Character Creation in Tabloid!

Cartography by Dennis Kauth

Included in the back of the Tabloid! rule book fold-out poster map of “The Real Weird World,” a portion of which is shown above.  It's incorrect to call the map a selling point since there's no mention of it in the cover copy.  I suppose it was meant to be a source of inspiration, but it just seems like a mistake.  If anything, it exemplifies some of the things I find off-putting about the game.

Apparently Tom Wham was unavailable to draw the map, not that there's anything wrong with Tom Wham.  However, having Dennis Kauth draw the map in the style of Tom Wham seems such a waste.  Speaking of waste, the map for one of the included scenarios is attributed to Dave Sutherland.  If you have Dave Sutherland on tap, why limit his contribution to drawing a house plan?

Attention to accuracy is somewhat lacking.  Roswell is, of course, in New Mexico and Hangar 18 (not 'Hanger') is in Ohio.  In the rules, author Dave Cook refers to the Trilateral Commission as Trilateralist Commission and Nostradamus as Nostrodamus.

The map refers to Lake Geneva as the location of a “secret mind control base.”  This is interesting given the degree of caution with which TSR's lawyers approach other portions of the game.  Elvis is a beloved staple of tabloid journalism (or was in the twentieth century, at least) and any game regarding the tabloids cannot ignore the King.  However, Tabloid! scrupulously avoids direct mention of his name.  Instead, we get a sequence of asterisks – E***s P*****y.  One image of Elvis in the game as a 'censored' block over his eyes and another image is a bust, but with everything above the mouth is cut off.  Other entities that get the asterisk treatment include Burt Reynolds, Big Bird, Geraldo Rivera, Michael Jackson, and Satan.

Tabloid! has no pre-generated characters.  In other games, this may be cause for me to complain, but this doesn't pose a problem in Tabloid!  There are sufficient examples in the System Guide and the components specific to Tabloid! comprise a clearly described career path mechanic.  To begin with, there are “Résumé Steps.”  The first step is to select a post-high school option:  College, Journalism School (to be “an idealistic reporter – like G*****o R****a”), Work, or the Beach.  Each choice is represented by one the remaining steps; however, after the first step, the steps are not followed in order, nor will every step necessarily apply to a given character, and a character may repeat the same step multiple times.  Each time a character engages in a step, a year passes.

A player character in Tabloid! is entitled to a number of skills equal to Intuition / 15 (rounded up) plus Learning / 10 (also rounded up).  Skills are divided into seventeen pools called schools.  Some examples include the Institute of the Secret Truth, Lawson's Absolute Center of the Universe School, and the G*******d Tour Guide Training Program.  Most skills are only available from a given school; however, there are some skills that are available from more than one school.  For instance, Photography is available from both the CIA University of the Air as well as the Forbert School of Celebrity Nude Photography.  Unlike the CIA, however, the Forbert School offers the specializations and enhancements of Video Camera, Paparazzi, Darkroom, and Photo Retouching.

For the College step, the player chooses one of the schools.  If a Learning roll is successful, the character enrolls.  If the roll fails, the character can try to enroll in another school.  If the second attempt fails, the character must go to the Work step.  Assuming the character successfully enrolls in a school, the player selects one of the skills from that school's pool.  Each time the character engages in the College step, the player rolls 1d10 and adds the number of times the character has taken that step.  A roll of ten or more means the character develops a quirk; specifically, the player rolls 1d20 on the quirk table.  Possible results include tinfoil user, alcoholic, and paranoid.

The Journalism School step is similar to the College step, except the character automatically enrolls in the Columbia School of Journalism (and the player selects a skill form that pool).  Instead of developing a quirk, a character can acquire “one of those wonderful traits that so endears journalists to the rest of the world.”  The 'trait' table requires 1d12 and possible results include irritating whiner, caffeine addict, and one set of clothes.

With the Work step, the player rolls 1d20 to determine the character's job.  If the character engages the Work step more than once, he or she can keep the job or roll for a new job.  Most jobs are listed with a school from which the player can select a skill.  Each job also has a Savings Account modifier.  (In Tabloid!, finances are abstracted into a Resource Rating derived from a character's Savings Account.  Characters start with a Savings Account determined by 1d4.)  We are informed that, “All of the jobs described below (save one) are real and were held by people the designer knows...”  Examples include, Chicken Defroster - Night Shift (School of Hard Knocks), Convention Organizer (Kult College), and Fishmarket Gopher (San Diego Cryptozoological Society).  Additionally, in the Work step, at the cost of one point from his or her Savings Account, a character can attend night school and chose a skill from any school.

For the Beach step, the player selects one skill from either the School of Hard Knocks or Louie di Chang's Dojo and Shooting Range.  The character's Savings Account is also reduced by one point.

The College, Journalism School, Work, and Beach steps each have a 'life event' table.  Each time a character engages in a given step, the player rolls 1d20 and the result is checked on the table.  Any given result offers a bit of color commentary and describes an effect which may grant an additional skill, require the character to switch to a different step, or cause something else to happen.

Result number 9 from the Journalism School table reads:

Playing the D&D® game at work does not count as “reviewing.”  Character learns RPG Mind Control skill but takes a pay cut.  Lose 1 point of Savings Account and roll again on this table.

RPG Mind Control is distinct from Army Mind Control.  The description of the RPG Mind Control skill occupies half of a page; Army Mind Control is described in four sentences.

Result number 5 from the Work table reads:

The one-armed man did it – really!  The cops aren't buying it.  Your character barely gets away in time and is now Hunted by the law for a crime someone else committed.  Lose 2 from the character's Saving Account but immediately gain Disguise and Survival Instinct.  Go to Step 5: The Beach.

The process of engaging in the various steps continues until the character fills all of his or her skill slots.  However, the last step must be followed to the end; this may mean the character acquires skills in excess of the nominal maximum.

Some skills are more useful than others, but if they lack utility, at least they are interesting.  Tabloid! is likely the only game where Smug Liberalism is a skill (with Secular Humanism as an enhancement).  Having the Predictions skill means a character “has studied famous predictions – biblical, astrological, oriental, alchemical, mystical, and whatnot” and can relate them to current events.  Additionally, the character “can fashion predictions for every occasion.”  Cook provides the following advice for cruel Editors:

If you really want to have fun with your players, secretly make a skill check for every prediction made.  If a success margin of 1 is rolled, secretly make note that the prediction is real.  Then use it later to build an adventure for the player characters.  Have fun – make them sorry.

Fencing in Lords of Creation

Art by Dave Sutherland

The third issue of Avalon Hill's Heroes magazine proclaims on the cover:

Special 12-page Pull Out Game:
Musketeers,
Swashbucklers
& Crimson Pirates

The word “game” implies that it is a complete game.  However, the first page of the twelve page section has the subtitle, “Dueling Rules For Lords Of Creation™.”  So, the “game” is a merely a supplement to the Lords of Creation combat rules.

For purposes of dueling, a Lords of Creation GAME TURN consists of six segments.  In each segment, each duelist performs a maneuver.  Before each GAME TURN, duelists purchase the maneuvers they intend to use.  (The maneuvers selected for a given turn comprise the duelist's maneuver pool.)  Each manuever costs a number of 'segment points'.  (I have no idea why they weren’t called maneuver points.)

Each GAME TURN, a duelist has a number of segment points equal to the sum of his or her INITIATIVE ROLL and the product of his or her number of attacks and the appropriate skill level.  To put it another way:

(1d10 + Initiative Bonus) + (skill × # of attacks) = segment points

If the duelist is using two weapons (such as a dagger and rapier), the average of the two skills is used.  Anyway, six maneuvers are selected, purchased, and written down in secret.  Maneuvers can be performed in any order.  Any given maneuver in the maneuver pool can be performed once (unless the duelist purchased the maneuver more than once).  A duelist with two attacks per turn need only select five maneuvers in advance; a sixth maneuver can be purchased and performed on any segment.  Similarly, a duelist with three attacks per turn need only select four maneuvers in advance.

For a given segment, one duelist announces which attack maneuver he or she performs and the other duelist (if able) responds with an appropriate maneuver.  The duelist with the higher initiative on the first turn has advantage and the option of being the attacker on the first segment.  Depending on which maneuvers the duelists perform in a given segment, advantage can be transferred back-and-forth between the duelists.  On the second and later turns, the duelist who has advantage on the first segment is determined by the maneuvers performed on the last segment of the previous turn.  Initiative is rolled, but only to determine respective amounts of segment points.

There are dozens of maneuvers and each is categorized as either an attack, a defense, a 'gaining the advantage', or a counter attack.  Combat rolls are not made during a duel.  An attack is automatically successful unless the defending duelist can perform a maneuver that works against that specific attack.  A defense maneuver cancels an attack but does not transfer advantage.  A 'gaining the advantage' maneuver cancels an attack and (appropriately) transfers advantage.  A counter attack maneuver cancels an attack, transfers advantage, and launches an attack which the other duelist must attempt to cancel with his or her next maneuver.

Each attack maneuver has an associated defense maneuver, a 'gaining the advantage' maneuver, and a counter attack maneuver.  For example, against a 'thrust' attack, the defense maneuver is 'parry', the 'gaining the advantage' maneuver is 'circular parry', and the counter attack maneuver is 'riposte'.  Also, a 'dodge' maneuver can be used as a defense against most attacks and an 'inquartata' maneuver can be used as 'gaining the advantage' against most attacks.  A duelist targeted by a thrust is hit and suffers damage unless he or she performs a parry, circular parry, riposte, dodge, or inquartata.

Not only are there dozens of maneuvers, but when any maneuver (except, presumably, dodge or inquartata) is purchased, a target (body) area must be selected for that maneuver.  The nine target areas are:  head, chest, abdomen, left arm, right arm, left leg, right leg, left foot, and right foot.  So, against a 'thrust (left leg)' attack, possible response maneuvers are parry (left leg), circular parry (left leg), riposte (left leg), dodge, or inquartata.

The maneuvers a duelist can perform are limited by the 'position' the duelist and his (or her) opponent occupy.  'Position' refers to the distance between characters in a duel.  There are four positions.  Position A is the closest two duelists can be (and still be in a duel).  It is too close for swordplay; the only permitted attacks are punch, kick, and dagger thrust.  Position D is the furthest two duelists can be.  In this position, “The only kind of attack possible is a running attack which automatically carries the duelist closer to his opponent, or a thrown dagger.”  Position B seems to be the default position and offers the most maneuvers.

After purchasing six (or five or four) maneuvers for a given turn, any remaining segment points are 'reserve points'.  Duelists who only needed to acquire four or five maneuvers in advance can use reserve points to purchase their additional maneuvers.  One reserve point can be used to advance or retreat by one position.  One reserve point can be used to alter a maneuver's target area to an “adjacent” area.  (The illustration above shows 'transition areas' that can be used in changing target areas.  For instance, changing from left arm to left leg costs two points.)  Lastly, reserve points can be used to 'delay' a response maneuver so that it can be used against attacks from positions C and D.

Once per combat, a character can perform a Foul Trick, an attack against which there is no normal defense.  The target of a foul trick can spend two reserve points to attempt a Luck roll; if successful, the target takes no damage.  A duelist with a sufficiently high skill has a Secret Attack, which is like an 'honorable' foul trick except the Luck roll attempt costs three reserve points.  Foul tricks and secret attacks can only be used three times (each) by any given character.  Moldvay explains:

In a swashbuckling campaign, any duelist who uses either a foul trick or secret attack a total of three times (each) loses the ability to use that special attack.  In the one case, the duelist gets the reputation as a knave or a blackguard and everyone is thereafter on guard against foul tricks.  In the other case, the secret attack is no longer secret and is, hence, useless.

With the introduction of 'hit locations' to Lords of Creation combat, different effects manifest with different target areas.  Luck rolls can ameliorate these effects.  For instance, hits to the chest cause double damage; with a successful Luck roll, damage is not doubled.  Damage to an arm is halved; unless a Luck roll is successful, an attack to a weapon arm causes the weapon to be dropped.

If a duelist faces more than one opponent at a time, “the single duelist splits his segment points any way he wishes and fights each combat as simultaneous single combats.”

Moldvay offers the following comments:

          I tried to keep the dueling rules from becoming cumbersome.  Emphasis was placed on rapier combat.  The Game Master can alter the dueling rules for other circumstances if he wants.  He could interpose dueling with regular combat.  Thus, opposing musketeers might fire their muskets at duelists; or a pirate might fire a brace of pistols before a duel began.  The GM might add other weapons to the duel.  Pikes (long spears) and a variety of pole arms were common in the Swashbuckling Era.  A Pike would mainly be a thrusting weapon while a pole arm could both thrust and slash.  The Swashbuckling Era also saw strange variations of “weapons” such as rapier and cloak, rapier and bar stool, or rapier and lantern.  If the GM wanted to duplicate ship boarding actions, he could throw in the use of crude black powder grenades or even cannon fire.

Of Dragons and Dungeons

Art by David C. Sutherland III (from Dragon #12)

In 1976, Gary Gygax exposed noted authoress Andre Norton to D&D when she participated in one of his games.  Inspired by this experience, she wrote Quag Keep.  As an acknowledgement, Norton expressed “appreciation for the invaluable aid of E. Gary Gygax of TSR, expert player and creator of the war game, DUNGEONS AND DRAGONS, on which the background of QUAG KEEP is based.”  Norton therefore had an early insight into role-playing games, a phenomenon that – as an 'Appendix N' writer – she helped inspire.  However, note that the term “role-playing game” was not yet in use and D&D was still considered a “war game.”

Quag Keep was published in 1978 and a preview of chapters 2 and 3 appeared in the February issue of The Dragon.  (The image above represents a portion of that issue's cover.)  Although that issue refers to Quag Keep as a “D&D novel,” there doesn't seem to be any official licensing; at least it isn't suggested in my copy of the book – a 1979 DAW paperback.  The first page – even before the title page – of this paperback displays two paragraphs of 'teaser text' with the heading “Of Dragons and Dungeons.”  This phrase appears nowhere else in the book and is doubtless intended to bring to mind Dungeons & Dragons without impinging upon TSR's intellectual property.  (The only specific reference to Dungeons & Dragons is in Norton's acknowledgement, shown above.)

Even without an official license, Norton's book certainly had Gary's approval.  In fact, most of the story takes place in the World of Greyhawk.  Not surprisingly, several people have analyzed Quag Keep in order to glean information about Gary's campaign.  Then there's this total dork.  (Ha ha!  Just kidding Mr. Mona, sir!)  As interesting as these analyses may be, your humble host would like to look at Quag Keep from a different perspective.  Quag Keep does not always conform to the D&D oeuvre.  Ultimately, Norton's book reflects her impression of Dungeons & Dragons, modified as necessary for purposes of fiction.

Quag Keep represents the completion of a full circle.  It is fantasy literature based on a role-playing game which itself is based on fantasy literature.  What if we go one iteration further and conceive of a role-playing game based on Quag Keep ?  This game would capitalize on the differences between D&D and the novel.  Perhaps the game could be called Keepers of the QUAG (Quest Under A Geas).

In the book, seven “real world” players find themselves in a fantasy setting.  The  consciousness of each player occupies a form based on a miniature that the player had selected.  So, people become part of the game they were playing.  (I suppose this plot was not yet trite in the seventies.)  Actually, the players' personalities are eclipsed by the characters' personalities.  In any event, our hypothetical game would require that each (player) character be represented by a figure.

The Quag Keep protagonists each have...

...a wide bracelet of a metal as richly bright as newly polished copper.  It was made of two bands between which, swung on hardly visible gimbals, were a series of dice – three-sided, four-sided, eight-sided, six-sided.

In the story, sometimes these dice spin of their own accord and produce some sort of effect.  I suppose there could be other dice as part of the bracelet, but the book only identifies these four and does not hint at any others.  Our game would be restricted to these dice.  Rolls in both the Hero System and GURPS commonly employ 3d6, providing a range covering 3 to 18 with an average roll of 10.5.  Now, 1d4+1d6+1d8 provides the same range and average.  However, 3d6 is not the same thing as 1d4+1d6+1d8; 3d6 can generate 216 combinations (6 × 6 × 6) while 1d4+1d6+1d8 can only offer 192 combinations (4 × 6 × 8).  Still, 1d4+1d6+1d8 should suit our purposes.  Incidentally, my copy of Quag Keep has 192 pages.

The protagonists/player characters represent a variety of classes types.  Let's examine each.

Swordsman:  In the illustration, the swordsman character, Milo Jagon, is shown wearing a helmet.  Wouldn't he just be a fighter?  Perhaps not.  Page 11 tells us that, “As a swordsman Milo was vowed to Law.”  It is absurd that “followers of Chaos” and “neutrals” couldn't effectively wield a sword.  Maybe there is a guild or order of swordsmen that take a “vow” and the proper title of a member of such is 'swordsman'.  Page 76 informs us that a swordsman (or perhaps any person pledged to Law) “cannot kill without cause.”  Also, a swordsman cannot “be twisted and bent into the service of evil.”

We also learn that a swordsman can have “perhaps one or two simple spells,” something that cannot be said of D&D fighters.  At one point, the bracelet-dice spin, causing pouches of coins to appear at the feet of the protagonists.  “And how about spells?” Milo then thinks, “Surely they had a right to throw also for those?”

Berserker:  The berserker character, Niale Fangtooth, is depicted on the right of the illustration, accompanied by his pseudo-dragon, Afreeta.  Rather than symbolic adoption of animal traits like real-world berserkers, Niale actually shapeshifts into a boar and is often referred to as a “were.”  It may be that all 'Nortonian' berserkers are weres, but are all were-folk necessarily berserkers?  For berserkers (and perhaps all weres), “the tongues of beasts were as open as the communication of humankind.”  However, animals do not always react well to the presence of a were.

Lizardman:  Gulth, the only lizardman in the illustration, is perhaps the most heroic of the protagonists.  His kind require heat and moisture in order to thrive.  This becomes problematic during the course of the story.

[ Some people (who give a pass to magic spells and berserkers able to change into horse-sized boars) experience major butthurt because Gulth uses a blanket to keep warm.  “He's an ectotherm,” they complain, “a blanket won't allow him to retain heat.”  To these oppressive mammals, I have two things to say:  (1) A pre-warmed blanket would help Gulth's body temperature.  (2) What part of “fantasy” don't you understand? ]

Cleric:  Daev Dyne, the cleric, resembles to some extent a D&D magic-user.  He is adorned with a “robe of gray, faced with white.”  With regard to weapons, he is “permitted no more than the knife of [his] calling.”  Further to the meaning of  'cleric', Norton indicates that Daev Dyne has “training as a clerk.”  With regard to magic, Daev Dyne performs a ritual to ascertain information about two rings worn by Milo.  He can also cast spells for scrying, light, and healing.  Additionally, he employs holy water to protect a camp site.

Bard:  The character Wymarc can play songs on his harp to accomplish various effects. 'The Song of Herckon' can discombobulate shadow creatures.  'The Song of Far Wings' can summon giant eagles.  He can also use music to bring “a release from tension, a gentle dreaminess from which all that might harm or threaten was barred.”

Battlemaid:  The character Yevele wears mail and wields a sword expertly.  She also casts a spell that temporarily paralyzes two riders and their mounts.  However, having cast that spell, she “cannot use that one again.”  With regard to spells, she has “perhaps one or two others [she] can summon.”

Elf:  The character of Ingrge is introduced as “one of the Woods Rangers.”  That he is an elf is not mentioned until the second paragraph of his description.  This may mean that all Woods Rangers are elves.  Yet perhaps not all elves are Woods Rangers.  Elves possess “mastery over communication with animals and birds.”  Actually, elves can use “mind-talk” to communicate “not only among themselves but with all the sons and daughters of nature who wore feathers, scales, or fur – or even leaves – for it is rumored that to the elves trees were also comrades, teachers, and kin-friends.”  Elves also possess a portion of magical “Power Lore” that can be used to “scent” magic.

Among the antagonists, there are other classes types.  Unfortunately, for most of these, Norton supplies little information.

Druid:  Druids are a “close-knit and secret fraternity.”  While some have “the brand of Chaos and the powers of the Outer Dark at their call,” the Druid enemy in Norton's story, Carlvols, is not so powerful and not beholden to Chaos.  Carlvols can “vanish in a puff of smoke” (along with his unnatural steed) as well as summon urghaunts.  On one occasion, he summons a bevy of shadow imps. 

Hitherblood:  When the protagonists encounter Helagret, they notice “an odd cast to his features, something that hinted of mixed blood, perhaps of the elven kind.”  We are later told that Helagret does “not have elf favor” and Ingrge claims that he is a “half-blood from the Hither Hills.”

Illusionist:  The character of Ewire twice lures a protagonist away from camp by assuming the semblance of a person known to the protagonist.  She can also cause her allies to appear in different guises.

Combat in Empire of the Petal Throne

Art by Dave Sutherland

As might be expected, combat in Empire of the Petal Throne is handled much like combat in Dungeons & Dragons.  For a character to successfully strike an opponent, the player must roll a certain number or higher on a d20.  The specific number is found by consulting a table that indexes the attacker's experience level against the defender's “armour class.”  Non-human attackers instead consult a table that indexes hit dice against the defender's armour class.

Also like D&D, armour class in EotPT is descending; lower numbers represent a greater amount of protection.  Whereas armor class in D&D ranges from 9 (no armor) to 2 (plate armor & shield), in EotPT it ranges from 9 (no armour) to 1 (plate armour and shield of iron/steel).  On the world of Tékumel, iron is scarce; as a substitute, Chlén-hide is used.  A Chlén is “a great, slow moving hippopotamus like animal.”  The tanners' clan is able to alter Chlén-hide so that it is “harder than bronze but slightly softer than iron.”  Weapons and armour made of iron are rare; also, they are heavier and more expensive than their Chlén-hide counterparts.  In fact, metal items are not presented on the equipment list.  So, in EotPT, armour class 2 represents “Plate armour and shield of Chlén-hide.”  Armour classes 9 through 3 are the same in both systems.  Other than armour class 1, all references to plate armour, chainmail, and shields on the EotPT table presumably refer to Chlén-hide.  One could assume that metal items have the next 'better' armour class yet the rules do not state this.  In EotPT, magic armour does not improve armour class, instead it increases the “to hit” number by an amount equal to the bonus.

The chance of a successful hit by an EotPT character is usually slightly less than that of his D&D counterpart.  For example, a first level D&D character needs a result of ten or greater in order to hit an armor class 9 defender, but an EotPT character needs an eleven.

In D&D, the columns of the 'Attack Matrix' represent six 'steps' of three levels each:  levels 1-3, levels 4-6, levels 7-9, levels 10-12, levels 13-15, and levels “16 & +.”  The structure of the EotPT table is the same except the last column is “13-up.”  In D&D, the stated levels are for Fighting-Men; Clerics have 'steps' of four levels and Magic-Users have 'steps' of five.   So, for instance, a tenth level Cleric would use the “7-9” column while a tenth level Magic-User would use the “4-6” column.  In EotPT, the 'steps' are the same for all three professions; a fourth level Magic User has the same “to hit” number as a fourth level Warrior and a seventh level Priest has the same chance of success as a seventh level Warrior.

Priests and Magic Users have restrictions with regard to armour and/or weapons but it is still counter-intuitive that they should fight with the same expertise as Warriors.  As mentioned previously, Warriors have various weapon skills available to them.  Weapon skills are not among those available to Magic Users and Priests, yet those professions are capable of using (some) weapons.  This would seem to suggest that a Warrior's weapon skills allow for greater proficiency than someone without such skills; the rules, however, provide no enlightenment.

Rolling a “natural 20” when attacking means that damage is doubled.  (Damage bonuses are not doubled, however.)  Additionally, the d20 is rolled again.  If the second roll results in 19 or 20, “the opponent is instantly dead, whatever his hit dice may be.”

Sufficiently high scores in the 'talents' of Strength, Intelligence, Constitution, and Dexterity can provide bonuses to hit and damage.  Likewise, sufficiently low scores impose minuses.  None of the talents affect armour class.  Although Dexterity is described (in part) as “one's ability to parry blows,” the rules do not explain how this is accomplished.

Most weapons inflict 1d6 damage; however, “daggers, thrown rocks, and miscellaneous light missiles” cause 1d4 damage.  Some weapons – “battleaxes, flails, morning stars, maces, halberds, poleaxes, and pikes” – inflict 1d6+1 damage, but have a Strength requirement of at least 81.  “The great two-handed broadsword favoured by the barbarians of N'lýss” causes 1d6+2 damage, but it requires a Strength of at least 90 and – of course – cannot be used in conjunction with a shield.

As they advance in level, characters can inflict multiple dice of damage upon opponents (depending upon the hit dice of said opponents).  For instance, a fourth level Warrior rolls two dice of damage against opponents with one hit die; a sixth level Warrior rolls three dice of damage against opponents with one hit die and two damage dice against opponents with three hit dice.  The following table conveys the same information as the EotPT chart, albeit with a different presentation.

Table shows number of d6 to be rolled for damage

Warriors are better than the other professions in this regard; for damage increase purposes, Priests are treated as one level less and Magic Users are treated as two levels less.  If a character is combating several opponents equivalent to one another, damage in excess of what was needed to kill one opponent is automatically applied to another.  In this way, several opponents may be slain with one attack.

A character using a broadsword and a dagger “can strike two blows per combat round.”  (Presumably, one attack per weapon.)  For these attacks, the die result needed to hit is increased by one.

A character may attempt a “physical action” instead of 'attacking' a foe.  Attempting to 'capture' an opponent (instead of inflicting damage) is an example of a “physical action.”  Such an action requires a percentile dice roll; if the result of the roll is less than the average of the character's Strength, Dexterity, and Intelligence, the action is successful.  If the result “is within 20 points of its maximum,” the victim should be allowed a saving throw against paralysis.

Intelligent Races of Tékumel

Long ago,“Man and his nonhuman interstellar colleagues” attempted to terraform the world of Tékumel.  “The blood-purplish jungles were poisoned with chemicals and replaced with the familiar plants of the hundred worlds of Humanspace.”  Intelligent species indigenous to Tékumel “were allowed to survive only upon remote 'reservations.'”  Thus, Tékumel was colonized.  Then something happened.

It is clear now that through some freak of space, some fault in the fabric of time itself, the solar system of Tékumel was cast into some great other-dimensional “hole in the sky.”

In the ages that have passed since that event (tens of thousands of years), technology has declined to medieval levels, magic has manifested, and the indigenous races are no longer confined.  There are various intelligent species on Tékumel, most of whom – including humanity – came from elsewhere.  In Empire of the Petal Throne, Barker describes twelve intelligent nonhuman races, some friendly to man, some hostile, and others neutral.  “There are still other species,” Barker writes, “but players are not likely to encounter them in the areas of Tékumel in which they will operate.”

Barker does not populate Tékumel with elf-analogs and dwarf-analogs, nor does he have 'aliens' that are essentially humans with pointed ears or blue skin.  Barker has crafted beings that are decidedly unhuman, both in form and in sentiment.  For practical reasons, there is only so much information the rule books can convey about each of the races.  This is just as well since – with few exceptions – the nonhuman races tend to stay apart from mankind.  Without further ado, here are the intelligent (nonhuman) species of Tékumel.

Pé Chói (by Karen J. Englesen)

Pé Chói (“the Listeners”) – Among the various races, the Pé Chói are perhaps the friendliest to Man.  The have six limbs and adults are approximately seven feet tall.  Their hightened senses of sight and hearing allow them to easily perceive secret doors and invisible/inaudible entities.  “On a roll of 6 on a 6-sided die they can ESP a neighbouring room or chamber” in a manner, I assume, similar to the Priest spell.  When one of their number is slain, the Pé Chói will exact revenge on the perpetrator unless (a.) the slain Pé Chói attacked first or (b.) the death occurred during a battle in which Pé Chói are serving on both sides.  They are able to do this because the Pé Chói have “racial telepathy.”  This would seem to be quite useful.  The most obvious use would be to establish a long distance communications network; however, Barker makes no mention of any use other than revenge.

Swamp Folk (by Dave Sutherland)

Nininyal (“the Pygmy Folk”) –   These rodent-like beings stand about one meter in height.  They have exceptional hearing and can “see easily in pitch blackness.”   They are known for travelling and trading.  “Although they are capricious, they must be counted friends of man.”  They are ferocious in battle as well as bargaining.  (There is a Tsolyáni proverb:  'To bargain with a Pygmy is to throw away one's purse.')

Heglethyál (“the Swamp Folk”) – The Swamp Folk are four to six feet tall and have six limbs.  “They are squat, rotund, rubbery white creatures...with long slanted foreheads, [and] a bony central crest rising from the forehead and slanting backwards to a point...”  Although they do not employ magic, they are capable sailors and can “detect sloping passages, traps, and dimensional nexus points.”

Tinalíya (by Katherine J. Grantham)

Tinalíya (“the Gnome-like Ones”) – Although referred to by the rules as “humanoid,” these two-foot tall beings have two arms, four legs, and are “covered with horny integument.”  Although scholarly, they are viscous fighters when attacked and need not check for morale.  Each of “their lairs will contain at least one book of magical nature,” at least one scroll, and a few of those ancient technological devices known as “Eyes.”

Ahoggyá (by Sutherland)

Ahoggyá (“the Knobbed Ones”) –

They are knobbly, brownish, bristly creatures 4-5 feet in height, though tremendously broad and strong.  Their upper “chest” is surmounted by four powerful arms, and their eyes and eating apparatus lie beneath these under a horny protective ring.

Hláka (by Sutherland)

Hláka (“the Furred Flyers”) – As their wings and name suggest, the Hláka are capable of flying.  They have three eyes and greyish fur.  “Two arms and two legs are supplemented by a powerful tail fitted with a poisoned rapier-like blade.”  Barker does not inform us of the effects of the poison, but he notes that “Hláka make poor slaves and are always clamouring to return to their homeland.”
Also on Tékumel are the Shánu'u, “larger and heavier cousins” to the Hláka.  Presumably, they come from the same world.  Parties of Hláka are often found accompanied by one or more Shánu'u.  I suspect the relation of Shánu'u and Hláka is analogous to greater primates and humans.

Páchi Léi (by Englesen)

 Páchi Léi (“the Forest Dwellers”) –

They are doughy in appearance and have eight articulated limbs, using the first four to eat, fight, etc. and the remainder to move and balance in the trees of their jungle homes...They have a good chance at detecting secret doors and passages as they pass by them...Their huge, platter-shaped eyes give them nocturnal vision.

Although listed among the neutral species, Páchi Léi have a modifier towards friendliness on the Nonplayer Character Reaction Table and “have often become citizens of the human nations, and one or two examples of generals over human troops are recorded in history.”

Shén (by James Garrison)

Shén (“the Demon Warriors”) –

Their gleaming black scales and dragon-like appearance make them appear to be tall, demonic human warriors in fantastic plate armour.  They have long beak-like snouts and a glittering crest of slender spines, which they can extend or keep flat along their skulls...They walk on two legs and have two arms, as men do, but they also have a muscular tail with a mace-like horny appendage at the end.

Hlutrgú (by Sutherland)

Hlutrgú (“the Swamp Frogs”) – The illustration to the right shows the Hlutrgú as having four limbs; however, Barker states that they are four-legged creatures and that they “carry darts for spearing or throwing, using their four long arms.”  To me this suggests eight limbs, but perhaps there are only four limbs that can be used either as arms or legs.  (The illustrated Hlutrgú is shown grasping a spear with his 'foot'.)  Regardless, they “hate humans and nonhumans indiscriminately” and “have a particularly ugly reputation for torture and atrocities upon humans who fall into their clutches.”
I have not been able to discern if the Hlutrgú are native to Tékumel or if, in ancient times, they were interstellar partners of mankind.

Hlýss (by Englesen)

Hlýss (“the Spawn of the Old Ones”) – The Hlýss are an insectoid race who pre-date humanity's appearance on Tékumel.  They are described as “aquatic cousins” of the Ssú (see below).  They live on the Isle of the Hlýss with the great Hlýss mother and sometimes travel the seas “upon their hive-like ships, made from a stony bodily secretion.”  They possess “six legs and light chitinous armour, with a row of razor-sharp mandibles beneath their probosces” in addition to a tail with a sting capable of paralyzing opponents.  When encountered, Hlýss are likely to have magical weapons and ancient items of technology.  “The Hlýss collect all sorts of weapons, gems, and jewellery and have the latter set into their body-armour permanently.”



Vleshgayal (“the Shunned Ones”) – The Shunned Ones also pre-date the presence of humanity on Tékumel (and may even pre-date the Ssú).  They tend to remain ensconced in their sealed cities but “emerge from their isolation to seek magical items in the labyrinths beneath ruined cities.”

They are tall, ragged-looking spectral beings, with two extremely long arms and legs...They have a terrible and repellent stench that drives off humans and nonhumans alike.

Ssú (by Jeff Dee)

Ssú (“the Enemies of Man”) –

They are tall, slender, six-limbed beings wrapped in what looks like greyish shrouds (actually a loose integument which keeps shredding and pulling off).  They smell like musty cinnamon and make a high, sweet chiming sound.

Aside from their competency with magic, each Ssú of at least level IV can hypnotize 1-3 persons once per day.  If a saving throw is failed, the victim will be under the control of the Ssú “and he can be freed only by the death of the Ssú commanding him.”