In debating
which of many projects to develop in the near future I find myself drawn back
to The Infinite Cathedral, a system-neutral,
medieval fantasy setting consisting of a separate plane of existence with a
vast landscape of endless cathedral naves and transepts, with cloisters nestled
between them. Some unknown force dumps heroes from their own worlds onto this
one with no apparent means of return. Much of it is ruined, though some
portions still remain intact, with many far-off locations renovated and re-purposed by the region’s unwilling inhabitants.
When I first look at it I envisioned it as a traditional medieval fantasy roleplaying setting with a basic thematic foundation and plenty of room for characters to explore, set out on epic quests, or find grand causes to support with sword and spell. But my recent nighttime fiction reading has helped me look at it from another angle and provided enthusiasm for embarking on a more dynamic course with it. (I read as often as my harried lifestyle allows; I’m lucky if I get half an hour of non-fiction reading at lunchtime and half an hour of fiction right before bed.)
I’m almost
finished reading Michael Moorcock’s The
History of the Runestaff omnibus edition published by White Wolf as Hawkmoon in the 1990s. It includes the
four early novels of Dorian Hawkmoon (an aspect of Moorcock’s Eternal
Champion): The Jewel In The Skull, The
Mad God's Amulet, The Sword Of The Dawn, and The Runestaff. I’ve enjoyed reading Moorcock’s fiction over the
years, starting with the Elric stories way back in high school followed by
others as acquired over the years (including two great omnibus editions
published by White Wolf). Now and then I pick up some Elric tales to re-read.
On the surface I’m intrigued by the non-traditional elements of fantasy he
creates, the underlying conflict between order and chaos, and the overall
concept of an Eternal Champion. Such fare seems wonderfully episodic. In one
chapter the hero encounters one adversary/location/ally and resolves that
interaction; the next chapter brings new and quite different challenges related
to the hero’s overall quest, though sometimes seemingly diverting him from it.
One never knows what they’ll encounter next…something within the realm of their
experience or something entirely outside of it and quite possibly not even
grounded in the setting, including occasional appearances by inter-planar
demonic beings and lost futuristic-science artifacts.
Like
Moorcock’s other work, the tales of Hawkmoon include what many might call
“gonzo” elements: watch towers filled with powerful weapons powered by lost
technology; knights with “flame lances” riding flying giant flamingos;
magic-tech enabling mind analysis and control; entire kingdoms removed to different
dimensions. The folks over at the online Free Merriam-Webster Dictionary define
gonzo as “freewheeling or unconventional especially to the
point of outrageousness” as well as “bizarre.” Both describe a particular style
of fantasy roleplaying campaign where disparate yet fantastic elements dominate
the setting from one session to the next. I’m not terribly well-versed in the
“gonzo” game genre, though I’ve heard of games and campaigns that might fall
into that category (Lamentations of the Flame Princess comes to mind, as well as material on the fascinating
Dungeon of Signs blog, but I’m sure there are others). On closer examination,
however, this style of seemingly “gonzo” storytelling has its roots in
classical and contemporary fiction in an approach that might serve to fuel my
enthusiasm and inspiration for The
Infinite Cathedral.
This style
of storytelling hearkens back to that earliest piece of adventure fiction,
Homer’s Odyssey, in which the hero
and his faithful companions undertake an arduous ocean voyage filled with
bizarre encounters, all while addressing an overarching story (Ulysses’ quest
to return home). Each episode presents a new encounter intended as a challenge
from some fantastic adversary or bizarre situation. A more modern example comes
from the classic Star Trek television
series. On its five-year exploration mission the U.S.S. Enterprise wanders across the galaxy encountering one
challenge after the next. Each episode brings new worlds to explore, mysteries
to solve, hazards to negotiate, and enemies to confront. Moorcock’s work
embraces this potentially “gonzo” tradition: a setting where the heroes
encounter disparate and often quite bizarre elements within their genre setting
each episode.
The Infinite Cathedral offers a similar
potential for a “gonzo” game campaign. It’s a place where anything can happen
within the minimal medieval fantasy setting foundations. Several givens exist
-- the medieval nature of society and technology, the mostly ruined
cathedral/cloister architecture of the terrain, the absence of gods, and the
struggle between seeking a means of escape or resigning oneself to their
captive fate on this dimension. Everyone deposited on this godless plane of
existence makes a choice: seek a means of returning home even though none seem
to exist (despite many promising rumors; or relinquish the quest, settle down
in an enclave, and make a name for oneself here. One adventure might focus on
defending a small village against an overwhelming enemy while the next might
send them on a quest for a pseudo-science magical device with hideously
devastating powers.
I’ll freely
admit elements of this style of campaigning make me uneasy. The “gonzo” aspects
lend themselves to unpredictability and a seeming lack of setting continuity, although
many might argue a world dominated by disparate gonzo elements constitutes
setting continuity unto itself. I’m also a little intimidated by the
exploration quest theme, what many call a “sandbox” campaign in which the
overall direction depends on the players’ interest in wandering through the
setting rather than the gamemaster’s emphasis on their involvement in a focused
meta-plot. Like my historical game setting work in Pulp Egypt and Heroes of Rura-Tonga, much of The Infinite
Cathedral setting initially looks fairly normal on the surface -- ruined
cathedral, enclaves of survivors eking out a living, standard medieval fantasy
monsters lurking in the subterranean crypts -- but as heroes explore they
uncover subtle sinister elements: fellow travelers from other dimensions with
disturbing objectives and unfathomable powers; enclaves with secret agendas;
monsters that look familiar but function quite differently.
I don’t
fancy myself a fan of either “sandbox” game campaigns or gonzo-style settings.
I’m more a traditional medievalist when it comes to fantasy roleplaying games. But
approaching The Infinite Cathedral with
an eye toward a “gonzo sandbox” campaign -- within the defined parameters of
the basic setting I’ve already devised -- might help fuel my enthusiasm and
provide more diversified inspiration for the project. I think I need to step
out of my stodgy old comfort zone and explore this….
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