Retrospective: Mage: The Ascension

I know that, for some readers, White Wolf's World of Darkness games represent a definitive break with the early days of the hobby and, therefore, aren't a fit topic for discussion on this blog. I won't argue the larger point, even though I think White Wolf's RPGs represent less a revolution than an evolution of trends begun many years before. What I will say is that these games played an important role in helping me to better understand what I liked and what I didn't in roleplaying games and, for that reason, I cannot simply dismiss them. 

Even so, I was never a big fan of Vampire: The Masquerade. For a variety of reasons, it never quite clicked with me and its immediate successor, Werewolf: The Apocalypse held even less appeal. Mage: The Ascension was a different matter entirely. Released in 1993, it was the World of Darkness game that made me finally take serious notice of the line. Like its predecessors, Mage presented a contemporary setting shot through with supernatural elements and an emphasis on mood, theme, and personal struggle. Unlike them, however, Mage was not content merely to reframe familiar folkloric monsters. Instead, it aimed at something more ambitious: the reimagining of Reality itself as a mutable construct, shaped and constrained by human belief.

This is the beating heart of Mage: The Ascension. As presented in the game, Reality is not fixed, but rather the product of consensus. What humanity collectively accepts as possible becomes so; what it rejects becomes difficult or even impossible to achieve. The titular mages are those rare individuals who have awakened to this truth and, through force of will, can impose their own understanding of Reality upon the world. It's an absolutely terrific premise and one that works well within a modern-day setting. It allows for a conception of magic – or magick, the rulebook rather portentously calls it – limited only by imagination. At the same time, this conception also includes the risk of paradox, the backlash that occurs when a mage’s actions too flagrantly contradict the already established consensus of the world.

Mechanically, Mage divides magic into "spheres," which are broad domains such as Forces, Mind, and Time. In principle, the system grants players remarkable freedom to devise magical effects on the fly, constrained only by their characters’ knowledge of the relevant Spheres and their own imaginations. In practice, however, this freedom comes at cost. The system demands a degree of negotiation and interpretation that can prove taxing, particularly for referees accustomed to clearer guidelines. Where most roleplaying games offered more concrete procedures for adjudicating actions, Mage often substituted a framework that must be continually interpreted and, at times, reinvented every time a character attempted to employ magic.

That's not necessarily a criticism, since Mage attempted to incorporate some of this tension into its setting as well. The conflict between boundless possibility and practical playability is mirrored in the conflict between the various Traditions to which characters belong and the agents of a rationalized, scientific consensus known as the Technocracy. The Technocracy is both a terrific adversary and brilliant bit of worldbuilding. Not entirely villainous, its agents are committed to the preservation of a stable and predictable Reality, one in which even "sleepers" (i.e. non-mages) can enjoy the fruits of magic in the form of technology. Consequently, the central struggle of Mage is not a simple battle between good and evil, but a more nuanced contest between competing visions of how the world ought to function. It's this philosophical battle that drew me in all those years ago and still compels me even now.

Despite – or perhaps because of – this, Mage is not an easy game to run or to play. Its rules, while evocative, are often vague, leaving much to the discretion of the referee. This can result in a lack of consistency, as similar situations may be adjudicated differently from one session (or one group) to another. Moreover, the demands placed upon both players and referee are considerable. To make effective use of the system requires not only a firm grasp of its mechanics but also a willingness to engage with the underlying assumptions of its worldview. Even then, if my experiences with the game are any indication, it was often tough going. 

That's why, in the end, I judge Mage: The Ascension as a flawed masterpiece that's very much of its time. Its themes of subjectivity, relativism, and the limits of objective truth remain compelling, of course, especially to the more philosophically inclined segment of the gaming population. Likewise, I can't help but admire its boldness in attempting to expand the scope of what roleplaying games might address, both mechanically and thematically. However, I think it's fair to say that its reach exceeded its grasp – but at least it was reaching for something genuinely new and imaginative. When I first read the game back in the '90s, I thought that was worth celebrating and I still do.

The Articles of Dragon: "The City Beyond the Gate"

Though I haven't devoted many posts to the subject, Dragon magazine published quite a few adventures in its pages over the years. Most of these were, of course, for Dungeons & Dragons or its "big brother," AD&D, though there were also a handful for other RPGs, like Gamma World, Traveller, and Top Secret. I used some of them from time to time, but, if I'm honest, almost none of them made much of a lasting impression on me, hence why I've never (so far as I can recall) had much to say about them on this blog. That's not necessarily a comment on their quality, since, as I said, I remember using a few of them, but simply a statement on how little I remember them.

Perhaps the only exception to this is Robert Schroeck's "The City Beyond the Gate," which appeared in issue #100 of Dragon (August 1985). There are a number of reasons why this is the case, as I'll explain, but I suspect the most likely is the image accompanying this post (by Roger Raupp). Take a good look at it and you'll immediately understand what I mean. Yes, that's a bunch of AD&D fighters tussling with a punch of punks and Bobbies, including several in riot gear. Just what the heck is going on?

The adventure, intended for use with high-level characters, is, at base, an elaborate fetch quest, with the characters tasked to find and bring back the legendary relic, the Mace of St. Cuthbert. What sets it apart – and why I still remember this adventure at all – is a bit of cleverness on Schroeck's part. Rather than, as one might expect, state that the relic is hidden away in the treasury of some powerful villain from whom it must be rescued, he instead places it on 20th-century Earth. More specifically, he places it in a historical display within the Victoria and Albert Museum in London, England!

The characters still have to locate and abscond with the Mace, of course, but now they must do so while contending with the realities of the real world – or at least a RPG facsimile of it. Most obviously, they must contend with the fact that, for the most part, the real world is not a magical one, which means many of their spells and items will have limited utility. Just as importantly, their appearance – wearing armor and strange robes, not to say anything of the presence of demihumans – will raise more than a few eyebrows. To even begin to succeed in their mission, they'll need to keep a low profile or find a way to blend in with the locals, whose customs and technological society will be utterly alien to them.

It's a great set-up for an adventure and one I enjoyed greatly in my youth. Morgan Just, a character about whom I've written in the past, was among the characters who stepped through the gate into 1985 London and he did a very poor job of disguising himself to my amusement (and that of the other players). Most of the fun comes not from fighting deadly foes but from contending with the completely bizarre (to an AD&D character) nature of the real world. Nearly everything will be unfamiliar to them and even interacting with potentially helpful NPCs becomes fraught, since the characters' ability to explain who they are and what they want will raise lots of questions, not to mention opposition.

That said, the adventure is not without certain flaws, chief among them being its treatment of the "real world." As depicted in the adventure, London is something of a cartoon version of itself. For example, its encounter charts include street urchins out of Dickens, as well as beer wagons and the aforementioned punks. Tom Baker's Doctor also makes an appearance too, but I'm more than willing to forgive that, since it actually seems much more plausible than the Artful Dodger. I'm probably being unfair about this, since the spirit of the scenario is already somewhat campy and I doubt most players, even London natives, will care too much about how realistically it depicts the city.

That's why I still look back fondly on "The City Beyond the Gate." The situation it depicts has a lot of potential for great gaming. There's an overall "rollicking" quality to the thing that's charming, even with its off-kilter version of London. Plenty of fantasy stories were about people from our world crossing over into a fantasy world, but comparatively fewer are about the opposite. That alone makes the adventure unique and memorable, but I also find the overall concept to be quite compelling in its own right. I'm a big fan of the adventure, warts and all.

The Terran State (Part II)

The Terran State (Part II) by James Maliszewski

Further Thoughts on Interstellar Governance

Read on Substack

Pulp Science Fiction Library: Demon Princes

The trouble with Muses is that, ultimately, they're in control, not you. As I continue to work on the second edition of Thousand Suns – the draft is now close to half complete – my mind has been wandering ever farther away from the more well-known varieties of fantasy. Of course, as I recently argued, there's still lots of overlap between these two genres and not merely in terms of content. Many of the most talented and influential writers of the past tried their hands at both and succeeded brilliantly.

A good case in point is Jack Vance. Vance is a paladin of Appendix N, being one of only a handful of writers Gary Gygax singled out as being one of the "most immediate influences" upon his vision of Dungeon & Dragons. Of course, Gygax did so for Vance's tales of the Dying Earth, whose magic system he adopted for the game, and not for his science fiction tales, of which there are a great many – indeed, far more than his fantasy stories. 

Among the most celebrated of Vance's sci-fi works is his "Demon Princes" series, the first of which, Star King, was serialized in the December 1963 and February 1964 issues of Galaxy Magazine before being published by Berkeley Books later in '64. The first three books in the five-book series appeared fairly quickly, with The Killing Machine also appearing in 1964 and The Palace of Love in 1967. The fourth and fifth books, The Face and The Book of Dreams, did not appear until more than a decade later, in 1979 and 1981 respectively, which was right around the time I first entered the hobby of roleplaying. 

However, I wouldn't take much note of any of these books until several years into my introduction to Traveller. That places it somewhere in the vicinity of 1982 or '83, depending on when it was that I first acquired Citizens of the Imperium. That supplement, along with 1001 Characters, is notable for having included Traveller stats for a selection of literary SF characters, ranging from John Carter of Mars to Slippery Jim diGriz to Dominic Flandry. At the time, I already knew many of these names from novels and stories I'd read. Others, though, were new to me and they sent me off to the local public library on a quest. 

Among those unfamiliar names would be that of Kirth Gersen. Citizens of the Imperium associates him specifically with the second book in the series, The Killing Machine, but also mentions it as part of a five-book "Demon Princes" series. To my youthful mind, "Demon Princes" didn't sound like the title for a science fiction series, so I was initially confused as to why it was included alongside more well-known pillars of SF. Likewise, I had not yet read any of Vance's space operas, so my confusion was only heightened. Fortunately for me, I eventually got around to tracking down Star King and its four sequels. I enjoyed them so much that I sought out more of Vance's science fiction and the rest is history.

The titular Demon Princes of the series are not supernatural entities by five interstellar crime bosses, against whom Gersen wishes to exact revenge for their past in bringing ruin upon his home planet. Having been trained by his grandfather for this purpose, Gersen dedicates his life to hunting down them down so that justice may be done. Each of the five novels follows his pursuit of one of these Demon Princes. Though the novels include plenty of action, one of the things that's most interesting about them – or at least is to me – is how much investigation and infiltration they include. Gersen's efforts to locate his quarry, some of whom have gone to great efforts to conceal their identities, is every bit as central to Vance's stories as is dealing with them once they've been found.

Though linked, each novel presents a largely self-contained exploration of a different world or culture, often shaped by the personality of the Demon Prince Gersen is presently seeking. Consequently, the series, like so much of Vance's oeuvre, is a picaresque adventure through strange societies with elaborate social codes and fragmented political systems where justice is personal rather than institutional. That makes Gersen’s quest more than just a hunt for enemies; it becomes an extended engagement with questions of identity, culture, and obsession in the far future, all of which play to Vance's strengths as a writer and storyteller.

Prior to writing this post, it had been decades since I last read any of the Demon Princes novels and that's a shame. Like so many of the books that inspired Traveller, they're fast-paced, pulpy adventures filled with quirky and memorable characters and equally quirky and memorable situations. They're not deep scientific speculations about a possible future and that's OK. Sometimes, you just want to read a fun, engaging novel about one man's quest to bring justice to some bad guys who deserve what's coming to them. In that respect, the Demon Princes series delivers and does so enjoyably.

By Any Other Name (Part II)

A couple of years ago, I wrote a post in which I briefly touched on the variety of names by which the Game Master or referee is known in older roleplaying games. Since I'm currently knee-deep in revising Thousand Suns, which uses the term GM, I found my mind wandering a bit back to this topic, trying to remember what alternate terms the RPGs of my youth employed. 

A quick check through my library revealed the following, but, as ever, I am certain I missed some important ones. Feel free to fill in any obvious blanks in the comments. I have intentionally not included games whose term is Dungeon Master, Game Master, or referee, since these aren't especially noteworthy.

• Ars Magica: Storyguide
• Call of Cthulhu: Keeper of Arcane Lore
• Chill: Chill Master
• Ghostbusters: Ghostmaster
• Golden Heroes: Script Supervisor
• Marvel Super Heroes: Judge
• Skyrealms of Jorune: Sholari
• Space Opera: StarMaster
• Star Ace: Campaign Master
• Starfaring: Galaxy Master
• Star Trek (Heritage): Mission Master
• The Fantasy Trip: Fantasy Master
• The Morrow Project: Project Director
• Timemaster: Continuum Master
• Toon: Animator
• Top Secret: Administrator

As I'm said, I'm sure there are others, especially after 1990 or thereabouts. Still, I must confess I was a bit surprised by how few I could identify. My recollection was that, back in the day, every roleplaying game had its own unique name for the referee, but I suppose I was mistaken. 

Science Fiction is Fantasy

I've mentioned before that one of my favorite What's New with Phil & Dixie strips appeared in issue #65 of Dragon (September 1982). In it, Phil Foglio muses on the surprising similarities between fantasy and science fiction. It's a great comic and one I can still, more than forty years later, quote almost verbatim. While Foglio probably wasn't being entirely serious, one of the reasons the strip's humor lands is that there is more than a little truth to his flippant comparisons of these two supposedly distinct genres. 

As a lifelong science fiction fan – take a drink! – I've observed how often many of my fellow fans have advanced the notion that science fiction is somehow more “serious” or at least more plausible than fantasy. There seems to be this unspoken assumption that science fiction possesses some kind of intellectual legitimacy that fantasy lacks, perhaps based on the idea that spaceships and robots are, in some meaningful way, closer to reality than dragons and sorcery. I understand the logic behind this perspective, but I simply don't find it convincing.

I obviously say this without any dislike of, let alone malice for, science fiction – quite the contrary. I'm a big fan of the genre, probably a bigger fan, in fact, than I am of fantasy. That's why I increasingly feel that the distinction between the two genres as they're commonly understood rests on a foundation that is far shakier than we'd like to admit. Science fiction, despite its name, is not really about science. It's simply another mode of storytelling and one that's rarely more plausible than fantasy. The difference between the two genres lies not in what is possible, but in what we are willing to believe.

To understand better what I mean here, it helps to take a look at the history of imaginative literature over the centuries. Human beings have always told stories about things that do not exist, whether they're spirits, enchanted forests, utopian societies, lost worlds, or journeys beyond the horizon of the known. These stories served many purposes, often religious, philosophical, and moral, but they all had one thing in common: they evoked the marvelous. 

In the past, the marvelous was typically framed in explicitly supernatural terms, such as miracles or magic. These were the explanatory frameworks available to premodern people. A flying chariot was thus the purview of the sun god and immortality the product of drinking from a magic spring. To people living in earlier eras, that was explanation enough. However, as the intellectual climate started to change in the 16th and 17th centuries, the language of the marvelous changed with it. The old supernatural explanations lost their cultural authority, at least among the educated. In their place arose the new explanatory tools of reason, science, and technology.

Science fiction is, in the realm of imaginative literature, the heir to this cultural transformation. It takes the same fundamental human desire to imagine worlds beyond our own and to transcend our mortal limitations and clothes it in the language of Science. Instead of magic carpets, we have grav belts; instead of philosopher’s stones, we have nanotechnology; and so on. Yet, in most cases, these speculative future technologies are not meaningfully more plausible than their fantastical counterparts.

Faster-than-light travel, for example, is a staple of science fiction because it allows characters to visit other star systems on a human timescale. However, unless our understanding of physics is very wrong, FTL is almost certainly impossible. The same is true, in different ways, of many other common elements of sci-fi, such as artificial gravity, sentient robots, or force fields, never mind the routine colonization of distant planets.

I feel that we readily accept all these sci-fi concepts not because they are in any sense likely, but because they are framed in the language of science. That language carries cultural authority and that authority lends them the illusion of plausibility, even when the underlying ideas are, in fact, no more plausible than a wizard’s spell. The key difference between science fiction and fantasy, then, is not that one is "realistic" and the other is not. It is that they draw upon different sets of cultural assumptions.

In a society where belief in magic or the supernatural is widespread, stories of sorcery don't feel implausible. In a society shaped by centuries of scientific advances, stories framed in technological terms feel more credible, even when they stretch (or outright ignore) the limits of current knowledge. Most people today no longer believe in fairies, but we do believe, often without much reflection, that Science will one day solve nearly any problem. Consequently, we assume that, for example, interstellar travel or artificial intelligence are not merely imaginable, but inevitable.

This assumption is rarely examined, being simply an article of faith in the religion of Progress. Science fiction, at least it's popularly understood, taps into this faith. It reassures us that the future will be wondrous, because the universe will yield its secrets and our ingenuity will use those secrets to overcome all obstacles. Even when SF presents darker visions of the future, it still does so within the same overall framework that depicts technology as powerful, transformative, and, perhaps most important of all, central to human destiny.

Fantasy, by contrast, draws on different symbols, those derived from mythology and folklore. Its marvels are overtly impossible and, therefore, easier for contemporary audiences to dismiss as “mere” imagination. Nevertheless, the imaginative function of the two genres is remarkably similar. That's why I hope this post won't be read as a critique of science fiction, but rather as a celebration of the kinship between science fiction and fantasy.

Science fiction is not, in my opinion, diminished by being understood as a form of fantasy. On the contrary, it's elevated by placing it within a long and venerable tradition of imaginative storytelling that stretches back to mankind's earliest myths. It is one of the ways people today continue to grapple with the unknown, express our hopes and fears about the future, and explore questions that lie beyond the reach of empirical inquiry. Likewise, fantasy need not be defended as if it were secretly “realistic.” Its value lies precisely in its freedom from any such constraints.

Both genres, in their different ways, encourage us to imagine the world differently. They create spaces in which we can ask “what if?” without being bound too tightly to what actually is. If I can be a little mawkish, I'd day that fantasy, broadly defined, gives form to our dreams, our anxieties, and our aspirations. Whether the stories exploring these subjects is expressed through the language of magic or technology is, in the end, a secondary matter.

None of this is to say that science fiction cannot engage with real science or that it has not, at times, anticipated genuine technological developments. Anyone who's read science fiction, especially in its formative years, know that it has indeed done both and often done so brilliantly. However, I think it's worth remembering that, as a genre, it is no more bound by reality than fantasy. Its most enduringly popular images, like FTL starships and intelligent robots, are not predictions. They are myths for a technological age. To insist otherwise is to mistake the trappings of science fiction for its substance.

The Terran State

The Terran State by James Maliszewski

Whether Federation or Empire, Some Truths Remain

Read on Substack

Retrospective: The Argon Gambit

Today, I make good on a promise I made two weeks ago to write a retrospective on the other adventure included in GDW’s Double Adventure 3 for Traveller, The Argon Gambit. Compared to its companion, Death Station, it rarely receives much attention, even among dedicated Traveller fans. That’s understandable to a degree, since it is more closely tied to the Third Imperium setting and therefore less easily adapted to other contexts. Even so, The Argon Gambit is a solid scenario that plays to Traveller’s strengths as a more “serious” science fiction RPG. Rereading it, I was struck by how influential it must have been on me when I was younger, as its overall structure closely resembles many of the scenarios I’ve written or refereed over the years.

The Argon Gambit is very explicitly set in the Solomani Rim, far removed from the familiar Spinward Marches. This sector is defined primarily by human conflicts, especially the ideological tensions between the Solomani and the Third Imperium. Solomani belief in the superiority of Terran humans casts a long shadow here, shaping the sector's politics in ways that The Argon Gambit exploits for their adventure potential. 

In terms of structure, the adventure begins simply, in a way that familiar, almost clichéd, for longtime players of Traveller. The characters, in need of money, are hired to steal a set of genealogical documents from a villa in the titular city of Argon on the planet Janosz. Like all such jobs, it appears straightforward at first, but, as it turns out, the documents in question are being used for blackmail and their contents carry explosive political implications, since the Solomani Party places great emphasis on the genetic "purity" of its members. 

After the initial job, The Argon Gambit becomes a political mystery involving a three-way struggle within the local Solomani Party. A hardline supremacist, a moderate rival, and an ostensibly neutral power broker all maneuver for advantage. Behind them lurks a deeper game. The patron who hires the characters is himself an Imperial agent, seeking to manipulate events so that both major factions are discredited, leaving his own puppet in control.

It's a terrific set-up for an adventure that could only really work within the context of GDW's Third Imperium setting. That's both a blessing and curse, depending on how wedded one is to the game's official setting. For me, it was great, but I can easily imagine people less enthused with the setting finding it too obscure or focused on setting-specific minutiae to be useful. That's why I suspect The Argon Gambit doesn't get as much love as Death Station.

At the same time, the adventure, designed by Frank Chadwick, makes excellent use of the classic Traveller adventure components, like rumors, which it categorizes by source and ties to the characters’ backgrounds (e.g. Navy, TAS, noble title, etc.). These rumors are essential to understanding the situation on Janosz, though their presentation is frustrating. The referee must piece together the scenario much as the players do, only really understanding the full scope of what's happening after reading explanatory notes at its very end. That's not a problem as such, but it means the referee probably needs to read the adventure several times before attempting to run it (yes, yes, I know, that's only common sense ...).

More interesting, I think, is the moral ambiguity of the scenario. Everyone involved is compromised in some way and acting according to their own best interests. There's no obvious "right" way to proceed. The characters begin as pawns in someone else’s scheme, but, as they uncover more of what's actually happening, they, in turn, have the opportunity to bring about a conclusion that they think is best and the adventure passes no judgments on that. Consequently, it's a very open-ended and heavily reliant not just player choice but referee implementation. This is the kind of adventure that could kick off an entire campaign – or complicate an existing one.

It's a shame that The Argon Gambit isn't better known and appreciated. As I said at the beginning of this post, I hadn't realized the extent of its influence over my own personal style and preferences as a referee until I re-read it in preparation for writing this. I tend to include lots of moral ambiguity and compromised figures in my games. While I don't favor "edgy" or "dark" content, I likewise shy away from clear "good guys" and "bad guys," preferring NPCs whose motivations and actions are more muddled and, dare I say, human. I'm not sure I picked these tendencies up solely from The Argon Gambit, but there's no question the adventure played a role in my doing so, hence my continued affection for it after more than four decades.

REPOST: The Articles of Dragon: "Dragonchess"

Issue #100 of Dragon (August 1985) was a milestone for the periodical, as well as for me. For the magazine, it was a portentous number to use as an occasion for celebration. For me, though I didn't know it at the time, it represented the end of an era. The same month that this was released was the last time I attended a "games day" hosted by a public library. It may have even been the last such gathering my local public libraries sponsored, since I don't ever recall hearing of others. Even if it wasn't, I remember well that my last one was a rather underwhelming affair, with far fewer participants than previous ones and most of those who did attend were much younger than I. There weren't nearly as many teenagers, let alone college students or adults, and that disappointed me.

From my perspective, it seemed as if the demographics of the hobby had changed over night and I didn't like the change, especially now that I was one of the "older kids" I looked up to when I was younger. In retrospect, it's obvious to me how hypocritical I was back then, wanting to distance myself from the 10 year-olds clutching their Elmore-covered Basic Sets the way I had done with Sutherland-covered one a mere six years before. But six years is a long time in the life of a child and, as a teenager, I wanted no reminders of my younger self. Thanks goodness that the teenagers of my younger years did not feel the same way!

There was more to it than adolescent snobbery, though. The hobby really did seem to be changing by late 1985 and, while I was still as keenly interested in it as ever, it became much harder to find people with whom to play and, for the most part, the new RPGs coming out held much less appeal to me than those published in the years before. Issue #100 wasn't my last issue of Dragon, but I did let me subscription lapse not long thereafter; it would never again play as central a role in my connection to and understanding of the hobby after that.

The funny thing is that, for all the fanfare surrounding issue #100, it wasn't a particularly memorable issue. The only things I still remember about it are the adventure set in 20th century London and Gary Gygax's article (and accompanying Greyhawk short story) about a chess variant called "dragonchess." Dragonchess is a three-dimensional version of chess, with boards representing the sky, the land, and the underworld. I'd known about 3D chess variants ever since I'd watched Star Trek in reruns in the mid-70s, but this was, I think, the first time I'd ever seen the rules for such a game – and by Gary Gygax no less! Needless to say I fell completely in love with the idea of playing dragonchess.

There were, of course, two problems with this. First, and perhaps most importantly, I am a terrible chess player. I can barely hold my own in a regular game; learning and mastering a variant that uses three boards at once was almost certainly going to be beyond me. Second, to play dragonchess, one must assemble the boards for oneself and that, too, requires skills I did not possess. This didn't stop me from trying, of course, but I utterly failed to do so. Ultimately, I gave up the idea of having three boards stacked on top of one another and instead opted for having three boards placed side by side. This required me – and the poor souls I goaded into playing with me – to keep track of which squares on one board were "over" or "under" others. That was hardly insurmountable but it was nevertheless trying, particularly when one considers how many other aspects of standard chess Gygax changed in his variant.

Dragonchess had a much larger number of pieces – 42 per side, consisting of 15 different types. Likewise, many of these pieces had unique moves unlike those in standard chess. Furthermore, some pieces behaved differently depending on which board they were currently situated, while others were bound to a single board. The object of dragonchess is the same as regular chess, so that is at least familiar. However, the larger number of pieces and types, not to mention the presence of three dimensions, made it much more difficult to grasp. That's not a criticism of the game itself, which looked like it'd be a lot of fun when played by two opponents who are both skilled at standard chess and well acquainted with the unusual aspects of dragonchess.

Alas, I was neither of those things and, while enthusiastic for the game, I was not very good at teaching its rules to others. Add to it that I didn't have a "proper" board and it's little wonder I never got the chance to play many games of dragonchess. Nowadays, I look back on my efforts with more than a little embarrassment – the follies of youth! One of several that this issue of Dragon brings to memory.

Reconciliation

Reconciliation by James Maliszewski

The Ominous Meaning of an Innocuous Term

Read on Substack