Divine Donative - Bartering for Lives

For some strange reason, in all of my years of playing D&D, not one of my players has expressed a wish for the reincarnation or resurrection of a dead character. Not even the player of the deceased character. In fact, on the few times, one character has wished another character back to life, the player of the risen character has expressed some remorse at returning to the land of the living. 

I think I know why. Very often player characters in my campaigns ascend to a beloved NPC state. In other words, they retire. The story hasn't ended for them, but the adventure has. 

One idea that I am trying with my next campaign is "Divine Donative", an offering to a church, temple, or another group that ensures resurrection or reincarnation should something befall the character. Many of the rules in D&D are geared toward such a transaction such as an oath of poverty which requires donations. There is even a list price for the casting of such spells, so why not pre-payment as insurance. 

Hit x amount and you get free services. It stands to reason that if the character or party is funneling huge sums of money into an organization, there should be an immediate benefit.  At low levels, it's a bed for the night or minor healing. Later, after pounds and pounds of silver have been diverted to the organization, another life. 

We don't know what happened.
We think he liked rabbits.

Now for the fun bit. Usually, characters die from player burnout. They get bored or goofy and do something stupid to get killed. This moment of death could be an opportunity for a side mission. Everyone rolls up new characters and campaigns to recover the body. It's a nice little break and offers a chance to be something different than normal.  

Then there is the possibility that they pre-paid for services they do not want. But it's a contract that must be fulfilled. 

Off the church leaders go to save one of their most beloved patrons, and upon their return to the land of the living, this guy doesn't want to leave the temple grounds. He wants to tend a garden rather than scalp orcs. 

And if push comes to shove, maybe he or she refuses to come back as a human. All of a sudden, the party picks up a wolf or dog or cat as some sort of guardian. While the players wouldn't control such a beast, having one makes them special. 

Over time, if the characters donate enough, a willing person could be given some sort of magical jar that could be opened in a time of great need for the ultimate healing right on the field of combat. Think, a Pheonix Down from Final Fantasy. 

While I wanted to try this idea for end-of-life situations, the concept really should appear more in my campaigns. If characters are in some sort of guild or association that they support, that support should be two ways. Especially if the character is on track to be an epic hero of many storied deeds. People should be jumping out of the woodwork to support them. Even lowly fighters may belong to some sort of veterans group which could prove a small benefit if support. 

My idea isn't to just fork stuff out to the players as much build continuity with the campaign world beyond what the players are directly experiencing. If the party has a Bard or a Magic User, they probably have associations that need answers, which the PC might have. This would create a series of barter situations that the characters could grant favors and call them in later. Rather than present the party with a list of spells and costs, I should have them intervene if they can so as to curry favor with some group or another... or they could pocket the cash. 

I really like the idea of swapping this for that instead of a list of prices and services. It may take a bit to flesh the whole idea out, so I'm sure I will revisit it as time goes on.  

PS: You can pick up a copy of Old School Essentials Characters, Magic, Monsters, and Treasures on DriveThruRPG. You can also try Wordlographer before you buy.  

Expanding the View - The Town of Manteva

I am continuing to work on this town, I think I have a name: Manteva. I am looking at some old maps of Italy and this one jumped out at me. Maybe it's misspelled, I don't know. 

We are looking at the southeastern edge of the town. I stopped the game in order to come up with some ideas for the flavor and layout of the town. I wasn't planning on a walled village, but it looks nice. 

Walls present some problems for generated maps. Computers are good at detecting collisions, but poor at the layout. Comparing this map to my last post, you'll notice some changes. First, there needs to be dead space around the walls, guard houses, and towers, otherwise, those bits don't work correctly. Providing cover to the enemy is bad, as is providing kindling for fire inside the walls. So, most of the trees have been pushed away from the structures. 

Stores, taverns, and inns should be near an entrance. Coopers and stables are good businesses to have near the gates. I like the Roman idea of bathhouses and outhouses, so this town has a couple. Furriers and smiths also appear near the gates. 

More interior to the town are market houses. These buildings have living space and shop space in the same structure. There is a public barn used for foodstuffs near the entrance. More than a few blocks contain public or private gardens. It looks like farmland, but really these would be a bit decorative and limited to herbs and small eatables like tomatoes. 

Since this is a fantasy town, the characters will find more than a couple of stationeries. Stationery shops sold books and paper. They were "stationary" because they didn't move on market day. The goods were too fragile. In addition to these types of establishments, there is also an Illuminator who would do the art for books. As a hidden feature, these shops are great for Clerics and Magic users. 

I've been labeling these so I can go back and populate each structure with a description. I can't wait to finish this town and move on to the next. 

PS: You can pick up a copy of Old School Essentials Characters, Magic, Monsters, and Treasures on DriveThruRPG. You can also try Wordlographer before you buy.  

Expanding Horizons with Worldographer - Solitary Sessions

 I started working with Worldographer to flesh out the town the characters are exploring. 

Before the town was abandoned, it was home to 2,500-3,000 people.

This is an autogenerated map and I needed to add some details to make it match my hand-drawn map. I plugged in the fountain and tree while thinning out some of the buildings. 

The characters have explored all of the buildings around the fountain and tree. The three structures along the northern east-west road are 2 homes and a tailor's shop. The tailor's shop is interesting as the owner had a setup to dye cloth. 

The Party spotted horses and sheep around the barn just across the way. From the barn, they recovered a couple of large lanterns. The well in the northwest corner is in good working order and doesn't taste brackish like the fountain. The remaining buildings in this section are homes, which the Party skipped over. 

To the south, the Party bypassed the mansion. Every time they enter, the ants appear. I didn't place a ruined structure on the map yet. The roof is intact and that is just one more dimension for the ants to use in an ambush. The Party briefly consider burning it down but restrain itself. 

Directly across the street from the mansion is a blacksmith shop with nice a wagon out front. Inside the shop, they discover iron and silver ingots in addition to many weapons and tools. The Party returns to the general store to recover their supplies and bedding from the apartment. The blacksmith shop has an open floorplan which suits the Party's needs better than the shop. As the sun sets, the group takes some time to bring water from the well to their new indoor campsite. 

I might have time to explore more tomorrow. 

PS: You can pick up a copy of Old School Essentials Characters, Magic, Monsters, and Treasures on DriveThruRPG. You can also try Wordlographer before you buy.  

World Building - The Monster List

This has been a hectic week. I've been at work before the sun rises and long after it sets. But I am thinking about these sessions and this campaign setting. 

I didn't describe one building, the one shop directly to the left of the fountain. It's a shed-like shop, a summer building for the general store to its north. It has heavy up-swinging shutters that open to large counter displays. 

Presumably, the town was abandoned in the fall and the shop was shuttered. There are many knickknacks left over from the summer. Urns of summer wine are probably the thing that will attract the PCs, but also household items such as paintings, and small curios like necklaces and lockets. There are the odd socks and tights, soaps, and cleaning agents. And perhaps incense and candles.  

Again, the idea is to point to a once vibrant town. 

Since it was abandoned, it has been taken over by various critters, some of which have already been introduced. The characters have stuck to this one tiny area for several days. They don't realize the extent of the town but they feel comfortable where they are. 

It seems that I have misplaced my notebook, so I have recreated the wandering monster list from memory. Before we get to the wandering monster list, there are two types of monsters that do not wander: the catfish in the fountain and the green whip snakes which are busy brumation, the cold-blooded version of hibernating. 

The rules of engagement for the catfish are:  

1. There is a 1 in 6 chance that they will be visible. 

2. The catfish respond 1-3 rounds after a person enters the water if not immediately visible.

2a. They may be tricked into coming into range by dropping stuff in the water.  
3. If they need to flee, there is a hole in the fountain.  

The rules of engagement for the green whip snakes are: 

1. There is a 1 in 6  chance they will be found in any house. 

1a. They are everywhere, not finding them in one particular house doesn't mean they are absent, just undiscovered. 

2. They are brumating, so they will not wake unless held by a warm person or a fire is lit in the house. 

3. The snakes do damage by poison, not through biting. The poison causes muscle spasms, pain, and long-term shaking, all of which prevent using Thieves Skills and spell casting for hours. It is more annoying that anything else. 

3a. If the players decide to milk the snake for poison, it requires a Dex or Wis save the first time. After that it simply requires a plan and care. 

Now on to the main list: 

1. Bandits, 3d4 appearing. 

2. Sheep, 3d6 appearing. 

3. Giant Ants, 2d6 appearing.

4. Ranger, 1 appearing. 

5. Troll, 1 appearing. 

6. Kobolds*, 3-6 appearing.

7. Mountain Goats, 2d4 appearing. 

8. Mage*, 1 appearing.

9. Wild Horses, 1d4 appearing. 

10. Wolves, 2d4 appearing.

Starred monsters are singular creatures. 

The bandits hang out on the north side of town, this is a waypoint on their patrol range where it is generally safe to camp. Since there are no people here, they don't engage in looting and raiding activities here. They don't wander the town much as the trolls prey on men. None of them seem particularly skilled at combat, but they do have swords, bows, and light armor. They also don't have horses and have been warned about taking wild horses found in the as mounts or as pack animals. 

The sheep and goats are more amusing than a threat. They are feral, so hunting them is easy but treating them like farm animals will end in disaster. The funnier the better. The goats can be dangerous if mishandled. 

The giant ants have tunnels all around town. There is a 50-50 chance that characters encountering them will find a tunnel entrance near the encounter site. Inquisitive characters will find clues that indicate the ants arrived either after the town was abandoned or that the same time but not before, which means they were not the cause.  

The Ranger is an associate of the bandits. He is more daring in his explorations of the town than they are. He will avoid combat, if possible. Every season, he picks a new house to live in. When encountered, the characters might find him in his home. There is a 1 in 6 chance of this. 

There are several trolls hiding in the town, but only one is on patrol in the town at any one time. The troll will fight anyone he can for prestige and food, but like all trolls, he or she can be bought off. The Ranger pays rent, so they leave him and anyone with him alone. They also prey on horses, wolves sheep, and goats. If the characters offer them gold, the trolls will offer them housing. The trolls are brain-bustlingly dense. They will not accept animal carcasses as food, but if they are properly butchered, they will accept the meat and pelts as highly valued resources. It's like they don't know sheep are mutton. 8912                  

 

The Kobolds are of the Tribe of Minwan that hale from the Kobold's Folly. The Kobold party numbers six, but they may be encountered in smaller groups. The tribe is oddly friendly so long as they don't witness anyone abusing the wild horses. They care for the horses and will happily eat people who harm them. They are willing to trade with the party, they would like daggers, knives, and hatchets. The Trolls avoid them like the plague. These kobolds are very furry like a pug dog and taste horrible. The trolls don't want to offer them the opportunity of renting space in their town. 

The Mage is a singular person. He is mute yet can somehow cast spells. He has both clerical and arcane magic. He will heal characters in need. He can disappear and appear at random and often does. 

The wild horses and wolves are just typical beasts. They are comfortable in the town, but if put to flight they try to exit the town. They are not troubled by human dwellings, sometimes appearing inside buildings or peeking in open windows and doors. Obviously, this trait makes the wolves very dangerous. 

Introducing intelligent creatures into the town allows the characters a chance to dig for clues about the town. The troll, the kobolds, and the bandits will all be in agreement that the town has been abandoned for a long time. The trolls will term it as "forever" while the bandits and kobolds say, "many, many seasons". If trying to nail down a specific timeframe, it becomes obvious that the trolls and kobolds don't live very long so "forever", "many", and "seasons" may not mean much to them. The bandits don't recall a time that the town was inhabited and the individuals here aren't very knowledgeable. It seems that this is a newbie outing with only a few bandits having much experience at all.  

The Ranger has the most information which he himself finds to be odd. He indicates the town always appears to have been abandoned within the last 1 to 2 years, but he has been visiting the site for a decade. His mother and father knew of the place, so he feels like there is magic at work.    

Write What You Know - Zing!

I'm watching Wednesday on Netflix. The second episode leads with the line: 

"I've always hated the expression 'write what you know.' It's a hall pass for the imagination-impaired." 

Wednesday then shifts her opinion. To paraphrase, "if the things you know are weird, maybe you should lean into it." I like that. It comes up very often in role-playing games. Here is the odd thing, the DM or game master is trying to offer scenarios that make sense to the players, no matter who they are. Since the players don't know what the referee has in mind, things get weird. 

For example, in my last post, I refused to say, "Solo Play". I know how some people will react to that phrase. When I shared the post, someone commented exactly as I expected even though I tried to avoid it. Such is the world of RPGs and social media. I tried to avoid the probable and walked right into it anyway. And this happens at the table, too. 

Anyway, Wednesday is right. A game master and a player really don't know what is going to come of the words. Things are bound to get weird, so lean into it. 

If you design things from the exclusively top down, you start with big topics and get smaller. The larger and more vague a topic is, the more likely that basic concepts will get skewed by the listener. My next project (recap - part 1, part 2) is being built top-down but the solo adventure I am running is in that world and is very bottom-level. Facts over concepts. 

How and why do I link small details to large concepts? 

Well, let's look at the basic map in relation to what is happening. There are 3 buildings, a tree, and a fountain. Or more simply, it's a hub with spokes. The center of the hub is the fountain and stuff radiates out. The three buildings and the tree are the edges of the hub and the start of the spokes. It's designed like many cities and towns, and amusement parks. The mini-map is simple, familiar,  and hard to get lost in. The reason for this is player and character comfort. They can forget mapping and wander for a bit. 

The buildings are much the same way. The general store is very much like a free-standing market stall, the store in Little House on the Prarie, or any number of old buildings in a zillion cities around the world. The image makes itself, which is very player friendly. You don't have to see it to know it. The details build themselves. 

Let me press on with the adventure for a moment. The players entered the shop to the east. It's a rug shop. The players checked it out and found nothing of interest. Until they tried to leave. Then a couple of them fell through the floor in front of the door. This is a subverted pit trap. 

If I had real players at the table, they probably would have picked up on the slapstick amusement of slowly sinking into a carpet over a hole in the ground. It was hard to get out of but not too hard with friends to help. How many old TV shows and movies have someone sinking into quicksand or Tom Hanks getting trapped in a hole in the Money Pit. 

But it isn't just for humor. The characters and the players will discover the why in a bit. 

Moving on, they hazard the church or temple. Actually, the structure is neither. It's a mansion. Outside, they find a couple of decaying bodies which presents the first mystery. Entering the building, they realize that it had collapsed first and caught fire at some point, much later than the collapse. 

They also solve the minor mystery of the missing tools. They were used to recover the bodies. Each body shows signs of trauma from falling or having things fall on them. They were obviously cared for after being recovered and placed in repose. Unfortunately, burial never occurred. The Clerics and the Magic-User might surmise some sort of magical protection was used on them. 

As the players explore, aside from the tools, they find nothing of value except information. A lot of debris has been moved. Strangely, more than what could be done by the shovels and pickaxes they found. They also find several openings leading to a cave system. As they advance in the dark, they are ambushed by giant ants. 

They fight a retreating battle in the tunnels of the anthill until they discover a soft squishy cloth covering an exit. Hum... they are back in the pit trap in the carpet shop. Fearing pursuit, they run through the fountain and back to the general store, baring the doors. 

You see, these tiny details have been placed not randomly but purposefully to echo the overreaching theme of romanticism.  Seeking answers in places and people long gone. The players will see that someone who cared about something lived here.  

And then there is the weanie in the middle of it all. The fountain and table are what is called a weanie. It towns and cities, the center of the hub has something significant like a fountain or a town hall. Those things draw your attention, they pull you in. For Walt Disney, the weanie was the Castle. It pulls people in and pushes them out to the edges in a repeating pattern. The Castle as a hub insures that people are always pulled in no matter how many times they move out. 

(Walt Disney used to have a dog that he would lead around with a hot dog, which is where the term comes from. I can't imagine he was the first to think of it, but he was known to make the comparison. There I go again, putting amusement parks in my games...)

What gives the table and fountain drawing power is what they do mechanically. The party was dumped there by the Game Master, a ridiculously petty person who teleports away his problems. The party can't be depleted because more characters will appear at the table. 

The fountain also has a purpose that is far less deadly than it appears. The giant catfish are a replenishing food source. The party doesn't have to enter the pool to hunt them, they can be hunted without entering the water. It's not entirely safe, but much safer than starving. 

I had thought that giant catfish were fantasy monsters, but they are real and do like brackish saltwater. They can often get to be hundreds of pounds. Taking one down feeds the party for an incredible amount of time for minimal risk. 

The players, I hope would be left with a feeling of wonder. Wonder at who lived here. Wonder at where they went. That sense of a real living place is the core concept behind romanticism. It's deviated but still there. 

PS: You can pick up a copy of Old School Essentials Characters, Magic, Monsters, and Treasures on DriveThruRPG. You can also try Wordlographer before you buy.  

New Project - New Direction

In my last post, I spoke about a book. This book will be the kernel of how I present my campaign world to others. When people start new campaigns, they compartmentalize the world to limit the scope of what the DM has to present to the players. For example, they start with a small town and perhaps a dungeon or keep then expand to larger ideas. It is a good bit of advice for gamers, however, there has always been an inclination to have a roadmap to a larger world and events.  Maybe you don't start large and go larger, but making a whole world (a good-sized continent) does require some sort of roadmap. 

In this case, I am starting with a massive idea and breaking it into chunks that might not be obvious from the outset. The main idea of this campaign setting is romanticism. The Peninsula of Plenty has many locations, cities, towns, kingdoms, and other places that will be described in detail by an in-universe author name Magarven the Mad.

Magarven, although crazed, has a pretty good handle on what is happening in his world. It is an era of peace and prosperity at the largest level, which does not preclude mysteries and conflict at a local level. For the most part, this campaign world has left the medieval age behind. He has stumbled on the idea of describing what is happening with imperfect information. Or more correctly, information he has not validated but wants to be true. He is operating from his ego over his guts. He wants fame for bringing knowledge to the masses. He doesn't see any possible harm because he believes this one volume of books accurately describes the world. It does but only poorly.  

You might guess correctly that I am a history major. This process occurred in various parts of the world back in the 18th century and peaked in the mid-1800s. It spread from Europe to Russia and to both North and South America. This was not exactly a peaceful era, but romantics often portrayed it as such. This was really not a good time to take a romantic perspective or a good place to evoke powerful emotions. Emotion and feelings took precedence over logic and facts, which had a dreadful effect on historiography and the natural sciences of this era. People were basically making their own rules and creating their own version of history which was radically different from reality. As all of this was taking place, things were falling apart. 

In writing as he does, Magarven is actually sending people with torches and weapons to marvel at the wonders of a world made of powder kegs. 

While akin to a hexcrawl, it places the characters in civilized danger. There are patches of wilderness here and there but the real problems lay just outside of cities and towns. Obviously, many of the bits of wilderness and hinterlands were left empty on purpose and as a result, play off of the wildness found in the so-called civilized bits. 

In this world, it would not be too surprising for a country fair to cover up a coven of witches or a massive clambake ending with a sacrifice to a dragon. A vampire could be the mayor of an idyllic village. Or a lonely abandoned boathouse is a gateway to the underworld. 

New Project - Meet the Author

I have started a new project, a deep dive into my campaign world. My campaign setting is a small part of a single continent. I never saw much need to expand it much further. What it lacks in size it makes up in depth. 

Virtually all of the races found in the D&D game books appear in this one place. However, some are just visitors to the main continent. 

I have many oddball characters running around. One of them is Magarven the Mad. He is a Drow in the same vein as 1e. He is obviously evil (or chaotic) and were it not for his flaws, he would be dangerous. Early in his life, he made a name for himself as an adventurer. He loves fame. He will do anything in pursuit of it, including casting himself as a heroic explorer. 

The reason I mention him is, he is the author of a handbook to my game world. In reality, I am modeling this book on many of the works produced in the 1800s by romantics touring Europe in search of something... romantic. Except, this Handbook is written by a madman. 

This project will be a two-parter: The Handbook of Lore and Background written from an in-universe perspective, plus the second matching book of adventures and events that DM's can plug into their world. The Peninsula is divided into many nations and city-states, so a game master is free to carve out a tiny piece of their map to plunk one or more of my bits. 

As you can tell, Magarven (and myself) have grandiose plans, as this book is "Volume One". As I work on this, I will share little bits of lore and perhaps a mini-adventure or two. 

I plan on making it my first item for sale on DriveThruRPG. As a flesh out bits, I will share them now and then. If it seems well received, I might even attempt to do a print copy instead of PDF. 

Let me know what you think. 

New Game, Same Players

 Twenty-eight days. Soon to be twenty-seven.  It's gonna go fast, maybe one will be done before I post.

I have a new game, Old School Essentials, a newish take on the old B/X rules. There have been a few changes, such as invalidating the statement "comes with 31 illustrations, charts, and tables". There are a lot more than 31 illustrations, plus a twist on the old rules to incorporate ThAC0 and/or ascending armor class which limits the charts to just essentials.  

Well, the artwork is fantastic, so I guess I can take the good with the bad. I might not miss my to hit charts and tables. 

I can see it already, this should be almost exactly like B/X but I want to try it out on myself before I inflict it on my players. You know, to look smooth and polished. 

I diced up a half dozen characters, plus one because I can't properly count. I made one of each of the basic characters and one extra cleric. And hit my first hitch. Clerics don't heal at the first level. Do I homebrew that away or keep it? 

I can hear my hypothetical Players grumbling, so I think I keep it as written. I can already picture the first session. The players will dodge and juke every hook and line I offer them. They break into cliques and small groups to go their separate ways. 

The Magic User and Elf will get together and exchange spells because that is what spell casters do. The clerics, realizing they aren't the healers will beg and borrow (but not steal) from the party to get the heaviest armor they can while arming themselves with the standard maces and slings.  The Fighter, the Thief, and the Halfling will wander the town in search of a tavern or inn. 

They will stymie me, the DM, as they avoid the town square where the local lord has criers searching for adventurers. They will also avoid the large Inn in the square where they could meet one of the town guards who would clue them into the threat the town faces. For the same reason, they will avoid the temple, the wandering priest, the wash women, and the boy with the lost dog. 

This is what Players do. I've been a DM for 40 years. I am used to it. They will, on the outskirts of the town wander into the last place serving booze and food and the one I expected them to find as I was presenting moot hooks. 

It's called The High-backed Booth, a magical place that I took from reality. It's a former tavern turned into a Church, just like the one on Transit Road in East Amherst. When you're forced to improvise, it's best when you don't try too hard and just use reality. The world is strange, so why make stuff up? 

In my world, The High-backed Booth is fused with history and magic. It's run by Elder Bruegel, named after the painter. In this magical place, he is the proprietor and priest of the church. The church seems to hold chance, risk, games, and luck in high esteem,. No particular deity is worshipped. In fact, in place of prayer and ritual, storytelling rules The High-backed Booth. The odder the circumstances, the more random or unlikely the story, the better. The congregants pray and worship in the telling of stories.  

The building is as real as it gets, it has a waddle and daub upper floor on firm timber stilts. The lower level has temporary walls made of hay bales. Of course, these hay bale walls are lined with heavy tall wooden booths. The building changes over time as the hay is removed, but not its character. Or characters. 

On this evening, the party finds a strange occurrence happening at The High-backed Booth. Elder Bruegel is there of course, as he always is, but he is pandering to a guest of high importance. The wizened man sits at the center of attention. The drinkers and the worshipers mutter indignantly about him as he is silencing stories with games of chance. They call him the "Game Master". 

It doesn't get more meta than this. Having dodged all of the obvious hooks and lines, the Players will sit at the table with the Game Master and engage in drinking, food, and games in the hopes of receiving easy cash and prizes. 

Every Player wants this for their Characters. Soon, reality and storytelling become muddled as the Players and the Characters take the same bait. It's a card game, played with a strange deck. At first, it seems normal enough, but then it becomes obvious that these are Tarot Cards. After every round, the winner takes one of the Major Arcana in sequence. It replaces one of the Minor Arcana they would receive in the deal. As the Arcana are swapped, the tone of game becomes more serious. 

It's a race. The Fool and The Magician eventually lead to the Judgment and The World in the hands of the Game Master. In fact, the Game Master has been playing with nothing but trump cards for a while all of the Players and Characters only have one or two. And then the final hand is dealt.  

"We are done, you must perform," the Game Master says quietly. 

After a rather anticlimactic silence, the characters all have the sensation of falling. It's not fast or sudden, just a slow transition to the wet, muddy ground. If the Players are hooked, and enrapt with the story so far, I might stand up and slowly tip one chair backwards and gently lower the Player to the floor to demonstrate what is happening.

When they stand up, they are still at the table. All of their chairs sank backwards in the mud. The table, the chairs, and everything they own are between a cluster of willow trees to the north...

and a magical fountain to the south...

As I said before, why make stuff up while improvising? Reality is the best hook and sometimes, it comes with pictures. 

East and west are paths leading to strange buildings, and the players can't resist a good hook provided by the Game Master. They gather up their things, drink the last of their beer from the table, and wonder where the cards and chips went before taking to the path to adventure. 

If you liked this introduction to adventure, perhaps you would be interested in the books that spawned it: 

Old School Essentials Characters, Magic, Monsters, and Treasures on DriveThruRPG. 

Simple Improvements - Raise Shields! Part 1.

Shields lower AC by one in D&D. Or if you like the other kinds of AC, they are a benefit of one. I don't know why people do this THAC0 or ascending AC. It totally invalidates the statement: "contains 36 illustrations, tables, and charts".  

There is a historical reason for descending AC for those over 50 or so. Back in the 50s and 60s, math education changed methods, to "New Math" which is conceptually different from what was taught before. Chances are, if you are under 55, you know nothing but New Math where descending AC doesn't make sense. Older people learned the other way. Ironically, someone reskinned the song "New Math" by Tom Lehrer with My Little Ponies. It makes it look like an objection to Common Core as opposed to what was taught 50 years ago. Click the link and you'll see what I mean.  

Anyway, shields represent a benefit to the holder in all versions of the game. The basic idea is someone has a plank between them and someone with a weapon. It makes things difficult for an attacker. 

I have noticed there is a tendency to homebrew rules to make shields less effective, usually by breakage or sundering them. That's cool, but shields are more of a benefit than consumable. I don't discount the whole "sunder shield" school of thought, but I find spending time reducing a one-point or number difference in effective protection to be misguided. 

If you are willing to accept that shields can and should be smashed to bits, then let us consider making shields more powerful. 

Let's look at what a shield does. It blocks incoming attacks from many angles, and the shield can be used to block or push someone around. D&D gets blocking right and this is also where people become inclined to say shields can be smashed apart. Having sparred with a shield for years, that is very unlikely. It is more likely that you will have the shield ripped from your grasp. 

The second part is pushing someone around with the shield. This is actually fairly easy to do, people naturally avoid having something pushed into their face so they move away from it. Add in other natural barriers like walls or furniture, and you can see the obvious advantage of moving an opponent around without touching them. Let's ignore the idea of actually shoving with a shield for the moment. 

In D&D, there is this basic idea of a "Fighting Man", which can be extended to Clerics, Elves, and Dwarves. These are the guys who get to use shields. Everyone else in Basic D&D either doesn't get a shield or sucks at combat. 

I have a house rule for shield use by people not trained to hold a shield. They hold it in two hands and it gives them a -2 to AC. It is "effective", but they have the thing in front of their face, they can't cast spells, hold a weapon, etc., all of which is the definition of not doing it right. It amusingly ties up an opponent in combat that one cannot win. It is a stalemate until a friend rescues them. 

So if that is doing it wrong, what does doing it right look like? Holding it one-handed so you can stab someone in the face with your weapon. 

Going back to hoplites, they added in the idea of a phalanx. There is a wall of shields with a pokey bit sticking off on the right side and the left side was a wall of shields. In fact, castles and towers use this concept. The stairs spiral to the left when viewed from the bottom. The attacker's shield is on the left where all of the free space is and their weapon is stuck up against the right-hand wall. It's like having a phalanx without the extra people. 

Here is the entry point for changes to combat. We don't want to change the shield's basic advantage of one, I would like to do something different which also supports smashing shields. 

When two or more Fighting Men are side by side, the guys on the right can't be flanked because their friend's shield is in the way. The guy on left can't be flanked because his shield is in the way and the guy to right also has one. The only way to go through is around the far right end where a weapon is waiting. This is a strong advantage without modifying the basic shield rules AND also gives good reason to try and sunder. 

Under these terms, Fighters, Clerics, Dwarves, and Elves can guard a friendly's flank when fighting side by side. I'd qualify that a tiny bit more. Fighters and Clerics can guard any other Fighting Man's flank while Dwarves and Elves can only guard other Dwarves or Elves' flanks. This is due to the physical nature of Dwarves and Elves' fighting style. Dwarves are short and stocky while Elves tend to cast spells in combat. So it makes sense that Clerics and Fighters can fight side by side and provide an advantage. Clerics and Fighters are trained to guard the flanks because it's the only good trick they have. The Dwarves and Elves get an advantage by having these guys next to them, but can't extend the same.

This makes shields wildly more advantageous, while not messing with the AC value of the user. Not being flanked with worth so much. For example, you can't be backstabbed and if one Fighting Man flees (not a fighting withdrawal), then the other eliminates any bonus to strike at the one who took flight. The attack still can land but without the bonus, because someone stuck out a weapon or shield to hamper it. 

It is all very situational without modifying AC or causing extra die rolls (except if you roll for sundered shields). 

Perfect Pairings, Diamond Dogs, Turquoise Days

This post comes courtesy of a long-time reader and benefactor, Blackrazor who gifted me a great many books and treasures.  

You can find Alastair Reynolds at www.alastairreynolds.com and approachingpavonis.blogspot.com

Alistair Reynolds' Revelation Space is an excellent series of books however, Reynolds manages to zig-zag triumphant epics and eldrich horror in a way that does not make the reader envy the characters. There are too many Faustian endings. It is not the sort of series that makes excellent roleplaying, the players would feel cheated or screwed. 

Except for one game... called Golgotha. It was made for the Revelation Space. Specifically, it pairs with a pair of short stories called Diamond Dogs, Turquoise Days. Sure, it's a hack but sometimes hacks make the most sense. 

In my last post, I wrote a great deal about the TV show The Rain. Enough to make the reader interested in watching it. This time, I would like to tell you about Golgotha more than Revelation Space because it appears to me that Golgotha is Revelation Space in RPG form. 

Golgotha is a hacked OSR game, where players generate their characters by special rules. Basically, if one stat is over a specific amount, the next stat must be 7. Once the 7 is assigned, you go back to random generation. It's good that the rules allow you to increase stats because sometimes the player will have some stinkers to start. That's pretty good. At least, better than D&D 3.x where everyone is racing to 18. 

This is a heavily modded OSR D&D-style game. Black Hack in particular. Rather than using tables, each stat is used as a target number for tasks and usually low rolls are better. The lack of tables makes this edition of ORS D&D very rules-light. Damage is based on class, abilities also on class. Oddly, characters have no Con bonus for hit points. This seems to be a scaling issue, where gobs of hit points would be detrimental to gameplay. 

At every other level, you get a talent that improves your character in specific Golgotha-themed tasks. And what an amazing list of tasks it has. Your goal as a character is to obtain materials for trade with an alien species for more power... or quirks. Rather than being trapped in the typical grind for experience, the completion of a task leads to more power. Not only do characters become more experienced and powerful, but they also get special powers based on what they collect for their alien overlords. Participation is equal to specialization because those other random skills make a character unique. It's D&D in Space plussed with fewer rules. That is a unique twist. 

Before I go, let me tell you a bit about the premise of Diamond Dogs which will totally explain why it's a great fit for Golgotha. In the 25th century, Roland and Richard discover something they call Blood Spire, clearly an alien artifact. Roland builds a team to crack the secrets of the Spire: a hacker, a gene-spliced and mind-altered mathematician, and a surgeon/body-modder, plus Richard. 

Each level of the Blood Spire has a specific mystery to be solved. Sometimes it is a difficult mental problem, other times it's a physical challenge. Failure results in ever-increasing peril. Level 1, get pricked in the finger. Level 10? Into the meat grinder, with no saving throw. Level 50, oh... you get the picture. 

It soon becomes obvious that there are several dark forces at work. Roland may be fixated on problem-solving in general or perhaps bewitched into delving deeper into the Spire. The hacker and the body-modder have their own goals. Richard and the mathematician have some history between them. What should be a linear story develops twists and curveballs. And the end has the biggest kicker. 

 

Go ahead and check out Diamond Dogs, Turquoise Days : Tales from the Revelation Space Universe on AbeBooks. 

And don't forget to order Golgotha from Drivethru RPG. 

If you have a Netflix account, you can watch "Love, Death & Robots" for two adaptions of Reynolds stories called “Beyond the Aquila Rift” and “Zima Blue”. Not for children.

Hex Redux

I have less than 2 months to get ready for my next campaign. That is judging by the countdown to the upper right. I cannot wait for these OSE books to come in. I am kind of at the whim of shipping. 

Thankfully, I have a bunch of set pieces ready to go. My main issue is organization. I pulled my hex tiles from of a pair of giant cardboard boxes, set them up, and then packed them away in a handful of clear plastic totes. 

As you can see to the right, they weren't very organized. Some of the smaller parts don't lend themselves to orderly packing. I haven't solved that problem yet but I will get to that someday, hopefully soon. 

I moved an extra table to the middle of the room so we have enough space to use them. Now in this demonstration, I set up as many tiles as I wanted. It was overkill and I wouldn't actually do that for gameplay. 

I have a nice wooden table with two leaves in it. The leaves allow my players some elbow room. I will have to get more chairs and maybe a rolling storage bin to help clear the clutter. 

One of the nice things about this set of tiles is the quick set up. Each piece has a slot for a biscuit cut into the edge. When wargaming, this feature is a must. Pushing figures and rulers around invariably shifts the tiles. 

Roleplaying games, not so much. A 2x2 or 3x3 section can be set up rapidly, usually while I am talking. The rough look makes the players to visualize the scenario from a homely display, with flaws and gaps filled in with imagination. Sometimes, when the players ask about certain flaws, I will pick their brains for what it could mean. 

My intention in using this sort of setup is to facilitate play, not create a complete world or map. I use some odd bits and pieces to display data. Blue paper is water, green cotton balls are trees, rocks... well, are rocks. 

I use a cord to mark out roads and paths. I can use a different color of cord for the path the players intend to take. This makes the situation interactive as the party can all work together to create the best plan. As more features become evident, I drop colored pieces of paper with notes. I have some colored plastic bits to highlight areas of note. We have cups of colored beads and blocks so players can drop things on the play surface for their own purposes. 

And of course, I can add in figures. 

Check out these images from around the table. 

At the end of the day, pack up easy. Before I clear up, I make sure to photograph the set up for my notes. 

As you can see a ridiculous amount of tiles fit in one small area of my basement, always ready to go. 

Once I start this campaign, I will keep you guys in the loop. 

Nostalgia '87 - The Character Sheet

Back in the day, there was no concept of "editions" for D&D. There was D&D and AD&D. The differences between Advanced and the B/X books are very noticeable. There are whole websites dedicated to the differences between these products and it is a massive rabbit-hole universe. I won't be covering that here. 

I would like to talk about a product I made and put up on DriveThruRPG. 

My friends and I had a mishmash world, where D&D and AD&D were treated as the same thing. Plus we had Unearthed Arcana in our set of shared books. Yes, we all shared books among our group of players which could number as many as 14 people on a given night. 

It wasn't easy to combine all these dissimilar products but one of the aids we had was our own computerized character sheet that we could print at will. It was created on my Mac 512 in Mac Draw. 

It was excellent (click to order).

From the title panel, you can probably guess that we had a ton of multi-classed characters and a lot of wacky rules to combine everything from D&D, AD&D, and UA. We actually learned a lot from this process of creation. 

First, no one liked Cavilliers or Theif-Acrobats. We like to use a homebrew method of character attribute generation, 4d6 with the lowest die discarded and order as you see fit. Humans received a plus one to a single stat as desired. Half-elves received either human or elf attribute bonuses. 

We tried to implement weapon adjustments, but it was very cumbersome. We did like weapon proficiencies. 

As an oddity of all of our shared worlds, no one invoked raise dead or reincarnation spells, the only thing that was used was wish or alter reality spells. And infrequently at that. 

It was often enough to cause problems in unexpected places. Encumbrance was a problem as characters willed a bunch of stuff from one to another. So our rule was all items had to fit on the character sheet, despite the actual size. A full 1/3 of our character sheet was dedicated to just equipment. 

I cannot tell you how many times one of our DMs would have to deal with "my character reaches in his pocket and pull out a ring of X", only for that player to discover that the thief now knows exactly what he stole 3 sessions ago. 

Meta-bedlam... 

Anyway, a few years ago I found a copy of this sheet. I scanned and uploaded it to DriveThruRPG to share with others. It is one of my more popular items, probably because you can download it for free. If you really like it, you can actually pay for it. It is PWYW, but I suggest 99¢. 

In uploading this document, I realized there were flaws, such as missing all of the Theif-Acrobat skills. The layout could be improved and so on. I created a newer sheet that had some of the old-school style captured in the first. However, it is sharper and cleaner as it is a wholly digital product rather than a scan. It too comes with the original character sheet. 

Good things come in threes, so I created a third variation of a character sheet. One that no one asked for: The 20-page character sheet! It's actually a single sheet of paper folded into a flip book. I used them for a B2 campaign. My kids and their friends enjoyed them so much that they kept them. 

So if you like old school goodness, please give my 3 character sheets a try. 

Jousting Tourney - An Unusual Game

I am tearing through reviews this month, figured I take a break and talk about something else I enjoy. The first game book that I have extensive experience with was Chainmail. My dad was a huge fan of wargaming and back then it was all WRG. It's a 'tich hard to teach a 3 or 4-year-old the ins and outs of morale, light vs. heavy troops, average dice, army point systems, and the like. 

So on the weekends, Chainmail was our go-to game. My personal favorite section is the Jousting Table. If you don't have a lot of time, The Jousting Table is always there. It's a diceless system made up of a simple pair of tables and a shield schematic. Pick a position and target, compare and there are your results. 

Being my dad, we had 25 mm figures for every entrant in the Tourney. Even better, my dad cribbed lines from books and movies like Ivanhoe, The Lone Ranger, and an amazing number of Errol Flynn movies. The results were not simply "kill", "unseated", etcetera. It was a full-on color commentary on the action. More akin to hockey than jousting. 

Every once in a while, I like to throw a wildly different mechanic at my players. The more complex the rule system, the harder it is to integrate a completely new mechanic. I have simply written ruleset for sprinting, I call it the Movement Game. It is less than one page long, has a picture or two to help, and is largely based on AD&D's regular movement system. It is also remarkably non-lethal and covers a range of scenarios. The danger of it is players will try to invoke it when things go to hell in combat. It's relatively harmless when player-invoked. 

I probably came up with it while thinking about the Jousting Table from Chainmail. Instead of a table, every character has a figure or chit and can move an inch, one right after the other. Dirt simple. 

For my next session in November, I am brainstorming a mechanic called "Evil Eye". A character who has the center position on a gameboard can impose a status effect like "freeze", "fall" or "flee" on enemies. The central player can only affect a 30-degree arc of the playing area, so keeping enemies away is difficult because the players are surrounded. Exactly who is giving the orders really depends on the party, who realizes the center of the board is important, etc. So it could be the Super Amadeus Arch-Machiavellian... or the cook he hired. 

It's so much fun to bring something simple to the table. 

Thieves World Short Story Review - Sentences of Death By John Brunner

Title: Sentences of Death
Author: John Brunner
Year: 1978
Pages: 23
Rating: ★★★★

Ah, John Brunner. Between 1970 and 1975, Brummer penned 9 novels. Some of the finest works of SF.  In 1978, his short fiction work, Sentences of Death was the first short story of the first book in the Thieves World collection. And what an open piece it is. 

We meet Sanctuary's gritty streets and self-made fortunes through the eyes of scribe Melilot and his young protege Jarveena. Using forgery, blackmail, and mistranslation, Melilot fits right into Thieves World with his stable of scribes for hire. Through Melilot's exploits, the reader is introduced to what makes Sanctuary tick and what those ticks do to the people in the city, young, old, and in the middle. The children are the core of commerce in Sanctuary, much of which is exactly what one with think of trade in children. Jarveena is dragged right along with her master's plots. 

It's grim. 

Jarveena, Melilot's latest scribe has business and vengeance on the mind. A chance encounter pits her against the captain of the guard, Aye-Gophlan and his men who took everything from her. Jarveena craves vengeance and boy, does it work. As if having the criminal mastermind of Melilot at her back wasn't enough, she encounters the mage Enas Yorl who simply seals the deal for her.  

The story revolves around a magic scroll that none can read. This little monkey paw of a device winds a tortured path through the story, running from a street urchin scribe all the way to the Prince of the city. 

As per the typical fare for Thieves World, winning isn't always a good option as Jarveena and Enas Yorl discover. Sentences of Death is artfully crafted and while grim, is an excellent primer for Thieves World. 

In the review of these stories, I'd like to link them back to classic D&D. While scribes don't exactly fit as a class of D&D character, the function could be fulfilled by Magic-Users, Clerics, and of course, Thieves. Enas Yorl is accursed, which is an interesting take on a magic-user. Some of the other magic in the story hints at Dimension Door and Polymorph (large writ) while Aye-Gophlan's behavior and beliefs tend to model closely to poor characters just trying to get a leg up while being deluded as to their station in the story. 

"Passion is inversely proportional to information had."

The above quote is from Gregory Benford. And it's a truism for RPGs. While I build beautiful worlds in my notes, very little of that makes it through to the players. I might know precisely why a gang of whatevers are doing whatever they are doing, but the players are satisfied with the idea that they are merely jerks. 

It works. Players like to have that room to grow, and they can't grow if smothered with too much B.S. 

There is nothing better than the party discovering some sort of detail that just works for them, but there are many cases where they have no opportunity to gain such information without a data dump. Some things just go to the grave with the player's antagonists. It's fine. 

But sometimes, I like to give information. For example, I hope that every player knows how to use the to-hit tables and can calculate their own bonuses or minuses. It makes my game easier. In fact, I often have the players throw dice for even the monsters. It cuts down on paperwork, but sometimes it is an opportunity to give them a hint about something outside of combat. 

For example, if two equal-level fighters are side by side, shooting arrows at a target and both roll the same number, both should hit or miss the target. However, this is a good place to drop a hint about other stuff. Obviously, two great fighting men should know how good they are. For example, someone might have a cursed weapon or a magic weapon. The target may have some magical device that only applies under certain circumstances like once per round. Once the party is aware of some weirdness, they can start ruling stuff out by logic, just like the real world. 

It's probably magic. 

It saves on the "+1 magic sword" crap. 

There are times to hide some rolls, such as surprise or hiding in shadows. But even those rolls can give information. 

One of my favorite tricks is when the party is surprised, I'll drop a die out of sight and say, "You hear a noise." Surprise is a surprise, there is very little you can do to mitigate it due to the mechanics. However, it isn't very fun to be surprised. By making that announcement and letting the party act accordingly, I am cranking up the pressure AND pushing agency to the party. It creates an environment of anxiety while allowing for possible (slight) mitigation PLUS it allows the players to set a standard of expectation that can easily be read. 

For example, if a party thinks they are in an ambush situation, they may try to arrange themselves in such a way as to defend high-value players like Clerics and Magic-Users with meatshield Fighters and Rangers. On the other hand, if they never do this, you can set a different dynamic where those players are captured or incapacitated and the party is looking at a hostage situation rather than a TPK. It's up to the DM to receive the party's intentions or style and react accordingly. 

One of my favorite experiences was a Thief who decided to sneak up to the walls of a fortification for a little recon. The whole party seemed to support the idea. I rolled for his hide in the shadows and move silently attempts. Each time, I rolled amazingly well. No one saw or heard anything. They were such good rolls that I showed the player the results. Obviously, these should have been secret, but they were so perfect so I decided to show her. 

Then, disaster. The player of the Barbarian was having a little sidebar with another player when he suddenly realized stuff was happening and asked, "What's happening?" 

Once the party explained the plan, the Barbarian nodded sagely and bellowed, "Look out! I can see you!" 

Well of course you can see him. He isn't hiding from you, you twit. 

The sneaking Thief got this "Oh, shit" look on her face. I leaned over and showed her that the dice indicated she was still not visible to the people on the castle wall. 

To add to the merriment, I decided that the Barbarian's actions would be taken literally. The lookout on the wall answered: "Oh geez," and stepped back out of sight. 

"How about now?" asked the lookout. 

The party was gobsmacked. I gave them a few minutes to work out a plan. The Barbarian was drooling dumb and for once, his actual ability score matched the player's actions. The party adapted to the situation and everyone climbed the wall while the Barbarian offered unhelpful tips to the lookouts. No one intended this possibility, but damn it was fun. 

You can't hide everything all of the time, but you also can't data dump on the players too much. Even if it is mechanical in nature. Also, you shouldn't try too hard to hide certain bits of data. 

As a DM, you build a scenario, a story if you will, but you can't know how it will be received and interpreted. Information from the DM to the players is a fluid thing. You are effectively trying to merge the player's fictional actions with the player's visceral need for information. The DM needs to decide from the get-go what information is worth hiding and what is not.