Monday, October 31, 2022

Curse of Strahd - D&D 5E module (read for fun)

I picked this up because I heard a lot about Strahd and his Ravenloft castle. I got curious. This book here is a revision of the classic adventure for Dungeon and Dragons fifth edition. It is a Gothic Horror story, where the adventurer party is trapped within the cursed land of Barovia, and the only way they can escape is if they kill its lord, the vampire Strahd. 

My impression of this module is "wide-open sandbox". After the players arrive in Barovia and get their bearings, they can go anywhere they want. There are no Beef Gates or Broken Briges to stop them from entering a given area.  Each area has its own chapter, and each is written in such a way that events from one area do not influence events in other areas (with few exceptions). Thus, the party can visit each area in whatever order they want. 

As far as I can tell, there is no intended story line. No plotted course for the DM exists within the book. Such a course is only vaguely implied. This is what I think. 

The party arrives in Barovia. Ismark asks the party to help him escort his sister, Ireena, to the walled city of Vallaki, where she will hopefully be safe from Strahd. Once in Vallaki, the party becomes involved with Strahd's plot to attack the city's church. Regardless of whether or not the party thwarts this plot, Ismark states that this city is not as safe as he hoped. The only other option is Krezk, another settlement at the far end of the region. A subplot or two to gain access to this city of shut-ins is next, which requires traveling to regions the party otherwise might not think to visit. Once inside, Ireena is reunited with the ghost of Sergei, her lover from a past life. After this, Strahd is furious enough to seek out the party directly. At that point, the party either confronts him at some place nearby or goes directly to his castle. 

There is far more to the module than what I just wrote. In fact, there is so much in the book, I don't think a DM would be able to bring it all into one campaign. I think that is the point, re-play value.

This module contains a mechanism for randomizing certain aspects of the story. The location of key items, the identity of a key ally, and location where Strahd can always be found: a tarot card reading performed by an NPC tells these to the characters. So, each playthrough of the campaign can be different. If nothing else, it provides options to the DM. 

Besides the story events and this in-universe randomizing, the book contains a lot of art. It is beautiful art, creepy art, and beautifully creepy art.  Some of them fill entire pages. 

If I had one complaint to make of this module, it is the rigidity of the setting to change. In many places, the module states that the players cannot make the situation in a given place any better. The reasons vary from "character X is incurably insane/beyond redemption" to "the Dark Powers will prevent/negate the improvement", which is as frustrating as any thought terminating cliche.  Also, the players can't make the situation in a given area worse either, because it could hardly get any worse, just a different kind of bad. I understand that this story is Gothic Horror, but it's frustrating in a game. Then again, the rigidity is sufficiently justified internally, and I imagine that the writers at Wizard of the Coast expect a DM to tweak things here and there. 

Trickster Eric Novels gives "Curse of Strahd - D&D 5E module" an A+


Click here for my previous book reviewAnansi Boys

Brian Wilkerson is an independent novelist, freelance book reviewer, and writing advice blogger. He studied at the University of Minnesota and came away with bachelor's degrees in English Literature and History (Classical Mediterranean Period concentration).

His fantasy series, Journey to Chaos, is currently available on Amazon as an ebook or paperback.

Sunday, October 30, 2022

Read for fun: Anansi Boys

 This is a book I picked up at a Friends of the Library book sale. A great place to buy books - good deals and good cause. This book here is a sort-of sequel to Neil Gaiman's American Gods. As far as I can tell, it has nothing to do with that plot. 

What we have here is Charles Nancy, an office worker in London, and how his life turns upside down after his father dies. In short order, he learns that A.) his father is a god, Anansi the Spider,  B.) his childhood neighbors are witches and C.) he has a twin brother who he has never met and who evidently inherited all the god-related stuff from their father. 

SPOILER WARNING!

SPOILER WARNING!

SPOILER WARNING!

I have good stuff and bad stuff to say about this book. I'll start with the bad, because it is just one thing. That thing is the pacing. 

This book is just short of 400 pages long, and it takes forever to get anywhere. The plot-triggering-death happens quickly, basically in the first scene. The funeral follows swiftly afterward. Then the plot lags. There is very little forward motion for over one hundred pages. For some reason, I felt like reading all of them, thinking that the plot would pick up, but it just kept going and going, taking its time with lots of subplots. 

--> how miserable Charlie's life is.

--> how Brother Spider abuses his divine powers.

--> How Graham Coat exploits his customers.

--> the history of the building that Graham Coat operates out of.

-->Rosie and her passive-aggressive rebellion against her mother.

Also, there are Anansi stories in the chapters. These are digressions where the narrator halts the main story to share a tale about Anansi. 

In my opinion, the plot doesn't start moving until around the 200-page mark and doesn't truly get interesting until around 260. There are many digressions. For instance There is summary of the courtship of Charles's love interest's parents, and how disappointed they are that she became a police officer. 

My personal head cannon is that Anansi is the narrator of this story, and he likes telling stories. All the stories belong to Anansi, and he wants to share as many of them as he can. Furthermore, his purpose in telling this particular story is to set up his sons with wives so they can give him grandchildren. The story mentions that checking on potential grandchildren is his motivation to stop pretending to be dead. 

Now for the stuff that I like. This is a much longer list. 

1. It is remarkable how engaging the story is. Even during the slog of the first part, the narration is engaging. Not necessarily entertaining, but it is intriguing. I didn't know what was coming next, because I kept expecting something supernatural or scary. 

2. Once the plot picks up, and things start happening, it truly is fun to read. 

3. The lime joke. That is a funny joke. I still smile when thinking about it. 

4. The cosmology of the 'verse, the gods and witches and the power of song and stories, all of it is interesting. It makes internal sense. I liked reading about it. 

5. Moreover, the change that comes over Charles Nancy when he figures out the thing about songs and stories was a nice payoff.  That was a well-written piece of character development. 

6. Graham Coat's descent into madness is creepy. It is one of the better uses of the trope Being Evil Sucks. Also, the pay-off about him being a "weasel" has a nice payoff. 

The last thing is the Nancy brothers and their love interests. It is a big thing and complicated thing. I don't want to go into it, but I wanted to mention it. In short, I think it is undeveloped. 

Trickster Eric Novels gives Anasi Boys a B. 


Click here for my next book reviewCurse of Strahd - D&D 5E module

Click here for my previous book review Wandering Witch volume 2 (read for fun)

Brian Wilkerson is an independent novelist, freelance book reviewer, and writing advice blogger. He studied at the University of Minnesota and came away with bachelor's degrees in English Literature and History (Classical Mediterranean Period concentration).

His fantasy series, Journey to Chaos, is currently available on Amazon as an ebook or paperback.

Sunday, October 23, 2022

The Appeal of an Overpowered Protagonist - Part 3: What is Gained

Last time, I discussed the potential of an overpowered hero in a Shōnen fighting show. The example I used to illustrate this potential was One Punch Man.  Yes, even in such a show where the main action is superheroes fighting monsters, there can still be meaningful conflict and excitement when the protagonist is physically invincible and can defeat any opponent in just one punch. 

Even now, I can hear objections. Saitama is apathetic. He doesn't desire anything other than a worthy opponent. "No Game No Life" doesn't count either, because the gamer siblings are motivated (at least in part) by having fun with games and seeking a rematch with the One True God, Tet. The actual troubles of the world of Dishboard don't bother them (at least not as much as other characters, such as Stephanie).  What if an author wants to write a story about a protagonist who has goals? Surely the protagonist can't be overpowered then, right?

Nope, I have two examples for that situation. Now that I think about it, I actually have three or four. I'll stick with one for now.  It is "The Irregular at Magic High School", and features Tatsuya Shiba.

Tatsuya Shiba lives a world of modern magic, that is, where magic has been codified into something scientific (which is different from Ancient Magic, but that is neither here nor there). Those that study magic professionally are known as Magical Technicians, or simply "Magicians". Tatsuya Shiba is among the most powerful of these magicians. I'm not sure of the exact rankings, but I think that he and his sister, Miyuki, rank in the top five for the entire world. And he is still in high school. 

Now, I know what you're thinking. Isn't Tatsuya a Course Two Student, someone who is considered less capable than other students? Doesn't the story make a big deal about this? Regardless of how he fares in combat, doesn't this mean the story is treating him like an underdog? 

Yes, that is part of what makes Tatsuya work as a protagonist despite being overpowered. What Tatsuya seeks to achieve is not something that can be accomplished through combat. He wants to ensure Miyuki is happy and he wants the world at large to recognize magicians as more than wet-ware weapons. Though he can vaporize people from a distance without effort or restriction (than I know of, at least), that isn't going to accomplish his goals no matter times he does it. Though he has poor relations with his family, fighting them in open combat isn't going to gain him anything. 

(Disclaimer: I'm over-simplifying this for the sake of brevity. Tatsuya's mental state and his family situation are a lot more complicated than I'm making them sound here, and he definitely isn't gung-ho about these goals, or really any goals, at the start of the series. But he is ALWAYS presented as a magic technology geek). 

That is the kind of world that Tatsuya lives in and that is the kind of world that the author wants to write about. Tatsuya can be overpowered because it serves the actual interest of the author. 

From what I've read, the author of "The Irregular at Magic High School" is not interested in writing combat scenes, but in dialogues and intrigue. From what I've seen personally, the author is also interested in a hard magic system and in world building. There is a lot more space devoted to the magic system's theory,  the school set-up, and the general magician society, than to combat or displays of magical power. There is a section about public transportation that has nothing to do with the first book's plot. Yes, really. I found it interesting. 

The first arc, the one that focuses most heavily on the "Course Two Student" idea, is supposed to be an allegorical critique of a certain school systems, which prioritize certain strengths in students while ignoring others, and the stigma this places on those students. Tatsuya and Miyuki Shiba serve the purpose of illustrating this distinction between Course One and Course Two. 

Tatsuya is a Course Two Student, yet he excels in many areas, which enables him to outshine students who are theoretically superior to him by supposedly objective measures. Miyuki is a Course One Student, and she is indeed a talented individual, but she constantly seeks to promote her older brother, because she knows that his strengths are valuable and that he is a better magician than her by other standards. Tatsuya being overpowered helps drive this point home. The message isn't "less-talented students can still excel if they try hard", because Tatsuya isn't less talented or hard-working etc. than his sister; the message is (phrased more politely), "this sort of school system is bonk because it stigmatizes talented students". 

Tatsuya may be overpowered, but he gains nothing from shoving his power in everyone's faces. That will not make his sister happy (though I imagine she would take a certain perverse glee in watching her brother's detractors eat crow). Showing off his superlative combat ability would only reinforce the notion of magicians-as-weapons, which he dislikes. The path towards his goal goes through different means. 

Wow, this is getting long. I could discuss the next three arcs, but I will stick to just the Nine Schools Competition arc. 

The Nine Schools Competition is exactly what it says on the tin, a competition between the nine magic schools. Tatsuya is not a competitor in this arc (save one specific exception). He is support staff. He uses technical engineering skills to assist the actual competitors from his school. This is another way that a character can be overpowered but still serve the narrative. Tatsuya's skill as a magic engineer is such that he can fine-tune a competitor's gear to bring out their full potential. The author likes their hard magic system, so this is a big deal for the story, but it is still up to the competitor to win or lose. 

It's like Tatsuya is a support party member in an RPG that can only cast amazing buff spells on the party. He may be why First High wins their bouts, but he is not the one winning. The classmates he supports are the ones winning. This way, Tatsuya can be amazing while sharing the spotlight, and the author can further support the theme from the first arc. 

Tatsuya can, and does, win basically every fight he enters, but he doesn't enter fights without a reason. He's not a blood knight, like Saitama, and he doesn't treat conflict as a game to enjoy, like Blank, the gamer siblings. It's all about what is gained through the action he takes (again, oversimplifying a LOT. The full details behind Tatsuya's motivations are spoilers). There is no single action he can take that will achieve his goal or solve his problems, and certainly not without creating more problems. 

This is what makes Tatsuya the right protagonist for this story. He enables the author to write about what they want to write about: dialogues, intrigue, the hard magic system, etc. If combat comes up, and it does, then Tatsuya can end it quickly and the plot can move on. 

I would write about how Tatsuya doesn't end EVERY combat scene, and the other characters aren't helpless, but this post is too long already. 

Click here to read Part 4 Super Combat Power does not Create

Click here to read Part 2: The Meaning of the Fight

Brian Wilkerson is an independent novelist, freelance book reviewer, and writing advice blogger. He studied at the University of Minnesota and came away with bachelor's degrees in English Literature and History (Classical Mediterranean Period concentration).

His fantasy series, Journey to Chaos, is currently available on Amazon as an ebook or paperback.