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Requires the use of the. Greg Benage. Brian Schomburg. Christian T. Bang Printing. County Rd. B2 Roseville, MN A copy of this License can be found at www. All rights reserved. This work, or parts thereof, may not be copied without permission. Steampunk Campaigns. Character Classes. Skills, Feats, and Spells. Steamcraft and Black Powder. Steamcraft Vehicles. Chapter 4 provides detailed information on new equipment and technology, from steam- craft devices to black powder weapons.

The chapter also presents detailed rules for firearms in a steampunk fantasy campaign. Chapter 5 presents comprehensive rules for steamcraft vehicles, including dramatic chases and vehicle combats. The chapter closes with descriptions and statistics for several common vehicles that may be encountered in a steam- punk fantasy campaign.

Chapter 1 presents an overview of the steam- punk genre. The chapter dis- cusses what steampunk is, what it looks and feels like, and how to introduce it into your fantasy game. The chapter describes the changes steampunk technolo- gy will make to an existing campaign and provides guidelines for creating steampunk settings and adventures. An appendix at the back of the book includes a comprehen- sive index and reproduc- tions of the equipment and firearms tables found in Chapter 4.

The Open. The introductions to indi- vidual chapters and section detail specifically the Open Game Content found within them. All other text is designated as closed content. Chapter 2 provides detailed information on character classes in a steampunk setting.

It begins with guidelines on incorporating the existing core classes into a steam- punk game. The chapter also provides three new classes and more than a dozen prestige classes, complete with associated organizations that a DM can use in his steampunk setting. All illustrations, pictures, and dia- grams in this book are Product Identity and the property of Fantasy Flight Publishing, Inc. Chapter 3 presents a handful of new skills, including Drive, Munitions, and Use Steamcraft Device, that allow char- acters to take advantage of the new technology introduced in a steampunk campaign.

The chapter also provides guidelines on new uses for existing skills, as well as new feats and spells appropriate to a steampunk campaign. The Open Game License is printed in its entire- ty at the end of this book. For further informa- tion, please visit the Open Gaming Foundation web site. This book is about science, and fantasy, and what you can do when you put the two together.

The text of this chapter is closed content. The engine of this transformation is traditionally steam power, which worked so many changes in his- tory during the Industrial Revolution, but the underlying technology is really irrelevant.

Once the steam genie is out of its cast-iron bottle, progress will keep racing ahead. When a technology is ready to be born, it seems to push itself out wherever there is a receptive mind…. The machine, too, is a symbol of greater change. Other great constructions, like castles or monuments, can exist in something of a vac- uum: Their mere existence implies compara- tively little about the society that built them.

Machines, however, require a significant infra- structure. A gigantic steam-powered factory. Where cyberpunk 5. The Difference Engine puts clockwork supercomputers, com- plete with digital imaging and artificial intelli- gence, into a Victorian London greatly changed by the presence of such technology. This high- lights one key trait of steampunk fiction:. Steam, then, is an agent that suspends disbelief and advances technology, a plot device for including plot devices.

Instead of merely building on existing devices of the time, steam takes modern-day technology and recasts it with brass rivets and bubbling boilers in a new setting. Victorian steampunk is the most common expression of the genre.

The Victorian age was the time of the great factories, of great strides in industry and technology, of railways and sci- ence and workhouses. Titanic smokestacks belched the fumes of thousands of furnaces into the gray skies, and technology did trans- form the world.

Once Wells enters the field, the genre runs into the border of the pulp series of the s and 30s. Beyond pulp and the ivory-tower science fiction of the 50s and 60s, we can dimly glimpse the seeds of cyberpunk, which brings us full circle on this whistle-stop tour of the history of steampunk.

Pulp and steampunk share a similar attitude towards science. Science and technology have moved from the province of mystery and alchemy, and are becoming much more familiar, much more optimistic.

Steam is the new frontier of the Empire, the great accomplishment of sci-. Of course, all that relates to the common set- ting of steampunk fiction, which is an alter- nate-history version of Earth. Magic and its practioners may be opposed to steam and see it as a terribly common and clumsy method for the masses to get what should be reserved for the learned masters of the arcane.

Alternatively, both magic and steam can be yoked together by brute industry, where the spells and mysteries of magic are broken down, analyzed, and mass- produced. It was steam power that triggered and drove the historical revolution, a change that swept away the old orders more efficiently and completely than any philosophy or Renaissance. Steam is change, movement towards the unfamiliar and the wonderful. The Steampunk Aesthetic.

Obviously, the trappings and mechanisms of steam power—cogs, pipes, boilers, lightning rods, valves and the like—are everywhere, but even things not improved by technology have traces of steam.

A suit of plate armor might have brass rivets, or a shield might be shaped like a cog. The architecture of steampunk draws from the vast buildings of the Victorian era, looming gothic strucutures decked with chimneys and gargoyles, baroque monstrosities of metal and stone rising into the sooty clouds. Things in steampunk tend to be either absolute- ly filthy thanks to all the smoke, soot, and trash produced by industry, or else scrubbed bright and shiny, every rivet and plate shining proud-.

Similarly, steampunk characters tend to extremes of being either despicable, backstab- bing guttersnipes written by Charles Dickens on absinthe, or else heroic, honorable scientist- heroes out of Jules Verne. As many works in the genre are alternate-histo- ries, steampunk is commonly associated with Victoriana.

Society is more genteel, more con- cerned with manners and propriety, but possi- bly more complex and deceitful from the per- spective of humble wandering adventurers. Titles—both noble titles and the names of products—are emphasized. Steampunk can, however, be added to the clas- sic medieval fantasy setting without adding any Victorian mannerisms.

The Renaissance is close enough to work, and that time brought forth the steampunk imaginings of Leonardo da Vinci, who sketched steam tanks and heli- copters and other devices in his famous note- books. Fantasy steampunk can feature the tech- nology of the 20th century built with the mate- rials of the 19th by the scientists of the 16th. The Science of Fantasy. In the steampunk setting, new technologies are taming all the natural phenomena that once seemed so frightful.

Steam power makes machines seem to live. A key on a kite inspires the first glimmers of electricity as a tool. Formerly inaccessible regions, such as the widest oceans, ice-choked seas, or even the upper reaches of the firmament are conquered by steam-powered machines. In most fantasy settings, though, many of these wonders have already been accomplished. The widest ocean can be crossed in a moment with a teleportation spell, and white dragons or snow elves make their way across ice-choked seas.

Rather than letting steam take second place and merely replicate what magic and fantastic creatures have already accomplished, steam should go further and open up new vistas to explore. If magical flying skyships already sail the clouds in your game, then a steam-filled balloon is not going to add much. However, if steam tech- nologies can be used to hugely increase the range of a skyship, and an iron hull used to hold in the air and ward off the cold of 7.

There are always new wonders to be found. The Thought Experiment. Magic is essentially arbitrary. Its underlying rules change from setting to setting and often from instance to instance.

If the prayers of clerics can effectively cure diseases and wiz- ards can teleport across the world in a heart- beat, how can plagues and unexplored regions still exist? Even when an author attempts to reconcile magic and realism, the results are often unsat- isfying. The abilities, limits, and amount of magic are poorly defined. Everyone has their own conception about how magic works, and creating a common framework that can be agreed upon and handles all eventualities is dif- ficult.

Technology, on the other hand, exists and is understood to some degree by everyone. Adding or changing technology to create an alternate-history is much more workable, because common assumptions can easily be made about technology.

No one is quite sure how the presence of magic would affect a peri- od of history, but a much better guess can be made about the presence of technology. Steampunk alternate-history therefore can make huge changes to history, while alternate histories involving magic are much more cau- tious and keep magic hidden and mysterious. Steam encourages logical extrapolation towards big ideas.

The Familiar In The Fantastic. The world of steampunk contains echoes of our modern world. Fragments of familiar things— aspects of technology, attitudes, ideas—are presented in strange new forms and in unlikely places, and are contrasted with the historical culture.


Legends & Lairs: Sorcery & Steam

Every item in our inventory has been inspected, very strictly graded, and bagged for its protection. Shrink Wrapped. Still in the original factory shrink wrap, with condition visible through shrink noted. For example, "SW NM " means shrink wrapped in near-mint condition. Near Mint.


Sorcery and Steam (Legends & Lairs, d20 System)

A publication, it is subtitled "A Resource for Steampunk Fantasy Adventure" and appears, visually speaking, as if it has been scanned into. A quick browse of its catalogue entry at www. It should also be noted that this e-book was published before the release of the 3. Because of the initially questionable aesthetics of the product, it was with some trepidation that I continued on to read and consider the contents of the volume. Since I have already discussed the aesthetics of the book, I'll finish that discussion before I go on to write about the gaming content itself. Sorcery and Steam is a black and white product, and this includes its interior illustrations, which are greyscale images with a gritty or hazy feel to them which I think is nicely evocative of the ambiance of a Dickens novel.

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