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Artur Szyndler Junior (syn twórcy gry fabularnej Kryształy Czasu) wypowiedział się dla telewizji WPolsce.pl związanej z Fratria.pl. Wydawnictwo Paladynat chce stworzyć Międzynarodowe Centrum Fantastyki inspirowane Centrum Nauki Kopernik. Dotychczas prowadzono rozmowy dotyczące pozyskania środków i miejsca z władzami Warszawy i innymi kolekcjonerami, ale i podjęto konkretne działania w tym celu, np. przedstawiono pomysł premierowi Morawieckiemu.

Warhammer Fantasy Roleplay is often criticized for playing from zero to hero.
PC are rat-catchers or worse Gong Farmer. PC are often killed, get an Advanced Profession is as hard as in the very old versions of Deviants and Decadents RPG. I decided to correct this harmful opinion and, at least, to extend the noble professions in WFRP, which can be found in the excellent text of "Nobility" by Paul Cockburn, Jim Bambra, Phill Gallagher.
This profession it was in the real world, in ancient medieval times, but it is ideally suited to WFRP.

Groom of the Stool is a person who had the task of cleaning the monarch's anus after defecation. Is said to be: "preside over the office of royal excretion"
This is the most trusted figure responsible for helping the noble in expulsion and ablution. The fact that he is is an influential figure in national politics. It is said that one of the last Groom of the Stool (called Denis Hoogh), actually managed the fiscal policy of Reikland on behalf of the Elector.
The analogous profession in Breton is called Lord of the Bedchamber (Lord of the Bedroom).
Denis Hoogh does not exist in the official title WH, but a person with a similar name appears in the real world. See Hugh Denys, courtier of Kings Henry VII and of the young Henry VIII and of course, Groom of the Stool.
Jacques Lagniet Illustration: The Nobleman is the Spider and the Peasant is the Fly.[full-post]

Z fur­go­netki na lon­dyń­ską giełdę 

Szary dzień w 1974 r. Trzech ner­dów w sie­dem­dzie­sią­tych latach postawiło wszystko na jedną kartę. Od kilku miesięcy żyją z tyłu fur­go­netki razem z wszyst­kimi zapa­sami i ich ostat­nimi pen­sami. Nie mogą sobie pozwolić na pła­ce­nie czynszu. Ich główne pożywienie to puszki i jedze­nie na wynos. Wstą­pili do pobliskiego klubu squ­asha, żeby móc się wykąpać (i przy oka­zji zagrać). Jednak mają fur­go­netkę. I co najważ­niej­sze - sklep. Praw­dziwy sklep z kasą i zapeł­nio­nymi pół­kami. I zaraz otworzą go po raz pierw­szy.
Czy zdobędą klien­tów?

Ian Living­stone, Steve Jack­son i John Peake byli właśnie tymi ner­dami z lat sie­dem­dzie­sią­tych. Nie mieli pojęcia, czy ktokolwiek zjawi się w sklepie, jednak pierw­szego dnia otwo­rzyli drzwi…

In the first part of this series, I published a fragment of correspondence with Davis, explaining how to write encounters or locations for Warhammer Fantasy Roleplay. This time, Graeme will provide a practical example - the idea of a larger campaign that could take place in Marienburg.

And finally at the end questions about adventures in the style of "city".
After almost 20 years since Marienburg's publication. Warhammer City is perfectly complements with "The Power Behind The Throne". 
Hypothetically, if you could write adventure whose action would take place in Marienburg, what would be the theme? Or which of the threads in Marienburg would you extend?  
Or did you have plans when working at Hogshead Published?
Graeme Davis: I never discussed Marienburg with James Wallis when Hogshead had the WFRP license; Sold Down the River and Dying of the Light were all his idea, as far as I know. I can't remember why I was involved, but I suspect that I was too busy with my main employment in video games at that time. I do remember that I delivered Apocrypha 2 late, because I was so busy with work, and I may have told James, with great regret, that I didn't have time to do a good job on the Marienburg books.

If I were writing a Marienburg adventure today... I'm not sure. I would start, I think, by re-reading all the Marienburg material and seeing what ideas popped up. There are some interesting themes that make Marienburg different from Middenheim or Altdorf, so I would focus on those: historical and political tensions between the independence-minded Wasteland and the Empire, the melting-pot of different cultures and races in different parts of the city, racial tensions, smuggling, political machinations of the merchant houses, rich vs. poor, and so on. I kind of like the idea of a Chaos cult that is trying to do good, on the surface at least: a popular movement for social justice (or "revolutionary scum" to the rich) which the players may like at first, before finding out that all these poor, sincere people are simply being used for a darker purpose. Then they have to change sides, protect the injustices of the rich, and become hated by all their friends, in order to save the city and perhaps the whole of the Old World. Well, that's what comes to mind after a moment's thought - if I spent more time on it I might come up with something completely different.

Previous parts:

    Davis started playing Dungeons & Dragons in the mid-1970s, shortly after it was first imported into the United Kingdom. After leaving school he worked in the banking industry before studying for a Bachelor of Arts degree in archaeology at the University of Durham in 1979. He graduated in 1982 and started work towards a Doctor of Philosophy degree. His first paid writing for the game was an article in Games Workshop’s White Dwarf magazine in 1982. Many others followed, for White Dwarf and other magazines such as TSR, Inc.'s Imagine. A job offer from Games Workshop in 1986 prompted Davis to leave university with his Ph.D. unfinished.[citation needed] However, his historical and archaeological knowledge and research skills have been put into use throughout his career with several firms and as a freelancer. He was one of the original designers of Warhammer Fantasy Roleplay. Games Workshop spun Warhammer Fantasy Roleplay into a new subsidiary called Flame Publications in 1989, and Davis remained on staff at Flame. Davis published his first novel, Blood and Honor, book four in the Eberron The War-Torn series, in 2006. Since 2009 Davis has been the line editor for Rogue Games' historical horror RPG Colonial Gothic, contributing to several titles in the line. 
    Wikipedia

    Correspondence 2017
    Ilustrations: Middenheim-City back cover; p. 25; p. 34

    W pierwszej części tego cyklu opublikowałem fragment korespondencji z Davisem, gdzie wyjaśniał jak napisać spotkania lub lokacje do Warhammer Fantasy Roleplay. Tym razem Graeme podsunie praktyczny przykład - ideę większej kampanii, która mogłaby toczyć się w Marienburgu.

    Minęło niemal 20 lat od opublikowania materiałów o Marienburgu. "Warhammer City" jest doskonałym uzupełnieniem "Szarej Eminencji". Hipotetycznie, gdybyś pisał przygodę, której akcja ma miejce w Marienburgu, co byłoby jej tematem? Albo które z wątków zasygnalizowanych w artykułach o Marienburgu chciałbyś roszerzyć?

    Graeme Davis: Nigdy nie rozmawiałem na temat Marienburga z Jamesem Wallisem, kiedy prawa do publikacji WFRP miało Hogshead. "Sold Down the River" i "The Dying of the Light" były jego pomysłem, przynajmniej z tego co wiem. Nie pamiętam już dlaczego tak się stało, podejrzewam, że byłem zbyt zajęty swoją ówczesną główną pracą, nad grami komputerowymi. Pamiętam, że spóźniłem się z materiałami do "Apocrypha 2", bo byłem tak zaganiany w robocie, powiedziałem więc Jamesowi, że niestety, ale nie będę miał czasu, by napisać dobre dodatki o Marienburgu. Gdybym teraz pisał przygodę o Marienburgu...

    Nie jestem pewny. Myślę, że zacząłbym od powtórnego przeczytania wszystkich materiałów o tym mieście i zobaczyłbym, jakie pomysły na przygody przychodzą mi do głowy. Marienburg to miasto całkiem inne niż Middenheim czy Altdorf, skupiłbym się więc na tych odmiennościach: napięciach historycznych i politycznych pomiędzy niezależnymi Jałowymi Krainami i Imperium, tyglu rozmaitych kultur i ras, żyjących w różnych dzielnicach miasta, napięciach na tym tle, przemycie, intrygach politycznych rozmaitych domów kupieckich, konflikcie biednych z bogatymi, na podobnych sprawach. Całkiem podoba mi się pomysł kultu Chaosu, który czyni dobro, przynajmniej pozornie: jakiś popularny ruch głoszący hasła sprawiedliwości społecznej (albo "cholerni rewolucjoniści" z punktu widzenia bogaczy), który początkowo może spodobać się graczom. Następnie dojdą do wniosku, że ci wszyscy uczciwi w gruncie rzeczy biedacy są po prostu wykorzystywani do jakichś mrocznych celów. Muszą potem zmienić strony, chronić istniejący, niesprawiedliwy porządek faworyzujący bogatych, zostają znienawidzeni przez przyjaciół, stawką jest jednak uratowanie miasta, a może całego Starego Świata. Hmm... Tyle przyszło mi do głowy w tej chwili. Gdybym spędził nad tym więcej czasu, może wymyśliłbym coś całkiem innego.
    W poprzednich częściach:

      Graeme Davis rozpoczął grać w Dungeons & Dragons w połowie lat siedemdziesiątych. Studiował archeologię od 1979 na Uniwersytecie w Durham. W 1982 roku rozpoczął studia w kierunku doktora filozofii. Swój pierwszy artykuł dotyczący gier fabularnych opublikował w 1982 w magazynie White Dwarf. Kolejne teksty publikował w innych magazynach np. Imagine TSR, Inc. Oferta pracy z Games Workshop w 1986 roku skłoniła Davis'a do porzucenia uniwersytetu. Jednak jego historyczna i archeologiczna wiedza oraz umiejętności badawcze zostały wykorzystane przez w wielu firmach związanych z grami fabularnymi. Był jednym z projektantów Warhammer Fantasy Roleplay. W 1989 roku rozpoczął pracę w Flame Publications. Graeme Davis przyczynił się w różnym stopniu do  wielu gier fabularnych i dodatków do nich.
      Korespondencja z 8 Maja 2016
      Tłumaczenie Artur Marcinak 
      Ilustracje: 
      Marienburg: Sold Down the River: p.92, 97, 154

      Middeneim - City cover
      In Poland we went very quickly from gamism to narrativism. My friend dr. Mochocki wrote a detailed analysis: Magia i Miecz Magazine: The Evolution of Tabletop RPG in Poland and its Anglo-Saxon Context.
      To this day, players in Poland have a problem playing the wilderness/ sandbox.  We don't know what to do. There are Rumors, News, Events, but where to start? What to do in the open world? They do not know how to explore the world, they are accustomed to scenarios, not locations and encounters (as in Warhammer 1 ed. "Enemy Within" ). They are too accustomed to linear scenarios.
      In "Death on the Reik" you have put a lot of Gossip, Rumours, News; but above all the rules of river trade. I wonder if it was intentional, you wanted to give players extra motivation to explore Reikland? Was it intentional?

      Middenheim - City p. 25
      Previous parts:

        Middeneim - City cover
        W  Polsce błyskawicznie przeszliśmy ze stylu gry gamistycznego na narracyjny. Mój znajomy, dr Mochocki, napisał na ten temat obszerną analizę: "Magia i Miecz Magazine: The Evolution of Tabletop RPG in Poland and its Anglo-Saxon Context" ("Pismo Magia i Miecz: Ewolucja gier fabularnych w Polsce w kontekście anglosaskim").

        Do dziś gracze w Polsce mają problem z graniem w stylu eksploracji wilderness/sandbox/city. Nie wiedzą co robić. Są plotki, są wydarzenia i wieści, ale jak zacząć? Co robić w otwartym świecie? Gracze nie mają pojęcia o eksplorowaniu świata, są przyzwyczajeni do scenariuszy, a nie lokacji i spotkań (jak w "Wewnętrznym wrogu" do pierwszej edycji Warhammera). Są zbyt przyzwyczajeni do liniowych scenariuszy.

        W "Śmierci na rzece Reik" dodałeś mnóstwo plotek, pogłosek, wiadomości, ale - nade wszystko - zasady dotyczące handlu na rzece. Zastanawiam się, czy był to celowy zabieg z Twojej strony, mający zachęcić graczy do badania Reiklandu. Zrobiłeś to świadomie?


        Previous parts:
          On reflection I saw a lot sandbox style/ OSR in WFRP 1ed. Death on the Reik - wilderness Caste Drachenfels - dungeon Middenheim - city 
          You wrote to me just about exploration in campaign Enemy Within... Its true? Many people - designers WFRP previously worked in TSR UK: Imagine & Pelinore and maybe this is the style of writing adventures 80-90 years? 

           You are right: the first few adventures in the Enemy Within campaign has a deliberate sandbox element. We wanted to make sure that they would still be useful even after the adventure portion had been played. Castle Drachenfels was commissioned on Bryan Ansell's orders because he wanted a killer dungeon that would be for WFRP what S1 "Tomb of Horrors" was for AD&D. Jim and Phil had worked for TSR UK, of course, and they had written a campaign module called B/X1 (later renumbered B10) "Night's Dark Terror" which I really liked. It contained an adventure but also described an extensive campaign area with seeds for further locations and adventures. At the same time, They had also been developing the "Pelinore" AD&D campaign setting through Imagine magazine, along with Paul Cockburn, Mike Brunton, Tom Kirby, and others. Pelinore survived the closure of Imagine and a few more pieces were published in Paul's independent magazine GM Publications. There is a Pelinore fan community online (http://www.thepiazza.org.uk/bb/viewforum.php?f=71 is a good site) and a Google search will give you more results. The influence of Pelinore on WFRP1 has been discussed a lot: if you haven't already seen it, the best discussion is at http://fightingfantasist.blogspot.com/2012/06/wfrp-not-syphilitic-not-knee-deep-in.html - scroll down to the comments section for replies from me and from Phil. At the same time, Chaosium was publishing the Masks of Nyarlathotep campaign for call of Cthulhu and a few publishers were producing sandbox city supplements. The best were TSR's Lankhmar city book and adventures, and Chaosium's Thieves' World boxed set. These two were definitely influential when we designed the Middenheim supplement, and so was the Pelinore "City League" material (which also inspired the Marienburg material in White Dwarf). We were aware of the Dragonlance campaign materials coming from America, but they did not excite us as much as these other sources did. Just a matter of personal taste, I suppose.

          Davis started playing Dungeons & Dragons in the mid-1970s, shortly after it was first imported into the United Kingdom. After leaving school he worked in the banking industry before studying for a Bachelor of Arts degree in archaeology at the University of Durham in 1979. He graduated in 1982 and started work towards a Doctor of Philosophy degree. His first paid writing for the game was an article in Games Workshop’s White Dwarf magazine in 1982. Many others followed, for White Dwarf and other magazines such as TSR, Inc.'s Imagine. A job offer from Games Workshop in 1986 prompted Davis to leave university with his Ph.D. unfinished.[citation needed] However, his historical and archaeological knowledge and research skills have been put into use throughout his career with several firms and as a freelancer. He was one of the original designers of Warhammer Fantasy Roleplay. Games Workshop spun Warhammer Fantasy Roleplay into a new subsidiary called Flame Publications in 1989, and Davis remained on staff at Flame. Davis published his first novel, Blood and Honor, book four in the Eberron The War-Torn series, in 2006. Since 2009 Davis has been the line editor for Rogue Games' historical horror RPG Colonial Gothic, contributing to several titles in the line. 
          Wikipedia
          Correspondence: 2016 Ilustrations: Middenheim p. 25; p. 34

          Po namyśle dochodzę do wniosku, że w publikacjach przeznaczonych do pierwszej edycji WFRP jest sporo rozwiązań znanych z sandbox/OSR. 
          Śmierć na rzece Reik - wilderness; Zamek Drachenfels - dungeon; Middenheim - cityMam rację? Pisałeś już wcześniej, o eksplorowaniu w "Wewnętrznym wrogu". 
          Wielu autorów WFRP pracowało wcześniej dla TSR UK (w magazynie Imagine i nad światem Pelinore), może to jest, po prostu, styl pisania przygód z lat osiemdziesiątych i dziewięćdziesiątych?


          Does Game designer needs to be interested in history? For me (and I suspect that for you as well), it's simple and basic. Or I am wrong?
          Young polish designers believe that there is no need to have historical knowledge to play role-
          playing games. You as the WFRP designers gave yours direction - this game reminding us of
          Europe in the sixteenth century. True?

          I would say that if one is writing fantasy in a world with a medieval level of technology and politics, then it is useful to understand something of our own world at that time. Likewise, it helps to have some understanding of 19th-century society and technology when writing Steampunk. However, there are other approaches that work. The earliest versions of D&D, for example, were informed less by actual history and more by a mixture of Tolkien, pulp, mythology, troubadour chivalric romance, and Hollywood. In the second edition of GURPS Middle Ages 1, I pointed out several differences between the Hollywood Middle Ages and the historical Middle Ages! Sources of inspiration dictate the tone of the game, so perhaps one reason that WFRP1 is so "grubby" is because early Warhammer had a lot of contributing writers with academic backgrounds in history and/or archaeology. Of courses, Monty Python must also take some responsibility!

          As to the "analog date" of Warhammer, that shifted a little over time. Rick Priestley told me that he designed WFB 1-2 at a level of technology roughly equivalent to the second half of the 15th century:
          early guns, but nothing too sophisticated. WFRP1 included pistols and witch hunters, which moved it into the 16th century, and later versions of both games moved more solidly into the 16th century with
          miniatures like the Landesknecht Ogre and images of witch hunters in tall, buckled hats. All the above, of course, applies mainly to the Empire. Bretonnia varies between the 12th-14th centuries
          in published material, Norsca seems to be 8th-11th centuries, Nippon 17th century, and so on.

          You have written me about our realities and past centuries. But... Once upon a time we discussed in Polish forums and groups that, for example, technology was long in place - it is 2500 years to launch the TEW campaign. I understand, Choas, a threat, war... You are historian yourself will admit - war accelerates expansion, progress.
          Why did the Old World have a firearm for 2500 years, and we on the Europe reached 1000 years ago (of course to the parallels of the world) ?

          You are quite right. It seems to be a tradition in fantasy worlds, going back to Tolkien (who really should have known better, even if he was a literary scholar rather than an historian): reference is made to huge lengths of time, perhaps in order to convey some kind of "epic sweep of history," but nothing really changes for centuries and millennia, despite constant wars that - as you rightly say - provide a powerful impetus for technological development in the real world. Tolkien does it, the few D&D setting I've investigated have also done it, and so has a lot of fantasy fiction.

          The Warhammer world seems to have been infected with the same erroneous thinking at an early stage in its development. If I remember correctly, the dates in WFRP1 come from WFB2. It was my first job after college, so I lacked the confidence to make changes to the timeline, and no one else seemed to care. Jim and Phil filled in a lot of dates in the history of the Empire when they wrote The Enemy Within, but the improbable length of time remained.

          And as to firearms, it's even worse. If the Dwarfs had had firearms for 2,500 years, they would surely
          have moved on from black powder. We'd have slayers with SMGs firing who knows what kind of
          ammunition - but then things start to fall apart, so we all agree to turn a blind eye to the improbability. ;^)


          Davis started playing Dungeons & Dragons in the mid-1970s, shortly after it was first imported into the United Kingdom. After leaving school he worked in the banking industry before studying for a Bachelor of Arts degree in archaeology at the University of Durham in 1979. He graduated in 1982 and started work towards a Doctor of Philosophy degree. His first paid writing for the game was an article in Games Workshop’s White Dwarf magazine in 1982. Many others followed, for White Dwarf and other magazines such as TSR, Inc.'s Imagine. A job offer from Games Workshop in 1986 prompted Davis to leave university with his Ph.D. unfinished.[citation needed] However, his historical and archaeological knowledge and research skills have been put into use throughout his career with several firms and as a freelancer. He was one of the original designers of Warhammer Fantasy Roleplay. Games Workshop spun Warhammer Fantasy Roleplay into a new subsidiary called Flame Publications in 1989, and Davis remained on staff at Flame. Davis published his first novel, Blood and Honor, book four in the Eberron The War-Torn series, in 2006. Since 2009 Davis has been the line editor for Rogue Games' historical horror RPG Colonial Gothic, contributing to several titles in the line. 
          Wikipedia

          Correspondence of May 8, 2017
          Ilustrations:
          Marienburg, Sold Down The River p. 96
          MiM 16, Technologia w Starym Świecie


          Graeme Davis o ekstrapolacji, czyli czymś co spędza sen z powiek wielu mniej doświadczonym dyskutantom na polskich forach, społecznościach, grupach. 
          Ile razy czytaliście podobną frazę: „Nie muszę wiedzieć czym różni się miecz dwuręczny od jednoręcznego w fantastycznym świecie. To tylko gra i interesuje mnie +1 lub +2”. Nie chodzi o typologię mieczy Oakeshotta, jednak absolutne podstawy trzeba wiedzieć. Zwłaszcza jako prowadzący grę.
          Ponadto. Wiesz, że linia czasu świata gry WFRPG mogłaby zostać skrócona? Czyli rzecz o zastoju technologii w Znanym Świecie i wojnie jako katalizatorze postępu.

          Adryan Boreyko

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