Surmounting Advantages

During the discussion of greatly enhanced healing in fantasy settings there came a question of what will some parties do to combat this advantage in their enemies. This is an important question not just in the circumstance of accelerated healing or of resurrection, but in general, both in gaming and in all fiction. For every advance or advantage there is a considered response to negate it. Those who do not have an advantage will want to copy the advantage for themselves, or barring that steal the other party's source for it. This push and pull, garner or steal, is another basis upon which to build conflict in stories. In gaming it is a consideration that the Game Master must make at every turn to keep the pace, the tension, and promote a surmountable challenge.

There are a few categories of elements that fit this mould. There is durability or immunity to harm, powers that cannot be defended against, normally inescapable circumstances, and overwhelming forces. These can be negated directly or indirectly. Direct negation requires stripping the individual(s) of the power or overwhelming it to the point it is not an issue. Disruption powers come into play or powers that are in opposition to the troubling one. Ice or water is used against fire, mind blocks prevent psychic attack or intrusion, and similar. Particular methods of killing cancel regeneration. Specific disposal of the body prevents it from rising from the dead. Then there are weaknesses built into characters such as deadly allergies to certain materials such as Superman and kryptonite.

Indirect negation can include circumventing the difficulty. Those invulnerable to damage may be suffocated or drowned. Those immune to fire may still be harmed by falling debris caused by a fire. The opponent may be the one that is immune to the character's abilities. All of these put a wrinkle in a game changing element or a power. They can only be used so often and put to smart use without negating the reason for having these capabilities in the setting, or unfairly treating the player of such a character by hobbling them unlike the other players. Tempering these changes to provide threat and tension is only desired in balance and when it enhances the storyline. It may even be better to turn the tables and have the protagonists seeking to deal such powerful foes.

Mood: tired.

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Can You Hear Me Now?

The cross-generation planning method of harnessing the game-changing power of immortality as noted last time requires good communication. The kind of communication that it requires is about the quality of the communication. It doesn't matter the quantity if it is concise and clear. It also makes no difference in regards to time if preservable writing is an available option in the setting. What does have some impact is the timing. A small impact in this case, but on its own communication times can be their own game changer. As with everything else communication time can be enhanced either by technological or fantastical means. Understanding just how it changes things can be something of a challenge. It is, right now, something still being figured out for real.

Most fantasy settings are set in a time where messages can be relayed by horse riding couriers. There can also be carrier pigeons--the Egyptians and Persians first used them 3,000 years ago. This was a huge improvement over people made to run messages far away carrying only a verbal message and making the use of multiple runners along a longer route. Since this is a fantasy setting, and not a strictly historical one, magic comes into play. It would start with magical carrier pigeons that could fly faster and longer. It would end with the scrying version of video conferencing at the other end of the spectrum. In between are tomes that writing appears in from another copy, telepathic style messages, oracles that know things from far away lands, and lesser deities as couriers.

Information is power when it is put to use. Using it in a timely manner is an important way to capitalise on it. It doesn't matter whether it is intelligence for battlefield planning, trading information, spy work, or organising research. Good speed for information flow negates the importance of distance. It makes the world a smaller place and that changes the dynamic of many things. It also should involve more direct communication, cutting out middlemen who can distort the message. This is because the fast communication form should also be as easy as it is fast, which does add some constraints in the fantasy settings. It is only fitting that the magical method of fast communication is not only fast in passing the messages back and forth, but also fast to initiate.

Mood: vertical.

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Nothing But Time

The game changing nature of powerful healing at accelerated rates presented two factors upon which the differences were built. The first was the change in risk aversion factors. The second was the effect on the time scale. The shortened time makes for altered pacing. In the fantasy setting this is especially true because of the otherwise limited state of medicine and lack of pain medication. While quickening the plot pacing changes the game or the story one way, shifting things in the other direction has alternate effects. Longevity has its own way of changing the game in a setting. Long lives, immortality, and the changes caused by continued healing and durability are one possibility. The other is less fantastical but no less powerful and involves controlled cross-generation planning.

Many fantasy settings have long lived elves and other inhuman beings. They have immortal wizards both of the perpetual living and living dead kinds. The same is true of settings with vampires of enough intelligence to keep a lower profile and out live generation upon generation of mortals. It is not often enough that the immensity of possibilities this creates is touched upon. These beings can achieve singularly what others cannot. They can plan according to the long view of things, adapting as they go, patiently manipulating events in tiny increments over a vastly extended time. This affords them a lot of power. Beyond that it allows them to cultivate great experience and with it wisdom. This experience and wisdom is stronger for being first hand.

Magic, supernatural biology, or the science and futuristic equivalents of those, are not strictly necessary to take advantage of this game-changing element. Family groups, organisations, secret societies and sects, and some tightly focused societies can do so as well. For them it requires more discipline due to the larger number of members required. It also requires all parties being able to understand the plan not only to fulfill their parts of it, but also to the greater degree of being able to pass on the knowledge and impart the importance of the actions that go into it. If any later generation fails in understanding or implementation, even in gradual degrees from one generation to the next, then the plans and their benefits diminish, fail, or outright disappear.

Mood: fluid.

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Just A Flesh Wound

The first game-changer that came to mind, and spawned this brief series of discussions, is one very much ingrained in fantasy settings. To a certain degree it has been built upon ruthlessly in video games so much that it is entirely a staple without which most of those games would not exist. The premise comes from the earliest of fantasy fiction, at least modern fantasy fiction--older fantasy tended more toward mythology to outright belief. It seems to have a certain home in D&D as well. Without this specific element in these fantasy settings the games would be very much changed. This game-changing factor is the ability to miraculously heal at accelerated rates. It can include regenerating limbs, psychic abilities to heal and perform surgery, and the staple fantasy resurrections.

Amazing accelerated healing may come about by different means. Psychic abilities to heal the body have been mentioned. There are healing spells and magical potions that restore health. There are salves, balms, tinctures, and other forms of arcane herbal and alchemical methods of healing not only bodily damage, but also removing disease and congenital defects. Changing genres there are advanced forms of science driven healing from chemicals and drugs, to nano-bot surgeons injected into the blood stream, to the melding of man and machine with cybernetics. What is important about these forms of healing is not the exotic nature, not the unnaturalness--that would be normal for the given settings--but the efficiency and speed at which they work.

Whatever the method, these forms of healing change the dynamics of the setting. Militaries with these capabilities are more aggressive and likely to go to war. Consider the turn around of injured soldiers. True bravery is less, but daring moves--manoeuvres and strategy--more common. Extreme actions are frequently taken because the risks are less. Safety and carefulness is less important. Permanent damage taken out of the equation alters the dynamics of fear as well. What happens when terrorists' victims can be raised from the dead? Or the terrorists themselves resurrected? Thought should be put into how people will try to counter superior healing and returning the dead to life. This kind of healing will also alter people's life spans, which changes the game in other ways.

Mood: calm.

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Anatomy of a Horror Setting #4-8: Industrial Phantasmagoria

Victorian Age horror is rife not only with the supernatural but also the mechanical and the scientific.  Steam locomotives had been in use for quite some time.  Photography came about as the age began.  Gas lighting became widespread.  The London sewer system was built. People were working on and produced motorised vehicles.  The tail end was witness to engineering feats like the Brooklyn Bridge, and modern innovations like the incandescent light and phonograph.  On the science front Darwin published his "On the Origin of Species", and Faraday laid the groundwork for understanding the connection between electricity, magnetism, and light.  Medical breakthroughs brought about surgery with anaesthesia, the creation of vaccines, and the first use of X-rays scans.

These wild and exotic innovations provide great twisting points for horror.  They start at a basic level with the mundane.  The industrialisation of the textile industry, the spread of mining, and the rise of tenements and slums provided hellish environments with dangerous and desperate conditions.  Child labour was an all too common occurrence.  Any of these could be the basis of revenge from beyond the grave or from the living.  As marvellous as the phonograph was there was also much fear over what it implied, which was compounded by later attempts to combine it with spiritualism ideas to build devices that could communicate with the dead.  Such merging of spirits and science owes its due back to Doctor Frankenstein galvanising the dead back to life.

Mad scientists also followed in the perverted footprints of Frankenstein, but with their eyes open, intent on creating monstrosity and working toward world domination--since Britain showed it could be done.  What kind of scientific perversity are they into though?  The process of Eugenics can be used to make super men and women bringing about a master race.  Hybridisation mixes different animals together or men with animals.  Mechanisation is another route.  Tear a subject apart, amputate limbs, remove organs and create openings.  Fill those voids with gears and mechanical assemblies and replace limbs with faster and stronger motor driven parts of cold hard steel.  All of them could ultimately be combined even, with a supernatural element added for extra terrifying potential.

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Anatomy of a Horror Setting #4-7: Out of the Woodwork

The grand exploration of the world that took place in the Victorian age opened the doors to different stages upon which familiar characters held sway cementing the validity of their imagined reality even as it forced alterations. Wherever the British went they found tales of what could only be faeries and other familiar beings and creatures of legend. There were some differences and occasionally new and strange additions to add to the lore of the day. As with at home there were good faeries and evil faeries though dealing with either was something to be avoided if possible. Of course there were exceptions such as the Brownies, which were reminiscent of the Domovoi or house spirits of Russian lore, at least in terms of helpfulness around the house and farm.

It can be hard to differentiate the origins of the beliefs in the fae even between the English, the Scottish, and the Irish so an amalgamation of the mythologies is the way to go. The division between the Seelie--good faeries--and the Unseelie, nasty faeries--courts is a common one. Court in this case indicates groupings or members of the royal fae court more than a place of judgment though the Seelie certain had those and used them to enforce their will upon humans who interfered with their affairs. The fae also fall into several categories or species each with a particular name, or some overlapping names depending on which culture was describing them. Many of them were of human size and stature while others were diminutive, unlike in fantasy where most are small.

Changelings in particular were normal human size, which helped them in stealing a human infant and replacing it with their own baby for the humans to raise, similar to cuckoos laying their eggs in other bird’s nests. As strange as their customs, and in spite of their innate magical qualities, the fae are seen as native to the world, a natural part of it, and in tune with it. This adds to the mystique of the world, the idea that the strange and fantastical is the norm. When dealing with faeries for the setting use less focus on the mischievous members of the Seelie court and more on the malicious and violent types of the Unseelie court. The Unseelie are more frightening figures any way. They are solitary, greedy selfish, and enjoy terrifying their victims even before the real torment beings.

Mood: relaxed.
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Anatomy of a Horror Setting #4-6: Give Three Knocks

The Victorian era embraced the mystical even as rational thought, science, and industrialisation gripped Britain, the empire upon which, near the end of that time, the sun never set. This was especially apparent in the love affair with mediums and séances. Previous discussions have considered the impact of speaking with the dead on a horror setting, but the methods of communication were not covered. Séances with or without a proper spirit medium present have a unique flavour. There is a particular phenomena that is associated with séances and mediums that doesn’t see a lot of coverage elsewhere. That would be ectoplasm, oft exteriorised by mediums and the foundation upon which a ghost may build limbs or a body with which to exert itself on the physical world.

Among the options for the setting there is an allowance for different expressions of the physicality of ectoplasm. Historically speaking comparisons have been made to gauze, and less interestingly mucus. There is a suggestion that apparitions are indistinguishable from the living in non-contact situations, the realisation arrived at only with the dissipation of the ghost or similar impossibility for a living person. This distinction and the scientific definition of ectoplasm as the outer part of a cell’s cytoplasm supports the option of ectoplasm that is fleshier, like the gelatinous extrusion of fat and other material from cooking meat. This meatier ectoplasm will come out of the medium through the skin rather than being excreted through the mucus membranes and it will be more substantial.

Along side ectoplasm’s highly visual physical manifestation of the spirit world there are the psychokinetic displays associated with séances. The simplest is the request that the spirit summoned show its presence by rapping or knocking on the table around which the participants are seated or some other object in the room. The sound can also simply manifest in the air. The spirit can answer yes and no questions by knocking using one knock for yes and two for no. More complex questions can be asked using a Ouija or Spirit Board. Less helpful to the séance but more exciting are the poltergeist-like outbursts, and being fiction there can be straight up voices and even pyrokinetic displays. It is also common that called spirits may not be truthful, the one asked to appear, or a devil instead.

Mood: C.H.U.D.-tastic.
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Anatomy of a Horror Setting #4-5: Brave New Horrors

There is another popular time setting for fantasy stories. It borders somewhat on the modern, but only as a matter context--it’s a matter of scale. It is also a time setting that is conducive to horror. This makes it only fitting that it is a good time period within which to set up horror fantasy works. It is the Victorian horror fantasy period. The Victorian Age is the same as the Industrial Age within enough leeway for the purposes of creating a setting. Any discrepancy is lost due to the fictional aspects dealing with technology in the setting. Even the fantasy elements will pull the setting away from true. There is still some need to watch for anachronisms though. Any anachronisms should be on purpose and fill a horror need, or be part of one of the fantasy tropes.

The Victorian era has an automatic built-in horror meme. It was a time rife with the exploration of not only the physical world, and the mechanical world, but also the spiritual world. It was a high time for mediumship. Séances came into fashion in a big way--it actually peaks late in the period so real, historical time, gets manipulated as part of the fantasy requirement. This same era also believes extensively in the fae, faeries, and the Seelie Court--as far as existing settings in this time period are concerned. Again, this is another built-in source of possible horror. Monsters and unholy creatures are never out of style in any horror setting and will tend toward the fantasy aesthetic more than a modern approach. Magic also tends the same way as the monstrous and infernal.

The Industrial Revolution brought about several kinds of horror from the mundane, to the science-fictional. This makes for an exceptional number of elements and variants that enhance the setting options available even as it further blurs the genre lines. The time period was one of exploration in many senses. The usual focus of these settings is the British Empire, whether the location is in Britain, or abroad in such places as North America, Africa, India, Australia or elsewhere. The British explored all over the place--as did the French and Spanish--and claimed whatever places they could. On the home front the exploration was in science and mechanics. Machines hardly imagined before became reality and made massive changes to the world.

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Anatomy of a Horror Setting #4-4: After All, A Small World

Perspective bears a relationship with scale in regards to the setting when considering the story’s location as the specific setting compared to the overall setting. To clarify, the places in which the story takes place are an important factor in horror beyond the world-building concerns of the setting. The creation of a fantasy horror story or setting can hinge on the change from the overview perspective to the immediate perspective of the characters involved. The key word to consider is immediate, immediacy. Horror can only benefit from a sense of immediacy, of urgency. Certainly it begins with and even capitalises on foreboding and a sense of impending doom, but without a follow through it plays itself out. This is where the line between setting and location comes in.

The following is an example of using the location to determine localised setting conditions. A village’s viceroy sends word to the capital that a monster is killing his people. The King dispatches some knights to deal with the menace, but it is winter and a snowstorm blocks the only pass that leads to the village/province. The local setting goes far enough to set up part of the plot in this example. The location portion of the setting involves details such as terrain, weather, and the types--or lack of--of characters available. The setting’s influence on characters, and those limitations are the bread and butter of the horror. Those pesky knights will be limited to the local garrison, which could be as few as three knights, locally trained, and of little experience. They are also likely to be the first to fall.

The example also demonstrates one factor that is new to the discussion--but not limited to the fantasy setting per se. It is the factor of time that is determined by the setting. The menace carries on from the first attack through the long couriering of the message to the capital, on through the extensive wait for the King’s knights. Isolation is a strong factor in a horror fantasy setting. To keep this so take instant magical communication off of the table. On the flip side consider prophetic dreams and the factors discussed for clairvoyance in the psychic horror setting. They need not be psychic powers, but can be the visions of priests and oracles, or the fodder of prophecies. The information gleaned from these visions can have timing that is faster or slower than the regular channels as needed.

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