Thursday, May 10, 2018

The Cult of Aesthete Assassins

"People begin to see that something more goes to the composition of a fine murder than two blockheads to kill and be killed—a knife—a purse—and a dark lane. Design, gentleman, grouping, light and shade, poetry, sentiment, are now deemed indispensable to attempts of this nature.... To sketch the history of the art, and to examine its principles critically, now remains as a duty for the connoisseur"
—Thomas de Quincey, "On Murder Considered as one of the Fine Arts"
The Cult of Aesthete Assassins is the vulgar way of referring to The Society for Exquisite Excision. They are less a cohesive artistic school—let alone a guild of assassins as it is generally understoodthan an assortment of artistically inclined individuals—including theorists, critics and patrons—who view murder as a legitimate compliment/component to the other fine arts. A common confusion is that they only commit murder for hire; rather, there are as many rationales as there are methods of dispatch. Among the variegated rationales are:
  •  the aesthetic contemplation of the act of murder
  • the attempt to beautify the world as an act of aesthetic philanthropy 
  • to preserve the legacy of an artist by killing them 
  • an attempt to intuit some transcendent principle or experience through the act of murder
  •  the use of body as medium for artistic expression
  • a means of experiencing the sublime
  • the scandalous/audacious (and importantly, attention grabbing) nature of murder as art
  • an expression of criticism
  • ennui
  • debt
  • inspiration
  • establishing a legacy
  • showmanship
  • pursuit of arete  
Despite their sanguinary pursuits, the primarily concerns are artistic debate, discussion, criticism, curation, manifesto writing, squabbling, feuding and cultivating the artist-as-product to accrue patronage. 

The cost to acquire the services of one is extremely variable and prone to numerous whims including if the artist is concerned with working on a particular type of person (only Countess' of a certain age, Men on the night of their wedding, ornithologists, philosophers, the beautiful) or with a particularly expensive medium in addition to the cost of having them produce the body (marble, gold, ivory, jade, porcelain, rare pigments [ultramarine blue, annatto, cochineal, Dragon's Blood, etc.] and so on) and fueling the vices and muses of the artist necessary for inspired work. 

Hiring one is as simple as joining their salon circle, getting their attention, and convincing them to take you on as a patron—it helps if they have a masterpiece they need more money to finish or they have creditors on their heels. It also sometimes helps to get them intoxicated first. It also helps if you suggest you have received a bid from their more successful rival.

What is a typical Aesthete Assassin Like?
There are no typical Aesthete Assassins, the work of art is a singular production. It is hyperbolic to claim there is nothing that can be generalized about Aesthete Assassins but they are extravagant (both in cost and final product) and the extravagance is part of their individual charm.

Almost Insentient, Almost Divine: regardless of the aesthetic principles embraced, as a rule Aesthete Assassins are always without fail very intentionally dressed. They may adopt some strange minimalism of wearing all black and painting their face chalk white—but in that case they spent hours perfecting the shade. They may appear disheveled but there are hours in front of a mirror capturing the exact ways in which they appear unkempt. They may wear impractical, expensive and gaudy fashions but they will often wear it only once because otherwise it loses its impact. The same goes for their personal appearance: regardless of what they have decided is the properly embodied aesthetic for them (perfect muscular symmetry, scarification to highlight portions of their body, elaborate tattooing, intentionally marring their appearance for juxtaposition) it is the product of studious contemplation and the relentless application of cosmetics, management of diet and exercise and selective use of whatever enhancement is available. The artist is an integral part of the work of art. This is reflected not only by their embodiment but also by their commitment to conspicuous consumption.

[consult Elizabeth Amann's Dandyism in the Age of Revolution: The Art of the Cut for inspiration if you like, or just look at weird avant garde fashions].

The fortuitous encounter of a sewing machine and an umbrella on a dissecting table: Aesthete Assassins have, functionally, subsumed all moral questions as questions of aesthetics and therefore spend most of their time contemplating aesthetics, debating the meaning and value of art with each other, justifying the enormous cost of their masterpiece and pursuing an extremely personal commitment to the aesthetic. To anyone outside of the system of aesthetic considerations guiding their behavior, they often seem arbitrary, addled and chaotic—what possible justification is there for bejeweling a tortoise to death? to mutilating the wings of 27 peacocks to create an exacting tableaux before setting them ablaze? to throwing expensive bottles of champagne into the ocean? 

[À rebours by Joris-Karl Huysmans has some excellent ideas about interior decoration and personal aesthetic vision].

Luxury Problems: Aesthete Assassins would rather starve than consume an inferior meal, freeze to death rather than wear an unfashionable coat and have a tendency towards expensive addictionsespecially ones that increase aesthetic appreciation. Common addictions include: hashish, opium, absinthe (with active wormwood), mandrake, nightshade, belladonna, nicotine, snuff and whatever is currently the most fashionable and new substance. Periodic reminder that for real there was a whole heroin chic thing around having tuberculosis, like it was considered a romantic disease (run with that).

Art is Hard: Aesthete Assassins struggle with the doubled vexation of wishing to be widely recognized for their craft, while also maintaining the quality of their works. Many rely on a host of interns and assistants [think Damien Hirst]. They also go through creative slumps, feel uninspired, feel required to exceed their last great work, or struggle with being hired on by provincial clients whose tastes are dull and pedestrian. This is why they have salons, in order to both vent about the narrow vision of their employers and criticize each other to even greater heights—also there is usually free food and drink.

The Medium is the Message (or some suggestions for Aesthetic Assassin mediums)
"whilst the portrait painter often has to complain of too much torpor in his subject, the artist, in our line, is generally embarrassed by too much animation"

Ceramics: Bone china can be produced using the target, possibly make them witness the conversion of their favorite hand into a teacup. Then utilize it in an elaborate tea service (the tea is poisoned; the poisons timed to the service).

Gastronomy: Obviously one can prepare and cook another human being in a variety of ways. On top of Hannibal, I would suggest The Cannibal's Guide to Ethical Living (Mykle Hansen) for a completely different take on the aesthete cannibal. Preparing a meal out of someone—even a sumptuous meal—can get repetitive. Gourmand Assassins also specialize in making foods that highlights being poisoned and still are irresistible (Fugu, Ackee, Cassava are all poisonous and popularly eaten).

Music: The obvious answer is using human derived catgut to string any number of instruments (a harp, violin, cello, etc.)—obvious answers are boring [gut strings are also used in some tennis racquets]. There are a lot of contemporary musicians that use bone derived instruments: Eraldo Bernocci [Obake/BLACKWOOD], Adel Souto [156], Christopher Juul [Heilung], and Michael DeWitt [Zero Kama]. Historically the Kangling (Tibetan horn made from a human femur) is used in ritual practice, Damaru (a kind of two headed drum) have been made from human skulls, there is a pretty cool Lyre made from antelope horns and a human skull in the Met.

Additional Arts (because otherwise this will go on forever): bodies can be taxadermied (including with flensed elements for aesthetic appreciation; think paintings by Bacon) which can also translate into an art installation or be inventively posed for depiction in another medium, skin can be tattooed, flayed off and made into a garment or canvas, the act of murder can be a performance (utilizing elements of mime, theater of cruelty, theater of the absurd, etc.). You can almost certainly do various sorts of printmaking using a human corpse. Various sorts of bone carving are among the earliest forms of art, scrimshaw is a very particular style. Andres Serrano (among many others) used a wide variety of bodily fluids in his compositions ["Piss Christ" is just well known]. These all can be done in conjunction.

There are probably many more I am not thinking of.

Suggested Reading:
Thomas de Quincey, "On Murder Considered as one of the Fine Arts"
Patrick Suskind, Perfume: The Story of a Murderer
Hannibal (TV series)
Maria Tatar, Lustmord: Sexual Murder in Wiemar Germany
Marcel Duchamp, "The Creative Act" 
T.S. Eliot, "Tradition and Individual Talent"
Ina Blom, "Boredom and Oblivion"
Johnathan Harris, Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art 
Anything by Antonin Artaud, Georges Bataille, Gilles Deleuze.
Anything about the Vienna Actionists.

Sunday, April 29, 2018

Frostbitten and Mutilated: An Assortment of Hot Takes

This was originally a text document I was dumping hot takes in and I realized how 
tedious it would be to actually copy and paste everything. I probably will write a real 
review sometime (and I couldn't help myself and responded to some of my own 
Goofus-y hot takes).

Goofus Take: D&D is intrinsically colonialist, therefore Frostbitten & Mutilated 
(F&M) is a supplementthat expands the scope of colonial thinking within the 

Rejoinder: Only if much of the actual content of colonialism (such as forcible religious 
conversion, the destruction of sacred sites, the construction of racial codes and laws 
delineating lesser and servile "rights" (if any) for the colonized; alongside the mass 
plunder of goods through compelled labor and enslavement) is disregarded?

Goofus Take: If not colonialist, the assumptions of the game are capitalist; these games 
promote acquiescence to capitalism!

Rejoinder: I don’t think anyone has really done complex economic modeling within RPGs 
(although Hot Springs Island does suggest the mass introduction of wealth into the world 
economy will have destabilizing effects). Prices are fixed (or sometimes there are 
adjustments for certain circumstances), goods are generic and relatively the same 
throughout the world, I don’t think that stock, credit, and complex financial mechanisms 
are either promoted or included in play because that would involve backending a lot of 
math? But also this is mistaking “gold/silver as xp mechanism and measure of 
accomplishment” with “gold/silver as intrinsic good.”

Goofus Take: Well black metal is a fascist genre so the game is fascist.

Rejoinder: Only if you go with a really particular read of Lords of Chaos and believe Varg/
Burzum is of singular importance to the existence of Black Metal. There is also quite a 
bit of Red and Anarchist Black Metal.

Goofus Refusal to Give Up: Varg has an RPG! Raggi said he would hire him! Burzum is
 darkness in Tolkien's old speech and this is somehow meaningful!

Rejoinder: Yeah, Varg is a colossal nerd with a non-OSR RPG that hasn’t picked up 
much of a fan base—although it sells as a curiosity the same way paintings by serial 
killers do. Fun fact (discovered by Claire): Burzum’s “Burzum (Dunkelheit)” straight up 
PLAGIARIZED the lines “When night falls, she cloaks the world in inpenetrable (sic) 
darkness. A chill rises from the soil and contaminates the air. Suddenly ‘breathtaking’ 
beauty has a new meaning” from Realm of Terror (1990) a Ravenloft supplement. 
NEVER have I wanted to bully an overrated musician more.

Goofus Take: ‘Amazons’ is cissexist because Zak does not rule on if trans women 
can be Amazons
Goofus Take: ‘Amazons’ is an attack on the reality of women because Zak doesn’t
 in text exclude trans women

Rejoinder: Maybe those rulings are best kept to the GM? I mean, Raggi defines a woman
in LotFP (if we take Vaginas Are Magic as word of god) as “someone (or something…) 
able to be impregnated and carry a child to term” (Raggi 2017, 6). This excludes 
adolescent, infertile and post-menopausal cis women as women (as a corollary that 
Raggi acknowledges). The follow up is that parasites qualify as pregnancy; so, yes, if 
yourun Alien everyone is a woman. Since rules are meant to be broken, disregarded and 
discarded: I assume Zak is leaving it up to individual GMs? He’s free to write an official 


Goofus Take: The “Y” in “I Search the Body” blends into the r in “forgetting dust”; Zak 
clearly should surrender his awards because this is terrible design.

Goofus Take: Zak dedicates F&M to Cookie Corey and wrote about barbarian women; 
however, rather than promoting women, Zak is stealing the spotlight from women in 

Rejoinder: There really should be more women making RPGs (I really liked “Gardens 
of Ynn” by Emmy Allen & it is probably the next thing I will write about when I am clear
of deadlines). It doesn’t follow that Zak is somehow stealing the spotlight by making
RPGs (and this claim is usually made by performatively left dudes who want 
their product to be fixated on?)

Goofus Take: Zak makes a joke about the cultural appropriation of Nordic cultures; 
clearly this is because he thinks cultural appropriation is a joke.

Goofus take: The background (pg 8) and the culture of the Amazons implies that 
Zak believes without men, women are incapable of culture.

Rejoinder: I probably am not the person to answer this because I’m into Monique 
Wittig and the Amazons society is appealing to me.

Goofus Take: The GM advice promotes adversarial GMing.

Rejoinder: Challenge =/= adversarial; if an area is supposed to be a howling white waste 
full of deadly things it makes no sense to play it soft? (also half the advice is don’t be a 
jackass at the table? But sure selective reading works?)

Goofus Take: The “Appendix N” doesn’t feature enough female fronted bands!

Rejoinder: Female fronted isn’t a genre? I would probably make a mix of Lotus Thief, 
Myrkur, Bolt Thrower, Mares of Thrace, and Wolves in the Throne Room (or Boreal, 
Leech, or similar) maybe some Ash Borer, Oathbreaker or Harakiri for the Sky. YMMV, 
but I think it is a solid list? (and my choices are def not all black metal let alone TRVE).

Goofus Take: some of the pagination (ex pg 16) gets lost by the artwork and shows 
sloppy copy-editing, it is unprofessional!

Goofus Take: Everything in this book would kill my PCs! Zak clearly likes his creations
too much & wants them to destroy your PCs party!

Rejoinder: Git Gud

Goofus Take: It is unclear if you need to kill all five heads of Nidhoggr or if killing one is 

Goofus Take: Many species of owls (17% to be exact) are endangered (and 11% of 
species are near threatened, 2% are extinct); the description of owls as linguistic 
parasites encourages the harm of an endangered species.

Goofus Take: The Pearlholders are the thing Zak does where he snipes at critics (like the 
Cannibal Critics in Maze of the Blue Medusa) which is petty.

Goofus Take: Zak’s fascination with snakes evidences that he is a Scaly (and some
weird conjecture from there that implies this is inherently evil).

Goofus Take: Snow Leopards were only recently moved from “endangered” to 
“threatened” and Zak seeks to encourage PCs to murder them (in real life) with his
bestiary entry.

Goofus Take: The witches (Frost, Thorn, Dread) are recycled from Zak’s 2009 one shot 
dungeon Wolves in the Throne Room [and the three Perfect Sisters from Maze of the 
Blue Medusa]; Zak is coasting and/or lazy.

Goofus Take: Wolves are an important part of ecosystems and largely endangered or 
extirpated and Zak encourages killing them (and probably supports shooting them from 
aerial observation).

Goofus Take: Worms is formatted so Speed: Negligible / Armor: 10 appears as Speed/  
Negligible Armor: 10 and I am too stupid to figure out how this should be understood
despite writing this hot take.

Goofus Take: The “Groundhog Day” conceit is railroading and anti-sandbox design.

Goofus Take: The Dim Fortress is too linear.

Rejoinder: Tack some extra rooms on and mess with the floor plan but not the order? I 
think the ostensible point is that the Dungeon is a hugely foreboding place that is 
absolutely not supposed to be a megadungeon because of the ticking clock and the fact
that every combat in the damn place is pretty deadly so why bother with spreading it 

Goofus Take: The Sevenfold Tower is some narrativist indie game bullshit—it is totally 
designed for the sort of people who would rather act than face challenges.

Goofus Take: The Witch and Amazon classes are just repeats of the Alice class from
Red and Pleasant Land; Zak is a contemptuously lazy one trick pony who thinks repeating
the same design over and over again entitles him to celebrity and awards.

Works Cited:
Raggi IV, James Edward. 2017. Vaginas are Magic. Lamentations of the Flame Princess. 

Smith, Zak. 2018. Frostbitten & Mutilated. Lamentations of the Flame Princess. Finland.

Sunday, August 6, 2017

RPGs Are A Brick Test

Last Edit: 8/1/2017

As a child, my therapist tested me for intelligence. One aspect of this testing was a Brick Test. The gist, if you want to ignore the link, is that you are given time to answer what you can do with a brick. Creativity is (allegedly) tested by enumerating a lot of answers. As a really shallow scratching of the surface:
  • You can probably hit someone with a brick, you could certainly throw it, could you make a bullet with it? What non-obvious weapon-like uses are implicit in a brick?
  • You could probably build something with it, a house or a fence are pretty obvious (assuming you can get many bricks or scale the brick up or down as needed). What sorts of architecture could utilize a brick that are not immediately apparent?
  • You could make a sundial or cave it into a simple wheel and depending on the stone used in brick-making you could maybe utilize it to start a fire, it certainly could be the basis for comparative weighing or a counter-balance in some machine. What sorts of tools could be shaped from a brick?
  • Building on the wheel, you could probably slap some wheels on a brick and make a very inconvenient skateboard or roller skate. What sorts of vehicles can be shaped from bricks?
  • You could sculpt something with the brick (even something functional like a key, at least in theory) or paint or decorate it. What sorts of art objects and utilitarian functions can be shaped from a brick? 
Ultimately, children tend to score higher because they aren't constrained by practicality, e.g. you may be able to build a boat with bricks but only a child would bother with considering something so impractical. The brick test itself is an excellent metaphor for RPGs.

Rules (whether light or pedantically enumerated) are taken up by players and applied to a situation which a DM provides in order to creatively approach the uses of the rules. Explicitly: players are given a series of moving parts (NPCs & Situations) and creative constraints (rules) which form a "brick" onto which they project a solution. In the best cases, like children, players come up with a strange and wonderful and implausible solution that they develop organically between the constraint of rules and the properties of a situation and NPCs. Some solutions are obviously more likely to succeed than others, hence the concept of "challenge oriented play." Conversely, rules heavy systems tend to limit the application of wild solutions because there is an appropriate skill to apply to the problem at hand. As a simple example: later editions of D&D abstracted the action of disarming traps by making it a skill as opposed to the older format of "ask the DM a bunch of questions and use resources to mechanically disarm a trap" (hence the confusing carryover of 10 foot poles to a system that utilizes dexterity checks and disarm traps rolls rather than prodding things with poles and jamming pitons into mechanisms). Personally, I prefer the latter. The counter argument of course is the purpose of the game is Hack n' Slash and traps are there to make the Thief feel good about not playing a combat focused class. Alternately, there is the narrative approach that the purpose of the game is to have long conversations and make social rolls.

Because of the conjoined potential for creativity (there is not a single solution to the problem at hand, merely increasing degrees of possible success) and openness (a referee isn't constrained by rules pushing a particular solution), I prefer an OSR approach. Opposed to the free-form nature of a more open set of rules, many contemporary approaches attempt to impose narrative and genre constraints by funneling players along a railroad so they may eventually come to a series of set pieces. For example, Pathfinder Adventure Paths and many WotC products accomplish this by setting the DC for checks that could bypass the solution they impose, providing plot armor for NPCs and making some encounters impossible for parties to even approach certain areas. The approach of many OSR products (there is plenty of dross) is to instead provide the party with: NPCs, a loosely defined area and some things happening around them so the party can jump into plotting, pilfering, and otherwise unleashing chaos (which leads to their own climactic set pieces that players had some agency in creating).

Drawing back a bit, let's say that a "brick" is one standard unit of fantasy; Elves are noble and sad, Peasants farm, Fighters fight, Dragons guard treasure. There is a lot of mileage to be gotten from this brick; as a counter proposal to simply creatively approaching the "brick;" I instead propose a sort of meta-Brick Test regarding RPGs. Therefore, the aim of this blog is to:

Assess RPGs to Articulate:
  1. The significance of an RPG module or system: why is it interesting, what it is trying to accomplish, how does it fit in to the grander pastiche of this pastime? Is there some aspect that proposes a significant alteration to the brick presented to the players?
  2. How can I reskin this into some grander or weirder design: what are the guts and bolts available to you if you pick this up, how can it fit into something you are already doing? How does this mutate the proposed "brick?" How does a crashed spaceship or mythic underworld or Fey kingdom redefine the parameters of the brick?
  3. Ultimately, and this is a gloss of a gloss, my interest in products explicitly for RPGs is more akin to some forms of literary analysis. What assumptions are baked into a system or module that (artificially) limit the more open and brick test-y solutions players would ultimately like to engage in (unless you play with an extremely boring table).
Assess Literature to:
  1. Amend Appendix N for more interesting outcomes. I actually am only familiar with some of the original Appendix provided by Gygax.  Keeping with the metaphor The Lord of the Rings has become a predominant influence in defining what a brick looks like (it also wasn't supposed to define the genre). This helps explain the really abysmal genre constraints that pop up. What happens if high fantasy is replaced with (my personal opinion) better reference works. This is something fueling quite a bit of the OSR, but the cannon can always be expanded (especially given the parallel renaissance in genre fiction which hasn't quite seeped into the conversation around RPGs).
  2. Explain why I assume something was in the appendix in the first place: there is a vision behind the original game and some of the choices are interesting in what they assume is the purpose and narrative to the game (I am not the first person to make this observation by a long shot).
  3. Come up with strange ideas that hopefully other people run with. Settings (and by extension PCs, plots, NPCs and monsters) could always use the fruitful integration of some new material, both in the sense of newly published and novel to be integrated. This, collectively, is a question of: what if we substitute a grapefruit for a brick? How about a knife? A block of wood? What different solutions and interactions are proposed by altering the implicit genre assumptions?
Assess Academic Literature:
  1. To figure out some totally weird quirks to move away from vanilla fantasy.  As a series of short glosses some of which are more fleshed out than others:
    • Anthropology is rife with the description of (often made up) social organization that absolutely could lead to some fascinating setting changes. James George Frazer describes kings slowly entombed by ritual; sacred and authoritative while, paradoxically, completely incapable of enacting government because of the sheer volume of rituals they were engaged in and taboos they were required to observe. Isn't this more interesting than another king with a crown directly petitioning a bunch of mercenary adventurers to fetch something?
    • Economics is strange because while money is always tied up in RPGs it is often abstracted, what happens if the world is cash poor and works on a barter system?
    • What sort of founding myths inspire a society? How would interacting with that society be totally different?
    • What historical epochs create good conditions for this sort of game, what can history do to fundamentally warp our brick? 
I think all of this flows into a sort of meta brick test: what can be done with various objects to fundamentally rethink how certain aspects of RPGs are approached. Perhaps in a narcissistic way: how does plotting out an adventure often constrain player choices and how can this be rectified and identified, how could a different sense of the world be generated from fiction and academic literature to produce a more robust, evocative or strange world. What are hooks, details, historical facts, alternative economies, weird rituals, etc that give players are more unique and rewarding brick to play with.

Obviously, this introduction is just that: an introduction (I will probably actually write content soon) but it makes sense that I should try to explain a project before embarking. This is co-run with Claire Diane (who will introduce herself in her own time) but who in my humble opinion is the better half of this collaboration.