#RPGADAY2020 25. Lever

#Lever

Not sure where to go with lever, except to give a session update. My kids are playing B2 = Keep on the Borderlands with me. All three of my kids are of the age where they make adult choices for themselves.

This tendency is playing out in the game. They took down the ogre in area E, moved into his cave and started playing house. Other than fix up the cave and spy on the other residents, they didn't want to do anything else.  

The characters are aware of the orcs and kobolds, but haven't discovered that there are two orc lairs. They know about the goblins, but don't know where they are coming from. They can hear their voices from the east and sometimes see them out and about but don't know their cave is connected to the goblin's home. 

Time for a lever. 

I had the orcs from area B attack the goblins. The goblins were overwhelmed and ran to the secret door yelling: " BREE-YARK!" The party was surprised when the door opened and bag of gold was thrown at them. After a moment or two, the party found how to open the secret door and unloaded a bunch of arrows into the orc's backs. The orcs charged them, but the party hid using the secret door and water barrel. When the orcs ran down the long hall, the party hit them again. 

The party retreated back through the secret door, leaving the goblins mystified. They have no idea the party is there and believe the ogre got his hands on a bow. 

The orcs lost 8 of 12 attackers and are thinking of pack it in and joining the second orc group. The characters were able to track them back to Area B and are thinking of attacking them. However, they are a little nervous with the goblins so close at hand. 

That was a nice lever for inaction. 

The Simple Things - Printing

I love books, but the oldest and the newest stuff is hard to get in print. Invariably, I wander DriveThruRPG ordering stuff left and right. It never ends. Once I read through something, it goes in one two places: into a hard copy or stays in my "Library of (Digital) RPG Titles" on my Kindle. 

Qualitatively, they are different places. One I expect to read again, while the other is something I might want to read by candlelight after the Nuclear Apocalypse. 

Anyway, reading preferences aside, printing books yourself is really dependent on your printer. I have an HP all in one inkjet printer. It's good for most things, most of the time.

In the picture on the left, look how sharp the text is. It's really nice. Perfectly acceptable for reading by nuclear candlelight. Inkjet are very good on plain paper for text. You can see a little blow through because I printed two sided, but it's still very legible. 

What inkjets are not good at are large, color images on plain paper. Things could not be worse. And since I print a lot of my own stuff on plain paper, the result is less than satisfactory. 

Here is a photo of Cult of Diana: The Amazon Witch for Basic Era Games by Timothy S. Brannan. I just love the covers of his books and this one is my favorite. 

And with inkjet on plain paper, it just sucks. Can you say mud? How did it go so wrong? 

It's the paper. 

Check out this next image. It's the same printer and settings, except I used photo paper.  

I'm very happy with this one, the colors are much brighter in real life, but I didn't want to alter the image with different settings to accentuate the colors. Where I went wrong is selecting my favorite cover rather than one that would highlight how good good can be. 

Take a look at this next image from Mr. Brannan's The Basic Witch: The Pumpkin Spice Witch Tradition. 

That 100 times better. We have blues and reds, and stuff in between. I can totally see the how this is different than how it appears on screen, but even using my cheap inkjet printer, the photo paper gives it far more color than plain paper. It's far more satisfying. 

Ah, the simple things. 

#RPGADAY2020 24. Humour

Or #Humor

I love laughing at the game table. However, I try not to force levity on the players. Often, I set up scenarios that are very funny, but almost always require the players to do something to cause it. 

For example, I am a big fan of the antagonist party. Done right, it creates drama and intrigue. Done wrong, it's just like high school.

In one campaign, I had two parties hostile to the party and the players manipulated them into a brawl in a bathhouse. It was hysterical. 

Sometimes, the players themselves are just comedians. As a DM, I gave a druid a magic charm to communicate with animals. The party's thief stole it and started talking to every animal they encountered. That was pretty funny, but then I gave him a talking donkey, so everyone could both sides of the conversation. The thief decided to play it as if he was oblivious to the fact that everyone could understand it. While this seems like a copy of Shrek, years before Shrek was a thing, the thief player behaved more Starlord in Guardians of the Galaxy, with the donkey providing lots of bad ideas which would be warped into something more zany. 

Good times. 

#RPGADAY2020 23. Edge.

#Edge

I'm a huge fan of coming up with outrageous scenarios for my players and their characters, but I always try to think of three game changers that the characters could use for a significant edge over their enemy. 

It's kind of laughable, because I'm batting exactly zero when it comes to predicting how the players react and what they will use to get an edge. 

The benefit of thinking about how the main antagonist's plan could fall apart is not putting things on a platter for the players, but being able to react appropriately when it happens. Because he or she isn't the hero and the default winner, the party is. 

In the Avengers film, they nailed Thanos's reactions. He told the heroes that their knees would be weak when they failed. Sure enough, Tony went down when he lost. When Thanos failed, he too sat down, weak-kneed. 

That's good for a movie with an necessary ending, but the party's adventures don't always end with the defeat of the bad guy. Very often my Big Bads are made completely irrelevant by the characters and the mechanism of how that works is often tied to whatever edge they had in the conflict. 

In one campaign, I had the party endlessly antagonized by a ghostly voice that whispered, "Silver is your enemy." The paladin made a very good leap of logic and asked if the voice sounded like their antagonist. I totally mean it to be the voice of their enemy, but the paladin pointed out that those words were only said after whatever ominous threat was given. In his mind, it sounded like a retort. I had meant it to be a tag line, but could those words be spoken by someone other than their enemy? 

Well, after hearing a rather well reasoned argument from the paladin, I decided that it could be someone else speaking. So who's voice was it and what was it talking about? The paladin surmised that his god didn't like his minion threatened, so his god was issuing a threat to their tormentor. 

"Silver is your enemy," did actually refer to many traits the paladin used to define himself. A silver decked horse, a silver sword, a silver symbol. Since their antagonist was extraplanular, silver was an effective defense. 

Originally, I had meant for this extraplanular enemy to have an immunity to silver, at the cost of having a weakness to iron making the party's obvious strengths a weakness. But, once I had the player's input, I dropped that idea. It was going to be a straight up slugfest between the party wielding silver and demonic forces harassing them. 

The demon was supposed to punch through into this dimension, but I flipped that around. The characters would be going to the demon's dimension AND they would possess all of the nasty, dangerous attributes of a demon on the prime material plane while there, with the Silvered Paladin acting as a locus of the power.

The party used that edge to the fullest, dishing out horrific damage on the forces of evil. But then they lost the fight and were dispelled back to the Prime Material Plane, forbidden from entering that dark realm for 999 years. They were startled to be back home, whole and healthy while the demon was horribly weakened and unable to strike at them directly. 

That turned the whole adventure into a detective story, where the party had to figure out who the demon was using to continue it's attack. They managed to neutralize the demon at the cost of all of their levels. I had thought they were going to find away to pursue him home or lure him out, but instead they picked a different edge and tactic. They used their knowledge of the campaign settings as an edge to speed run experience to get back to level. 

That was super fun. 

House Rules - Swords and Life Stealers - "Well, Mike. I calculated the odds and I went ahead and did it anyway..." (Part 3)

To the left is one of my favorite colognes, called Perversion. My other favorite is called Villain. However, at the game table, I hate being called either one of those words. 

I used to be afraid to use level or life draining creatures on my parties, but I got over it with a couple of house rules. By the way, you should probably pick up a copy of Ravenloft if you like sucking the life out of your players.  

The first house rule was on silvered weapons being an equivalent to magic weapons. That goes along ways when fighting the undead horde. Players still go through that whole "I'd be a fool to walk in there..." but at least they know they'll have an effective weapon. However, sometimes that isn't enough to get them to bite. 

I have a trick to life stealing that I unload on players. Life draining creatures live between worlds, their grip on this one is temporary. If the party kills the life draining creature, they get their levels back the next day, no saving throw. This is different than 3.5+ version of saving for recovery, which happens because it's the next day.  

This one is give and take, and I love it. Imagine the look on the player's face when they expect that they're going to get those levels back and end up with this discussion:

"No, you don't."
"Oh, crap. That thing is still alive!"
"Eyup." 

That one is as stressful as fun. It can really crank up the intensity of the game because now the players have to race back to the monster's lair to kill it before it can heal up. If the creature heals back to 100%, the loss of levels is permanent. Usually, the players have the means to heal themselves up as best they can, but the time limit stops them from padding the party with extras and alts. 

In the case of characters being turned into a life stealer themselves, it gives a brief window where the effect can be broken. Healing back up to full health is necessary immediately afterwards, so while it's fun, it's also a nightmare for the player(s). They get special powers for bit, but at a cost with a threat of death. 

This idea of having a life draining creature exist between two realms also creates the expectation that anything that travels the planes is a life stealer. Devils, demons, etc. all have this power in my campaigns. Usually it's in lieu of a different attack and I use it for drama. The basic criteria in my campaign is that the plane crosser must be immortal. Life stealing githyanki would be way too much, but it does explain their fancy swords. They probably encounter this problem all the time. 

Another quirk of this system is disruption. If a player strikes the life stealer with a weapon or spell that is 100% effective, that creature cannot drain in that round. It is also weakened to the point that non-magical weapons can affect it for the rest of the round. Silver arrows are life savers in this scenario, as are spells. Tick-tick-tick, the clock is running! Make those initiative rolls or beat feet. This makes those Lost Boys style combats incredibly likely and reasonable, which is also very fun. Just make sure you have a good map for the players so they can run in and out of trouble easily. 

I have not used the gimmick from Lord of the Rings where a character is immune due to some sort of basic definition, like being a woman or a hobbit. I'd like to, but that would cause a gender-race race. As funny as that is, the gag would be all used up by the ridiculousness. Play the character you love, not the character with the most mechanical advantages.

(I have a ridiculous gender crossing story here, and let me tell you, it was far less fun to be a participant than documentarian. It was painful because everyone's assumptions made for hard feelings.)  

Since the players are generally aware that if they kill the life stealer they could get their levels back, they go at it like the heroes they are. That is a lot of fun because they walk off extremely battered, but the next day, everything resets.

A lot of this is would not be possible or practical if not for one other thing that I do at the table. I don't always hand out experience at the end of the session. If I did, there would be a problem with ending a session after draining event. The characters would accumulate experience after the drain, then lose it if they get their levels back. That wouldn't be any fun and creates book keeping nightmares. 

I hand out experience at points where there are long pauses in the action, rather than at some real life time measurement. If they characters are waiting out a snow storm, training or researching, they get their experience dump at the same time. It puts the players on an "off topic task" at the table in lieu of boredom. I can tell stories as they do paperwork. 

It also removes the whole concept of "just 10 points way from the next level" occurring via a break from the game where the player is inclined to cheat. I avoid this by throwing out a mini-event for that player or players so they don't feel like they needed to cheat. I'm not inclined to give away the milk for free, but if I can play out a special one off event, I will because that is enjoyable. 

Click here for part one and click here for part two of this series. 

House Rules - Making Swords Magical (Part 2)

Magic swords and other weapons are special in my campaigns. In my last post on magic swords, I wrote about allowing silver weapons to count as magical weapons and limitations I place on true magic swords. 

One of the side effects of allowing silver weapons to count as magically, they can be used to create "character feature permanence". There are a couple of ways of doing this, if the player wants his character to be "that axe wielding fighter". To be that, they always need an axe. Do I force them to be on the look out for magical axes in the future, or do I allow the axe to progress with them?

Seeking a specific weapon is how Fritz Leiber did it with the Gray Mouser. Scalpel and Cat's Paw were merely names that the Mouser tagged various weapons with. They changed, but not really, through out his adventures. Mechanically, they did the same task as the prior weapon, but were in some way better. Or not, Leiber wasn't really clear if the Mouser was breaking or losing normal weapons, or replacing with better.

While I like this methodology, it places an onus on me as the DM to provide special things. I don't like that because it creates the impression that I am screwing a character by the omission of certain items or it seems like I am singling a character out for special rewards. In some cases, the big prize will not be desirable to the party, it's a McGuffin for something else. I can't make someone's prize sword the McGuffin because by definition, the McGuffin exists for a purpose other than what it appears to be. I could, but that's just mean. 

Since I let players use silver or silvered weapons in place of magic weapons, I have a special formula for the pricing of such things. Basically, the character needs to pay the base price of the weapon plus the volume or weight of the silver necessary to make such an item. 

"Volume? Why volume?" Good question. If the weights of items are in gold coins and the price is in the same unit, I get a nice formula for silvered weapons, which are merely plated with silver. A dagger costs 2 gps, and weighs 10 coins, so the price for a silvered dagger is 2 gps, 10 silver pieces. That is one merely covered in silver. 

If the player wants a dagger made entirely out of silver, volume changes to weight. The character pays the base price of the weapon, plus the weight in silver of the manufactured weapon. So, a silver long sword costs 15 gps plus the weight of silver put into it. It weighs the same as 60 gold pieces, so the player must provide 60 gold pieces of silver, or 1200 silver coins. 

This gives me a nice formula for improvement of weapons constructed out of silver. An item can be reforged into a higher bonus weapon by repeating the process, with the only exception being plated weapons. Improving a plated weapon results in a magical copy, leaving a memento of where one has been. 

You might want to hold on to that, in case you drop your nice sword. Just saying. 

Improving a wholly silver alloy weapon merely has a cost and a time to produce. To go from a wholly silver weapon to +1, the cost is the base price of 15 gps plus the cost of the silver needed, which is again 1200 silver coins in the case of the longsword. The extra silver doesn't end up in the weapon, it is simply materials needed for the special task. It's basically a silver drain, which creates interesting scenarios if the characters can't get their hands on silver for some reason. Like they tried to do this with a suit of armor in a small town. This process is costly, but relatively easy to do if players are selling off treasure.

By creating a standardized way of improving weapons, I create item permanency for the players and a tool for magic users to make magic weapon. This is also a coin dump to explain why experience is equal to gold. It has many features.  

(Oh, my wiley players. I will mention that I do use encumbrance for carried items and I have had players request a new weight for their for wholly silver weapons. On paper, gold is almost twice the weight of silver. Since this would be an alloy, I say the weight of the silver weapon is only 80% of a regular one for the purposes of encumbrance. I never let this reduce the cost to make a silver weapon.) 

Anyway, what do you think? 

Click here to go back to part one and click here for part three of this series.