Magic Items in Empire of the Petal Throne

Any sufficiently advanced technology

is indistinguishable from magic.

– Clarke's Third Law                    

When Tékumel entered the dimensional plane it occupies in the Empire of the Petal Throne setting, a series of cataclysms called the “Time of Darkness” occurred.

Old machines took on a divine aura, and as they failed, men lost the knowledge to repair them...Natural resources had been carelessly depleted...The wheels of technology require many types of natural resources and deprived of them, they slowly ground to a stop.

Articles of “ancient” technology are treated as magic items in EotPT.  Yet there is a great deal of 'magic' that is not technological per se.  Magic is explained as an interaction between psychic ability and extraplanar energies – and said energies are often associated with beings such as demons and gods.  Either the magic of Tékumel's plane conveniently meshes with old universe technology or the nature of technology has somehow been altered in Tékumel's current plane (or, perhaps, a measure of both).  What results is a mélange of science and sorcery à la Thundarr the Barbarian, not that the scholars of Tékumel would perceive any incongruity.

Among the miscellaneous 'magical' items described in EotPT, there are:

The Chariot of the Gods:  This is a flying vehicle, actually an ancient air car.
The Lightning Bringer:  This is actually a piece of ancient artillery.
The Little House of Tranquil Dwelling...This device was originally found on a planet far from Tékumel in the crater of some long burned out atomic explosion.

Additionally, there is “The Alluring Maiden of Ngá.”  This 'item' is an android with “the ebon hair and paper-white skin common to all androids of the ancients.”  This android operates as an assassin (6 Hit Dice; Armour Class 1).  However, “she is totally mindless” and “because of her lack of individual will she cannot speak or interact socially, and she cannot be assigned other tasks.”  I suppose she is “alluring” so as to have a better chance of approaching her victim.  What was the nature of the civilization of the ancients if they manufactured such technology?  Anyway, whenever her owner gives her a mission, there is a 35% chance she will attack her owner, “symbolising the breakdown of her ancient circuits.”  Of course, an android is an “automaton resembling a human being,” but there are other intelligent races on Tékumel.  One would suppose there would be “android” equivalents of Pé Chói or Tinalíya or other space-faring species friendly to man.  Perhaps such races are opposed to the idea of automatons that mimic them.

In contrast to the 'alluring maiden', there are Underworld beings called Yéleth or Angels of Doom.  These are androids (3 Hit Dice; Armour Class 6) and, like all androids, “They have paper-white skin and hair the colour of polished ebony.”  Unlike 'the maiden', they seem to have independent will and are encountered in groups of 1–4 (or 2–12 in their lair).  There is an item that allows evil Magic Users to create 1–6 Yéleth that will “serve their master loyally and permanently.”  This item is the Du'on Duqala Toruuna (or 'The Scroll of Bringing Forth the Unnamed') and the “text is written in flickering blue flame upon pages of brass.”  The same scroll permits evil Priests to create a similar group of undead beings called Mrúr.  “The construction of either of these beings requires the sacrifice of an equal number of human characters to Ksárul.”  (Ksárul is one of the Tlokiriqáluyal – the 'evil' gods of Tékumel; after the scroll is used once, “Ksárul sends his Black Angel to retrieve it.”)  So the scroll – property of an evil god – allows for the creation of undead or androids, depending upon the user.  In either case, human sacrifices are necessary; sacrifices of other intelligent beings are not sufficient.  This is a peculiar intersection of technology and magic.

A few other miscellaneous magical items are:

The Magical Chest of the Topaz God – like a Bag of Holding, except it's a box.
The Mighty Wall of Thúmis – creates a wall of bronze for two turns.
The Jade Bowl of the God-King of Purdánim – can be used to exchange minds with a member of the same species for 24 hours.
The Trumpet of Metállja – “can summon any android or automaton within a 6 inch radius to do the bidding of the user for two turns.”

Whence the Underworld

Underground City of Derinkuyu (source)

In order to prepare for a campaign, page 5 of Men & Magic provides the following advice:

First, the referee must draw out a minimum of half a dozen maps of the levels of his “underworld”, people them with monsters of various horrid aspect, distribute treasures accordingly, and note the location of the latter two on keys, each corresponding to the appropriate level.

Establishing an “underworld” is essential in early D&D ; indeed, the first word is 'Dungeons'.  The Underworld & Wilderness Adventures booklet explains how to create an underworld, but in-game rationale for these 'dungeons' is limited to mention of a “huge ruined pile, a vast castle built by generations of mad wizards and insane geniuses.”

Without a rationale, 'dungeons' are merely the backdrop for free-wheeling – if not gonzo – scenarios.  I cannot resist quoting Peterson on this matter:

...a funhouse-like underworld of wealthy monsters – a hole in the ground that exists for no discernible reason other than for adventurers to extract gold from it, filled with improbable creatures and situations...

Not that there's anything wrong with that, but such a thing is not well suited for a detailed, 'serious' setting like Tékumel.  Barker's world does not lack for adventure possibilities, yet there are many underworlds in Tékumel and Empire of the Petal Throne features underworld expeditions.  “It is...desirable,” Barker writes, “to have an Underworld developed upon logical...lines, with large complexes of tombs, temples, or other contents carefully worked out.”  While Barker falls short of adopting a paradigm of 'dungeon as community', he asks the prospective referee to consider the future ramifications of a party's explorations.

Barker explains why the underworlds exist:

Scattered over Tékumel are innumerable half-buried, half-forgotten ruins...there are tunnels of melted rock and steel constructed during the days of man's first glory; there are jumbled heaps destroyed by the cataclysms which rent Tékumel when the planet was cast into outer dimensional darkness; there are catacombs and subterranean labyrinths dating from more recent empires, cities, temples, pyramids, and fortresses dedicated to the lost and unremembered gods of half a hundred kingdoms.

Furthermore, there are underworlds beneath currently populated cities.  Barker explains this is due to the concept of Ditlána:

...the ceremonial “renewing” of many cities every 500 years:  cellars and foundations of an old city are filled in and roofed over, upper floors are razed, and then new and more splendid edifices are built upon this foundation.  Such earlier buried habitations are now full of burrows and tunnels built by humans, half-humans, nonhumans, and the many parasites and predators of Tékumel that subsist upon man's leavings.

Finally, many temples are maintained in the underworld, especially temples to evil gods, “and it is in these that many of the rich treasures of the ancients are preserved.”  (Since they're evil, it's OK to kill them and take their stuff.)

In the 'Developing an Underworld' section, Barker recommends various TSR products:  “These all give the mechanics...and discuss the construction of 'dungeons' in great detail.”  Regardless, he spends a few paragraphs going over the basics – using graph paper, making notations, etc.  Barker then supplies some examples, including “a brief sample of actual play” presented as a dialogue between a referee and the party leader as the party explores the Underworld.

In closing, I list some Underworld features described as “Saturday Night Specials” by Barker.

• The Revolving Rooms of King Ssirandár I, which whirl around and deposit a party in an unknown and unexpected part of the Underworld.
• Lelmiyáni, the Singer of Doom, who appears in the form of a little girl playing a flute.  Unless saving throws are made, she will lead a party into...
• The Garden of Weeping Snows, which contains a variety of people that have been magically paralyzed in moments of extreme agony.  At the far end of the garden is...
• The Palace of Frost, the habitation of Nyélmu the Wizard.  The good Gods have condemned Nyélmu to remain forever in the palace.  Nyélmu likes his guests to stay for an eon or two.
• The River of Silence is an underground river that cuts across one of the levels below Jakálla.  On an island in the middle of the river dwells Death Himself.

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.

Zerzura

Obtained from here

Last New Year's Day, Thoul's Paradise enjoyed its first guest post.  Your humble host thought he might start a tradition of guest posts at the start of each year.  For today's post, I asked James Hutchings to supply commentary on a topic of his choosing. He asked if it needed to be exclusive and I replied that it did not.

Zerzura, or the City of Little Birds, is a city supposed to exist in the Sahara. It may have been first mentioned in Herodotus, who describes it as dedicated to Dionysus. Despite this association with the god of wine and revelry, the inhabitants of the city are supposed to be ascetic and stoic in character. Some sources say that the city was founded by Roman legionaries. Other sources claim that the founders were knights returning from the Crusades. The Kitab al Kanuz, or Book of Hidden Treasures, states that the city is guarded by black giants, who prevent anyone from entering or leaving.

In 1481, a camel driver named Hamid Keila reported to the emir of Benghazi (now in Libya), that he had gotten lost in the desert, after the rest of his party was killed in a sandstorm. Keila stated that he was found by a group of fair men, who wore straight swords rather than scimitars. They took him to a city of white marble, filled with palms, springs, and pools. The main entrance to the city was crowned by a carving of a strange bird. The inhabitants of Zerzura, who called themselves 'El Suri', spoke a form of Arabic.

The emir asked Keila how he had come to Benghazi. The latter became uncomfortable with the questioning, and said that he had escaped one night. The emir asked why it was necessary for him to escape from a city where he had been treated kindly. Receiving no satisfactory answer, the emir had Keila searched by his guards, who found that he carried a large ruby set in a gold ring. Keila could not explain how he came by the ruby. Deciding that he must have stolen the ruby from Zerzura, the emir had Keila taken to the desert and his hands cut off.

The emir later mounted an expedition to search for Zerzura, but was unable to find it.

The repeated failure of expeditions over many centuries to find the city suggests to me that it does not lie in our world at all. It seems to me that Zerzura is most likely a distorted account of the City of the Amazons. The martial nature of the Amazons could explain the association with Romans or crusaders. The 'black giants' may refer to the Amazons' god, Daba, who guards the city in a metaphorical sense. Herodotus seems more likely to be referring to another isolated settlement, that of the Mountain of the Father of Wine.