Thursday, January 16, 2025

Shadowbanned! (like Florian Geyer)



Today, in my small crusade against the new order rewriting the past by messing with our only source of history (the internet), I found that google, wikipedia and friends are very strict in not showing the proper lyrics to this song anywhere, resorting to grotesquelly messed and made up ones. So here I am, being the change I'd like to see in the world:

 Wir sind des Geyers schwarzer Haufen, heia hoho, 

und wollen mit Tyrannen raufen, heia hoho.

Spieß voran, drauf und dran, setzt auf’s Klosterdach den roten Hahn!

Als Adam grub und Eva spann, kyrieleys, 

wo war denn da der Edelmann? kyrieleys. 

Spieß voran, drauf und dran, setzt auf’s Klosterdach den roten Hahn!

Uns führt der Florian Geyer an, trotz Acht und Bann, 

den Bundschuh führt er in der Fahn’, hat Helm und Harnisch an.

Spieß voran, drauf und dran, setzt auf’s Klosterdach den roten Hahn!

Bei Weinsberg setzt es Brand und Stank, heia hoho, 

gar mancher über die Klinge sprang, heia hoho. 

Spieß voran, drauf und dran, setzt auf’s Klosterdach den roten Hahn!

  Geschlagen ziehen wir nach Haus, heia hoho, 

uns’re Enkel fechten’s besser aus, heia hoho.

Spieß voran, drauf und dran, setzt auf’s Klosterdach den roten Hahn! 

 

For some reason I dont really know (maybe some politically incorrect opinion on a comment?), this blog is already shadowbanned from google at least, since july or so, so I don't think this affects much to my views. 

Saturday, January 11, 2025

RETRO-POST: Dungeon Crawlers as an urban tribe

 I am closing an old blog I used to have, as I finally found the password. I just felt that all entries on it were obsolete and is like a pruning: cut the old branches to strengthen the green ones. But this one entry, I liked it a lot and wanted to preserve it here. I copied and pasted it as it was published on october 28th, 2017. Images were there in the original, too.

------------------------------------------

Something I had on my mind for a while; I'll try to put it into words in case I can make something with it later.

The game/story centers around school kids on a modern town; and how they come in contact with the guild of dungeon crawlers: a mysterious gang of kids that speak about spooky, awesome underworld. Their stories are actually true. They've heard about a dungeon hiding somewhere. Just take any One Page Dungeon and put it on one of this:

(1. right under your school - 2. On a nearby forest, where the whole school is going next week on a trip - 3. Beyond your weird grandma's cellar - 4. On one of your uncles car junk lot. - 5. On the town's supposedly abandoned mansion - 6. Under a lost bridge, behind the industrial part of town)

Not all dungeons have to be under earth; every spooky or abandoned place is likely to have dungeon-like propierties: that's why they're abandoned or unconsciously avoided by normals. Also, some portals to dungeons might open in common places if one finds out how


You get your class at the start; just like that: fighter (though you depend on a specific kind of weapon depending on your background, because kids aren't usually trained on swordmanship), specialist (that kid that knows a lot about a certain thing, you can produce things from your bag that are related to your specialty) or mage (if you're a wizard, you'll probably discover it the first time you get in a dungeon). Use the rules of any dungeon game you normally use, but for the sake of tone, getting to 0 hp means that kids are unconscious and might need to be rescued.

Magic exists, but it only works in dungeons. When attempted on the surface, it acts dulled at best; and is easily dismissed by non-dungeoneers as tricks or sleight of hand. This happens to magic objects and, to a lesser degree, to any kind of treasure you recover from there. When a monster manages to escape from a dungeon, it's powers get subtler and must rely more on invisibility/stealth/cunning.

Normal people treats dungeon crawlers like they did with Goth Kids, Bronies, Emos, etc IRL: they mock them and despise their stories; attributing them to imagination. They're outcasts among kids, while the fashion trends awkwardly tries to appeal to them making artists and clothes about dungeons that miss entirely the point of what dungeons are about.

PC party getting back to the underworld after recovering HP



The underworld raw power of dungeons prevents cellphones and cameras from working, and jams most electronical devices. This prevents you from taking a selfie with a wight to prove your adventures to your friends. The most complex devices might even get hostile towards their wielders (your spotify list is suddently filled with hate messages from your loved ones; a GPS will lead you to the nearest chasm. Lanterns are usually OK, but you can never be sure if they're going to treacherously shut down right as you get into the troll's lair)

Dungeon subculture spreads mainly through drawings (mistaken by kid's edgy art), logs (mistaken as fanfic), grimoires (mistaken as new age books) and chansons de geste about their expeditions (mistaken for incredibly deep metaphors for teenage angst). Due to the inevitable impossibility of talking about dungeon experiences with normal people, there is a strong sense of comraderie between dungeoneers; though of course there are dicks who try to prevent new people from getting into it ("this kids only delve because they want to be cool, we old school delvers have been delving all the summer break and we know what dungeoning it's about"), tricksters ("treasure inspector, may I see your treasure?") and phonies ("Have you been to dungeon X?" yeah. "Dungeon Y?" yeah. "Dungeon Z?" yeah. "I've actually made up the last two" y- y- yeahhhhh of course I knew that)

* Beware: Deep speech ahead! *


Dungeons may appear anywhere; and they do not have any kind of supernatural cover up or anything (In fact, most of them might want to be noticed in order to grow). The only thing that prevents common people from knowing the magical reality is their very own drive to deny everything that clashes with their confort zone. The very zealotry of modern science (understood as denying weird options rather than acknowledging the unknown in order to investigate it) and the importance given to what society thinks we must instead of embracing the mystery of life is what keeps normal surfacers from the twisted horrors and treasures of the underworld. The importance of seeing the truth for oneself is a good theme to be enforced here.

Should a mountaineer discover the tomb of an atlantean king; the headlights on the news would be "Mountaineer goes crazy, pics from the madhouse on page 49" and handwave the whole tomb location automatically, is not like anyone is going to double check it; except dungeon delving kids who know where to read between the lines. No matter how many half-assed proofs you'll present or how good you are convincing people: No one will ever ever believe that dungeons exist unless they either see something strange with their own eyes (and cannot succesfully deny it using a weak pseudoscientific explanation) or really, really want to see a dungeon for some reason.

(If you're using a system that tracks sanity, maybe you need to be under a certain threshold to be operative on a dungeon)

there are those who have trouble adapting to a normal world after they've found the hobby


unexpected twists:

1 - you find out your mother never left you; she was in fact a fairy unable to escape the dungeon, but left you on the surface world to be raised as a human by your father.
2 - you're arranged in matrimony with a merfolk king of the underground sea. He'll whisper love letters to you through any kind of sink you visit.
3 - That mysterious fire that burnt the sawmill that year? a giant fire salamander. That earthquake? a troll
4 - proofs that one or many from this shirt are false.
5 - Goblins kidnap you or somebody you love in order to force you to become their king.
6 - An evil force wants to destroy the whole town in order to expand the dungeon into the surface.

example adventure hook



Thursday, January 9, 2025

A 26 episodes campaign

Trigun, Gungrave and the enormous Evangelion. The always mentioned here: Cowboy Bebop and Samurai Champloo. From more obscure animes such as Nadia: The Secret of Blue Water, Gokudo the Adventurer or Utena, to modern classics such as Kill la Kill, they all have something in common: they manage to take a crew of characters through an adventure, sometimes meaning multiple arcs, in 22-26 episodes. (We can add Hellsing and Katanagatari if we split their 40 min episodes into 20 minute ones, through this might be cheating). If you are willing to sink time into watching something good anime, jump into any of those named without investigating further. Trust me.

Dropping more names in the comments is always welcome. There was a golden age during the turn of the century for 26 episode animes (let me refer to an old table to generate your own)

Recently I am trying to come up with different, "out of the box" ways to generate gameplay (as opposed to create "dungeons" procedurally or "missions" manually), and the idea of emulating an anime campaign structure... makes sense. Or does it?



The secret of blue water


 

These are some notes:

 * The campaign is played through 26 sessions, no more and no less. These are coincidentally half the weeks in a year (52) so if you play once per week, you will take half a year to complete a campaign to be remembered for ages. 6 months is a great time for a campaign to span without starting to lose focus or energy, more if you like to rotate games or GMs.

* Some episodes/sessions will be "Character Arc" episodes, those are specially dedicated to develop a given character or his/her past. Ex: Cowboy Bebop 05: Ballad of The Fallen Angels

* Some others are episodic, when there is a situation to be resolved that spans during one or maybe more episodes (depending on the players). These also serve to introduce key details of the setting into the story. Ex: Vash the Stampede dedicating one episode for each Gung Ho Gun. 

* Some are filler because the animators had to make the series last 26 episodes, but this doesn't have to mean boring in play. They can be fun to emulate too. Ex: the island episodes in Nadia.

* Some can be weird, and not fit into the tone at all, or a priori. Ex: the zombies and the baseball episodes at Samurai Champloo

* This liberates the GM when making things happen, and when they don't go as expected. But of course, without procedures and generators there is no game:

* For 4 players, each rolls 2 d20+4: this generates 2 episodes from the 5th to the 24th that are meant to be their "character arc" episodes. These can be rolled in the open or in secret by the GM, both have their points. Duplicates should be re-rolled so nobody has to share their character arc days. Starting at episode 5, this means that GMs have at least 4 days to understand the character and the player, and to think about what is a good challenge for them to be overcomed. 

* Each place on the world has a fitting (d12+ current episode number) table of "happenings". The first 12 ones are more easygoing: pastoral themes, small bosses, more slice of life (this might also form weird or filler episodes sometimes, unless the PCs do something strange). Beyond 13th onwards, there are more serious enemies, disasters, portents.... These should be rolled the previous session by the GM, so he can prepare the next week session accordingly to where the PCs are and cross the results with the PCs previous actions. A "place in the world" normally means a city or a wilderness area, maybe from a rooster of 15 different ones. But depending on your worldbuilding it can mean a new semester in high school or a new planet, or just play with 1 or 2 zones.

* What about this: the characters can't die in random episodes. A fallen PC is just down for the rest of the episode (this means be removed from play unless helped somehow), unless it's one of their Character Arc, or in the final two, in which this rule has no effect. Of course, all kinds of epic last words are permitted if the situation allows it. If a character dies, the player can keep on in the game playing an NPC but without rolling for character arc.

* This means that the GM can throw any kind of enemy to the players: they will just survive the big boss appearing at anytime to make a display of power, yet players will try to survive just to play that whole evening, unless the episode is reaching the end (climax and end of the IRL meeting)

* The exact resolution rules are not important, any can work, depending on what the show is about.

* However, mechanics that are activated by making the players make up the past of their characters are a very good way to help the GM develop a better character arc for the PC.

* Some idea for running NPC interactions: Each NPC has some traits on them (like generous, coward, ambitious, greedy, lustful, rich, nostalgic, sad, etc). Some are easy to detect, and some are kept hidden by the GM (and the NPC). The GM should roleplay the NPC's responses taking into account all its traits (both the secret and the exposed ones), and using a reaction roll only when something is uncertain. A table for traits is something I must surely work on. Some random mooks do not have to be particular traits, maybe they can share a common one. But the GM can add traits to anyone at any moment as the spot is put over a given NPC.

* It is advisable that PCs have also at least one strong trait that distinguishes them from the others, with some form of mechanical advantage if the trait is disadvantageous. For example, Thieves Can Do It Too, by Johnstone Metzger, gives +1 dice to a related roll if a trait is positive, or +1 dice to a future, unrelated roll if the PC's trait puts him at disadvantage at any point.

* The emphasis for the GM is in to build charismatic NPCs that can be talked with, and some lore to be exposed the next week. Then, after the 26 episodes have gone through, gather the players and reflect if the whole adventure could have been a true, top 10 anime of all time.

 

 




Wednesday, January 1, 2025

breaking from OSR

With one of the fighters reaching level 5, Our Trow Fortress campaign has reached the end of the season. Yes, we made it as in tv shows, so I could take a rest and another player could start GMing his Shadowrun campaign. Which means that I am playing again, as opposed to running games! So fucking liberating!

I am playing an elf samurai who is missing all combat rolls for now. After a month of play and our first serious loot, I got myself big breast implants with LED nipples (im playing as a sort of transgender guy) and I roleplay as the classic gay elf from elf parodies. Pic related, its him, the crossed eye is a bionic eye we all have. Not sure if its really on the starting package by the book or is a gift of our GM.


I find interesting the contrast on how much I stress over the "fairness" and "efficiency" of a given system or mechanic when I am a GM, and how little I care as a player. Honestly I am just thrilled just to interact with things but I dont know yet how combat really works (I pretend to, but really i am trusting that whatever the GM says is ok)

On the other hand, I think I am not running (BX) D&D anymore soon, nor my d6-based clone. But I am instead making my own fantasy game, out of that framebox. I think that me and my players must grow outside it. There are many reasons for this, and I will only cite some; leaving my upcoming posts to hint the directions I am pointing towards.

- XP for gold and monsters stopped making sense when the players decided to embark on altruistic missions from an NPC they pledged loyalty to. I could understand them and the game was actually better because of this decision, but sometimes I had to artificially create XP to compensate their efforts. See my last entry to see how I plan to do it, more or less (though I have refined it by now, more on this soon)

- Tracking things like food and water by units doesn't bring anything productive to the game, and I want to move away from the resource management chores. I am sure that I will find a good abstraction to portray the fact that you need food and water to survive. On the opposite side, I am a little dissapointed on how D&D abstracts many survival checks in the wilderness, that for me are very important to focus on, such as getting lost, hunting, foraging, etc. I'd rather make the scope of the game smaller, so a 30 mile travel lasted one session or three, but I feel its important to feel the texture of the forest, the road, the sea, and without forgetting that cities should feel places to explore and not just inventory refillements. 

- Theoretically, the procedural generation of D&D makes an open world, but in practice players search for the videogamey path: grind level 1 monsters and level 1 loot, then gradually increase in dungeon levels maintaining an expected point of risk reward. This might be broken sometimes by chance, yes; but I don't want to run a fantasy game like this anymore. Though I still want "leveling up" and monsters of all sizes, I want the approach to the game to be different, very far from the "grinding" cycle. I think I want to emphasize how it feels to actually live on a magical medieval land. I don't know. I'm still exploring my own wants on this, but hints of them are scattered through this blog since it's beginning.

But this is not to say that I dislike the game or thing is bad. Not at all, and it isn't. Actually, what i want is to take everything I love from D&D and try to apply to my new chimera, that is nothing like it.

Wednesday, October 23, 2024

XP = milestones, for classic fantasy

I have an ongoing game, with most PCs at level 4 and some scratching the fifth; but I'm already thinking on a second set of rules... I'm an infidel gamer. It's probably too late to implement XP per milestones instead of gold and monsters, but here it is for posterity. Based on my untested idea for Monks & Mummies. The concept is that whenever a session ends, players check if they have done any of this list (GM as arbiter) and if they do, they can cross out ONE of them (if they did two or more, they must choose one).

[_] [_] I have helped an NPC with his first world problem

[_] [_] I've passed a master's test and enduring his training

[_] [_] I've found some treasure that is beyond mere gold

[_] [_] I've bested somebody in an honorable duel

[_] [_] I've fought an infernal beast

[_] [_] I've solved a mystery

[_] [_] I've stood for my beliefs even when it was risky to do so

[_] [_] I've kept the honor of my liege/master/dojo

[_] [_] I've taught my skills to others.

[_] [_] I've righted a wrong the best I could

[_] [_] I've performed a profession to make a great work

[_] [_] I've retrieved a big treasure

[_] [_] I've been commited to a holy quest

[_] [_] I've fulfilled a holy quest

[_] [_] I've kept a promise

[_] [_] I've atoned for a past misdeed

[_] [_] I've ventured where the world gets weird and came back alive


[_] [_] _______________ (to be decided by the player. I will as a GM make it worth the level it implies)

As you see, every box can be filled twice, but no more; so you can't bank into helping NPCs forever or retrieving treasure. Also, when you tick one of them, also tick a box here:

[x] 1   [_] 2    [_] [_] 3   [_] [_] 4
[_] [_] 5  [_] [_] [_] 6
[_] [_] [_] 7
[_] [_] [_] 8
[_] [_] [_] 9

After you tick all the boxes of a given level, you get that level.

As for the motive, I want to encourage all those things happening in game; but with a big array of options so they are not pigeonholed into doing a specific one. All of them are traps that encourage PCs to search for trouble and do risky shit on their own. I am moving a lot outside dungeons now, with tons of town play, and right now I feel bad having the players choose between the roleplay they love and the XP they crave. The milestones are meant to be interpretable to a loose degree, but not too much.
This method incidentally goes well with my obsession with introducing knightly characters and quests; and some of the clauses can be used to roleplay knightly prowesses. Note that commiting to a holy quest (and its up to the GM what counts as one) gives you a box straight away. The downside is that I will treat it as a "Quest/Geas" spell with penalties if you try to scam your questgiver. Also, finding a giver of a holy quest can be a little more difficult of what one thinks a priori.

 

Willem and Jan Dermoyen, after Bernard van Orley: Battle of Pavia

Tuesday, October 15, 2024

Nibelungs

I am an RPG ultra-naturalist, for good or ill. The good part is that I do enjoy a lot thinking on how a determinate civilization or animal has adapted to its circumstances, and that usually sends me on a spiral with each decision revealing me more about their circumstances and about them. It also has a payoff in the sporadic cases in which players do decide to investigate more and get involved with something I have actually paid attention to (last week they spend the whole session up and down a tribe of Pink Slimes, it was incidentally one of the best sessions in a lot of time)

On the bad side, I'm completelly blocked when I roll a random encounter of 4 goblins, because I do not understand any version of goblin culture and views, and I end up making them Saturday Morning Mooks with little to offer after their death. Then I start to think: Why were this goblins attacking PCs? Are they hungry? are they greedy? what do they need gold for? Where they live? Do they have a home? Where are the goblin girls? Why do they chose to live in a humid rock passage waiting for the year an adventurer passes by?

My setting might be a little atypical for your classic D&D game. It features mostly Trow (which are humans by another name, not related to Drow at any degree) and Kobolds (Just halflings); Orcs as the everpresent foreign raiders, and very occasional Dryads and Nixes. The tone I usually keep is knights and castles more than anything, 20% dungeons, 80% wilderness and city play. I describe the armors and weapons as eastern-european, but in my mind, the framework is japanese, and the characters under the plate armor disguise are taken from Usagi Yojimbo and Kurosawa movies (which is what I am more in touch with, and seems to flow better from me)

I don't have subterranean humanoid civilizations in my setting, because I find flaws in all of them. Not in their essence (sometimes a goblin is OK! I don't say that they are not workable in another game) but in the relationship with the tone and idiosincrasy of the current campaign.

Lets break it case by case with pros and cons:

 

 
John Goblin from Nekrogoblikon


GOBLINS

+ They make good cannon fodder: You can drop them by lots, and make up for classic skirmish battles.
+ They range from murky to evil, is easy for me to put them as enemies without much questioning.
- They are very shallow. I cannot imagine a goblin settlement without it being an humoristic take. Their motives to live are trifling: you can either make them psychopaths who kill for pleasure, or greedy fuckers crave for gold, but neither of them sustains goblins as full fleshed out civilization. In the first case, I prefer to potray it through demonic beings, be it immaterial, material or through possesion. The second can work, but still makes one wonder what do goblins do with the other 99% of the time.




DWARVES
+ They craft nice things and explain a lot of magic items found underground.
+ They dig and store jewels and I love jewels in my games. Jewels everywhere make the game feel lush and pretty.
+ Their gold/jewels obsession is very gameable, specially in OSR games, with actually having a behavior that plays into it (mining and adventuring)
+ They dig dungeon passages, thus building interesting passages beyond crypts, grottos and mud tunnels
+ They are good fighters and wear actual armor and weapons, which makes them more challenging as enemies.
+ They normally have good vision in the dark, but not infravision. which breaks the game.
+ They can be easily reasoned with. Their motifs can be strange but comprehensible and any normal human player can understand their morality.
- Their concept is ridiculous, they are just scottish men but smaller. There is exactly one (1) dwarf PC that is repeated through decades of gaming, which is basically Gimli but maybe changing the weapon. 
- Dwarven civilization consists in drinking beer, which they somehow make underground? no sense
- No restrictions nor penalty to sunlight, yet they prefer to live in their dark holes because reasons.
- LOTR failed to describe dwarven daily city life, and I cannot imagine one properly that suits the shown character of its dwarves. And nobody has ever attempted to make an interesting take on dwarves after that. It's always beards, axes, beer and end up being humoristic relief. You can fill the gaps making them more "human" but at that point they are just a warrior race's caricature.

 

 


DROW

+ They have hot women (or at least as I imagine them) and both genders are somehow aesthetically attractive in all senses, which for me is +++
+ I love that they worship a spider goddess, which makes a lot of sense in the depths; and all the symbiosis they have with spiders (silk garments, cobweb tools, poisoned weapons, spiders as guardians, pets, familiars, magical inspiration, etc)
+ In general, they are described to be more adapted to the underdark (TM) than the also subterranean dwarves, who are more associated to technology and less associated to fungi, luminiscent scarabs and eating scholopendras.
+ Easy to use as enemies, be it for Lolth fundamentalism or because they are just stupid assholes.
+ They are mythologically accurate to the norse myths if we take svartalfar and dokkalfar to be the earliest recorded description of dwarves.
+ Getting penalties on sunlight is something I expect from a subterranean race. There must be a reason they are subterranean after all, or else the whole thing falls apart.
+ They are slavers. This is very interesting to me in many aspects: the gamist (PCs are not always killed on a defeat, but kept as slaves), and opens a lot of opportunities in the building of world stuff and.in "random things and people you find in dungeons".
- Their crazy society is so much over the top that is hard to take seriously. I love when the goth barista at Starbucks spits in my coffee just as much as anybody, but this is just another level. The whole of the society being run by force of dominatrix and survival of the fittest... lol.
- Infravision is just too potent for my taste, in PCs and any other civilized race that can take advantage of it.

And now, what could happen if I took all the things I liked from those three, and put it on a single race instead? As a name, I've chosen something that has no clear ties to any of the three, as so the players have no broken expectations: Nibelungs, as the earth dwellers in the old germanic myth; which, if wikipedia is to be trusted, means "those who live in the mist/clouds"... well. Let's see if we can use that too.

Wagner's Nibelung art; source



So, nibelungs must be...

...good cannon fodder. An encounter with nibelungs should be at least on par with any other fighter, and they use proper armor and weapons. Those might be crafted with strange underworld means but they are refined and not crude. Their elite troops will possibly use envenomed blades or whips. Their morale is also on par with human bandits: not cowardish, but not temerary either and enjoy combat.
...prone to conflict. Be it for treasure, territory, slave hunt, joy, the demands of their underworld gods, or any other motif we devise through this lines, they have plenty of reasons to attack when the reaction roll goes badly. On the other hand, their morality is not as devious as drow or goblins in general, and at least some of them should be more sensible to provide the opportunity of meaningful interactions (as they will be the only humanoids down in the depths)
... crafters. They are responsible of any architecture found beyond the line where humans do not dare to dig. They can be behind specially rare magical or precious items. Their constructions involve metals, but also all kinds of weird stuff such as spidersilk, insect parts, poisons, fungi, luminiscent stuff, fangs, reptile skin or others.
... hoarder and greedy: at least some of them. Fond of gold and jewels. Maybe miners to some extent at least, but halflings already cover that role. If I get too crazy, I could keep gnomes as a non-playable race just to do this shit and inject cash into the world.
...very good sighted in the dark, but cannot see in total darkness. Correspondingly, they suffer penalties or ills when exposed to sunlight.
...lithe and graceful. Women are invariabily hot and some of them become sorcerer-priestesses, which is a high social position. Their skin being black and hair white can be a trend but not a limitation.
...roguish fighters. Heavy armors are banned to them, and also two handed weapons: I don't want them to be as strong as humans at all. Heavy axes are forbidden. Probably short swords and daggers are their best choice, but will leave this for latter and pay attention to my feelings.
...bound to mist and clouds. As they are weakened by the sun, they prefer to make incursions on the surface on misty or overcast days. This is why the other races have put that name on them. :/

Now, can this make for something that can be explored in a game? This is something for a latter entry, hopefully after I have actually used them.

Inverting colors turns many people into Drow

Thursday, September 26, 2024

The legend of Saint Inés of Moncada / I went into the wilderness

(Translated roughly from HERE)

Originary of Bilbao, The Alpicats (generously compromised with the cause of the king Jaime I) established themselves in Moncada at the end of the conquest of Valencia. They had an old lineage, prestige, lands and riches, but, halfway through the XIV century, the lack of a male succesor made Na Ángela de Alpicat the absolute inheritor of his parents title and wealth. The farmhouse was big, as her solitude; and the holding too big for her to administer without the help of a man accostumed to deals and businesses of such magnitude. On top of that, the house's blazons claimed for a successor. The orphan needed a husband proper to her caste that lent her tenderness, shelter and the chance to bear a son. And as En Guillermo Pedrós, also a noble, met such conditions, she married him; setting their residence in the stately mansion on the Main Street where she lived.

Fruit of that matrimony, the 25th of june of 1338, a little girl came into this world to whom they called Inés; the only possible inheritor again, as Na Ángela, after the difficult childbirth, became sterile. Their parents received however with enormous enthusiasm and expected her to govern at her time their patrimony after them.

Inés grew fair and healthy, showing notable mystic inclinations since childhood. She was cheerful and sweet, an angel for the servants and the townsfolk foreign to the family; obedient and solicitous with her parents. She shared her mother's duties and devotions, the walks of En Guillermo, who taught her to appreciate nature, countryside knowledge, the names of trees, plants and seeds.

A little after turning five years old, on Christmas day, Inés went with her mother to the temple. It was tradition then, in that day, to celebrate three masses. The first one, called missa d'alba (mass of dawn) was at six in the morning, and the last one at ten. Despite the early waking and the outside temperature (icy and humid) the moncadian parishioners didn't stop attending the solemn event. The girl, behaved but a little stiff with cold, occupied a cot beside a bench of the presbytery, from which Na Ángela de Alpicat followed the liturgy with remarkable absorption, imitated by Inés until, suddently, something unusual upset her in the moment of the Consagration

"mama"

"hush"

"mama, mama!" Insisted the kid, hugging her, with the eyes set on the Sacred Form that Mosén Jaime (a title given to clerics at that time and age) held over his head

"what got you, daughter?"

"Look at the boy child mama"

"What child?"

"The priest's child"

"Hush now! we can't talk at the church"

The rebuke didn't help that the same scene happened again in the two following masses, exactly when the priest raised the bread. Finally, moved by Inés' tantrum (Inés didn't use to lie, and her mother was afraid that her child could be under some spell) Na Ángela decided to communicate this happening to the priest. Mosén Jaime, with crooked eyebrows, decided to put Inés to test so the doubts were dispelled. "Satan doesn't rest nor does he make distinctions on age" he thought. On december 28th, in quality of witnesses, thirty persons were convoked: The Pedrós-Alpicat, the vicar mosén Berenguer Mestre, the sacristan and some town personalities who, in camera, heard the mass; waiting for the smallest reaction from Inés.

At the moment of the Consagration, the priest turned towards the little girl, holding the Sacred Form in her right hand, and a similar but unblessed one on the left.

"What do you see, Inés?"

"I see a fair child to to your right"

Mosén Jaime, impassive, turned on his back to exchange the breads, before formulating the same question:

"What do you see, Inés?"

"The same child to your left", she said, as determined as the previous time. The third time, the priest tried to make it more difficult. He had split the Sacred Form in half, and show her both pieces, one in each hand.

"Tell me, Inés, do you still see the child?"

"There are two of them now, father!", she answered amazed, seized with joy.

"She is a little saint! she is a little saint!", was the general clamor. And after the liturgy was concluded, everyone attested in a written document that extraordinary happening; an eucharistical miracle, in their understanding.

With time, her natural mysticism, added to the stigma of an early santification and the effects that a speech of Saint Vicente Ferrer in the temple of Santa Tecla at Valencia (1406) stimulated a profound religious vocation in her, contrary to her parents' aspirations: marry her to a rich farmer and thus secure their family lineage.

The pressure of his father was stronger: he was a practical man, who didn't even want to hear his wife's reasonings. She was more willing to grant her daughter's wishes to join a convent; but the families of the suitors were already arranging dates for the matrimony.

One evening, when her parents were at the city, Inés shed her jewels and hairpins and cut her hair. Then she took a male garb from her servants' room and abandoned the house with extreme stealth. She knew where she was going, as the place had seduced her when she visited it as a kid: The Cartuja of Porta-Coeli, surrounded by high peaks, embraced by thick pine groves.

She took three days to get to the monastery: as her looks were convincing, the friars, believing she was a helpless boy, received her swiftly. But once inside, after the first night, she gave herself away and asked for confession.

 "Oh, my daughter" Can't you see the mess of this situation? You can't live among us. The sacrament of penitence forgives you from your sins but compels me to silence. You can't stay, unless... unlesss you live on a nearby cave and you take care of our sheep. Then, we will see"

"Do not worry, father, as I will find my way to earn my keep with as much zeal as I long for giving my life to the Lord"

From that accord, Inés was the benjamin of La Cartuja for four years. The pious shepard who, in addition of taking care of the flock, prayed on the quiet, subjecting her body to very harsh penitences reserved for the redemption of lost souls. The curate, seeing she was pale and haggard, tried to admonish her in vain.

"Dear child, you pray more than the friars. Are the rigors of Lent, daily mass and mandatory Sunday prayers not enough for you?"

And that was not little. According to the statutes of the Monastery, the donated brothers and converts did not attend the services of the Community, but on Sundays they were subject to chanting: for the four lesser hours, forty Our Fathers; for vespers, twenty-two; for matins and lauds, eighty-two; and for the deceased, nine. In addition to the so-called monasticism or death of a member of the Order, which included the prayer of three hundred and seventy.

"Father, you forget I didn't came here to serve the house, but God. I want to be a hermit, wear the cartujan habits and I reclaim your blessing to retire into a cave I discovered high in the mountain"

That abrupt cavern would be her last home of the noble Inés, whose weapons, from then onwards, were the sackcloth and praying.

The night of June's 25th of 1428, a strange shining illuminated the mountain crest. It wasn't a fire, because there was not fire or smoke on sight. The monks, pressured by the scared townsfolk who attributed it to a supernatural phenomenon, ascended to the almost inaccesible refuge of Inés. They told that, already near the place, a fresh but indefinite perfume, more fragant than the pines, thyme and myrtus, enveloped them. Soon after, at the foot of a crude cross, they found the fallen body of the virgin from Moncada, shedding a nymbus of blinding light. Her confessor, then, with broken voice, revealed the secret of the false shepard, and, in that instant, the bells of la Cartuja, rung by invisible hands, was heard in all the Lullén Valley. So lingering and intense was that, on the next morning, when they gave a christian burial to the body under the altar of the primitive gothic chapel of the monastery, the bell went deaf, broken in a thousand pieces.

The cave of Santa Inés is still today a centre of popular peregrination. Through the centuries, the memory of the young girl persist despite the house with the coat of arms of the Alpicat's (A red wing over a golden field, and a group of golden stones over an azure field) was demolished. 

 


 

(actual view of the monastery in our days, founded by a 9th level cleric a little before the story above)

 


Last sunday, I went with one of my players on a trip. We wanted to go to sleep in a cave in the woods, the cave mentioned in that story above. He had been there before, but not me. 

It was a 20 kilometers trip from our homes (two six-mile hexes) and we wanted to do it by walking all the way. We were all the time referencing travel rules and extrapolating to our game, waiting for the roll of 1 that would trigger the wandering encounter check.

We started our trip at 3 in the afternoon, after taking a tea. Hung on our backpacks were the bedroll and the sack; my shirt off and rolled in my head to prevent insolations, and we started to walk. He was the guide, being naturally good at it and checking the google maps when there were doubts. The first hex was more civilised, crossing towns, industrial zones, orchards, fields and roads. The last civilized spot we reached it by half past six. We took a coffee before venturing further into the forest.

The second hex was a road with a military area, and then forest on both sides. The moon had not risen when the night came, but the stars illuminated the pathway enough for us to walk, but probably hiding from ourselves any curious fauna that could be watching us (beyond a couple of what seemed to be falcons or eagles). We didn't carry any weapons beyond a small pocket knife, but there aren't any bears or wolves in our part of Spain, neither the owlbears we were joking about. My friend has seen roe deers and boars there, however. We kept walking into a dark valley, until we met the monastery. The size of it was impressive, even if I could only see it from a distance. I passed under its aqueduct and it was like sizing up a dragon by watching only his enormous foot.

The road became an unpaved path after that, and soon we had to abandon it into a forest track that went up into the mountain. I ended up exhausted after some time, and I had to actually take a seat in a rock with my heart pounding fast in the middle of the night, as my (more accostumed to aerobic training) friend told me "don't worry, the cave its only fifty meters away"

It might seem strange but neither my friend nor me are very used to take photographs, so I can't show you the cave (and it was very dark by then, anyways) but it was much more pretty than I had imagined. It has a wide but short entrance (you must crouch to enter) but inside it's height grows a little and it feels like a wide and clear, really confy room of like 2x3 meters, only occupied by a little commemorative tile and a rock bend turned into a small shrine, where other pilgrims have left some offerings.

Soon we scratched off our rations (chorizo, meatballs, almonds and apples) and some water. I was actually worried because we had very little water by then, and we were fucking far from any known source of it. We had to wait until the third travel turn of the day (the sleeping turn) to met our wandering monster. We had not made any guards. The cave felt as clean as to not fear any vermin such as scorpions or snakes (maybe a delusional feeling, maybe the powers of Saint Inés, but the cave "felt" clean) After some time silent and waiting for sleep, broken only by the midnight monastery bells sounding on the distance and the occasional roe deer barking somewhere below, I heard our bags running fast as a motorbike through the cave's door.

My friend though it was me, and when I told him I had seen something big at the entrance of the cave (something that had passed the surprise check) he thought I was fooling him. I went outside with my cellphone's light just to found this precious, big, yellow fox (I didn't knew there were yellow ones) eating our chorizos from the bag. He physically fought with my friend who tried to recover them, biting him on the leg (luckily he rolled 1 for damage) and achieved to run away with 2 of the 4 chorizos (one ration). He wasn't happy with that alone, so he came in five times more that night, trying to eat my bedroll, my shoes, my finger and depriving us from a proper rest (the game master would not allow us to gain hp that night) but for us it was like magical. We haven't stopped talking about the fox in three days. This is the best video I achieved to do, inside the cave, illuminated only by the other cellphone's lantern: