor sleep will not bother you anymore. My father entrusted you with his learned findings and you carried them to the council, where everything was mapped and labeled as evidence, until the file had enough weight to warrant a conviction of banishment.”

His skin red as in a venomous lizard, the naked man places the point of his sword against the old ferrale’s shoulder where the old man lies covered in mud on the bare floorboards. The room’s precious carpets have earlier the same day been rolled up and carried away by servants.

“You, lord Isenfals, orchestrated the conspiracy, while your chief notary Peregiel offered to carry out my father’s banishment as he deemed it would help his career. And why was this tragic farce carried out at all?” he continues to them all. “Because my father, Mondefort Baerd of Terova, found evidence in the libraries that the goddess Heme is in fact identical to the Raven Goddess, the hunted and despised one whose followers have long been declared outlaws.”

“That’s a lie! Heme is the wood that was given to man in order to forge tools with iron!” cries the limbella Mirkenna in a dogmatic reflex.

“No, my lady,” the count answers her. “Things are not as you want them to be, just because you refuse to see the truth! When the Rust church many centuries before our time threw the Raven Sisters down the chasm into Ravland, many begged for mercy. Some, like my mother, were of such noble family that they were given the choice of repentance. In order to align themselves with the lords of the land, they became the worst enemies of their former sisters. The church, in turn, found them useful for smoking out the hiding places of the Raven worshippers. Of course, they had to deny the Raven god and in exchange were given their own goddess, much like when a libertine dresses his female servants in white to give them a semblance of decency.

And so Heme arose. My father saw nothing strange in the matter, but simply pointed out a well-documented historical fact. He did not understand how badly that truth stung. So he had to be cleared out of the way, and this is why we stand here today, like distorted images of Heme with blood up to our knees. Such are our circumstances.”

The naked man falls silent and seems to fall into thought. He leans heavily on the Dehander sword, closes his eyes for a moment, as if he is worshipping some god, but hardly the ordained couple of Rust and Heme.

“You made me hate my own father. You said he summoned demons, that he drank the blood of children in their company.”

Tears run through his fingers even though he furiously tries to rub them back into the eyes.

“None of this need have happened, my child!” growls Wolfrad Kantamar. “We all acted for the good of the country!”

“Save your prayers, Duke,” ferrald Isenfald hisses, wiping blood from the fingers on his cloak.

“You have pampered this wretch enough, raising him to be an animal, a beast guided by his impulses and not by responsibility. The title only clothes the man who honors the title.”

The old man’s words jolt the naked man from his thoughts.

“You talk about honor, sire? How do you find it honorable to sacrifice a loyal innocent because he stumbled upon the truth?”

“Your father was as stubborn as he was naive!” the ferrale continues from the floor. “Your father, Mondefort of Terova, refused to understand how reality cannot tolerate certain truths. He did not listen when Duke Wolfrad tried to reason with him. Do you think that the conceited ideas of a single man are more important than the prosperity of our church? On the contrary, all loyal servants must sacrifice their own preferences to prove themselves worthy of the church’s trust. Weakness is the crime – not the necessary cruelties a loyal servant steels himself to commit. Morality must be a tool of the church, never a shackle. The worthy one bears his personal discomfort and shame with pride, confident that he has passed the test and won the battle against his weakness for a higher purpose.” The naked count blinks and turns his head, staring as if he was waking from a dream and only now becoming aware of the blood and of the people in the chamber.

“Do you understand now, dear Berden?” Mr. Wolfrad tries, his voice gentle as if to a child. “Our church, yes our country needs men who can see the higher purpose beyond their own feelings, capable men like you and Grudenstaal! You happened to kill the ferral’s lictor, yes, but just as you forget the necessary wrongs against your father, we want to forget your unseemly outburst of anger. Perhaps the lictor was a spy sent by the raven worshippers? Yes? He tried to kill us all, but you saved us with your sword! People will like that. Do you understand?”

“I understand,” the count replies, slowly as a sleepwalker.

“So what happens now?” asks the limbella Mirkenna.

“Now you die!” the naked man replies, reforcing his grip on the sword.

“I am Rintra the Dehander. I am no longer your child.” He steps among them, his sword sweeping left and right, silencing their voices amidst screams. Then he cuts off their right hands and collects the limbs in a leather sack prepared with coarse salt after they have bled out.

“They will hunt you!” says his mother, the duchess Malva of Gardenville, as her son ties the sack. She is the only one in the room besides the Dehander who is still alive, pale but composed.

“I hope they don’t kill you right away. It would please me to see you suffer.”

“The hunters will have to follow me to Ravenland,” the man replies, finally getting dressed.

“I’m crossing the Iron Lock to find my father.”

“Why did you spare me?” she asks as he leaves.

“Someone has to tell, and neither of us are yet finished with you,” the son replies.

 

måndag 25 december 2023

On the Working of Clocks

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This is a model of a simple, mechanical pendulum clock.

1. The escapement wheel (yellow) strives to rotate clockwise (duh) drawn either by a spring or a weight hanging from a string wrapped around its axis.

2. The anchor (grey) allows the wheel to only rotate incrementally, one cog at the time, as directed by the swinging pendulum connected to the anchor. The force of the escapement wheel at the same time gives a little push to the anchor to keep the pendulum swinging. The clicking sound of a pendulum clock is due to the light tapping of the anchor arms on the escapement wheel.

3. The rest is a question of casing, gears and hands, translating the mechanism's movement to our definition of seconds, minutes and hours.

The very basis of clocks or indeed any time measurement device, is something observable that changes at a steady pace. This goes for the day to night shifting of our revolving earth, the flowing of sand in an hourglass, the behaviour of atoms in an atom watch or any other time measurement device. In a pendulum clock, the steady pace is set by the swinging of the pendulum, which is basically constant under given circumstances.

On the passage of time in Forbidden Lands

My reason for considering the mechanisms of clocks, is the following thought concerning the passage of time in the game Forbidden Lands:  

What if clocks exist that don't measure time,
but instead direct aging and passing of time?

 I haven't fully decided where to go with this, but I will know when the upcoming Alderland expansion is published. These are some of the question I'm pondering:

* What if the drive to age – the striving of the clock's escapement wheel to turn – is applied by intelligent beings, death gods or their minions constantly pulling at the feet of the living?

* What if the rate of aging – the swinging of the pendulum – is set by biological oscillation? We have several examples of molecules in our bodies that swing between two different states depending on circumstances, the taut / relaxed form of hemoglobin for instance. What if such a biochemical switch is purely cronological?

* What if the clocks of aging have actively been set by some intelligent being?

* If so, then why don't elves age?

* What if you came to a valley in Alderland where flowers periodically shifted from violet of orange due to the biological pendulum?

* What if some smart dwelvers have studied the biological pendulums? What if they found out how the mechanisms of aging could me manipulated, either by removing the driving force OR by jamming the biological pendulum.

* What if they already experimented with this several hundred of years ago, as they forged Horn's Astra and built the Metrochrone of The Sisters' watch in Aslene?

* What if the leading mind behind the current dwelver research has lost it and now appears in markets as a fool named The Pagnillo?

* What if the adventurers' task would be to find The Pagnillo to either kill it as a threat to world order OR to get it back on its research track?

Skulptör: Margareta Persson
Sculptress: Margareta Persson

onsdag 18 oktober 2023

Me and our Community

 

In this triptych you see three versions of the map of Ravenland, which is the initial gaming area of the role playing game Forbidden Lands from Free League Publishing.

* To the left is my very first draft of the map, made with pencils on paper.
* In the middle you see the finalized black and white version that you'll find on the inside covers of the gaming books (there is also a separate, coloured version in poster format)
* To the right and below is a brand new wooden version made jointly by Samuel Nedergård Bergsten and Ronja Eriksson as a gift for a gaming friend. They have divided the map in three layers (mountains and forest, plains, water). These layers were then laser cut, engraved and lastly glued together yielding this piece of art.

Seeing their work really warmed my heart. It also gave me an opportunity to thank all fellow enthusiasts – gamers and creators alike – for all the collaboration and obscure discussions and projects we've had the pleasure of sharing during the years. Considering all the hate and lies and manipulation that goes on in the world today, I find that me and our community in some respect share what is actually the best features of humankind: passion, project cooperation, creativity, unselfish helpfulness and love! Some may call rpg gaming simply entertainment and escapism, and for sure there's room for that as well, but what counts for me is the practice of humanity and the warmth I encounter in doing so. I'm convinced that this type of shared enthusiasm makes the real world better. Thanks, my friends – let's keep doing this!

 


 

lördag 8 juli 2023

Sex in The Bloodmarch




SPOILER WARNING – for The Bloodmarch, a Forbidden Lands RPG expansion below. Also be warned of SEXUAL CONTENT (though not explicit really).

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My original text to The Bloodmarch had some sexual content in it, most of which was edited out by Free League. They explained that they have to be careful due to various international laws and standards and also due to some recent RPG-related scandals that you might have heard about. I can understand and accept that. Still, I'd like to share some hints on what was there in the first draft, not only because I like raunchy details (which I do), but also because some of it has connections to the plot that you might want to explore. GMs can include these sexual elements or leave them out according to group preferences.

Disclaimer: Free League Publishing is not responsible for what I'm writing in this blog post (or any other). These are my personal musings.

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Sex at Ashenstead
1. In the adventure site Ashenstead there's an upcoming wedding between the son and daughter of two Aslene clan leaders. One event had Merdekai, the father of the bridegroom, claiming ius primae noctis according to ancient customs – that is the right to sleep with the bride on her wedding night. The bride and her father were naturally outraged. It is uncertain whether Merdekai meant what he's saying OR whether it was a test of his counterparts / his son's balls OR a way to start a civil war (which Grudenstaal doesn't want if he's there). In any case, the adventurers are asked to solve the situation diplomatically. One solution is to access the temple's library and verify that the custom of ius prima noctis is stated only in some apocryphal texts that may be refuted.

2. The high priests Liklaudos and Melgir are to have public, ritual sex on the temple roof as part of the wedding ritual, which makes Melgir's husband Tordenost madly jealous. Murders take place, the tower Kardena's watch is made to fall into the abyss with the lovers in it, and the adventurers have to investigate whodunnit. An alternative perpetrator is the penitent dwarf in the temple hall that knows magma song.

Sex at The Watch of the Sisters

The mad composer Cavaldo is based on the actual, historical 16th century composer and prince Carlo gesualdo. In historic reality as well as in the first draft of the adventure, Cavaldo caught his wife and her lover making out in flagranti and brutally killed them, a deed that distressed him for the rest of his life and affected his work. In the game, the forest spirit Margarita fuelled his wrath towards the lovers in order to increase his musical passion.

Sex at Oxengelder
The garden of Novices in the original text was kind of a hippie park with free sex, dream and drug experimentation aiming to free your body and mind for true oneiromancy. Two charismatic young dreamers were leading these orgies, that in one event got out of hand, tranforming the participants to agressive beasts. There was also an aphrodisiac called Libertine involved, that could lead to interesting complications. The male leader of this crowd called himself ”Olof Skötkonung”, which I though was somewhat funny (actual name of historical, Swedish king, but untranslatable joke I'm afraid ;-) ). The female leader was namned Vilega Starsight as a homage to the raunchy online comic ”The Cummoner”. The elders of Oxengelder frowned upon these practices, but couldn't do much since the Dreamstress herself didn't seem to care.

Fiena Fromelei having sex
In the original text the escort goblin Crudehack, protected Fiena Fromelei so closely that he made her pregnant without she neither understanding what was going on or that she is carrying a child. Fiena's daughter could become a moonelf after birth as an alternative to herself.

Some additional sexual couples in the original text
Kurmena and Eisendor in Taregyll
Vaerfor van Reiben and the Dreamstress
Draug of the White and Mildella (reluctantly from the latter, as part of her debt)
Poansa and Grudenstaal if they join forces

söndag 16 april 2023

The Unreliable Narrator

File:Gustave Doré - Baron von Münchhausen - 034.jpg


There has been a discussion on Discord recently about the pros and cons of the Unreliable Narrator style of the Forbidden Lands Roleplaying Game (RPG). Being one of the lead writers of the game and of its concepts, I thought I'd give my personal view and explain where it comes from. Now, I'm not that familiar with most RPGs, so I assume there are unreliable narrators in other games as well, but if so, my inspiration might come from elsewhere, and the setup might differ. I wouldn't know.

According to Wikipedia, an Unreliable Narrator is a narrator whose credibility is compromised. This can be due to a number of reasons: bragging, lying, filling in the gaps, misunderstanding, hallucinating etc. Unreliable narrators are not uncommon in first person renderings nor in movies, where at best the unreliability results in a twist – called Peripeteia by Aristotle.

In computer games, simplistic twists are common, often meaning that the good guys that you worked for actually turn out to be bad and vice versa. In an RPG however, the narrator traditionally is reliable: The Game Master (GM) reads how the world really works in the rule books and sets the game up accordingly. There is an actual, objective answer to most questions, for instance whether gods exists, how beings came into existance and how magic actually works. The players, on the other hand, often get fed lies and incomplete speculations, the decoding of which make up a big part of the game. 

Not so in Forbidden Lands. In the basic Game Masters Guide, the GM may indeed read the elaborate history of the land, get descriptions on the kins (aka ”races”, which is a term I avoid out of various reasons) and their origins, read about gods etc. Pretty soon, however, the GM gets the impression the none of this seems to be entirely true. Do the gods actually exist? Is the presented history merely human-centric and politically biased – one narrative out of many possible ones? Did the dwarves actually build the planet? did the six primordial elves actually organize life? Were orchs made as a slave kin? Were humans led across the ocean by a raven god? Etc. The GM can't be sure.

I'm not aiming for ”gotchas” with this insecurity – setting up false pretenses and dropping red herrings to fool everybody. Nor do I seek to raise elaborate illusions that suddenly vanish into thin air. 

My aim is instead to present facts, legends and observations about the forbidden lands that the viewer may percieve as patterns – different and ever changing patterns depending on changing perpective and new information coming up. Some of this stuff I won't even know about, since it is created in your individual game, but I'm confident that you'll make sense of it, since humans basically are pattern-oriented beings. Ideally, earlier observations may be fitted into the amended narrative, but in a new way, rather than turning out to be plain false, which of course also will happen as players know from the game's legends.

What I don't do in the Forbidden Lands RPG is present a ready-made pattern – ”the truth” about he world that many ask me about. Instead, I basically describe the forbidden lands in line with how I perceive our own world. Things happen around us all the time, and we try to make sense of it, fitting new information into contexts we already believe, arriving at the currently most useful and probable patterns, amending them as we go. This is also how research works.

I'm not saying I'm an adherent to alternate or totally made up facts like some current politicians and dictators. Things are and things happen. People say, see, think and do things that can't be denied, also in a game world. It's when we interpret, descibe and put these things into narratives and patterns that it gets weird. I do not believe that there even IS an objective way to decribe something at all. As soon as something is put into words, we have done assumptions concerning what and how something is to be told and in the process inevitably have discarded innumberable alternate ways to say it. This doesn't mean that anything goes, or that all descriptons are equally true – just like in research, different narratives fit more or less well with actual observations and also may serve different purposes.

The approach might be called postmodern, and was for instance used by writer Umberto Eco in ”Foucault's Pendulum” and ”The Name of the Rose”, where the protagonist, the detective monk William of Baskerville, strings together facts to a pattern that makes sense but turns out to be wrong.

So why don't I give the truth concerning The Forbidden Lands? Well, I personally think it gets more interesting and flexible and opens for more vividness and depth with some uncertainty. You may also see the unreliability as a challenge to myself as creator and to you as GM's and players, challenges delivered with love and confidence in your ability. Some may like it – some don't, but then there are other games.


The picture shows baron Münchhausen putting together his horse that was acidentally severed in two.
Artist: Gustave Doré

 

tisdag 7 mars 2023

The Maha Language



Maha is not about you. 

It is not about the world. 

It is about melding your mind to the world.

    /Gremerdin the speaker


The pictogram Maha Language of the Elvenspring druids is described in the Forbidden Lands RPG. Players may encounter it as a puzzle in the adventure site Pelagia of the campaign Raven's Purge. What is presented there is pretty limited due to practical reasons. In my first drafts of the game I had the ambition to use the Maha language as a foundation for druid magic and to invite players and game masters to add to the language to see were we would end up. Since some interest was aired in the game forums, I here present my initial thoughts on the language and its structure. Note that this is an unpublished draft and not official in any sense, but please lets discuss what you think!

Picture by Niklas Brandt. These are just examples of signs, not the complete Thesaurus.


Maha Language and Druid Magic

According to myth, Maha is the creation language of the god Clay. It is used by elves and elvenspring druids. The signs are often written on small clay tablets, that are burnt and combined when used. The tablets regularly have a hole drilled in the upper right corner, showing their orientation. Druids often carry their tablets on a string through the holes.


The Basics

* Maha is a holy, incomplete pictogram language. It is traditionally used to create statements that describe and affect aspects of the world, magically enforcing the statements or making them come true.

* Maha is a written language of symbols. There is no specific spoken language connected to it.

* Maha is normally not taught. Learners are supposed to gain insight by personal interpretation of statements.

* Maha signs are pictograms. Statements are formed by arranging secondary signs around primary signs.

* A mirrored sign means its opposite. For instance signs for ”white” and ”black” mirror each other. Symmetrical signs have no opposites.

* Maha signs are seldom complex or abstract and never decorated. Brevity, simplicity and clarity traditionally means more power and are the signs of a master.

* Individuals and places might be given unique signs, unless their names have a meaning that may be written as a statement.

* A laid down Maha statement may normally be interpreted in several ways over time. ”The most convincing sign” is usually accepted as true, being the interpretation chosen by the majority of respected interpreters. An already placed Maha statement may change meaning as new, more convincing interpretations come about. It is believed that this also changes the effect of the statement on the world.

Structure of Maha statements

 The primary sign (1) is mandatory. It is traditionally marked with a drop of the writer's own blood as a tribute to Clay. Druids often carry a small lancet for this purpose. Less convincing, the primary sign might be marked by having its edges blackened.

Secondary signs (2-5) are added as needed. Their position in relation to the primary sign determins their meaning. There may be more than one secondary sign in each position. Additional ones are added further from the primary signs, and certain schools make a point of the distance to the primary sign. A shorter statement is however always preferred. Statements may be added in sequence after each other to make longer sentences. The more traditional way is however to arrange statements in groups, leaving more room for interpretation.

General key:
1 = Noun
2 = verb
3 = adjective / adverb
4 = grammatical form (like plural or genetiv or imperative mode)
5 = numbers and operators (and / or / if – then / not etc)

The same sign changes meaning when it is placed in different positions. For instance these are all the same Maha sign:


Fire (1)
Burning (2)
Hot (3)
Imperative form (4)
Melded with (5)

Everyday use of Maha signs

Maha signs are often used to reveal information or wisdom in druidical holy places. Oracles might for instance offer a Maha statement. It is up to the reader to understand, and if the reader doesn't do so, he is considered not to be ready for the statement. Druids often use Maha signs for meditation and prayer, alone or in group placing Maha statements, contemplating on the shifting meanings and investigating interpretative changes when secondary signs are shifted.

Magical use of Maha signs

(I took some out here – if we were to use Maha in magic we would need to gamify)

Druids may use the Maha language for magic. Depending on skill, the druid may carry a limited number of signs for this purpose. The limitation doesn't depend on weight or space of the signs, but instead on the mental capacity of the user – how many he ”knows” and is able to focus on, i.e. connected to skill. The carried signs may over time be exchanged for others, but this normally takes a few days.

The basic function of Maha magic is that what is stated becomes true in reality, subject to the skill level of the druid. The effect is also subject to the interpretation by the majority of readers around (in practice, the druid player may place a statement and the other players get to interpret. Majority decides effect).

Maha signs used for magic should be made by the user. Statements are activated by placing a drop of the druid's blood on the primary sign.

torsdag 10 november 2022

Fantasy world creation as a research project

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHgNViLDh1ZWVine2rTymOj_O6IRqt9PjEwzOmqcGRG5ltaN0rPxtEb_cGNFP13kSHoys5WKo_4EoBqIOY6v3DOF8WtBGruqZrxa58Il_c_heV5PXgX8sV4XBM7E1Q3t0YZY3lT03WwWs/s1600/Universum.jpg



I'm not a researcher, but I've worked as CIO of two universities and as an editor popularizing research, so I am reasonably familiar with the nature of research. While following an esoteric discussion on the reproduction of two fantasy species in the game Forbidden Lands, some similarities between research and fantasy world creation suddenly struck me. I'd like to tell you about it, since it explains the way I work – not telling more facts than the basic necessities about my fantasy worlds, which some find frustrating. Questions might concern how magic actually works, whether the gods actually exist or not etc, i.e. – truths and facts.

Similarities with research
An experimental research project might come from an idea that you want to test, but often it is initiated because you scent a pattern in an already existing material, perhaps a structured deviation from expected results, or just the feeling that something is to found that hasn't so far been adressed. In the latter cases, you start with a heap of existing data and try to see patterns that might be further tested and purified and brought to conclusion.

This is exactly how I build my fantasy worlds. I start with some general, pretty simple vision and then start piling up unrelated ideas and dig for inspiration wherever I can find it. When I reach a certain volume of statements and ideas about the world, patterns always emerge and new connections show up, often in ways I couldn't know before discovering them. It's a process you need to have faith in for it to work. People often ask me whether I knew my complex world and story from start, but I never do and I wouldn't want to. Things I can plan in advance might run like clockwork, but they are never as alive as things I myself discover along the way, often with the happy elation of an explorer rather than as a methodical creator.

Differences from research
The main and obvious difference from research is that fantasy worlds are created from made up facts and ideas, but once you state these ideas, they ARE the fixed reality of the fantasy world and from there on they might be treated as actual facts and be mulled over and researched upon, making new patterns emerge. This however also shows the danger of establishing facts about the fantasy world, since once something has been stated and published, it's a FACT and cannot be taken back without loss and/or pain. Thus I never say more than I have to, since it keeps my options open, and makes way for new twists and discoveries. You will see this in the currently released expansion ”The Bloodmarches”, where old mythological beliefs suddenly are turned upside down. I think this makes fantasy worlds more alive and gives them depth. There's a trick to avoid facts that I used a lot in my Trachorian setting. As the world creator I seldom said ”this is how it is”. Instead I said ”this is what is claimed in the imperial academy of Tricilve”. After all, they might be right or they might be wrong at the academy.

Conclusion
So in the esoteric discussion on the reproduction of fantasy species where I started, questions are asked, but rather than answering them right away (which I no doubt could do if I put my mind to it, nailing the discussion shut), I follow, tease, comment and investigate the many suggested solutions from others. These in turn give me new ideas, making patterns appear due to the mere volume of ideas presented. We thus create together in a metagaming spirit! It's a wonderful fantasy world!

tisdag 30 augusti 2022

Liberalism in Dark Fantasy Ages

I'm currently reading ”Liberalism in Dark Times” by Georgetown univerity scholar Joshua Cherniss. The book describes how a number of liberally inclined, twentieth century thinkers, including Albert Camus and Isaiah Berlin, tried to deal with anti-liberalism and totalitarism, mainly nazism and Soviet communism.

The main concern in the book is how to adress ruthlessness and cruelty without becoming so ruthless yourself that you loose your liberal essence and soul. That is: how do I fight, stop and if necessary kill bad guys while not staining my own hands, becoming as bad as they are. Liberalism should after all be based on law, individual rights, tolerance, acceptance of diversity and freedom of speech. These questions are very urgent also today, as democratic societies wrestle with an openly aggressive and repressive Russia as well as with internal, populistic lies and organized crime.

There are however no simple solutions, as there seldom are in non-totalitarian politics. Cherniss leans towards liberalism founded in ethos, that is a personal conviction of liberal norms, rather than having liberalism rest on ideology. The problem with the latter is that it often slips into expedience; ”the end justifying the means”. You've been brutalized, so you're justified to be brutal in turn. In Star Wars, you would turn to ”the dark side of the force”. Instead Cherniss wants you to retain your soul and resist the temptation to quick and dirty fixes. This is not simple, but perhaps the only way. I wrote a blog post (in Swedish) on a simliar subject: that extreme positions tend to get stuck and inflexible, while interesting development only takes place in the instable balance point between them. I compared this position to the equivalence point in chemical titration, where small changes yield major effects.

Liberalism in my fantasy writing

I'm currently working on two expansions to Free League's role-playing game Forbidden lands as well as writing a fantasy novel in the game setting that I had the pleaure of constructing. Cherniss' book has given me unexpected and useful input. In the game you meet ”The Rust Church”, a fascist religious organization. What I learned from the book is that many (not all) early Soviet communists and German nazis started out in good faith; that they solidly believed themselves working for a good cause. Being part of nonliberal movements, they however were told that their personal opinions and comforts would have to be sacrificed for the greater, common good. Indeed, the weak of stomach had to prove their loyalty by demonstrating cruelty and abscence of empathy – ”Squeamishness is the Crime” as is the title of the first chapter. Once this threshold had been overstepped, people could stand working in prison camps. I like giving my bad guys some kind of rationality rather than just being sadistic and ”bad”, so I'll probably use similar mechanisms for the Rust church. Add some historicism – the belief that your cause inevitably will prevail, and that anything implying the contrary is fake and heresy – and you're set for disaster. As Bolshevism had it: good can issue from evil.

For liberal champion, I will use the elf Mergolene from the game, advocating moderation, respect, coexistence and reasoning to fellow elves that feel justified in raiding and killing the orchs at The Eye of the Rose, a fortress once built by elves. Mergolene will probably be the protagonist of the second novel in my series. The more aggressive elves will advocate the temptations theatening fed-up liberals.

By reading and using books on history and political theory, I get the opportunity to discuss and adress current problems in our own world while writing about fantasy stuff in made-up lands.

Simply the best of two worlds!

lördag 5 februari 2022

Marozias resa

 

Romanskrivandet löper på ganska bra för tillfället. Huvudpersonen Marozia har, jagad av rostkyrkan, hittat till Vädersten, borgruinen där den döde kung Algarod och resterna av hans här osaliga vandrar omkring sedan tiden före Blodsdimman. Broväktaren har på Merigalls förslag sökt upp den fredlöse, alderländske soldaten Rintra Avhändaren som fått uppdraget att bära bud till den döde kungen. Därmed ska Rintra visa sig värdig en plats hos rebelledaren Zertorme.

Jag har åtminstone kul!

måndag 31 januari 2022

Järnlåset

 

Mondefort av Terova

I natten faller regn över Järnlåset. Det regnar så kraftigt att en främmande betraktare kunde ängslas över hur låsets järn ska rosta ihop för all framtid och aldrig mer kunna öppnas. Sådana omtankar är emellertid bortkastade eftersom Järnlåset är en mur som saknar både lås och port. Muren är rest mot en bergvägg och vid dess fot börjar Ravland som en benbeströdd sluttning inne i en ravin. En människokropp som kastas utför muren hinner uppleva ytterligare sex hjärtslag innan både kropp och hjärta krossas mot stenarna nedanför. Andra tilldöms mildare förvisning från Alderland, och det enda som möjligtvis kunde rosta på Järnlåsets mur är den kran med vinsch som sänker ned dem. Oaktat straffets mildhet åläggs alla fredlösa en livslång fördrivelse. Kranen och vinschen hålls väloljade. De kommer därför inte att rosta ens i regn.

Den här natten klamrar en liten flicka vid sin fars ben på murkrönet. Hon skakar av gråt, av köld och av skräck, men hans hand stryker henne lugnt över håret.
”Marozia, har du betänkt en sak? Vi kommer att se sådant i Ravland som inte ens kungen i Brodelmarg känner till!”
Fingret pekar ut mot mörkret där det egentligen inte finns något att peka på. Vatten dryper från rockärmen liksom från mannens skägg.
”Var är mamma?” piper barnet.
Hans hand på hennes hjässa stannar för ett ögonblick, fingrarna kröks lätt som ville de bli klor ägnade att söka grepp i tillvaron, och flickan blir rädd att hon än en gång har sagt fel saker. Snart stryker faderns fingrar igen.
”Mamma kan inte följa med. Hon måste stanna med Berden och katterna, men hon lovade att komma till avsked.”

När flickan vill fråga mer, drar fadern henne intill sig, för att värma och trösta och kanske för att tysta henne. Tillsammans stirrar de från murkrönet ut i Ravlands natt. Han har tidigare stått på samma plats när han övervarat andras förvisning, det var medan han fortfarande hade en upphöjd ställning vid hovet. Även under ljusan dag och utan regn skulle inget annat än en benbeströdd bergsklyfta finnas att se långt därnere. Det vet han.

En officer från De tysta söker parets uppmärksamhet, men säger förstås inget eftersom tystnadslöftet är strängt och livslångt. Mannen håller fram ett timglas i ena handen och en pil i den andra, vilket betyder att de förvisade har samma tid på sig att lämna Järnlåsets närhet sedan de sänkts ner i Ravland, som det tar för sanden att rinna genom timglaset. När sanden förrunnit skjuter vakterna såvida de fördrivna fortfarande är inom skotthåll. Fadern har sett flera förvisade medvetet stanna och låta sig genomborras till döds hellre än att söka sig ut i det fredlösa Ravland, men det ödet är inget han planerar för sig och för dottern.

”Sänk ned oss redan nu under natten!” säger han.

Den tyste låter handen med timglaset beskriva en båge över sig och visar därmed att de dömda har rätten att vänta på soluppgången, men fadern insisterar. Officeren irriteras, eftersom männen därmed berövas den spänning i tristessen som det innebär att söka pricka flyktingarna med sina pilar. Många andra nöjen gives inte vid gränsen, men han kan inget göra – den fredlöse har varit en betydande person i Alderland och har förmodligen kontakter man vill hålla sig väl med. Fadern vet för sin del att han och dottern får mer tid på sig att att lämna Järnlåset om det är mörkt runt dem. Barnet är redan utmattat och kan därför inte springa eftersom de har varit på resa mot norr under två dygn i en obekväm fångvagn. Skulle rovjur vänta på dem därnere i klyftan så löper de istället ökad risk att skadas, men fadern, vilken under en tid tjänstgjorde som heraldisk minister, är van vid att bedöma givna alternativ och har alltid satt en heder i att fatta omedelbara beslut. Officeren nickar bistert innan han går till sina förberedelser.

fredag 9 april 2021

Reversed archeology

 



This month I'm participating in no less than four interviews concerning fantasy world building. Gathering my thoughts on the subject, it struck me that I practice archeology of sorts, only it's of a reversed kind.

Let me explain: In archeology proper, scientists make findings, classify them, compare to already sorted out patterns and try to deduce what the new findings imply. When I create fantasy worlds, I litter them with strange details that I often have only vague ideas about: rumours, historical persons, unexplicable artefacts and habits, etc. These details lie around in piles while I build. I contantly rummage around, twisting and turning what I happen to encounter, trying to understand how this particular piece fits in my stories and what on earth it's for. In my experience everything will always fit together in the end, in one way or the other, resulting in complex visions of something strange and fantastic. It's like putting puzzles together – I'm confident that every piece will fit, although everything appears to be a jumble right now. The confidence is key here, for without it you're tempted to give up. You can always leave a particular piece for later.

The reason for doing reversed archeology, as opposed to build in an orderly and planned way (which I also do), is that it keeps me curious and often surprises me. I don't work to explain something I already know everything about, but instead explore the unknown, getting the feeling that there actually is a strange world out there, waiting for me to discover. Hopefully I will pass my enthusiasm on to the players or readers. Strange connections constantly appear, things I wouldn't have thought of with pure intellectual effort. It doesn't matter that some details seem totally off, refusing to participate according to principles or even set natural laws – this is the way the explanations of our own world works, as the paradigm shifts of Thomas Kuhn. Another benefit, is that with the mere amount of strange stuff in my piles, some things will always fit with any new turn my tale takes, readily cascading into unexpected order, only to open up new possibilities.

You should try this! 

Of course, I at the same time work in more structured ways, but strictly rational creativity, or even worse: creativity primarily concerned with attracting money or followers, in my experience makes for contrived and even dead worlds that might entertain for the moment, but often leave a sense of unfullfillment behind. I find this a lot in current streaming services.


The picture shows the Antikythera mechanism, believed to be part of
a more than 2000 year old analog computer found in a shipwreck. Feel free to speculate about its use!