" He came dancing across the water With his galleons and guns Looking for the New World And that palace in the sun..." - Neil Young, "Corte z the Killer" (1975) I'm aware that I bring up Ozark Softscape's 1984 game The Seven Cities of Gold rather frequently for a title that's mostly remembered today for its influence later series like Civilization . But it's a very significant game for me personally, not only because it was, for me,  an early demonstration of the medium's potential richness and depth, but because some thirty-six years later, I keep coming back to it. There's the cartographical indulgence Seven Cities foregrounds, of course, and an appreciation of the game's mechanics I wouldn't have had at seven years old, especially since so many are hidden, left for the players themselves to deduce. But there's a reason I kept going back, both as a kid and as an emulator-savvy adult, every Columbus Day: a longing for repai...

By now, my love of older electronic games should be well-established. Indeed, over the time we've been doing this blog, I've only delved deeper and deeper, more than tripling the number of vintage consoles I have on-hand, hooked up, and ready to go. And while we can look to the pandemic and the money saved by not having to regularly commute lifestyle changes that came with it, the fact is, the propensity was always there - I have always loved older technology, especially if it operates in ways fundamentally different than modern equivalents. And compared to, say, vintage guitar and bass amplifiers (something else I have in... "generous" quantities), consoles are relatively cheap, don't take up much space, and can be used late into the night without risk of noise complaints (provided I'm using headphones). They all have their own quirks, their own histories and unique libraries, and, since they were all released in my lifetime, personal connotations. Each cons...

It's come a few times, but we here at Never Say Dice have a somewhat unique generational viewpoint as "cuspers" or X-lennials or whatever they're calling us this week. We were the very last students to have our primary schooling take place in entirely the twentieth century, and while they were on their way out, we still received a fair amount of Cold War rhetoric and American Exceptionalism, especially in the earlier years of elementary school. Notably, we got some of the final vestiges of the kind of " Great Man theory " our parents also received, curricula full of flawless figures, sanitized into simple stories for easy digestion by attention-deficient pupils: founding fathers, war hero presidents, tireless inventors... In our region, at least we were lucky enough to cover Martin Luther King and Harriet Tubman, their fascinating lives stripped down to a few selflessly heroic actions that helped solve the crises of their day. They were special, unique peopl...

Thanksgiving really is one of the most American of holidays (if you ignore that weird Canadian version , anyway). Even more than, say, Independence Day, there's a clear disconnect between the celebration itself, the story it's commemorating, and the actual messy history. It is, in its own way, an origin myth of (white) American identity - of Europeans fleeing persecution to a new land, which welcomes them through both a bountiful harvest and the kindness of a native population willing to share it with them. It's the pilot episode for Manifest Destiny , blatantly ahistorical to even most elementary school students, and, weirdly enough, genuinely accepted as such. Most depictions of the holiday, at least prior to the rush of Cold War hagiography that presented American history as a theatrical attraction with a "NO COMMIES" sign at the entrance, was focused on the imagery of food and family. Specific foods at that, making this one of the few ritualistic meals to surv...

Celebrate good times. Come on. It’s a celebration. (I will.) Between birthdays (and births), deaths, adoptions, holidays, graduations, engagements and weddings, honors of all kinds, personal milestones (like a 100th blog post ), and everything in between, our regular lives are simply filled with opportunities to celebrate. Just looking at the month of November in the US we have Dios de Los Muertos, All Saint’s Day, All Soul’s Day, Daylight Savings, Election Day, Veteran’s Day, and Thanksgiving... and that's just hitting the “big” things in the US. That leaves out all sorts of official (like Native American Heritage Month) and unofficial (National Fast Food Day) recognitions. It also doesn’t recognize that Halloween just passed and holidays like Hanukkah, Christmas, and Kwanzaa as well as many others are on their way. While we may have touched on adding holidays in other posts, it would be good to talk about celebrations in general. So take a moment to celebrate with your parties an...

This week in our ongoing “Fantasy Forward” series of posts, discussing ways to make sword-and-sorcery settings feel less pre-packaged is going to deal with something… squishy. Something touchy-feely. Something that, I feel, is rarely used to its potential in imagined settings: culture. We’re not expecting anyone to become trained sociologists or, heaven forbid, anthropologists in building out their fantasy settings (although I’m very curious if anybody with said training has incorporated that into games of their own), but there’s plenty of room to develop how people (regardless of species) live, learn, love, and do things. Real world cultures are the product of generations’ worth of history, experiences, stories, and beliefs, which can be a lot to live up to! How can we come up with original cultural elements in our fantasy settings, and how can we convey them to our players and audiences in ways that feel natural instead of forced? - B A : Music! Art! Literature! These are all amazin...

And so we come to the big one in terms of showing advancement and development in your sword-and-sorcery fantasy setting, one that touches, and is touched by, all others: government. Kings, Emperors, and other monarchs are an inevitable element of any setting based ostensibly primarily on medieval Europe, but beyond that, things tend to get… sketchy. But those sketches are a great place for imaginative creators to fill in details , and shifts in governmental structures are some of the clearest signs of change in any civilization. And, if your setting includes more than one location, you can try out different, competing approaches and see the way they interact… often with the players/protagonists in the middle. So from barony to republic, from kingdom to anarcho-syndicalist commune , let’s explore how you can use government and politics to move your fantasy forward! - B A : For deeply political tabletop campaigns, it takes a special kind of group and a special kind of game. Just the sou...

Last week, we started a new series of posts on how one might go about changing the stagnant nature of many “default” sword-and-sorcery fantasy settings by exploring how various aspects of the setting might develop over time and how the protagonists (or players, if this is in a tabletop RPG) might have an effect on these changes. While we started with one of the most obvious factors (technology), this week we thought we might go with something a little less so: economics, including the effect dungeon crawling might have on a regional economy that finds itself inundated with recovered treasure and artifacts… not to mention the adventurers who show up looking to get in on the action.  - B A :  The economy might be one of the most difficult things to consider in a game world - it's dangerous to upset the balance of your tabletop games. Just as with our technology post, a small change in the economy can have huge ripple effects. This is something we were even touched on: the city w...

I look down at the small disc in my hand. Such a minuscule thing, I think, but its significance and import is matched only by the scope of its historical absence - long-forgotten, even in legend. But this artifact is real, its existence embodying the sophistication of a once-mighty people... as well as the means of their ultimate destruction. I refer, of course, to the copy of 2009's Wolfenstein that I acquired for the PS3, but the description applies, somewhat more accurately (if less poetically) to the Thule Medallion, the mystical artifact that sets this game apart from the rest of the series by giving long-running protagonist B.J. Blazkowicz a taste of the supernatural abilities usually afforded only to his adversaries. First, a history lesson. Never Say Dice scholars may remember I covered the previous game, 20 01's Return to Castle Wolfenstein in an earlier post . While I talked about the experience of visiting that title in the modern day, I didn't discuss why I h...