"All and all you're just another brick in the wall."
-Pink Floyd

Between the cracks of reality that this world affords you, exist the vanishing places. Within your home, your office, your church, they lurk. How they manage to fit, no one can imagine, no one can say- but between each room, in the cracks of each corridor, there they lie, silent and still. They divide and separate. They confine and imprison. They defend and repel. But before all else... they take. They steal our lost and confused. They capture our murderers, madmen. They grasp our missionaries and magicians, genuises and retards. The mentally ill, the morally sick, the autistic and artistic, the quick and the dead, none are safe from their collapsin borders. Above all else, though, they arrest our freedom. Our dreams and hopes, loves and losses, ideals and ideas, all of these exist within a world subject to gates, borders, and parameters. We live in a world bound by walls.
We break them and build them everyday. The simple action means nothing to us. We can open them, look into them. We construct them and the create habitats between them. But we will never exist within them until they are ready. There within each stone, wood, metal or golden partition that girds us from intimately knowing everything there is to know is a world undefined. Within these splinters of being lie the entirety of dream. The essence of the vanished. There lies the memories we have forgotten, the stories we have never written, and the people we have never met. Or maybe we have. Maybe they just got lost along the way. Maybe all the hopes and passions, lost loves and vengeful enemies, stories, and tales, maybe they're somewhere else entirely. Maybe they're trapped. And maybe they're finding their way back.
Maybe they live in a world as dark and shattered as the bridge between sleep and sound, where only the real world's mirror fragments remain. A place with no borders, partitions, or dividers. The only cavern where your consciousness and senses create only an endless maze, a collective memory of all experiences never experienced. Nothing is constructed which has not already existed for centuries. Nothing disappears which has even existed to begin with. And within the paradox of space and delusion, dream and time, fantasy and location, maybe there they live and fight and die trying to escape. And maybe with them they carry the only elixir fit for your salvation. Maybe the solution is no longer to build, nor destroy our walls...
...we must live between them.
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This is a brief introduction to the world I'm working on called walls. This world is a place where everyone who ever vanished, who you thought was kidnapped, or who may have been murdered but no one's quite sure- this is where they go. They're called the "vanished" and they exist as new beings in this world between worlds. Men from all times and places exist in this special place. Time moves differently between worlds and no one dies of old age. You see Nazis fighting against Cowboys fighting with Ninjas who are escaping from dinosaurs. All within the confines of a funhouse mirror cavern. Pieces of Stalin's architecture meld with the ruins of Egypt. Alleys and skyscrapers fuel the upsides of the borders of this world. Alien civilizations have vanishers as well- and where did all the monsters go? They went between the walls of what we were and were not willing to believe.
Players begin life as a newly vanished. They allocated a certain amount to their Mind, Body, and Soul. They have forgotten who they were and what they wanted. The walls have forced them to leave much of their true selves behind in the real world. Their entire Essence has been dwindled down to a mere 15% of their total personality. They'll take this Essence and allocate it to their Mind, Body, and Soul. This will then determine their Health, Control, and Will by combining (Mind+Body, Body+Soul, Soul+Mind). As they gain experience they are actually gaining real experiences back. The vanishers are becoming more and more real with every battle they face and every challenge they overcome. They are striving to gain 100% of their Essence back and hopefully (if it's even possible) return to their homes. Every bit of Essence handed to them gets allocated to their stats and their substats rise with them. But they must be carefuly because the more powerful they get... the more the walls want to make them a part of themself. They want to take more of the memories and dreams we have worked so long to accomplish. All this to adorn themselves with and create a sick tapestry of the lives of all those they've taken.
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This is the general idea of the world and whatnot. If enough interest is shown to the world of walls I'll post the initial character classes or archetypes as well as my ideas on the combat system and some more information about the world to begin with.

This world is in its very beginning stages but I believe there is a lot here worth working on. Please let me know any initial thoughts or suggestions you may have. I realize I haven't given much- but it's about all I have.

---Architect

architect wrote: They grasp our missionaries and magicians, genuises and retards.

No, I'm not trying to offend people. But-
a. I don't believe in PC terminology
b. More importantly though- I wanted to grasp, like, different language on each of the subjects to imply just how vast and different each and every person could be. I suppose I could change it to "retarded" but the point wasn't to poke fun. The point was that I felt like I could say racial slurs because that's the way the world is- they take from the heart of the human mind.

I see your point. It's not really worth contending.

But if that's all you have to say about it... clearly I haven't done my job.

I think this is a great idea. Very different and interesting. I would like to see where this leads, for sure.

As for the "retards" comment...I don't really see the issue. There are many RPGs out there which use terminology such as this as well as profanity. Being they are not generally aimed at the very young, and those who do play RPGs are usually a might bit wiser, smarter and more understanding than the common joe (and in some cases even far more mature!!! heh), don't change it.

It sets a certain feel for the introduction, and lets them know that you are pulling all the stops. If you offend 10% of the readers, you will draw in the other 90% who don't care.

Just make a point not to slander certain demographics. IE: No "N" bomb, or other racial derogatory slurs. Saying "Retard" doesn't necessarily mean meantally challenged after all.

But I digress, and heavily.

I think the concept is sound, and the very simple list of attributes you stated work. Do tell more...

What sort of place is it? Supernatural, with crazy powers? Gritty realism? Something dark and evil?

Well, certainly, it's your game, and the language you choose will set the tone. You asked for comments and impressions, and that's the item that stood out for me. I'm sure others will react differently. Something to think about, though, is that when you put language like this in the rules, you, the author, are saying it. If it's in dialogue, well, then it's the character saying it. Lots of wonderful people create stories with and about terrible characters.

If I'm having a conversation with someone, and they start spouting racial slurs or other biased language, I'll call them on it. If they continue, I'm not going to continue having a conversation with them, even though things such as racism exist in the world.

So, realize that at least one person, instead of walking away with "wow, what an interesting concept" walked away with "wow, how offensive." If that's what you want, then great. I'm not trying to be preachy and tell you what you should or shouldn't say, I'm just pointing out the effect it's going to have on your readers.

Continuing on with the content- though I have taken into account all comments on the language of the world- I'm going to discuss a little bit more about the character of the world.

The litearary influences of this world come from Neil Gaiman and Mark Z. Danielewski. Very specific notices of their work actually. The House of Leaves as well as Neverwhere are giant inspirations for this game. The world- though it is not a horror game- is filled with the uncertainty of a dream as well as the blackness of the same night that vision takes place in. There's a looming sense of fear in the fact that there is a strange organic nature to the world. Everything feels alive and orchestrated by, what some call, the "Architect" (My name for the DM, GM, whatever). The truth is, I've created rumours for how the world of walls exists and for what reasons- but I leave no absolutes. Some gamers and players as well as characters and tribes can believe what they want. But the only thing players know is that they have disappeared and they are here now.

As far as abilities and spells go I'm working off of Crowley's definition of Magick- any application of will. I've evened out combat and skills by putting them under essentially the same system (still in the works). A punch in this world is just as much an application of will as would be bending the shadows around you. Well... maybe not the same- but the concept is there.

A lot is like a lucid dream- some things you'd find to be simple, are definitely not- and some things, like spells, come easier than you'd expect. I want combat to be fast paced and creative. Imagination is the key in this game. I leave the system simple so that players feel like they can draw from any time period or world that they create.

I want the game to blend noir with fantasy. Space-pulp with dark-rooted magic. Mike Mignola working with Dave McKean would be the perfect artists for this project. Pools of shadows are everywhere- the world is never light- never day. But somehow we have torches, fire, light, night and day. Somehow light reaches us. Maybe through broken windows that let in light no one can find. Churches let in light through stained glass windows. Preachers and vampires lurk together. Jazz music with a choir of the insane all sing and play together. This world is the music that doesn't resolve.

The world feels a lot like a collage of worlds. Buildings fall against and into and out of each other. And the people that are naturally born there have grown in a very strange way with such a weird gene pool. Weird cults and tribes have been created in the wake of such a strange world. The thing about the naturally born though is that they have none of the powers that the vanishers had. The vanishers have been chosen for a reason. Be it malignant or grandly beautiful, no one's sure.

Next post I'll give the starting list of character classes if you're interested.

ummm... it IS an issue.

the second I read "retards" my brain fell right out of your description.
a third of your readers won't care, a third will be offended, and a third will snicker and chortle.

do you really want 2/3 of your readers to so instantly unattatch from the text?

in truth, i haven't read past it. i can't. i get to "retards" and can only picture Matt Dillon in Something About Mary.

Come on, people. I've taken that into account. It's changed in my rulebook- let's assume for the time being that it is also changed in this post- since, as it were, the forum does not allow me to edit past 60 minutes.

I'd really prefer this post to be about the concept of the game- not the diction through which it was presented. The simple case has been made against it- and won. But I am supremely discouraged by the fact that a simple social mistake in one word keeps so many people from even attempting to read through the rest of it.

Consider it a typo if you will- or consider me just a heartless man. However, at least consider the game. I realize the annoyed readers is a response for how the real world will react, but like I said, I can't change what's up here and I don't want to be forced to start a new thread to appease that. The fact that it is changed in my copy of the rulebook should be appeasement enough.

Please view the game for the game. The stylistic trimmings of the language shall change due to what I believe is the target audience. If you can't get past that, that's fine. But if you can soldier through what appears to be the worst slew of language since "Pulp Fiction" hit theatres- please, for the sake of the growth of me as a creator and this game as a creative venue- do.

I don't think anyone's taking it that way. For myself, at least, I was sincerely pointing out a potential problem. It wasn't clear that you'd considered it and accepted it. You asked for first impressions, and you got them.

Yes, and I appreciate that. However, now that we have that resolved- which I sincerly believe that we do. I would like to move on to second and third impressions on the content- the new content I have posted, and what people generally think of the world. If there's nothing else there? Then that's fine as well. But I would honestly like to deem this problem solved and move on to bigger and better problems.

I'm now going to give the character classes with a detailed explanation to follow:

The hero,
the herald,
the mentor,
the shadow,
the trickster,
the shapeshifter.

They are called "the vanishers," those who once were and now aren't. Those who we try and forget though we know that we once knew them. They are the nagging memories- the friends that you don't know what happened to. People you now say were once "imaginary friends," deja vu's and dreams long forgotten. They are where writer's get their ideas and where they lose them to. Writer's block is just a wall of the mind.

The "hero" is not necesarily the "hero" of the story- most of these names are subject to change, they are just my first thoughts from the architypical model I've been using.

The Vanishers are those who slipped between the cracks of reality. In some way or another the walls of reality saw fit to open themselves up for these. It happens everyday. Friends and family are never seen again. Trips are taken with no return. People go insane, fall comatose, never wake up, and die. People you love and cherish vanish without leaving anything but your memory of them. After awhile you start to doubt even your memories of them. The only reminders you have are pictures and gifts. But the walls [‘hold all your memories more than you ever could. Not only this though, they hold your loved ones. Believe it or not, they’re starting to doubt their memory of themselves just as much as you are. They are the vanishers, those who never return. And they make up the entire population of the world of walls.

Hero- these characters are the wall’s firstborn children. They serve to heal and to sacrifice. Since they’re born into the world they don’t suffer certain sacrifices other characters must make. They feel perfectly comfortable in the womblike world that has been created for them. They sense a destiny to be kings and rulers someday. Many of them won’t survive that long, but the few that do become true heroes of the underworld. They are good natured and innocent, the wall’s desire them to keep the world running properly- to bring a sense of right and wrong, justice and truth, to the table.
Heroes find themselves full of healing energy between the walls. They restore the health of the mind and body. They do not suffer any of the world’s strange effects. They feel completely unimpeded in any action they feel free to do. In combat they are free, direct, and strong. These children are light-bringers in every essential way. They are compelled to serve and sacrifice and do right in this new world that took them in from the world of orphanages and abortions.

Herald- these characters were sucked into the cracks in caves, caverns, and mountains. Whatever it may be, these characters were taken by the natural walls of the real world. They have a sense of premonition of the movement of the borderlines of the world around them. They are primarily defensive and nomadic. They like the knowledge of having seen many different types of walls. They are explorative by nature, as they believe that somewhere there is a way back to the real world. It takes them awhile to realize that they are no longer in the world they once believed in, as the change has not been very drastic.
Heralds, like the druids they left behind, feel an overwhelming amount of sympathy for their new home. Like John the Baptist or the Native Americans they forsake themselves the pleasures of civilization. The company of the land is all they need to survive. They find it remarkably easy to find shelter and food within their new master’s arms. They do not fear the walls because, for some reason, they can feel their movements before they occur. They are the call in the darkness warning of changes in the world around the vanishers. Oftentimes they serve as ranger guiders and border watchmen for the world’s wary wanderers. They believe that someday, if they stay one step ahead of the game, they’ll be able to feel an opening in the walls and return home. Maybe some even have.

Mentor- these characters are the only ones to be created by the walls themselves. With the womb like architecture and maternal instinct of the walls, the mentors were created to provide a fatherly instinct for the firstborns, the heroes. They can manipulate the walls around them, the consequence being a destroyed wall in the real world. Most of the time, they serve to teach the hero about the world, about the powers people have. They have a great knowledge of the way the world works. They are the walls' androids, modeled after humans to teach humans.
Mentors, being carved out of the collective essence of the walls, know much about the strengths and weaknesses of the Da’athi. They know a small amount of the constant flux layout of the universe. They even know something about healing and magic. They were designed, however, not for combat at all. It seems that they were designed with only a group mechanic’s mind. They defend with their knowledge and mind walls. Incredibly powerful ones find themselves having subtle influence on the movement of the great barriers and architecture of the creator’s universe.

Shadow- these characters are the wall’s stolen children. They died against a wall and were taken, against their will, from their land of peace, from their final rest, to the walls. They become ghosts. They are the magicians, the changers of reality. They are trapped within the walls of this new world as they died against the walls of their old. Instead of sleep… they haunt. They haunt the real world, their only glimpse of hope that they can find or afford. They desire to get back to the real world more than any of the other characters. They don’t normally get along with the heroes who have no desire to reach the normal world at all; it is in fact foreign and strange to them. The shadows, however, have powers of escape that they never had above, they are not bound by most of the rules of the underworld, and the only walls they cannot cross are the boundary between their world and the world above. The only time they ever do, though, is in their sleep.
Shadows in their spirit dust and ghost flesh are not troubled by the confines of their physical cage. Instead, these shades of former life are constantly aching for the pump and vigor of blood. Ethereal and soft they move like silhouettes on a stage. Tongued attacks of thick and cold breath pierce their enemies as they creep through their bodies. They feel more alive within the walls, housing themselves into the ground as a sweet and solemn grave. The density and extreme frost of the dream borders gives them a solitary solace within the shadows of grace. The shadows soar through the world possessing, haunting, and sifting through the multi-realities of a world that never belonged to them… and may very well never.

Trickster- these characters were taken by the night. One night they disappeared never to be seen again, the welcoming home of the walls found them to be quite resourceful at manipulating the ever-present shadow dusk. They find a way to survive easily as their natural inclination to steal and blame, lie and cheat, spy and serve creates unique opportunities for them in the underworld. They find themselves creating mischief in the night and all their time in the shadows reminds them of a world they left long ago. In their dreams they remember the world they left but feel less of a desire to return to it than most. They feel the comfort of a lucid dream as the dream lord seemingly took them in the night.
Tricksters slip through the boundaries of the dark unnoticed by all those in the light. Talented or knowledgeable vanishers of this inclination can even bend the shadows in a kind of magic of their own nightmares. They can mask and conceal, trick and deceive, they slip through this dream world they have created through the clever and elusive use of hiding the fact that the citizens of walls are even awake to begin with. They long to feel light again but cannot give up the safety that their shadows bring them. They feel a complacent and oftentimes even cowardly connection with the dark.

Shapeshifter- these characters were taken through their minds. They crossed the boundary between sanity and oneness as well as insanity and a fractured whole. They broke down the walls of their mind. However, their transformation was not complete, part of their fractured self was left in the real world as a babbling husk. They trick and deceive, the laugh and juggle realities. Their constantly shifting nature makes them a great part of the walls; they seem to understand it better. However their splintered mind wants them to return so it can reach oneness, thus causing them to fluctuate between weak and strong. Oftentimes they feel perfectly at home with a world that shifts as quickly as their minds do. Other time, though, they feel a strong nagging desire to return home to their natural body, thus they find themselves running and screaming down the dark corridors and walls of their divisive world.
Shapeshifters burn their retinas with the cracked dreams of the broken and beaten walls. After taking in enough broken shards of reality, shapeshifters eventually outpour and change around them. They imprint and mar the walls with a stained dream-paint. Subtly and slowly until they ultimately grow into two (or three or legions) of smashed husks infesting a body and soul the shifters take in cold and lifeless coal, spewing out burning beautiful and multifaceted diamond. Where these vanishers appear begins to grow as broken and tired as their minds. They change the world around them at the price of the ever-changing world within their brains.

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That's just the first draft ideas of what will later be a greater list of character classes. I use the archetypes from a classic "hero's journey" plot model. The beautiful thing is that there are as many walls and archetypes as there are facets in our mind. The borders between countries, ideologies, states of consciousness. All of these things can be determined as a place where a vanisher was taken. You can have a "true king" a "merchant" a "poet" or a "dreamer." Any character archetype like a "hunter" or "animal helper" that you can think of- that appears in the mind, or in literature (check in fairy tales especially) can be found in this world.

Architect,

I like it. I really do. The retard thing - read right over it, nodded, and it set a piece of the mood for me - AFAIK, leave it, if it works for you.

I also like all the rest you're describing - however, one point: the Forge tends to be pretty question-answer oriented. 'How do you like this' will gather less response than 'I have this issue XYS, this is how I'm trying to resolve it through ABC, can anyone help me find the missing piece'.

Just mentioning it so you'll get the response you want.