#10 of the Top Ten of 2017
This massive tome clocks in at 221 pages, 1 page front cover, 1 page editorial, 1 page ToC, 1 page SRD, 1 page back cover, leaving us with 216 pages of content, so let’s take a look!
This review was moved up in my review-queue as a prioritized review. Furthermore, I was a backer of the KS that made this book. I was not in any way involved in the production of this book.
However, there is one thing you need to know: I am a Japanophile of sorts and as such, I am predisposed to liking this book.
But what exactly is Kaidan? The short answer, obviously, would be “A Japanese Horror Setting.” – This, however, does not really help, so let us take a step back for now and talk about the representation of Asian cultures in most (Western) RPGs. You see, at least if you’re like me and really into foreign cultures and their myths and peculiarities, you’ll quickly notice that the way in which Asian cultures tend to be blended – influences and concepts from Chinese and (sometimes) Korean myths are blended with Japanese concepts to create a hodgepodge. Now that per se it not something I have an issue with. In fact, I do enjoy, to a degree, this melting pot blending.
At the same time, this left me, at least partially dissatisfied. Beyond modern authors like Murakami or classics like Dazai, the classics, from Genji to the folklore faithfully transcribed by Lafcadio Hearn, the Japanese culture has a truly distinct cultural tradition I adore. Moreover, the mythology and tales offer a vast panorama of adventuring potential far beyond those usually quoted by modern roleplaying games.
Kaidan, then, tries to be very much an authentically Japanese setting; at the same time, it does not fall into the trap of just reproducing cultural texts by different names or a varied emphasis, weaving a myth of a land that is similar, yet also very much distinct. This is more of a feat than you’d think at first glance, particularly considering the way in which mythology and religion has influenced and continues to influence Japanese culture to this date. But let me explain: The history of the islands known as Wa at one point, destined to become the lands of Kaidan, is one of immigration, paradoxically – it is a tale of the human ethnicity of the Anu and their beliefs mingling with that of the yokai, ultimately giving birth to what would develop into the stand-in for Shintoism, the Yokintoism. Kami, shrines, the concept of Mitama – all have been properly represented. Similarly, the second religion that has deeply influenced Kaidan, perhaps more so than Ykintoism, would be Zaoism…but more on that later.
Before we come to the original catastrophe that wrecked Kaidan, we should take a gander at the races featured herein: Anu (human variant, distinct from the Kaidanese), Henge, Kappa, Kitsune, Korobokuru and Tengu are included in the deal: While fans of Kaidan may recall a couple of them featuring in previous Kaidan-supplements, it bears mentioning for the new folks that the balancing of these races is pretty much pitch-perfect – the henge-variants, for example, never are lopsided. In short: The races are suitable for even grittier games and low-powered gaming, also courtesy of their unique abilities and racial traits: Korobokuru, for example, have an intrinsic loathing of violence, whereas the kitsune featured herein may e consummate shapechangers, yes – but at the same time, when in great distress, their concealing magics may partially fail, revealing fox-like characteristics. It is these small tidbits that make the races align more closely with the myths we know – and at the same time, they represent narrative angles and roleplaying potential steeped deeply within the lore of the setting and its culture. It should be noted that this is the GM book and while age, height and weight tables as well as some alternate racial traits have been included, no favored class options or the like can be found – I expect those to show up in the Player’s Guide.
The existence of these races beyond the realms of myth is by the way more than window dressing – the races and their unique perspectives on religion, etc. and their interactions with the humans have ultimately shaped the land; they are not only believable cultures, they are deeply entrenched within the setting, with histories of dogmaticism and conflict engendering further a form of isolationalism and distrust towards strangers that not only extends to gaijin. Kaidan is wondrous, but it should not be thought of as a realm defined by being welcoming to strangers.
Which brings me back, full circle, to Zaoism. Zaoism is one of my favorite re-imaginations of basically any philosophy or religion ever. It fills the role that Buddhism has in Japanese cultural development, but does so in a genius way. Why genius? Because, as an atheist and humanist, Buddhism’s philosophical teachings, if not the beliefs, resound with me. Kaidan inverts them thoroughly and constructs a take on the concept of reincarnation that is shattered – and it ties in with the famous feud between the Minamoto and Taira clans that most scholar of Japanese lore should be familiar with.
Let me engage in a brief digression here: Kaidan literally can be transcribed as the kanji for “recited narrative” and “strange, supernatural or uncommon occurence”; during the Edo period, telling ghost stories became a kind of competitive endeavor, a past time ostensibly reaching back to samurai testing their will, morale and mettle in an age where enlightenment had not yet vanquished the phantasms of superstition. As such, the tales had a performance character and, all too often, a psychological component – they were not focused on being in your face or startling in the traditional sense, instead building on tension and dread, slowly, steadily – often subverting the sense that the “world was right”, if you will. A certain existential anxiety regarding merciless rules of the spirit world or a breaking, unwilling or not, thereof, suffuses these tales and makes them effective, even to this date.
And this is what ties in, once again, with the Minamoto/Taira-feud and Zaoism – you see, the Minamoto, much like in our world, won. However, unlike in our world, magic exists. And forms of malevolence exist as well. And thus, the curse was born: The ritual suicide and curse of the last of the Taira was so potent it severed Kaidan’s connections from all but two spiritual realms: Jingoku and Yomi. Mists arose (And here, ladies and gentlemen, would be the OBVIOUS Ravenloft angle – Kaidan works PERFECTLY in conjunction with our favorite demiplane of dread…) and envelopped the lands. Escape seems impossible, with only death seemingly providing release – but not even death can save the populace, for the wheel is broken – the concept of enlightenment through pure living can no longer be attained. Kaidan is an eternal purgatory, represents the horror of perpetual, eternal spiritual stagnation….one represented perfectly by the eternal emperor and his undead daimyo, risen from the waters to reign forevermore over these lands…but then again, at least the undead overlords keep the oni hordes at bay…
This concept and the logical consequence of an undead ruling caste seeking to establish a power base ties in perfectly with the historical developments of the lands of Kaidan and explains in a succinct and concise manner not only the nature of the caste system in place here, but also how it came to be…and why it has been deeply ingrained in the moral fiber of the people living in these lands – the rationalizations and secrets revealed here make perfect sense and give further credence to the pervading sense of authenticity that suffuses this book.
It should be noted, that, from Miko Shrine maidens to warrior archetypes for NPC Sohei, the book also addresses, in quite a lot of detail, in fact, how class options interact with the world – that, for example, most priests do not have the powers of a cleric and instead are experts; that not all religious warriors are the undead-slaying yamabushi paladins…the general sense evoked by these balanced and flavorful class options is that they represent the exception, tying cultural status and a role within the respective social strata into the concept.
Let us reiterate: The web of culture, history, religion, and classes generates a thoroughly sensible and unique panorama, one that is supported by an interesting cosmology indeed. However, the main meat of this book undoubtedly would be the gazetteer-style overview of the fully-mapped regions of the archipelago, including a vast array of settlement statblocks…and secrets. This is the Gamemaster’s Guide, after all, so the identity of lords, adventure hooks and the like can all be found herein – and since these would constitute undue SPOILERS, I will refrain from commenting on them.
What I *will* comment on, however, is the wonderful fact that we get whole chapters on life and death of the populace – and yes, if you’ve been a fan of the Project Zero (aka Fatal Frame) games, you should realize that the amount of truly horrific potential and dark rites depicted in these games make for a perfect fit, theme-wise, for Kaidan. is a land where NOONE is free. The concept of reincarnation, any life after death, has an inherent horror that is used to great effect by pretty much all religions – from the threat of hell to “demotion” to a lesser creature. In Kaidan, it is very much real and the inevitability of the broken wheel of reincarnation just further emphasizes the futility of struggle, the illusion of free will that is, ultimately, the consequence of a life after death – after all, this eliminates the freedom to choose annihilation. In Kaidan, paradoxically, there is no enlightenment – not even the reward, the consequence – instead, we get a karma system to determine player reincarnation one that ultimately comes full circle for even the most potent of nobles. Via magic diseases, as yurei or via other means – there is no end, no breaking of the cycle, a samsaran’s ultimate nightmare of a world gone haywire, of a deck stacked against all of the world’s inhabitants: As the book astutely sums up: Evil is ascendant, life is hard, the supernatural is hidden, magic is divine, tenmei is absolute and death is not the end.
The book, being a GM book, also elaborates on the types of fear you may wish to evoke and the strategies. Organizations, extensive mundane equipment, armor and weaponry complement the book, and from honor to wealth (and the relative scarcity of metal), there are a lot of different factors – and they, ultimately, all make SENSE. Speaking of which: The traditions of magic and the feeling of the setting, to a degree, is greatly enhanced by the spell-section of all candidates. Steven. D. Russell (at least if I understand correctly), has written a metric ton of power word-spells for all levels, as that is a dominant casting tradition in Kaidan. The effects are actually subtle: At low levels, maintaining health, already important, can become even more vital. Similarly, with options that can cause characters to attack allies or take one out of the fights for a few rounds, the combat requires more flexibility and strategy by the players – and indeed, the spells change the paradigm of quite a few encounters, potentially adding some very iconic scenes to the fray. And yes, condition-power and hit point limits are correlated in a rather well-crafted manner. While I would not allow all of these spells in a high fantasy game, where min-maxing and option-breadth can provide horrid combos, these work perfectly in the context of Kaidan.
Tsukumogami, haunted objects, if you will, are covered in the book with a variety of evocative and cool examples, and so are ancestral relics, magic items that grow in potency over the levels. From teh bones and remnants of the fallen, to enchanting brushes, we also get a couple of nice magic items and some solid feats. Shikigami stats can be found and the book concludes with a great, inspirational appendix as well as a glossary. And while we’re speaking of language: Did I mention the dialect rules? Well, now I did.
Editing and formatting are excellent on a rules-language level, though, on a formal level, one can find a couple of minor, typo-level glitches like one of the magic items having a weight of “ZZ” – nothing serious, but notable for perfectionists. Layout adheres to a nice two-column full-color standard with red headers. The gorgeous original b/w-artworks throughout the book are amazing and thematically consistent. The pdf comes fully bookmarked with nested bookmarks and the softcover is most assuredly a nice book I’m glad to own.
Kaidan’s concept was envisioned by Michael K. Tumey, penned by Jonathan McAnulty, with additional writing by the late and sorely missed Steven D. Russell – and all of these gentlemen did a fantastic job here. Kaidan is not a splat-book in disguise – it is an honestly amazing campaign setting oozing with detail; it is a campaign setting that is characterized perfectly by its exceedingly strong leitmotifs, by its internal consistency and the strong authorial vision that shaped the book. This does not try to accommodate Western tropes and mindsets where they don’t fit, instead electing to concisely weave together elements into a whole that is infinitely more compelling than the sum of its parts. This is not the book to get when you’re looking for high-powered options; the crunch, while solid, is not necessarily the draw here. This is a horror setting with a thoroughly disquieting, subtle sense of wrongness pervading the world, a tome that has tragedy and the creepy hardwired into its very fabric.
It is in the nature of the setting that I can’t write “OMG; CHECK OUT THAT CR 40 OLD-ONE!!”; this is not about startling, about escalation – this setting is subtle in its horror, building dread and tension slowly without relying on cheap shocks. I tried hard to convey why I adore this setting the way I do, but it is hard to convey without representing the totality, as, much like in the weaving of real world myths, it is not simply a narrative that exists in a vacuum, but rather an organically-grown complex. It should be taken as a testament to the authors’ respective prowess. In short: Kaidan is awesome. It is a great, inspiring read and if you even remotely are interested in Japanese horror, then this is a no-brainer. Even if you have never contemplated checking it out, this may well be a true breath of fresh air for you. As you may have gleaned, I adore this book. It is inspired and inspiring in all the right ways. My final verdict will clock in at 5 stars + seal of approval and I nominate this as a candidate for my Top Ten of 2017.
You can get this glorious setting here on OBS!