Hej everybody!
First of all, to everyone who has pledged: My heartfelt gratitude - you guys are amazing! That out of the way, we are almost there with the kickstarter that will see Nicholas Logue's (And Lou Agresta's) Magnum Opus released -
The Razor Coast kickstarter is an insanely good deal at this point and if you haven't checked it out, please do so!
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That out of the way, you know my stake and what
Razor Coast means to me - I wouldn't be reviewing at all without this book. And here I am, doing the grand one, the huge one, my review number 1000 (though I've probably passed that number, since several pdfs are not sold on paizo) - Hope you'll enjoy it, for without you fine ladies and gentlemen reading them, none of my efforts would matter! Thank you so much for your trust and confidence!
Midgard Campaign Setting
This
massive pdf is 298 pages long, 1 page front cover, 1 page editorial, 1 page
patron list, 3 pages ToC, 1 page SRD, 1 page advertisement, 1 page back cover,
leaving us with 289 pages of content.
This review
is based on both the pdf for formal page-count etc. as well as the GORGEOUS
full-color hardcover patron edition of the book – number 26 of 206, if you want
to know. Mainly, I’ll base everything on my hard-cover, though – I always print
out pdfs prior to reading anyways. Oh, and to avoid any implications of not
being neutral: I did not contribute any significant pieces to this particular
patronage project due to time-constraints, but I have contributed to the
Northlands book and have been a patron of just about every Open Design-project
since I found all too late out about them. The only pieces of lore missing from
my collection would be Castle Shadowcrag and Steam & Brass – so if any of
you gentlemen ever wishes to part from either a print or pdf-copy, drop me a
PM. ;P
This,
admittedly selfish disclaimer out of the way, you’ll probably wonder why it
took me so long to get to this review. Well, the answer is surprisingly complex
and will be answered over the course of this review, so bear with me. Without
further ado:
What makes
Midgard distinct? Well, it is a campaign-setting that includes the most famous
clockwork city in fantasy, where two ennie-award-winning anthologies are set.
But Midgard is more: It is a world unlike the ones you’d expect: In contrast to
most campaign worlds, Midgard draws HEAVY influence from Germanic and Slavic
traditions and legends and it shows even in the shape of the world – unlike most
places, Midgard is actually flat and most people believe it resides in the coils
of the grand world-serpent Jörmungandr – it is a world not of straight,
contextless popular culture fantasy, but of the mythic, of the archetypical not
in the PFRPG-rules-context, but in the Jungian sense of the word, a resonance
of myths and legends through a lense and a world where the magic that makes
them possible is a very real force.
If you’ve
been following open design releases (and if you haven’t, remedy that NOW),
you’ll recall e.g. the fall of Ankeshel from Sunken Empires, you’ll know about
the alien Shadow Fey and the existence of ley lines throughout the land. If
you’re lucky and have the glorious “Halls of the Mountain King”-mega-module
(which is not available to the public, alas), you’ll also recall the lavish
detail in which dwarven culture is detailed and you may have read hints here
and there about the golden age the elves brought on before starting their
retreat. If you’ve read the best Planes-book since the Planescape-setting of
old, “Dark Roads & Golden Hells”, you’ll already have a distinct knowledge
of what to expect planes-wise and thus I won’t go into that much detail
regarding the planar set-up of Midgard and only mention that t is at once
distinct and easily modifiable via plug-and-play. If you’re familiar with Norse
myth, you’ll see the nods and obvious inspirations, but that’s by far not all –
the months, days and planets of the system also get a quick glimpse in the
run-up on this component of the setting. Now where the book gets crunchy in
this chapter is with its depiction of ley lines – 8 feats are provided to tap
into the power of those global arcane conduits and we get 3 distinct tables for
effects of different ley line strengths as well as a table of ley line backlashes,
but more on ley lines later. After the general history and cosmology have been
addressed, we are introduced to the heroes of Midgard and the interaction of
races in the setting. One final word o the history of Midgard – while
resonating with legends like sunken empires, the grand schemes of Baba Yaga and
similar cataclysmic events, the history leaves by design much more free room
for DM-modification and details than similar settings I’ve read – whether they
be Faerûn, Mystara or Golarion, focusing more on high concepts than details. A
decision, which I actually encourage.
With
Wolfgang’s words from the introduction: Onwards! The chapter on heroes covers
the dominant races of Midgard: Humans get paragraphs for their respective
ethnicities, which is nice, but in this regard, the setting falls behind
Paizo’s Golarion: There, we actually got full fluff-entries for the respective
ethnicities, something I would have loved to see here as well, but oh well. The
first new and distinct race introduced is a concept by now almost cliché: The
Dragonkin. I get their appeal and I understand how people can enjoy the race,
but personally – I don’t like them. Not due to some rules-gripes, for +2 Str
and Cha, -2 dex, darkvision 60 ft., DR 2 versus a chosen energy, +1 natural
armor, fly as a class skill and +2 to intimidate and diplomacy don’t feel
overpowered at all. My dislike stems probably still from an oversaturation with
half-dragons, dragonkin and the like in the 3.5 days of old. Speaking of
dragons, one thing I really love about the dragons of Midgard is the fact that
they are not into gold or color-coded by alignment: Dragons are elemental
forces and greedy for power more than gold, which for me feels more in line
with the ideal of consummate, hyper-intelligent schemers, so kudos for that. In
this context the dragonkin-race has its role cut out in the world and feels
like it belongs, though I still can’t really warm to it.
Now dwarves
in Midgard are interesting in that they are the makers of the first signs of an
industrial revolution, a proud race of craftsmen and reavers, pioneers of
gunpowder and airships and more in line with my personal vision of the race.
Elves in Midgard take a distinct bow to the Tolkienesque tradition of
retreating from the earthly affairs, leaving at what in retrospect may feel
like a golden age and subsequently they and the elfmarked (a feat that lets you
count as elven) still enjoy a higher status than most races in Midgard. Status?
YES! Beyond reputations in a given organization, an interesting component of
the Midgard setting is the class- and race-dependant status-score that denotes
your place in society and should make depicting believable world much easier:
After all, as history-buffs can attest, status tends to have been of utmost
importance in almost every culture and having a pointer towards one’s place in
a given social environment is helpful indeed.
Now the
other two major races of Midgard might come as a surprise to those not yet
familiar with the world’s lore: Of course small but fierce kobolds join the
fray of playable races with -4 Str, +4 Dex, -2 Con, small size, darkvision, +1
natural armor, +2 to Craft (trapmaking), Profession (Miner) and Perception.
They always treat Craft (Trapmaking) and Stealth as class skills and get light
sensitivity. The final new race detailed
with crunch would be the Minotaurs, a noble race that gets +4 Str, -4 Dex, +2
Con, -2 Int, -4 Cha, 60 ft. darkvision, are never flat-footed, gain +2 to
Perception, Profession (Sailor) and Survival and always treat the latter as
class skill. They also get a natural attack with their horns for 1d4 damage.
There also
are 7 minor races, though each only gets a short paragraph: Centaurs, Gnolls,
Goblins, Tieflings and Halflings play minor roles in the world, with haflings
being more a Tolkienesque stay-at-home-race. Gnomes in Midgard are interesting
as well: As a race, they have been cursed by Baba Yaga and are still haunted by
the legendary crone’s predations. Worse, as a race, they have entered a
covenant with the 11 hells, making dealing with gnomes in Midgard a harrowing
experience – after all, you never know whether Grandmother or some infernal
master is after the gnome you’re just talking to. My favorite race among the
minor ones, though, would be the Huginn – essentially Tengu, these raven-headed
humanoids fits surprisingly seamlessly with the Germanic mythology, as one of
their names implies.
Abrakadabra
– everyone knows these words of magic. But did you know that they are probably
derived from Arabic and roughly translate to the act of creating by uttering?
Languages define not only our perception, their descriptions carry the power of
categorization and an inherent word-view, a vast array of classifications that
slowly is subverted the more languages you truly master. Hence, languages in
Midgard (and 26 common and archaic ones are provided on a single page) allow
those who learn and master them actually some tangible benefits beyond
communication. As one who has banished any form of common from all of his
settings, I welcome this great idea to provide an additional incentive for
player characters to learn more languages.
In order to
not bloat this review up to over 5o pages and one day get it done, I won’t go
step by step through the vast array of regional traits and feat that conclude
this chapter and which are organized according to region. Now speaking of regions:
Let’s take a look at the first major region of Midgard, the so-called
Crossroads!
Now we get
customs and festivals for the whole region before we kick off with perhaps the
so-far best-known region of Midgard: The Clockwork city of Zobeck, lavishly
detailed in the Zobeck Gazetter, setting for the two ennie-award-winning
anthologies “Tales of Zobeck” and “Streets of Zobeck”, home of Rava’s faith,
the kobold miners, gearforged clockwork magic, the illumination school and
infinitely more, one of the most distinct fantasy cities comes with its
excellent 2-page map.
Speaking of
maps: Each region of Midgard gets a GORGEOUS, lavishly illustrated full-color
map and it is my true pity that, as per the writing of this review, there’s no
physical map-pack of these glorious maps: An oversight I hope that will be
remedied sometime in the future. The crossroads have more to offer than Zobeck,
though: Trade with the shadow fey via Zobeck is just one of the potential
past-times for brave adventurers here – if you’re more of the righteous crusader
type, there are two nations that should keep you interested: Detailed more
in-depth in the excellent Imperial Gazetteer, the Empire of Ghouls, a
subterranean empire of intelligent ghouls forever scouring the lands for flesh
to feed their ravenous hunger (first explored in the closed patronage project
of epic length) and the principalities of Morgau and Doresh, led by their
vampiric aristocracy that is in line with the gothic ideal of vampires as
sophisticated foes, should make for worthwhile, albeit deadly playing grounds.
If you’re more for ancient wildernesses, the Margreve (featured in the superb
Tales of the Old Margreve) and the Cloudwall mountains where Baba Yaga’s hut
wanders should have you covered as well. On the more bright, but not
necessarily harmless side, Perunalia, a nation of amazons led by Perun’s
(supposedly at least) demigod daughter might be not evil, but it’s inversion of
gender roles and the general disregard and belittling of men should make for
some interesting roleplaying experiences, as should excursions to the dwarvenIroncrag cantons, which back in the 3.5 days also got a gazetteer that
accompanied the now alas no longer available, stellar mega-module I already
mentioned.
A classic
good kingdom to stem the tide and serve as a backdrop for both glorious
tourneys and disheartening war-campaigns versus the other forces of Midgard can
be found in the Magda Kingdom, with the kingdom’s order of the undying sun and
military getting special mentioning. Not
as democratic as Andoran, though also deemed rather revolutionary would be the
electoral kingdom of Krakova, whose fluff also hearkens to some of the more
romanticized aspects of Nibelungen-lore.
Beyond the
crossroads, one may find the Rothenian Plain, vast steppe that also serves as a
roaming ground of Baba Yaga and her daughters. Guarding the Northlands, we can
find the silver mountain kingdom of Domovgorod, where a world-tree can be found
who branches into other realism – whether a sapling or semblance of legendary
Yggdrasil, it offers paths to many a strange place and the local Halfling
populace actually makes for fierce winter warriors. The endless tundra and
steppes that spread throughout Midgard is also the home of the Khanate of
Khazzaki, a place inspired by the Mongolian warlords as well as probably the
Dothraki and sports no permanent towns, though that does not mean that the
Khanate is peaceful or a force to be trifled with – after all, they managed to
repel even the forces of the Mharoti, but more on them later. The Rothenian
plane is also the home of the Demon Mountain and its mystic, legendary master:
A mysterious entity with distinct appetites that has spawned various tieflings and
who actually receives visitors ranging from troll kings, shadow fey
dignitaries, barons to even archdevils. In the northwest, nestled at the Nieder
Straits, lie the nine cities of Neimheim, home to the crafty and disturbing
devil-worshiping race of gnomes under the command of their supreme ruler
Redbeard, still as a race haunted by Grandmother’s vengeance and the need to
escape the doom of an eternity in hell to which all gnomes are born.
Of course,
the Khanate is not alone in claiming their own swath of territory in the
plains: The Rothenian Plains are also the home of numerous tribes of centaurs
roaming the vast sea of grass, raiding and counting their wealth in goats and
sheep as well as to the wanderlust-inflicted Kariv, Midgard’s very distinct
ethnicity of gypsies that is really set apart to the point where they are as
interesting to me as the Vistana of Ravenloft and if you know that this setting
is still my first true love setting-wise, the amplitude of this complement
should become apparent. A variety of
Great Kariv families are covered and recalling the cool and very distinct
social customs pioneered by various KQ-articles and other books, I can’t wait
to one day see a full-blown sourcebook on them. The final nomadic people laying
claim to the plains would be the totemic, dark-skinned windrunner elves with
their own windrunner kites and complete rules for flying these contraptions –
rather cool and fortunately relatively bereft of the clichés I expected to read
in their entry. The final nation of note here would be Vidim, the kingdom of
ravens, where the tsar and the huginn maintain an alliance: The raven-headed
folk make up the supreme spies and best soldiers of this interesting nation,
another region I can’t wait to read more about.
Now I
mentioned the Mharoti Empire and it is an interesting place: Governed by a
Sultana, the empire serves the ambitions and hungers of a conglomerate of
dragon lords that demand tribute. Superbly powerful, the empire has a huge
military machinery that constantly reaches out to expand and serve the will of
its draconic masters. The empire is also a place where, true to the service of
dragons, humans are second-class citizens: Koboldi (the local term for the
race) and dragonkin are valued much more and actually constitute not the
majority of the almost 50-million-peple nation, which actually gets its own,
very detailed map as does the imperial capital of Harkesh. Marrying
Al-Qadimesque oriental flair with labyrinthine politics, the feeling of an
empire of culture and wealth still expanding and draconic ambition and egos and
we have a truly intriguing hodge-podge that is even enticing to people like
yours truly who avoid using dragons very much and when they do, player
characters tend to die. Short paragraphs and provinces are also covered. If you
think the aggressive attempts of expansion of the Mharoti might make them
villains, you would be right as well as wrong, for the other nations around are
not necessarily better:
Take the
Despotate of the Ruby Sea, where slavers rule and continuously scourge the
Rothenian Plain or the seas to feed their flesh markets. Or Nuria Natal, a
nation that has repelled the Mharoti time and again, but paid a dire price: The
Egyptian-influenced nation has resorted to resurrecting its god-kings and their
armies to repel the Mharoti time and again and the resulting influx of
extremely powerful god-kings and queens refusing to get back to eternal sleep
puts a strain on politics, essentially hamstrings the current King Thutmoses
and may well result in an unpleasant segregation. There is light and hope here,
though: While the nation has been crushed by the Mharoti, Ishadia still exists
– while a shadow of its former glory, the nation touched by the heavens with
its array of aasimar might one day reclaim its former glory. Finally, there is
Siwal, home-base of the famous traders and their sand-ships and original
setting of the “6 Arabian Nights” close patronage project. Siwal is perhaps the
best-suited for traditional 1001 Nights-style playing in the region.
There also
are rules for purchasing exotic Mharoti animals, dry goods, several magic
carpets and other curios but mundane and magical as well as a total of 12
spells that can be found in the dragon empire and its surrounding regions.
Now if
you’d rather tell a story of war, political intrigue or any combination
thereof, I’d suggest you take a look at chapter 6, which details the seven
cities – 7 cities (two of which are mapped in the lavish quality of the book)
that have sprung up in the aftermath of the eleven retreat and ever since been
at war with each other. Now if you’re familiar with the codes of conduct of
warfare and conquest in the medieval ages, it should come as refreshing that
the warfare between these nations also follows a kind of seasonal etiquette as
well the rules of economy: While plundering, rapes and the less savory aspects
of warfare cannot be wholly prevented, the war-god-Mavros-worshiping cities
mainly wage relatively civil campaigns versus each other not to destroy, but to
humiliate, to extract ransoms, to gain territory etc. War is a means to an end,
a motor of a war machinery and a whole intricate web of war economies dependant
on not campaigns of annihilation, but of almost ritualized conflict. As such,
there also are 5 classic pretenses accepted for war that are displayed in the
chapter and political as well as economic reasons galore for them to go to war.
Beyond these, we also get detailed pieces of information regarding e.g. the
special breeds of horses cultivated in the republic of Trombei, the armies that
the respective cities can muster and hooks galore beyond the obvious warfare
and political backstabbing. If you want to play a “Song of Fire and Ice”-style
intrigue-laden campaign, this region’s instabilities and feuds should provide
you with fodder for years to come. Before I forget it, the region is also home
of the seafaring nation of Kyprion, homeland of the minotaurs and for now owing
fealty to the republic of Triolo: Here, the Minotaur queen reigns supreme and
both friends and enemies are invited to her palace. As the screams at night
attest, only her friends tend to leave… I’m not going to get into more details
here, but rest assured that the chapter is indeed intricate in the variety of
options to develop and play.
Chapter 7
holds an especially dear place in my heart, for this region, called “The Wasted
West” utilizes and imagery I am all too familiar with and enjoy: It is here
that the setting takes a short bow to Lovecraft and the Dark Tapestry. Serving
as a grisly reminder of the other side of warfare, these wasted plains were
once the home of grand magocracies. Emphasis on “were”. It is here that magic was used to wage total
war, escalating further and further and culminating in a terrible series of
rituals that called down the Great Old Ones. Now we’re not talking about
Cthulhu, Nyarly and co, but rather a series of immortal, mountainous
abominations that destroyed one another and crushed city upon city. When the
escalation got worse and worse, the ley lines torn, magic unstable and vast
titans waging unholy war, the Great Slumber was conceived – a titanic
invocation that did not slay these beings, rather slowing them to a very crawl
or halting time almost completely for them. Thus, these alien entities now
shamble across blasted plains, trudging eldritch symbols into the scarred earth,
fighting in erosion speed amongst one another or staring at the sun until their
eyes had been scorched out. These grand abominations are actually large enough
to serve as their very own ecologies, serving as both gods and locales to house
whole tribes of goblins, cities on heads or have wizard’s towers strapped to
their bellies – and woe to Midgard should they ever awaken from their slowed
somnambulist trance, for just the Magocracy of Allain remains of the cities of
old. Beyond the dust goblins worshiping the weird creatures and roaming the
plains, we are also introduced to the Duchy of Bourgund, resting in the shadow
of the only Great Old One felled by mortal magic and steel, the city actually
constitutes a very lawful, strictly regulate society, including a flourishing
black market and famed armor-bonded mages who can’t all stand up to their
illustrious legacy as abomination-slayers – complacency and magic-reliance
might one day prove to be the undoing of the duchy, for beneath the surface, it
simmers.. They are also known for their perfumeries, while Bemmea, capital of
the Magocracy is known for its magic and the glyph-shaped streets shown on the
beautiful map made me come up with some interesting ideas – think Perdido
Street Station meets Fall of Utopia. *muahaha* Speaking of evil laughter: A
massive table of potion side-effects and mishaps should also prove to be an
interesting surprise for the PCs, should they deem to visit the bottle market.
Beyond these, there also is the haunted land where giants rule, the small human
barony of Trenorra and the Gardens of Carnessa, where intelligent plants now
rule – whether commanded by a Mu Spore, an old one or some other inscrutable
force, these once wondrous verdant places now should test the mettle of even
the most hardened of adventurers.
Since
Midgard is flat, there is Barsella, the city at the end of the world, but I’ll
go more into detail about this place and the isle of morphoi in my upcoming
review of “Journeys to the West”. The chapter concludes with a grimoire called
the Black Spire Codex that contains 8 new spells, a new incantation (yeah!) and
a simple template to represent the warping effects of the magical fall-out land
that is the Wasted West. After these rather bleak expanses, let’s turn
to the Northeast of the crossroads and take a look at the nations found there: In stark contrast to most regions in Midgard,
the elven retreat has not plunged these reaches into chaos, though their
absence and the resulting chaos has touched the region as well. The main source
of the relative stability of the region can be found in a certain continuity –
led by a legendary elven queen for over 500 years, the region is guided by
perhaps the last living being to remember the retreat and her wise counsel has
led the areas and countless baronies into a relative stable era. The thing is, the
imperatrix is old, even for elven standards and shows first signs of losing her
wits – a tragedy not only on a personal level, but also since her rulership has
been such a guiding factor, her bloodline a uniting tie between the countless
baronies and duchies, which have with their entangled territories and numerous
sub-territories driven allegedly more than one cartographer insane.
Another
interesting component about Dornig and its surrounding areas would be the fact
that the land contains two vast forests, which, while not the Margreve, remain
deadly, dense woodlands that conceal ancient secrets and dread foes. I
mentioned the 7 cities-region as a prime example for “Song of Fire and
Ice”-style gameplay regarding the warfare and shifting political boundaries. If
you want to go a step further and play a campaign of courtly intrigue, I may
instead suggest this region: Not only are the numerous ancient families looking
for new blood, there’s unexplored territory in the forests aplenty and we also
get a new incantation-ceremony to take the mantle of rulership and concise
rules for getting one’s own barony! Plus, you can always combine this area with
ventures towards the frozen reaches as there actually is a former northlander
Viking fiefdom serving as both an economic gateway and as a place to start
immersion into the final cultural region detailed herein: The Northlands.
The
Northlands-book was my number 1 roleplaying book of 2011 – that should tell you
everything right in a nutshell. A book that BELONGS into any PFRPG-library and
perhaps one of the coolest sourcebooks (pardon the pun) ever devised. This
chapter sums up some of the components in the book and serves as a
gazetteer-like introduction to these gloriously detailed, wild, untamed and oh
so brilliant and beautiful wilds, where Vikings set sail, were-bears have a
honey-producing kingdom, people are hard and honest and Hyperborea’s fabled
lands loom somewhere hidden in the eternal ice. Have I mentioned that you may
actually set sail to “Holmgard and beyond”? If putting in the Turisas-song
while manning your longboat to these reaches doesn’t get you pumped, I don’t
know what will. A great chapter, but I
highly recommend you get the full sourcebook with its rune-magic and grudge
magic, with its variant rules, equipment and much more details than this
chapter can ever hope to cover.
The final
chapter then details the gods and how Midgard handles them is much more in line
with my own DM-approach: First of all, gods are not shoe-horned into an
alignment, but rather given a tendency like chaotic or lawful – after all gods
are inscrutable and beyond the moralities of petty mortals, their words and
holy texts open to interpretation and thus also conflicting visions of doing
one’s god’s bidding. Furthermore, the gods of Midgard wear masks – this means
that one god may go by multiple names and aspects, perhaps with conflicting
ideologies or seemingly contradictory agendas. This makes them stand out more
and also changes the way, clerics should be played – after all, they are no
arcanists with different spell-lists, but agents of inscrutable higher beings.
Hence, we don’t get write-ups of gods per se, but rather of religions: Whether
Perun of the Crossroads and Thor are the same god is up for debate and some
even claim that there is but one god. Over all, this concept makes the
religious landscape much more fluid and the gods come off as something
completely different from the set of abilities and domains one chooses to best
complement one’s abilities. A great approach and even pantheist priests are
covered. The gods per se are hence also covered entries by region, organizing
them in a logical and concise fashion. Better yet, the vast majority of them
are actually interesting and put new twists on classic myths of earth, with
Æsir and Baal finding a place as well as Bastet and others, but sans making it
feel like a hodge-podge rip-off of real-world mythologies. Familiar and
foreign, all entwined in compelling
write-ups.
Now if
you’re playing the AGE-sytsem, you’ll have 25 new backgrounds to look forward
to, allowing you to play zobeck kobolds, gearforged etc. We also get a total of
7 new specializations (including the harem assassin!) as well as a whopping 40
new spells and 3 new talents. The pdf concludes with an appendix of regional
encounter tables as well as a list of recommended further reading and something
that is NOT optional in my opinion, at least not in books of this size: The
detailed, 4-page index makes finding information and actually using the city much
easier.
Conclusion:
The Midgard
Campaign Setting, if the length of my review was not ample clue, is a massive
TOME of rpg-goodness and it shows – but it is not perfect. Editing and
formatting indeed have suffered from some neglect that I hope will be rectified
in future printings: While I noticed
some minor letter-mixup-typos and glitches like “veven[sic!]” there is one
particular glitch that bugged me to no end while reading my hardcover: The “See
Page XX”-brackets are UNIVERSALLY broken. They ALL show $$ instead of the
correct page numbers, which actually makes handling the book less comfortable
than it should be, so that is a major thing for me. On the more positive side
of major things for me would be the GORGEOUS full-color layout by Calle Winters
ranks among the finest I’ve seen in any Rpg-product out there. The full-color
artworks are also on par with this top-notch production-values and aesthetic
appeal, though you might know several of them from e.g. Kobold Press-product
covers or from older Open Designs, they nevertheless manage to maintain a
unified look of premium quality.
Now I
really suggest you get this getting in print, preferably in hardcover, for the
book is stitch-bound, beautiful and solid and full-color – printing out the pdf
would extol a brutal drain on your printer and the lack of a printer-friendly
version means you won’t have the option of printing out a bare bones
b/w-version.
Now,
perhaps my hope is in vain, but there are certain reviews of mine into which I
pour my heart’s blood, usually for books that show the same level of commitment
and passion. And once in a while, I get my hands on a book that keeps me
afloat. Reviewing bad books tends to frustrate me as it’s a thankless, dreary
task. Mediocre books are even worse, but that’s another story. What’s relevant
and what’ve tried to convey to you, dear readers, over the last pages, was that
this book is neither bad, nor mediocre – it is quite the opposite. It took me
forever to write this review because it took me forever to digest all the
possibilities in this book, all those glorious ideas, all those awesome
references and concepts. This book was my go-to book when reviewer’s
frustration set in for about half a year. It’s that good. The wealth of
information, the sense of ancient wonder, of a setting that is truly wondrous
brought me back to the days when I as a wide-eyed child read the “flora &
fauna”-AD&D-bestiary. It brought back the sense of wonder I felt when I
first read about the Forgotten Realms, before that setting was drowned in
factoids and epic level blacksmiths. It even managed to recall the sense of
true excitement I had when I first read Planescape, when I parted the mists to
Ravenloft. Midgard has the spark of genius that made me like these settings,
the spark that makes it stand out.
Well,
Golarion also has this spark, but there’s a huge difference: While both worlds
are glorious and fun to play in, they both cater to a vast array of different
playstyles and Golarion’s patchwork nature has always, not on a conscious, but
on a subconscious level, bugged me – Ravenloft could pull the patchwork concept
due to the limiting factor of mists, whereas Golarion has no true reason why
e.g. psionics, gunpowder etc. have not found a more wide-spread resonance and
revolutionized the world more apart from the metagame-reason that some people
don’t like them. Also, regarding local politics, fiefdoms, liege lords and
allegiances, Golarion is as per the writing of this review not sufficiently
detailed to imho properly cater to court-intrigue/all-out warfare gaming.
Midgard, in direct comparison, feels less like a patchwork and more like a
unified world – one with vastly different regions, yes, but it feels more
concise to me. Ironically, while the setting's detailed history is much more
sketchy and less detailed, it also feels like the older setting, like a setting
that lives and breathes our myths and history. Midgard is the more conservative
world and at the same time, the one that lends itself extremely well to
uncommon playstyles like court-intrigue just as well as to traditional
adventuring. I won’t say that Midgard is the better setting, since you can’t
really compare the two, in spite of what I just tried, but let it be known that
even if you opt to not play in the setting, this book is so rife with ideas,
with innovation, with passion and genius, that you won’t be able to help
yourself being swept away, being inspired. For that word is what describes this
setting best: Inspiring. This is not only a glorious setting, it is an excellent
read and should be considered a must-purchase for any DM out there. Do yourself
a favor and bring some wonder back to the fantasy genre and blow those dusty
cobwebs away. This book brings back the wonder, and thus, in spite of the
annoying glitches, I’ll settle for a final verdict of 5 stars + seal of
approval.
Thanks to everyone who reads my reviews, everyone who clicks the banners and everyone who puts his trust in my verdict and drops me a nice word - it's for you guys I do this. To you, ladies and gentlemen!
Endzeitgeist
out.
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