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On Theory Defined: What is Illusionism?

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Recently, I've been talking about Illusionism.

What is it?

The definition used in gaming comes from philosophy's stance of illusionism.

It is the position that free will does not exist and is merely an illusion.

The basic precepts of this stance are outlined in Stephen Hawking's Book, The Grand Design:

"The molecular basis of biology shows that biological processes are governed by the laws of physics and chemistry and therefore are as determined as the orbits of the planets...so it seems that we are no more than biological machines and that free will is just an illusion"- page 32
The Magician's Choice, Equivocation!

Obviously, there is a clear parallel to the behaviors used in gaming, such as the magician's choice and the idea of illusionism. What's a magician's choice? It is sometimes called a Force or Equivocation.

At its basic level, it invalidates choice to get the result you want.

Consider a lever, and a trap! 
You want the trap to trigger, so badly, because it opens into a pit that contains Macguffin that allows the game to progress in a way you have decided is dramatic.  
There is a lever nearby. The lever is your force. It allows the Dungeon Master to portray the illusion of free will. No matter what they do, the trap will trigger.
  • If they pull the lever, it will trigger the trap
  • If they ignore the lever, it was the way to disarm the trap

In the end, they feel as if they have had a choice, and you end up with the result you want.

Other Illusionism Techniques

Multiple Outs: In magic, this is when you prepare for any choice the mark makes. If they pick a number 1-3, you have a slip under their chair that says "You picked #1", one in your hat that says "You picked #2" and another inside your pocket that says "You picked #3". No matter which they picked, you are correct.

This translates directly to role-playing when you prepare for multiple outcomes for choices that the players make. No matter which choice they select, you allow for the consequences of that choice to flow, but also plan so that it appears that designing the game to go that way was your intent.

Stooge or Ringer: This is a rarely used technique, where one of the players is in on your plans for the game. The best documented example of this technique is from the series I HIT IT WITH MY AXE in the episode "Deciding which goblin to hit"

Flexible Progression: This technique is when you present options to the player and if they do not pick the option you need, you simply continue with an alternate result. You activate the event or choice you want to occur when they do finally make the selection you desire. 

Psychological Equivocation: This is a less consistent technique relying on situational factors and language designed to encourage the "correct" choice. Examples include:
  • Presenting the choice you want selected prominently, while downplaying other options
  • Using language or design to influence a choice
These are highly unreliable and inconsistent.

Illusionism

This ties directly in with the basic precept of illusionism, which is that the players themselves do not have any real choice.

These techniques depend on the information gap which naturally exists between the Dungeon Master and the Players. There are heavy dangers and risks in using these techniques:
  • It may impact the agency of the players
  • It loses its effectiveness the more it is used. For first time players or for their first exposure to a technique, it may be extremely effective. Long time players will pick up on these techniques almost immediately
Realistically Dungeon Masters use many of these techniques. It is crucial in the use of these techniques that Player Agency is respected, otherwise frustration results.

The original series on Player Agency "The Quantum Ogre" is there.
Part 1 of looking at Illusionism, "On the Tacit Acceptance of Play" is there.
Part 2 of looking at Illusionism, "On is Ed Greenwood the Devil" is there.
You're reading Part 3 of the series looking at illusionism.
and Part 4 of Looking at Illusionism "On Interjecting Illusionism Ingeniously" is there.

On Interjecting Illusionism Ingeniously

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So are the ways we can use Illusionism in our game without invalidating the agency of the players?

This is a crucial issue, so let's revisit the original definition of Agency as a refresher.

Player Agency (n.): “the feeling of empowerment that comes from being able to take actions in the [virtual] world whose effects relate to the player’s intention” -Mateas, 2001

So, everything you do as a Dungeon Master is valid for empowered except for one very special case.

Are you taking an action that invalidates the players expectation of the result of their action?

That is what each of the many techniques in the Quantum Ogre series revolve around.

  • Explaining the consequences of action
  • Letting the players know about the effects of their choices
  • Reminding the player of what they might have forgotten, so that their expectations are rational
  • Not shutting them down by saying no, but instead letting them know what to do to achieve their intention
  • Giving them warning of dangers ahead of time
Know that the answer to that question is not a simple, objective, clear-cut answer. It is one of emotion. Does the player feel invalidated? Do they feel railroaded? This is why so many of the solutions provided involve not hiding information, and reducing that information gap necessary for illusionism, instead of taking advantage of it.


Techniques

Let go of any preconceived notions about how things should play out. 

There is no flaw in a general course set for the campaign, but if the sequence of events isn't in doubt, then players aren't necessary. The organic creation is going to be more innately satisfying to the players, and provide greater opportunity to you.

Look, here's a secret. You're the Dungeon Master. You can make anything happen, anywhere, that isn't in the vicinity of the players, however you want. You can even achieve your outcome without invalidating their choices, depending on how you approach it.

Deciding certain things have to happen a certain way in play and then using blunt, clumsy, techniques to make it happen is just poor technique and style.

Figure out how to make what happens awesome, instead of how to make an awesome thing happen.

This is the correct stance of Flexible Progression.

Vet or clear the basic premise before the game begins. 

"You guys are going to be travelling around with an ancient good lich, who acts as your mentor or teacher, does that sound cool?"

You know, I'm running a story focused campaign right now. I said, "can we do Spelljammer?" Everyone said yes. Then I ran the campaign as normal, starting in a village, with a festival. They kept expecting me to shove the kicker down their throat, which caused them to second guess themselves the whole time. When they finally found the ship, they were motivated both in-game and out to take it, of their own free will.

This is addressing the question directly. By doing so, they explicitly make a choice who's effects are respected.

Foreshadow events.

Building up to things in the weeks before they occur, make the players feel as if they are discovering what is happening instead of something being forced on them. Have them hear a rumor about a dead wizard that still lives given up all hope at being reunited with their love three sessions before this one. Then the next session, have people talk about a ghost ship that flies through the sky. Finally, have the adventure before talk about a falling star nearby that no one has been able to find.

By the time they discover the ship in play, they are armed with the information that makes them want to react in the way that allows the campaign to travel forward in the way you have conceived.

This transforms railroading and illusionism into player driven discovery. By foreshadowing, you set expectations beforehand. This by the structure of play aligns player intent with the result of their choice.

Pre-plan and allow for the other option to be as interesting as the one initially presented. 

Assume and plan for agency. So what if the players reject your expect action out of hand? The option that they pick should be designed so that it is interesting no matter their choice. Reject the good lich? Perhaps he becomes the nemesis, or vanishes leaving them the ship only to return later. Whatever they should pick, interesting play should flow from that.

The only way that works, is if you spend just a few minutes ahead of time thinking about possible options and what can be interesting depending on which is selected.

This is the effective use of Multiple Outs and Flexible Progression. This is a technique ripe for abuse, and requires thought to insure that the results of the various options don't disregard the intent of the player.

Do not depend on a singular option to move the game forward.

Anything that can stop play should be optional. Full stop.

Puzzles, riddles, clues, mysteries -- you must consider that what seems simple to you may be very complicated to your players. It is very difficult to accurately communicate what is in your head to players of your games.

If it doesn't stop play, but simply changes the outcome, then this option doesn't apply.

The original series on Player Agency "The Quantum Ogre" is there.
Part 1 of looking at Illusionism, "On the Tacit Acceptance of Play" is there.
Part 2 of looking at Illusionism, "On is Ed Greenwood the Devil" is there.
Part 3 of looking at Illusionism, "On Theory Defined: Illusionism" is there.
You're reading part 4 of the series examining illusionism.

On the Intersection of Gonzo and Awesome

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Welcome to Spelljammer Week!

If you think Spelljammer is dumb, you are missing out!

Do you know why?

Here are some peoples comments:

"I thought it a ridiculous concept. The idea of putting Forgotten Realms in Space into a game just seems wonky for lack of a better description."
"I was in my teens and thought it was so far fetched that it was stupid."
"I didn't like it mostly because it lacked imagination. The complete rejection of any kind of science or tech turned it into MAGIC IN SPAAAAAACE!!!! When you already have the means to magically create a stable wormhole between two worlds, why would you ever need a magic ship to fly there?"

Sounds terrible right? It's not. I'll tell you why.

People complain about Gonzo because it isn't 'rational', 'doesn't make sense' and is 'stupid'. What makes this an ironic statement is it describes every property they are a fan of . Here, let's try it.

A farm boy is actually the son of the galactic emperors second in command and he ends up not only destroying their impenetrable fortress by shooting it with his eyes closed, but also learns to fight with lazer swords and is responsible for convincing his father to slay the emperor who can shoot lightning from his fingers. He's a member of a secret group of psychic ninjas.

Hm. Maybe again:

Ok, so the world is actually a computer simulation and in the real world people fly around in squid-like ships and avoid evil robots while in the computer a messiah can fly around and fight like superman against evil programming code. Also, for some reason, humans are batteries and have to produce more energy then they consume.

There is one difference between gonzo that's stupid and gonzo that isn't, and that's how well it is presented.

George E. Williams IV says it best:
I think the reason some people hate it is the silly elements, which are not overbearing or constant. Giff, the hippo men, are hilarious but have you ever seen an angry hippo? They are terrifying. 
Dungeons and Dragons by it's nature and design is gonzo and absurd. Look at the clothing styles! Talking spellcasting dragons! Magical yet medieval societies!

When you present gonzo features as deadly serious then it becomes awesome.

When a pirate giff pins your character to the wall with 800 pounds of muscle, and his mouth is open and against your face, not to eat you, but because the labor of crushing your ribs is causing him to exert himself, and his thick blunt teeth are tearing the skin of your face off as you choke on his fetid breath, then it ceases to become absurd.

Spelljammer did have a presentation issue as Thomas Fitzgerald (of Middenmurk) points out:

"It was something we approached with conservative teenage gamer orthodoxy and found it unplayably bland. My impression is still of an intriguing premise let down by lacklustre execution and a weird genericism of aesthetic. The fact that it lacked a DiTerlizzi or a Brom was unfortunate. It coulda been a contender."[1]

So, really, beyond actual presentation skill, the failing of modern gonzo comes down almost exclusively to how seriously it is presented.

What people are actually saying when they say "Property X is stupid because it is gonzo" is "I couldn't imagine a way of presenting that in a serious or dramatic fashion." That's a failing in the viewer, and not the property.[2]

Some more praise of Spelljammer:

by Jennell Jaquays
"Played it, loved it, and I still own the boxed sets, books and grid maps. Spelljammer was UNIQUE, at that time there was nothing in 2nd Edition that touched it." -Jesse Fulgoni
"Love the idea and have pulled bits of it in to games before, never got to play it straight." - Eric Aubey
"My group loved it . . .If I would run it knowing what I know now, I'm confident I  would rock it." - Jasper Polane
"Loved it. Got dozens of stories. It took my players awhile to adjust to the setting but once they did we had a blast." - Michael Fuller
"My first experience with Spelljammer turned into a campaign that lasted more than...geesh... 3 years and counting now. Once you get into Mind Flayers and Drow in space and Giff carrying guns as big as some of your team it can turn quite serious if you want it to." - Emily Vitori
"Neogi are among my favorite enemy monsters, and having them appear in a campaign on one of their spider-like ships doing some slaves'n'food pillaging is usually exciting!" -Carl Niclas

[1] I believe Jennell Jaquays could have been this person.
[2] Before you get all riled up; this doesn't mean a property can't be 'not to your taste'. I don't particularly like Yu-Gi-Oh as a matter of taste, but not because it's gonzo. I can imagine ways that I can take and present that property seriously -- I just won't because I don't like it. When I asked about opinions on spelljammer, I didn't receive responses like "I wasn't interested in wavecrawl type adventures." Or "I prefer smaller scales" The responses were as those in the beginning of the post. ALSO: this doesn't mean the property can't be bad or dull or boring. It's certainly possible to ruin any idea or setting by doing that.

On a Generator of Missions

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I've run many, many games. No matter the game, the party gains access to a commerce hub and immediately begins asking about work.

Well, I'm done scrambling about. The random mission generator for Shadowrun/Spelljammer/Fantasy City is below!
  1. Assault/Raid
    1. Fortress
    2. Town
    3. Ship
    4. Ambush
    5. Skirmish
  2. Extraction (Voluntary/Involuntary)
    1. Jail
    2. Prison camp
    3. Private prison
    4. Prisoner of war
    5. From empolyment (corporation/crown)
    6. Natural Disaster
    7. From hostile forces
      1. Tower
      2. Dungeon
      3. Jail
      4. Camp
      5. Building
  3. Theft
    1. Caravan
    2. Individual
    3. Building
    4. Hijacking
    5. Kidnapping
    6. Piracy (Tranfer of goods between vehicles)
    7. Salvage
  4. Bounty
    1. Monster
    2. Individual
    3. Posse
    4. Pest-Control
    5. Hunting (Safari-style)
    6. Hunting (Commerial gain)
      1. Any of the above may be Dead or Alive
  5. Escort
    1. Caravan
      1. Commercial
      2. Pilgrimage
    2. Animal (Cattle)
    3. Object/Transport
    4. Message/Parcel
    5. Personnel
    6. Smuggling
      1. Goods
      2. Weapons
      3. People/Items
  6. Coup d'etat
  7. Duel/Contest
    1. Sport
    2. Weapons
    3. One vs. One
    4. Team vs. Team
    5. Tournament+
    6. Brawl
  8. Assassination
  9. Sabotage
    1. Arson
    2. Destruction
    3. Planting evidence
      1. Forgery
  10. Exploration
    1. Area
      1. Mapping
      2. Trailblazing
    2. Spying
      1. Armies
      2. Governments
      3. Populations
  11. Mysteries
    1. Murder
    2. Disappearance
    3. Riddle/Puzzle
  12. Skill (Cooking/Leatherworking, etc.)
    1. Labor (Farmhand, General Labor)
    2. White Collar (Appraiser, Scribe)
    3. Black Market (Forger, Lockpicker)
    4. Service (Armor Tester, Waiter, Usher, Etc.)
Any mission above may be given by the Authority, an Individual (such as a Merchant, Noble, Wizard/Scientist/Alchemist, Politician, Public Servant), Rebels, Feuding families or groups, or a Faction. Any of the above may come with an "Obstacle Course" or test before employment. Any of the above may also be just a preface for a different actual task.

The actual adventure comes in the twist however. Common permutations of the above options are listed below. This is your VALUE-ADD.

  • Assault/Raid
    • You must attack and kill/retrieve a macguffin
    • You must defend a structure that someone is planning to attack
    • You attack the structure, but the 'victims' welcome you
    • You attack the structure and the victims welcome you, but then try to kill you
    • There are exceedingly strong long term consequences of the Assault
  • Extraction:
    • You must recover or retrieve the macguffin
    • You must insert or place the macguffin in the target area
    • You are the macguffin to be retrieved
    • You go to the macguffin and they want to stay or you see a reason retrieving it would be bad
    • You go to the macguffin and they want to stay because they just wanted to expose weaknesses where they are (or some other method via they help their captors)
    • You go to the macguffin and decide retrieving it would be bad, but really it's bad to not retrieve it because you were misinformed
    • There is no macguffin and never was
    • The maguffin is surprisingly difficult to retrieve
  • Theft:
    • You must steal a macguffin
    • You must protect the macguffin from theft
    • When you go to steal the macguffin it's not their or is not what you expected
    • As above, except it secretly is (illusion, secret compartment)
    • You go to steal the item and discover the owners are glad to part with it or the macguffin wants to be stolen
    • There is no treasure to steal
  • Bounty:
    • You get paid for killing a creature
    • You get paid for preventing people from poaching or killing a creature
    • The bounty is on your head
    • The creature or the reward is fictional
    • No one believes the creature still exists but it does
    • The bounty on a creature is very high, after killing many of them, the effects on the ecosystem become known
  • Escort:
    • You must accompany a macguffin to a destination
    • You are the person to be escorted
    • Something has affected the destination that makes completion of the mission impossible
    • The macguffin is not what it appears, making delivery impossible
  • Coup d'eat:
    • You must unseat a person in power
    • You are the person in power someone is attempting to unseat
    • The person in power is actually the one who should be
    • The person in power is the one who hired you to depose him
    • You don't need to unseat the person in power because of their new position
    • Performing the Coup d'eat destablizes the region and the fallout changes the shape of the campaign
  • Duel/Contest:
    • You must defeat an opponent
    • Someone is trying to stop or defeat you
    • Your opponent throws the match
    • Your opponent loses, meanwhile he's accomplishing his goal while you're tied up with him
    • The contest is called on account of weather
    • The contest doesn't need to occur because of other developments that put you and your opponent on the same side
  • Assassination:
    • You must kill a target
    • People have taken a contract out on your life
    • The person is paying you to kill them
    • The person is paying you to kill them, but is actually under the control of the players enemies
    • When you go to kill them, they are removed in another way as an obstacle (or perhaps they leave the prime material) meaning it is no longer necessary to kill them
    • Assassinating your target causes more problems then it solves
  • Sabotage:
    • You must sabotage a target
    • You must protect a target from being sabotaged
    • There is a non-functional device that must be repaired
    • The target you set out to sabotage is already non-functional
    • The non-functional target is actually just a ruse, the real danger is coming from another foreshadowed source
    • The target due for sabotage fails of its own accord for entirly seperate reasons
    • Sabotaging the target actually makes your own goals more difficult to achieve
  • Exploration:
    • You must explore an area
    • You must prevent a group from finding out about an area
    • You set out to explore an area only to discover it is already well mapped
    • You discover a well mapped out area that you set out to explore but find that all the maps are very inaccurate
  • Mysteries:
    • You must solve a mystery
    • You must prevent someone from discovering what you have done
    • You set out to solve a mystery, but the solution is easily found. Knowing it causes a whole new set of problems
    • Something happened with an obvious solution, a close examination will show that perhaps the obvious solution isn't correct
    • Something that appears to be a mystery is clearly not when examined
  • Skill:
    • Your skill or work is tested
    • You are needing to hire people for a project
    • You set out to do a job, but it turns out there are bigger problems
    • The bigger problems require a different skill you have
    • It turns out that a skilled person wasn't needed at all


If you think this post is something, check out my Village Generator, Ecology Series, my book On the Non-Player Character or the Index for more!

On the Ecology of the Giant Space Hamster

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Ecology of the Giant Space Hamster!


Silly? Only because you've never died to one!

There are many giant breeds, including:

  • Subterranean - Digs through soft rock, sometimes called dirt.
  • Saber-toothed
  • Rather wild - slightly left of wild, right of haggard
  • Invisible -  but only when no one is looking
  • Sylvan
  • Jungle
  • Miniature
  • Armor-plated
  • Yellow Musk
  • Ethereal - also, translucent skin!
  • Carnivorous flying
  • Two-headed lernaean bombardier
  • Tow-faced lagan
  • Fire-breathing, phaseing, doppleganging
  • Great horned 
  • Abominable
  • Tyrannohamsterus rex
  • and the Space Hamster of Ill-omen.
Other more rare breeds include
  • Spotted
  • Club-foot
  • Terribly dire
  • Feathered
  • Hopping
  • Slithering
  • Burning Vorpal
  • Night
  • Meek & Friendly
  • Voracious
  • Steel
  • Many-hatted
  • Hamstornado
Where did Giant Space Hamsters come from? The sages discuss it below.
  • They are the remnants of childhood imaginary friends long forgotten
  • Deep in the deepest depths of deep deep space is the sorcerous space station of Peng. There, the sorcerous sorcerer of Peng has performed many countless uncounted innumerable experiments for years uncounting, seeking to perfect the perfect titanic battle creature with which he can wreak his revenge against the universe. A universe that cast him as a lunatic, a madman!
    • He is, without doubt, a gifted master of the mastery of genetic splicing. However, he suffers from a scarcity of subjects save for his pet hamsters. With their many offspring (and siblings), he works feverishly to perfect his creatures.
    • He is also, without doubt, a hapless idiot when it comes to security. And so, many of his creations escape from Peng and somehow end up scattered across the universe. 
  • The goal of the program was to develop a breed of Giant Space Hamster that could infiltrate enemy positions and operate individually behind the lines. The program was headed by an overly obsessed G-gnome operative. 
    • The program was a complete failure, until, in a horrible accident, the G-gnome heading the program was transformed in a horrible accident into a Giant Space Hamster herself. During her operative period, she took the code name "Nebula". While she herself was a very successful hamster agent, her refusal to mate with "natural" giant space hamsters meant the program ended with her. 
  • They are the imaginary friends of an infant godling!
  • Every time a rules lawyer makes a GM cry, a different space hamster is born!
  • The evil summoner Farfegnu was attempting to summon the horrible Hgythracolabartphamat from the depths of a demon hell dimension when he was interrupted by the escape of his young daughter from her succubus nurse. Instead of summoning Hgythracolabartphamat, Farfegnu reached into the pink bedroom of Alexandra Tuppin who had just dressed Twinkles, her pet hamster,  in a tiny pink princess hat with a flowing diaphanous ribbon. 
    • Twinkles was ripped from Earth and appeared in Farfegnu's Seclusion where to everyone's droll surprise mammals from Earth are 25 times the size of local mammals. While Farfegnu was horrified by the cute giant, his daughter was not and the girl and giant hamster lived in happiness for many years. Until a party of adventures invaded the seclusion slaughtering everything in its path except Twinkles, who, having drunk a concoction of broken potions was able to fly off into space in search of his home world dressed in a dainty pink hat.
  • A space wizard did it
  • It started as a harmless business venture, custom pets, that got a little out of hand.
    • Ok. A lot out of hand
  • The rare Intelligent Giant Space Hamster Breed, an ancient race of religious star-faring traders wait for the day that Cuddles, the Chosen Hamster of blood will lead them to the land of endless pellets
  • Crystal spheres are actually hamster balls. Notorious escape artists, some hamsters escape them, then drift in the void looking to eat, mate, and poop. Their poop, by the way, provides a fantastic hull for a cigar-shaped inter-stellar vessel.
  • Space Hamsters are the degenerate remnants of the oldest, most important interstellar race. Having constructed the transportation hamster tunnels we know as the wormhole network, they traveled to many worlds to spread the squeaking joy of their own religion. After a catastrophic religious war (clockwise hamster wheel rotation vs. counterclockwise), only the mightiest (or most overlooked) hamster heroes were left, made nearly immortal by their fluffy sciences. Their mental faculties proved not quite so resilient, so after many millennia, all that was left was the animalistic Giant Space Hamsters of today.
  • Normally, stellar radiation has unpredictable and dangerous effects on living tissue. For unknown reasons, it always has the same effects on hamsters: rapid growth, increased intelligence, and eventual development of psionic ability
"Go for the eyes Boo, GO FOR THE EYES!!!" -Minsc to his Miniature Giant Space Hamster Boo.

On the Creative Crystal Sphere

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Playing Spelljammer? Searching for some Unique ideas for Crystal Spheres and planets?


  • A world made of a translucent golden substance with the remnants of an entire insect civilization inside
  • A planet identical to Oreth, down to the political situation and rulers, shopkeepers and prominent figures, except the dominate race is thri-kreen. Bigby the Archbug
  • Rildar, A world with an undead pseudo-babylonian empire seeks to eliminate the last vestiges of life and greenery found in a hidden mountain valley defended by pagan barbarians. Their skeletal armies and gargantuan demon-gods chained to rolling ziggurats are commanded by the spiderlace priestesses
  • A sphere containing a lone deity, the sole victor of a god war. It sits alone, pensively and internally debating the idea of recreating life on the currently bare planet
  • Palais, vice planet.  It's single round continent is covered in vivid red visitation contrasts with its planet wide green ocean, giving it the appearance of a cocktail olive from space. The ocean is the source of the powerful soporifics and spirits that are distilled on Palais. Paloma Blanca, the capital, is home to an unending debauched festival for the benefit of dissipated hedonists, scheming diabolists and decadent fae creatures. Palais's gleaming spires, thriving hospitality industry and interstellar narcotics trafficking is supported by the white fist, it's army of alabaster constructs, each a uncannily positive face on a flawless, sculpted, humanoid physique. 
  • A sphere filled with crystal sphere eggs, dominated by Nuhurrinu the Crystal Dragon, a force older than the universe. She slumbers nearly endlessly, which is why it is possible to escape with your life. All creatures tend the sphere eggs until it is time to take them out in the gossamer jammers and sow them afar. . .
  • The sphere is thick with tumbling asteroids, what terrible cause created such a place? What wealth is to be found on the endless asteroids?
  • A gas giant is filled with gentle gliding winged creatures that generate energy not by eating, but from differential currents created by their hundred foot wings. 
  • A sphere or planet filled with turning, whirling, wheels, springs, cogs, widgets, sprockets, pistons, and mechanisms, filled with inhabitants that are the information stream the machine processes. The players intrusion and the data anomalies it represents may destroy thousands of the sentient entities living in the slow-time mechanical simulation of reality that is the sphere.
  • A sphere where all entrances lead to the interior of a world eating giant, filled with refugees lead by a tinker gnome, salvaging resources from remnants of worlds, intent on creating a giant crabjammer to burst through the chest of the giant in a celestial orgy of creative destruction
  • A planet spins, for all the world resembling a colossal apple. Perhaps an equally colossal worm lurks under the surface
  • A perfect polygonal world, an early attempt by the gods at worldbuilding. Each face different and it is difficult and nauseating to cross from face to face, each side being starkly different to all nearby sides. The inhabitants of each side are all recognizable, but each appears unfinished in some subtle but conspicuous way.
  • A ball of molten rock, sporting a ring of pure water. The surface is uninhabitable, but the creatures who live in the ring fear nothing but space whales and geysers of lava from the molten planet. A trading city by dwavens of some measure (mechanical, or perhaps Azer) has been constructed on a large cooled free floating chunk of lava
  • A world where all begins anew every 300 days. A human lives for 3, emerging fully grown from their eggs and learning at an incredible rate. But the god-earth inhales in just under a year, and all creation is ended. When he breathes out, all begins anew again. 
  • The Gemball is a teal and purple monstrosity of alexandrite that orbits a red giant. It is a voidworld and is covered in craters and rugged canyons. Denizens of the plane of earth find the stone intoxicating and often consume it to their deaths, and poisonous life clings to the lower sheltered walls beneath the surface. The planet is also the base of a gang of harpy pirates, located near the shattered arches
  • The tiny moon known as the Dust Sphere was once the center of Agriculture for a forgotton Gith Empire. Their rush to exploit it triggered an ecological nightmare. The topsoil was blown into black clouds that crackled and shed blue lightning. Everyone died and the clouds grew to three times the size of the moon. Recently certain profane necromantic cults have build pearl pyramids amid the upper reaches, disturbing the vengeful djinn within the clouds.
  • The Jungle world of Goro is toxic and deadly to all normal life, but it is orbited by the thousand bronze pleasure palaces of Suulo the Efreet. Some are thousand room affairs, and others are little more than a platform with a gazebo and fire garden. 
  • A planet that is a honeycomb made of stone, filled with giant space bees. The whole sphere it resides in is self aware and the honeycomb and bees are its brain
  • The most vicious criminal empire in the sphere is a group of creatures of elemental fire. Long ago imprisoned in a water prison planet, they escaped by extracting the core of the planet, banishing the water down under a torrent of magma and fire. Now they reshape their paradise of dryness to their pleasure, excepting the rare storms that cause them to take shelter. Their bounty hunters and agents are terrifying elemental stone hybrid monsters that hunt the space ways.
  • The crystal shell was cracked and abandoned long ago, and the void leaks in. Voidcasters gather necromantic energy from the emptiness between the crystals. Their slaves endlessly work to seal the sphere, often becoming sucked and trapped against its surface, covered in a miles-long runs of blended slave meat, animated by congress with the void. Those slaves that have escaped rebel, and have a plan to strip the death-meat and use it against their former masters
  • Crystal men nurture crystal gardens, farms, and orchards, the vibrational power healing all meat-creatures laced with energy. The independent pacifist sphere remains so by allowing warlords to heal their armies here, by launching a crystal spire against the shell. The secret being that the vibrations heal emotional as well as physical wounds, and once violent warlords now defend the sphere with their life, against an evil, invading, insectile force.
  • The sphere of the Mirromancers has been found, their greatest magic allowing entire fleets and worlds to move via the reflections inside spheres. They were destroyed by the gods themselves, but now their world has been found and the interstellar race to decipher their work has begun. Why would the gods oppose such a magic? Does it threaten them? Are we thinking too small?
  • The only artificial sphere known is said to be a myth. It can travel along ley lines, along both time and space; the entire sphere is a mechanism with a city in the center. It used to sell timeships, and whoever figured out how the sphere constructed them could do so again. Someone used all the ships ever produced and filled the sphere with creatures of violence and malice of all types, all at once. Now it is a ghost sphere travelling randomly, and it was just seen nearby.
  • The planet has a golden insect with gossamer wings. When dried, they are the perfect material for a spellbook page and currently the rage of fashion. This has become so intense that travel to the planet has been blocked as a conference rages over who will manage and who can harvest and profit from the situation. The standard rogues gallery has been attracted by the combination of money and risk, causing a great deal of tension as they all orbit the planet
  • The empire's name is lost to time, but the memory of their ability to destroy crystal spheres is not. 18 were vanquished before they were stopped. Now someone claiming to be their last son has arisen and crushed one sphere.
  • The paradise sphere was colonized, but turned out too good to be true. It was a garden alright, and the void giants who owned it were quite unhappy to awaken and find it filled with pests. They have now begun their campaign to extinguish the humans, much as humans exterminate mice, using surprise, poison, machines, whatever - so long as they leave.
  • The planet is painted black, with a miniature sun burning at its heart. The lowest areas are filled with the most light, homes are lit from beneath. Above is all darkness. 
  • Long forgotten to the inhabitants, the planet is a weapons cache. If the peaceful innocent grey skinned people are exposed to the void, they undergo a monstrous transformation. A few can wipe otu a whole fleet, they can crack crystal spheres with their strength, they could become a plague and corrupt the ether. They have no memory of this, but there are those that do. . .
  • A disgraced emperor escaped judgement with his empire's wealth. He bought immortality and a sphere and filled it with art. Haunted and paranoid, he filled it with constructs and locked it as best he could. All his time is spent in the pleasure palace and the bored constructs eventually forgot him, forming a society based on the wondrous art they see. They are all controlled via the throne he had exquisitely sculpted for that purpose, when the king of the constructs discovered this and that the throne still exists, he knew the emperor must be slain and the throne destroyed if they were ever to be safe and free. 
    • Another construct has a different idea. Perhaps the throne could be used by a construct, to control meat for a change. Moved and installed into a new sphere, it could raise a devastating invasion force. 
  • In a time before time, two gods warred, and one lost his head struck from his shoulders, drifting now through infinity. It has gathered dirt and muck, and life has begun upon it. But the head is not so buried that it's shape is not obvious to those who study the geography of it.

On the Combat Skill

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Hackmaster 4e is my go-to retro-clone edition for 1st Edition style play. The books are comprehensive, the system is rigorous and internally consistent, and it is designed for use in play.

Hackmaster has a skill system, and one of the great things about it is how it motivates the players.

It does have some weaknesses, though. One of the most glaring are in the combat skills.

Most of the skills provide simple, direct, bonuses to activities. However, the combat skills are a different story. It appears they were sidelined as areas where they could dump parody text, making them very lackluster options for fighters (Ref: Who's your momma ankle wrench, and pimp slap). However, the idea of a skill, that when used grants you a special bonus or ability against certain creatures is a good idea.

Obviously this is for systems that make heavy use of skills, like Hackmaster. If you are running a featless, skillless, game this article by +Zak Sabbath "You're A Swashbuckler Now, Act Like It" is really the way to go.

This replacement is given as a drop in replacement for the Hackmaster Combat Procedure Skills, along with values that work with the Skills: The Middle Road system and D20. These can be converted to other systems using the OSR rosetta stone. Special D20/Pathfinder rules are in parenthesis.

Combat Skills:
Skill
BP Cost
Relevant Abilities
Mastery Die
Course Prerequisite
Course Cost
Course Difficulty
Target
DC
Blank
Battle Cry
2
(STR+CHA)/2
1d6
N
225 gp
0
5
DC 20
?
Brawler
2
(STR+DEX)/2
1d8
N
175gp
+5%
4
DC 15
?
Cheetah Strike
1
DEX
1d6
N
275gp
+15%
6
DC 25
?
Ambush
8
WIS
1d6
N
225gp
+5%
5
DC 20
?
Eye Gouge
1
DEX
1d8
N
125gp
+5%
5
DC 20
?
Incapacitating Strike
10
STR
1d4
N
75gp
+5%
5
DC 20
?
Mortal Combat
9
CON
1d4
N
435gp
+5%
4
DC 15
?
Second Wind
8
CON
1d6
N
325gp
+10%
6
DC 25
?
name
X
STAT
XdY
N
XXXgp
+X%
X
DC XX
?



Battle Cry
This allows you to utter a bone-chilling battle cry. A successful use of this skill, causes all opponents within 25 feet to Save versus Fear or be subject to a curse of fear. If the fighters level is higher than the hit die of the opponent, their save receives a penalty equal to twice the difference. The curse of fear applies a -1 on all rolls the opponents make if the fighter is equal or lower level than his opponents. It applies a -3 penalty on all rolls the opponents make if the fighter is of a higher level. If this skill is attempted and failed, the vocal cords have been strained and it cannot be used until the next day. (Increase this penalty by 1 for every five levels of the fighter. At level 5 the penalties will be -2/-4)

Brawler
This has several effects. A successful skill roll allows you to choose one of several effects. You may:

  • Modify results on any brawling/wrestling table a number of spaces equal to your level
  • Receive +2 to hit and damage on any unarmed attack
  • Use an improvised weapon to do 1d10 subdual damage or 1d6 physical damage 
  • Increase the size of your hit die for the purposes of overbearing attacks.

Only one check may be made per attack (you may not both increase your hit and damage and also modify your table value). A failed check has no penalty, but this check can only be made if unarmed or armed with an improvised weapon. Some of these are dependent on your rule set, if you are not using a brawling/wrestling table, that result does not apply.

Cheetah Strike

This skill is used instead of your normal actions against a target up to one size category larger than you. On a successful use, make a to hit roll against your opponent. On a successful hit it allows you to move your opponent up to 10' and then place yourself adjacent to your opponent. Then, you receive a +2 bonus on your next attack versus the opponent. This bonus is in addition to the bonus for rear attacks and for bypassing the shield. You also receive a bonus on your initiative roll next round. If you increase the difficulty by 25% or Target 8 you can affect a creature up to two size categories larger than you. Initiative bonus depends on the size of the die used: +2 on a D6, +4 on a D10, and +8 on a D20. Failure allows you to make a single melee attack in the round. (On a successful use and Combat Maneuver Check versus your opponent, move your opponent 2 squares and your next attack is made as if your opponent was flat footed. If you are using set initiative, increase your initiative by 4. i.e. if you are moving on 17, next round you will move on 21. This is a Full-Attack action.)

Ambush
Given time to prepare, you can ambush opponents. As long as you have 1 round to maneuver, you can make this skill check. On a successful check, surprise chances are doubled. (Receive a +8 on initiative rolls on a successful skill check).

Eye Gouge
A successful use of this skill, lowers the penalty for making a called shot against an eye by your level. Usually this penalty is -10. Helmets with eye protection negate your ability to use this skill. Failure means you make the attack as normal with the full penalty. (Gain a bonus equal to your level on your Combat Maneuver Check to blind your opponent. Ref: Dirty Trick in the Advanced Players Guide)

Incapacitating Strike
This is a combat technique designed to disable an opponent by striking a sensitive area. Using this technique is considered dishonorable. It only works on creatures with a discernible sensitive anatomy (humanoids, et al.). A successful skill check allows you to make an attack against an opponent as normal. If the attack hits,they must Save vs. Paralyzation. If they fail the save you can either have them fall prone and apply the stunned condition for 1 round, or have one of the following conditions applied for a turn: Sickened, Slowed, Bleeding. This replaces your attack for the round and does no damage. 

Mortal Combat
You pick a single target and engage them in mortal combat. On a successful skill roll, you have engaged them in Mortal Combat. Failure means that the opponent is immune to your challenge for this combat. This may be attempted once per battle. Against that target, you receive +2 damage. All other targets get a +2 bonus to hit you. If that target attempts to engage any opponent other than you then you may strike them with a +4 bonus to hit.

Second Wind
If you reach 0 hit points, a successful skill check will grant 8 + 1d4 per level temporary hit points. This can happen once per encounter. These hit points are lost after a turn (at the end of the combat).

This is most likely Part 1. . .

On Theory, Defined: Player Agency

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Player Agency (n.): “the feeling of empowerment that comes from being able to take actions in the [virtual] world whose effects relate to the player’s intention” -Mateas, 2001

Well, that was easy, eh? But what is agency?

As noted, this is a somewhat philosophical point in role-playing games. In video games, the code is quite explicit about what it allows and does not.
"Agency is an experiential pleasure. As such, it can fade in and out; it can fail altogether. Agency is not automatic, and so simulated environments should be cleverly constructed to help users/players get there." - Steven Dow (2009)

INFORMATION

If a choice is made without information, then the results cannot be predicted.

A tabletop role-playing game consists of Infinite Play. There are no impassible walls, the most minor guard can be talked to, nothing is pre-programmed. 

If you remove the ability to access information, you are restricting agency. It is information and the players ability to gather it that allows them to have an expectation of the results of their actions. This allows them to form an intent to act on.
"This process of accumulating goals, understanding the world, making a plan and then acting on it, is a powerful means to get the player invested and involved." - Doug Church, Formal Abstract Design Tools 1999

CONFLICT

Are you against each other? Opposed?

If the player believes so, then she might refuse to explain her idea. Her stance is "The Dungeon Master will invalidate it because he wants to win!" 

If the Dungeon Master believes so, he will change the rules to get his way. "I spent time on this. They want to ruin it!"

Neither is true, partisanship is the problem. Both parties desire to play, but while being respected. I talk at length, concretely, about how to address this impasse.
"[I]n [computer] role-playing games often the best uses of consequence come when they are attached to intentional actions. . .when these tools work together, players are left feeling in control and responsible for whatever happens." -Doug Church, Formal Abstract Design Tools 1999

ILLUSION


The feeling of empowerment from agency must be an illusion. It is subjective ("a feeling") and unrelated in fact to whether the choice is actually a real one. (ref: Illusionism)

That said, bad practice is bad because it works poorly. Actually providing true individualized consequences to choices is the best way to engender the feeling of Agency.

ACTIVITY

Action alone is not agency. Moving a game piece, deducting damage, rolling dice are all actions that have effect. But they are not choices related to the player's intention. They are the results of a choice that may or may not have agency. The actual "play of the game" is just finding out what happens after the choice has been made.

The struggle is to insure that the choice made provides agency.
"Agency is the satisfying power to take meaningful action and see the results of our decisions and choices" - Murray, J. Hamlet on the Holodeck. Free Press, New York, 1997.

LIMITATION

Games are designed, meaning they create via their structure the activities they encourage the players to engage in. A game is well designed both when its structure satisfies the desire for agency and when it is able to communicate this structure to the player to manage expectations. 

Players come to play at the table with assumptions about what play will involve. To be successful they must transition from their initial assumptions to an understanding of what play actual does involve.

"A player will experience agency when there is a balance between the material and formal constraints."- Mateas M. A Preliminary Poetics for Interactive Drama and Games 2001

What this means is that the structure and design of a game and the choices available within it communicate information to the player that allows them to make an informed choice of action with a consequence that reflects their intent. (whew)

A multitude of options and choices is not necessarily agency, any more than a highly structured game with limited choices denies it. "Story" is irrelevant to agency. Anything that needlessly disrupts this interplay, disrupts agency. Adding in material constraints (Here's a new skill, basketweaving!) that isn't related to the formal constraints (Gold translates to experience which raises your power) diffuses the focus of the game, resulting in a reduction in agency. 

On Threshold: A Review

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Threshold: Issue 1
The first issue of Threshold is out. It is produced by the Vaults of Pandius as a resource for Mystara, a Dungeons and Dragons world.

It's free, so many people are likely to download it! But are you likely to use it?

It is 180 pages, and free. It's done by fans because they love Mystara. It's a nostalgia trip, if you've ever read a gazetteer.

Check out those Hot and Sexy Demographics on her


I am a true believer in minimal gaming presentation. The value in a gaming product intended for use at the table is to provide the minimal amount of information needed for the maximum use at the table.

This by those standards is atrocious. But that isn't what this is.

It's a magazine.

Do you like reading about the cartography of an ancient and magical world? Do you like Demographics porn? Do hot 6% populations of orcs turn you on? Do population values per square mile of rural land turn your crank?

So the authors love this world. They have read every source, and discuss, at length how to resolve every conflict in the cannon, where modules would most likely be placed in the 'real' Mystara, and most importantly, spend substantial space discussing their own particular personal variations of the world of Mystara. Well, Karameikos at any rate.

It is a travel guide and travelogue written by a native who loves their land. 

I know way way more than I would ever need to know about timelines, historical lineages, hidden history, arrangements of land, marriages, and current political tensions of a land that never was.

I also know where that bastard Bargle lives and how to kill him. 

In short, if you like to read these kinds of things for pleasure, or perhaps in preparation for running a campaign set in the Karameikos, then this is something you'll enjoy. If your looking for a resource to use at the table

Integration


The nice thing about this work is that it is written by erudite adults.

They have referenced every source, from modules in Dungeon magazine, to fan produced publications to official releases and sources. If something mentions Karameikos, then they note it here.

The other thing is that nothing is whitewashed. Women may kill themselves in the rural borderland areas when pregnant with orc or ogre seed. It does not assume that the players are 12 year old boys and handles mature and violent concepts as a matter of course.

Conclusion

My thoughts are that it would work best, either on a color e-reader or as a printed volume. It is just that - a document to be read from a love of history of a world that never was, as written by a historian. That is to say it is full of words

If you are looking for maximizing your idea per-page value, that will not be found here. It does not present the gaming information that is relevant or of use at the table very efficiently. What it does do, is immerse you in a fantasy realm. Some may find this boring, but I imagine, based on how the Gazateers actually sold that many do not. 

A list of the contents follows:
  • Editorial & List of Authors
  • 30th Anniversary of Red Box D&D
  • The Demography of Karameikos : Summarizing information from all available printed sources to provide a detailed overview of the land (Wordiness: *** Interest: **)
  • The History of Karameikos : A timeline of events throughout the history of the land (Wordiness: *** Interest: ***)
  • Karameikos - The Hidden Years : An extrapolation about years not detailed and events that occurred based on inferences from printed sources (Wordiness: ** Interest: **)
  • Thorn's Mystara : A description of the way Robert Nuttman uses and portrays Mystara in play (Wordiness: * Interest: ***)
  • Bruce Heard Interview : An interview with Bruce Heard, the "manager" of the Gazateer line in which he discusses his future plans for the known world (Wordiness: * Interest: ***)
  • Unveiling the Radu Clan : Discussing the veiled society and Radu family originating in B6: The Veiled Society by David Cook (Wordiness: ** Interest: Varies, are you running B6?)
  • Strolojca and Draconius : Extremely through descriptions of two noble houses. (Wordiness: *** Interest: **)
  • Yuri Molotov - Death Knight : A Non-player Character Death Knight and Undead Dragon and a series of adventure hooks related to him (Wordiness: * Interest: ***)
  • The Rise of Dhrom Dhum : A goblin shaman and his plots and plans (Wordiness: * Interest: ***)
  • The Dangers of the Dymrak Wilds : A discussion of the eastern forest the Dymrak Wilds and what hazards and treasures they contain. (Wordiness: * Interest: ***)
  • Fort Doom : A description of the hellish fortress run by Ludwig Von Hendriks to assist those fighting against the Black Eagle Barony (or Dungeon Masters running it) (Wordiness: ** Interest: **)
  • Mirror of Eternal Night : A Megadungeon outline. Yep. (Wordiness: * Interest: ***)
  • Return to the Ice Wall : Examinging a magical terrain feature, it's history, cause, and adventure ideas. (Wordiness: ** Interest: **)
  • Guild Wars : An urban side-trek adventure in the form of a mystery. I'd say more, but don't want to give it away. Whodunit?! (Wordiness: ** Interest: *)
  • Time's Travels : a Photocomic  (Wordiness: - Interest: **)
A note on scale: zero stars is an option. So is four.

On the Ecology of the Stirge

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"It'ss the dream of the mosquito, issn't it. Jusst a nightmare for everyone elsse." - Shellmoss, Ghazan Speaker

Nomenclature: Stirge, Bloodsuckers, Spear-beaks, Strix, striga/strigae, Bloodbirds, Devil Birds, Vampire owls

Description: Small flying parasites

Things that are known:
  • They lair in small narrow dark places
  • They drink blood
  • They are about the size of a housecat
  • They have leathery bat like wings, a short tail and barbed legs
Rumors and other whispers in the dark:

  • They steal genetic material 
  • Stirges build bee-like hives, where they store their blood. After time passes, it coagulates into Dark Honey
  • They collect diseases, which live in pockets along their proboscis
  • They are quite intelligent, often setting up near exits or not bothering heavily equipped and prepared parties, instead seeking out the wounded
    Brian "Glad" Thomas
  • They attack with a distinctive buzzing sound that travels quite far. Considering they only take some of their prey's blood, the noise often draws those wishing to scavenge on their leavings
  • They aren't parasites, but symbiotic creatures that live on and with underdark horrors like Hook Horrors and Umber Hulks. The sign of a stirge is an indicator of one of these great beasts
  • The stirge is not a grown creature, it is in larval form. It collects blood for the coming change, and enters a pupae stage for less than a week. It emerges from its old shell as a combination of the creature and insect like features of the stirge 
  • A character can also attempt to dislodge a strige by tensing their muscles. Each round they must succeed on a constitution check. On the third round, the stirge bursts from the blood they have taken in. It is a common game among barbarians
  • Goblins are quite fond of adding stirge to stew, the more bloody the better
  • They are also popular with the blood drinking undead
  • They are often kept as pets or allies, intentionally or unintentionally, by other creatures, attacking a minute or two after the creatures they are allied with do. They often are able to feed and flee this way before any attention is paid to them
  • They are the spawn of an insane vampire who desired living servants
  • Stirges were once humans who were transformed into these as punishment
  • They are viewed as harbringers of war and strife
  • Blood drank from a stirge sac can heal the injured. What is less commonly known is that it is also highly addictive
  • They can sense mutations and diseases and will avoid those with tainted blood
  • Certain types of blood are extremely attractive to stirges and they will favor those targets over all others
  • Stirges are lulled to sleep by mournful polyphonic dirges
  • They were originally crafted by vampiric wizards to throw hunters of the undead off track
  • They were the minions of evil wizards who bred them by the millions and released them against enemy armies arrayed against them. 
  • The stirge uses blood to fuel a bizarre alchemical process in its bloated para-abdomen. This process is how the gas it uses to fly is produced
  • Stirges are a cross between a leech and a bat and have no relation to insects or mosquitoes
  • The stirge is actually completely an insect, what appears to be hair are actually just sensing fibers
  • The stirge is a larval form of a Stirgeon, a highly intelligent creature, specializing in the science of blood, hematology. Many underdark denizens consider it superior surgeon to even the Xixchil
  • Chirugeons use stirge cages to drain excess humors from patients. Varieties of stirge such as blood, black bile, yellow bile, and phlegm are known
    • Blood stirges are the only ones who can fly and are fond of liver
    • Phlegm stirges swim, and try to drain the lungs and brains of their victims through the nose
    • Yellow Bile stirges propel themselves with jets of burning gasses, and are very quick. They eat as fast as they move, devouring a spleen in 1-5 rounds. This can be fatal
    • Black Bile stirges are wormlike and live in earth, soil, and rock, looking to enter bodies through the anus or urethra, then eating the gall bladder. Victims become despondent, sleepless and irritable, but they live
  • Stirge eggs are laid in carcasses. They are laid when the stirge feeds
  • When a stirge attacks, they attempt to squeeze between the armor and the skin
  • Stirges are annoyance made manifest. They will take whatever form of vermin is most suitably annoying
  • They are just subterranean hummingbirds and completely harmless. Their abilities and appearance has been exaggerated because they spook adventurers very eaisly when they dart into torchlight, and no one is going to admit once they get back home that they were scared by a tiny harmless bird
  • Stirges are technically tiny pterodactyls
  • Stirges will continue to feed, even after satiation. They can hold more blood than a man. Much more than that, and their membrane ruptures, leading to sacks of pigs blood as a common tactic against stirges
  • Stirges are the key ingredient in Instant Blutwurst, a beloved winter dish of the Dzhungaznian Dwarves of Dheoghnunn
  • Stirge eggs pickled in brine are known as stony mountain caviar
  • Stirges have three wings and an organic flywheel to assist them in flying, hence their excellent maneuverability
  • Stirges are collectivist creatures that serve law, and preferentially target chaotic and individualistic creatures
  • Telling people that stirges eat your blood is simply adventurers whitewashing the truth for the townsfolk. They actually have a razor-sharp maw and specialize in eating your face off
  • Stirges are sentient assemblages of stringy worms, cooperating for the greater good. They attempt to get ingested to take control of their victims, turning them into reckless adventurers who will get eaten by a dragon. It is in the dragon's duodenum that a stirge matures, laying eggs that hatch into dragon-dung-worms
  • Stirges stir subconscious sexist sentiments, seducing silly sirens, sylvans & semi-humans scavenging stony septs.
  • Stirges are bio-engineered syringes, given small wings to be at had for the enterprising surgeon. Their progenitors have long since died off, and they have adapted to take the blood of anyone nearby in an attempt to discern their health. Sadly, without the help of an authorized medical representative, all the tests are inconclusive and must be repeated
  • Every time a mortal dies from an supremely selfish act, a swarm of stirges is born. Kings of greed spawn dire stirge queens, who brood thousands more
  • Jungle goblins use stirge bones in the fruit gruel they feed their children, for crunch and marrow; this is simliar to the method plains goblins feed their children tigre nails in a bowl of rotten goat crud
  • Stirges do not drain blood. They don't drain anything. The needle mouth is actually an ovipositor.
  • Stirges are magical creatures used to obtain the essence of creatures for use in sympathetic magic. Bat-like stirges exist and seek out hair; this is the source of the old urban legend]
  • Stirges are the physical form of malaria-spirit, they infect their targets with a magical disease and then feed on that
  • Stir-inges are magical syringes made from stirge ovipositors
  • The belief that stirges deposit eggs with their proboscis is wrong, they actually deposit mutagenic sperm, which impregnates the host tissue. This created a 'stirgiform grub' which absorbs genetic information from its host before erupting from the body
  • Stirge guano is red and grainy. When dry it hardens into a clay like substance that is flammable and useful as fertilizer
  • Corpses drained of all blood are also very flammable. The stirge secretes a substance to maintain the blood pressure in the vascular system to allow it to easily drink. This substance plus the desiccation of the body make fully drained corpses very flammable.  
  • When the first demon army came to make war in the marshes, the mosquitoes fed, and were changed.
  • Kabraxis, the Demon of Lust, has a thousand detachable members that swap fluids with whole crowds of worshiping cultists during a ceremony. Some of them can't fit back on the demon, as more are constantly growing. Any site with stirge is a site where cultists had congress with their dark master.
  • They are aberrant bats that lair in the thousands underground. Their digestive system is extremely efficient, causing them under normal circumstances to only need to feed a small sip. 
  • The Psychic Wizards of Marnbayzie got so proficient playing darts they needed to make the game interesting. They created darts that could fly of their own accord, with enough mind to give mentalists another venue for winning. Lazy and stylish, the foppish wizards eventually adapted the darts to fetch them drinks, drawing from the bar and squirting into cups.
    • When STDs, madness, mutation, and furious former lovers finished with the order, enough of the stirge survived to spread and become a real problem. Still, a wizard wearing a yellow and silver robe may find that stirge still have enough racial memory to want to fill their cups for them. Better hope wine is handy.
  • The first stirge were created when a profoundly powerful wizard used a Power Word originally designed to turn dragon teeth into warriors. Crippled and desperate, the wizard cast it on a still-living dragon, whose needle-sharp teeth tore loose with wads of gum tissue and bone, desperate and insane with agony, stabbing and drinking to assuage the pain they still felt through the sundered nerves.
  • The Chupacabra is a ground based large relative of the stirge
  • The dragon was immortal, and captured, and its teeth suffer and feed still. If the dragon dies, perhaps all the stirge die too. If the stirge ever proliferate to a certain point, perhaps the dragon will become strong enough to escape and reunite with them.
  • A min-maxing wizard character was not content to only throw 3 darts a round, or to be stuck without armor. After decades of casting animating magic on the same darts, eventually they were imbued with the magic. The final step was when the wizard fell into the pool that animated inanimate objects, and the darts came alive.
  • "It's not armor," the player protested, strapping cages to chest, back, arms, legs. The cages filled with the now-living darts, who returned to their master. Until the DM had enough and an ogre mage charmed the lot of them and drained the enterprising munchkin dry. Now they are feral.
  • Stirge are the carrier pigeons of the Stygian Suburb. Their wings are uniquely suited to carry demonic script, and they are instinctively eager to please demons. Swarms gather in the palaces where the demons hold massive social events like gala balls, feasts, and hunts.
  • The strix is a vampiric bird, a cousin of the stirge
  • The stirge is the only form a shapeshifting witch can take
  • It is the height of fashion for demons and tieflings to have "blood buttons" with a few drops of a friend or enemy's blood in the center; the stirge pecks the button the demon chooses, then homes to that demon with the message.
  • They attack sleeping victims without them noticing, for a stirge bite is painless. 
  • Kyvash War College is famed for its Biomunitions Chair, funded by the Zephrox Mercenary Guild. One of their more popular sub-projects was sponsored by the neogi, who wanted a way to weaken eggredex beasts (who were immune to poison and mind control) to make them easier to capture and sell to wealthy nobles. The stirge nest was portable, and the blood the stirge took weakened the strange circulatory system of the eggredex beast (who operated on hydraulic principles) so they could be folded and taken quietly. When the eggredex beasts went extinct, the stirge were re-purposed for "scorched earth" campaigns to deter resettling in the dimension wars.
Mr. Gygax the demiurge
Happily created the stirge -
It's like a mosquito
Except you're finito
If your paths should ever converge.
Dungeons and Digressions
  • Stirges are frequently mistaken for vampires based on their method of feeding
  • Garlic and holy water infuriate stirges, causing them to fly into a rage and attack until death
  • Stirge are actually the attack helicopters of a particularly repugnant brand of sprite. Their fuel is blood. Don't believe it? Twist off the head, and in the chamber between the eyes there is an extraordinarily furious blue person half the size of your pinkie finger. These sprites are on a religious quest to kill nosy people, and they are an off-shoot of the species that manages will-o-wisps remotely with psychic powers. Their rivalry is legendary.
  • They do not attack. They simply track prey, waiting. Once a fight begins, they attack everyone, feeding on those that are damaged. As soon as the fight is over, they retreat again, up into the trees, following and waiting again.
  • Stirges hunt people by softly calling out their name. This rhythmic chant entrances the victim, putting them into a stupor and making them unaware of their environment. The stirge then has free reign to do what they wish to the victim.
  • When the Zerg first came to this world, bats were caught in the creep. Most died. A few survived, but the fast and loose mutagenic properties of the creep tied them to the hive mind and warped them into monsters.
  • Sites that have heavy stirge infestations often keep small mammals in cages at the top of poles around town to deter them feeding on humans and to provide target practice to the locals
  • The greatest of the vampire necromancers weaponized his blood, so that every drop shed would twirl free, spinning out wings and starvation, and attack on his behalf. He was eventually slain, but his creations thrived and grew large. They are able to breed true; they share the same blood, after all.
  • Stirges have rubies for eyes
Stungeon
  • The dire strige is the size of an elder pot-bellied pig, has six wings and a blood draining proboscis at either end
  • In the warrens of Moloko, they murmur of the hydra stirge created by the mad mage Mulana of Mulenbach
  • "I have invented a biomechanical creature based on the stirge, which is attracted to naphta or rock-oil, the raw ingredient required for the activation of the phlogiston in the internal explosion engine. I believe this oil-irge will lead to a time of great plenty and good for all dwarven-kind, freeing us from toil and bringing us a period of peace, plenty and oneness with nature." - Ishtvan Shentdizely of the Blackrock Dwarve Corporation
  • They were designed by alchemists at autonomous blood sample collectors, but have since escaped and bred true. The ancient scent lore of the alchemists can still be used to tame and direct the stirges, if they could be discovered and deciphered
  • Stirges can't withdraw their proboscises from padded armor and will bloat up like honeypot ants
  • Rothe blood is toxic to stirges and they avoid anyone with the musk of the rothe. That is unfortunately true in general
  • Stirges originally were fruit eaters, but they were trapped in a cave after an earthquake, opening a path to the underworld. They were forced to adapt to drinking blood to survive. Sadly this trait bred true and almost all the harmless fruit eaters are dead
  • Stirges quickly succumb to bad air, like canaries
  • Fire-roasted strige is best when served fully bloated, otherwise it's dry and chewy
  • Stirges always travel in flocks which are multiples of 8. This is because they are the tips of the tentacles of an ethereal octopus creature, which partially extrudes itself onto our plane to feed. This is why stirges have an out-sized thirst
  • Stirges actually prefer red wine over blood.
  • Tying stirges together is a favorite goblin pastime.
  • A healing stirge is an enchanted bound stirge that injects the stored blood into your body. You have to pierce your skin and squeeze the blood sac to get the blood to inject. This bursts delicate membranes in the stirges head, but heals you 2-16 points of damage
  • Bound together stirges are used to play a goblin children's game called Sip-sip. The players run in circles easily avoiding the stirges, but usually crashing into one another and making an easier target for the "Sip-sip"
  • Stirge-owls serve the underworld goddess and her minions. Everyone from her gatekeepers to her vampire throne bearers use stirge-owls as messengers and shock troops. Underworld stirges can both be larger than normal and hit creatures only hit with magical weapons.
  • Stirge beaks make excellent quill tips for scribing scrolls.
  • Stirge eyeballs are heavy and shiny and make good sling bullets.
  • Stirges are used by Drawangari doctors to purge bad humours from sick people. A wild stirge bite has a 25% chance of having a Cure disease effect on the victim.
  • Stirge enzymes convert blood into a thin, ichor-like fluid and can be used to kill vampires, as they rapidly convert the blood a vampire has ingested into stirgeon juice.
  • Some less scrupulous Drawangari doctors reuse stirges rather than dispose of them as per custom. These "recycled stirges" have a 25% (low end) chance of Cure disease and 25% (high end) chance of Cause disease.
  • In enlightened Drawangari city states, city authorities have taken to providing single-use neutered, short-lived may-stirges pre-filled with troll blood to Tee addicts.
  • Halflings of the Upper Blue Dowager clans of Peenkemoende have taken to using trained carrier stirges to harvest troll blood, which is used by humanoid and elven addicts to get a high and temporary regeneration ( though as the saying goes, "shoot tee and you bee fick ass troll" ).
  • Black-and-blue market dealers often mix troll blood with chicken blood to increase their margins, though this generally destroys the regenerative properties. On the market this product is often called chee-tee (cheaty).
  • Boiling a stirge that is well fed makes a delicious blood pudding
Combat Techniques
  • Flock blindness: When three or more stirges affect a single target, their vision is obscured for the round causing them to act as if they are blinded
  • Armor Crawl: On a strike, the strige may worm its way under the armor. This protects the stirge from damage, giving it the AC of the wearers armor and insuring that any hit that hurts it, hurts the wearer for an equal amount
  • Eye Stab: Some Stirges are unsatified with blood, and with to drink fluid out of the eyes. They land on the target on the first turn, move to the eye on the second, and on the third turn make a strike into the eyeball, with a penalty to hit of -4 versus the armor class of the eye (usually 10 unless wearing a helm with eye protection) On a successful hit, the victim must save versus paralyzation or become shaken by the pain and the eye is seriously damaged, causing partial blindness. (-4 to hit with ranged attacks, -2 on attacks/vision based perception, -1 on surprise)
Variations
  • Phase Stirge: In addition to the standard phase characteristics, they can drain blood from targets up to 10 m (30') away, without needing to touch the victim.
  • Jungle Stirge: Twice the size of a normal stirge, and has a paralyzing venom when it strikes
  • Desert Stirge: A flightless hopping creature that attacks it's prey somewhat like a large flea. They can burrow beneath the sand and travel with a movement rate of 6" underground
  • Ghost Stirge: A stirge that died from lack of blood. They ooze ectoplasm which sucks the life from targets as well as draining blood as normal. They return to life again and again until their remains are bathed in warm blood
  • Two-headed: This variety has an additional head. This grants an additional attack as well as reducing the chances of surprise
  • Enraged Stirge Whip: This creature does not feed with a probosis, but instead has 4 long (20') whiplike limbs that attach and drain blood from multiple creatures. The whips have AC 3 and 10 hit points each. It normally attaches itself to a cave wall or surface before attacking. It can attack itself to a surface with an effective strength of 20. It flies and is small instead of tiny. They hunt in packs. 
  • Swamp: These are much smaller than normal (about the size of a half dollar) but they travel in huge swarms. They hunt at dusk. 
The ecology series is a crowdsourced series of articles, and contributors can be found on google+ under the hashtag #crowdecology. They are limited posts, but following me on G+ will allow you to see them. All artwork is credited where the artist could be found. Classic ecology articles from Dragon magazine are used both for reference and inspiration; the whole impetus of the idea was to create 'classic' ecology articles that are actually useful. Let's Read the Monster Manual by Noisms is also a source of inspiration.  

On the Effects of Magic, 5th level Wizard

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DKZ
The magical energies contained in the brain could cause side effects. When the wizard acts as a conduit, there 
are risks. As these are fifth level side-effects, the results should be noticeable.

This makes wizards somewhat more unique based on the spells they know and can prepare. It also can make them more useful or somewhat of a liability.

Airy Water: The wizard emits bubbles when he speaks, that only release his words when they pop. 
Animal Growth: This has a side effect of increasing the size of all skin parasites and bacteria between 10 and 100x their normal size. This causes the skin of the wizard to appear to crawl and large disgusting parasites constantly fall off the wizard.
Animate Dead: The wizards face appears to be a skull with two glowing points of light where the eyes are. He smells of freshly turned earth.
Bigby's Interposing Hand: The casters hand increase in size 50% and his grip strength increases as if he had a Strength of 17. This doesn't affect any damage, only the casters ability to grapple and hold on to things
Cloudkill: A noxious odor and haze surrounds the caster. Anyone within 5' must save or become ill.
Conjure Elemental: Elemental forces affect the casters clothes. A patch may catch aflame, another might become wet, some are covered in dirt, others in salt or ooze.
Cone of Cold: This allows the caster to fire a ray of freezing cold at any target within 20'. It requires a normal to hit roll and does 1d6+1 damage. This can be done once a round. Also, anyone within 5' of the caster takes 1 point of freezing cold damage a round.
Contact Other Plane: The caster is subjected to voices while this spell is memorized. They command him to do things and disrupt his concentration. Space around the caster seems to bend and warp. 
Distance Distortion: The caster's movement speed doubles.
Extension II: Spells cast by the caster last an additional 2 rounds while this spell is prepared.
Feeblemind: The caster must save versus spell when casting any spell, otherwise they forget what they are doing and stand confused for 1 round.
Hold Monster: Ghostly chains surround the magic user. When the spell is cast they lash out towards the targets, binding them
Leomund's Secret Chest: While prepared, the magic user is able to smell valuables, as well as disturbances in the astral and ethereal plane.
Magic Jar: The casters eyes are unable to focus, and she takes a -2 penalty on any attack rolls that must be made. Her skin also takes on a glassy sheen.
Monster Summoning III: Pentagrams begin to exude themselves from the wizards skin and clothing. They hum and hiss making it impossible to move silently.
Mordenkainen's Faithful Hound: The caster smells like a wet dog, and happens to arouse all nearby canines
Passwall: The caster becomes translucent.
Stone Shape: Any stone within 2' of the caster begins to bubble and turn to liquid, hardening in it's new shape as soon as the caster moves on.
Telekinesis: Objects nearby the caster unexpectedly rise up and float. The caster may fling one nearby object up to 1/10 the maximum weight the caster can move with the spell a round at a target doing 1-4 through 1-8 damage. The damage is dependent on the type and size of the object.
Teleport: The caster will occasionally teleport a few inches in a random direction. There is no danger of being high or low, but occasionally the caster will stumble or become a little stuck in the ground or air.  
Transmute Rock To Mud: Any rock within 5' of the wizard maintains it's hardness, but changes color and texture to that of mud. the casters clothes look filthy.
Wall of Force: The caster's clothing becomes translucent and exudes a purple light.
Wall of Iron: The caster's clothing appears to be made from iron.
Wall of Stone: The caster's clothing appears to be made from stone.

On the Sublimity of Hackmaster 4th Edition: Hacklopedia of Beasts

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What's with Hackmaster?

 "The whole thing is very hermetic from the outside." - Zak Sabbath

I'm going to talk later. For right now, I'm going to show.

Seven Adventurers and a Hireling Fight a bulette and the Dwarf gets eaten

Six adventures and a Hireling fight a Dragon and the Elf dies

Five adventurers and a Hireling fight a Violent Fungi and the Half-Orc Fighter bites it

Four Adventurers and a Hireling fight kobolds, while their Halfling Thief dies

Three adventurers and a hireling watch their cleric get killed by a Mummy

Two adventurers and a Hireling have their Wizard eaten by rats

The Hireling flees as the last fighter is killed

All his companions raised from the dead, they chase him and he escapes!

Almost.

On Objective Design

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The issue is one of scope.

Role-playing games are a subset of games. For the purposes of this discussion  we are assuming some variant of Dungeons & Dragons. What is important is that it comes in a book with rules which is enough for us to consider it a game instead of play.

One thing that marks Role-Playing Games as different than more straightforward games is that the constraints are fluid. I know this sounds like tedium obviousness 101.

In a recent discussion  Noism's of Monsters and Manuals stated:
 "Different people have different tastes and different groups of people respond in different ways, there are good general rules of thumb that work universally."

That's the baseline for our conversation. If you're wrapped up in the idea that something being objective makes a statement about your personal value or worth, then you have self-esteem issues.

"He's examining and evaluating something I like! Because I have poor esteem and boundries I think that must mean he's evaluating the core of who I am as a person! I had better go to war to defend myself to let everyone know that what I like is immune to categorization and then I can continue to go around and be in denial that in one hundred years after my death no one will ever remember who I am." - The Internet

Playing to Win?


So Magic: The Gathering is an interesting case because in addition to a tight win condition (cause your opponent to have 0 or less life, draw from an empty deck, or resign) it also supports a variety of other sub-goals not tied into that particular win condition, namely Thematic Enjoyment and Card Interaction. (Spike, Timmy, and Johnny)

So, rather then just a well-designed game with a victory state, there are choices that still appeal even though they are less effective at achieving that victory state.

There is no situation in Chess where I would refuse to move a piece that would allow me to win, based on my opinion of the piece. Successful tournament players in Magic also don't use cards that don't help them win. That is the metric for card selection in tournaments "What card will help me win?", It is important to note that not every game of magic is a tournament game.

Taste is irrelevant when the only goal is achieving victory conditions.

Role Playing Game Balance?


Dungeons & Dragons also has a "win condition" that is much more loose than most other games. In the Old School Renaissance that goal is "Acquire Gold" In Modern Dungeons & Dragons it's "Win Fights".

However Dungeons & Dragons is different because it pushes the importance down on those 'win conditions' because play still continues (a 'la Zak's infamous "Dying prevents you from playing the game a certain way.") It also ups the importance of the sub-goals: Exploration, Problem-solving, Drama/Acting*

What this means is that rule changes and systems in Dungeons & Dragons can be objectively comparatively judged based on how well they meet these design metrics.

That is to say that decisions about the value or use of systems can be made without being influenced by personal feelings or opinions.

That is what objective design means. "Do you want to use it?" is surely subjective, but as to how it affects the game? That's a matter of objective design.

*understand that "Drama" does not necessarily mean anything in play, it can also be about the structure of play leading to this upon reflection. There is an implicit 4th category, "Power-gaming" which is solely focused on achieving the win conditions. 

On Reader Mail, Bodies and Traps

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Nadav Ben Dov writes

"I am wondering something about traps and tricks, following the Thursday Trick posts I really liked from your blog.

The posts, usually if not always, featured how to describe the traps' effect area as something visible the GM could describe as part of more and less cursory inspections.

But this begs the following from me: if the trap was good enough, it would leave corpses. If it wasn't there is a chance the corpses are found further inside or otherwise the place was cleaned already.

So I'm wondering: assuming such traps, is the appropriate conclusion that among the loot within are corpses of previous adventurers, if there is still loot to find?"
Short answer: Yes, usually.

Long answer: I am against the idea of rationality in dungeons.

People often misinterpret this statement to mean that 'funhouse' design is the only design. That is incorrect. What it really means is that for the purposes of actual gameplay, dungeons should make thematic sense, not literal sense.

There's this idea that every corner of every adventure should be exhaustively unearthed from 3.5. If that's the case, then you end up with this 'fridge logic' moment where you're like, "Wait, what the hell do the Owlbears drink, and how do the ogres ever make it past the Sphinx?"

But that's not what a dungeon is, see? A dungeon is what's past our realm of static steadfast sanity. It's on the other side, made of dreams, nightmares and horrors. You cross a threshold to enter and beyond, nothing remains the same.

But that doesn't mean it can't have resonance. Things can still have reasons for existing. They can still follow logic, twisted and dreamlike as though it may be. But the logic and the dungeon never ends. It can't be explored, fixed or finished.

So, really, worry less about it. Logically, there are many reasons for bodies to be gone. Monsters may come by to grab what the trap catches. Smarter monsters may loot them. The trap itself may dispose of the corpses to feed the giant entity that spawned them.

I ask myself, would a pile of bodies in this trap make it more interesting? Will it tempt the players to risk death to recover them? Will it provide some enhanced feeling of trepidation or terror?


Reader mail is a series supported by reader questions. If you think I'm full of crap, don't understand something I'm talking about, are simply curious about how I might handle a situation, or if you have any questions of your own you'd like answered, message me on Google Plus, or give me an e-mail at campbell at oook dot cz

On the Top 30 Quest Rewards

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Culled from a thread posted by Natalie Bennett on Google Plus

1. Gold
2. Cattle/Livestock/Trained Animals
3. Deed to land
4. Magic Items/Relics
5. Men
    A) Slaves
    B) Soldiers
    C) Hirelings
    D) Expert Aid
6. Information
7. Maps
8. Keys
9. Loyalty/Lying for them
10. Spells
11. Material components or Rare ingredients
12. An antidote (possibly to the poison they gave)
13. A pardon (for the murder they were framed for)
14. Gratitude
15. Transportation
16. Accompaniment
17. Room and Board
18. Accolades
19. Titles
20. Healing
21. Equipment
22. Introductions to secret organizations
23. Religious absolution
24. Patronage
25. Food
26. New Identities
27. Training
28. Fame/Nobility
29. Someones hand in marriage
30. Freedom


On Ancient Conflict

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It is March of 2001. Two conflicting assumptions by industry professionals collide in Dragon Magazine Issue 281.


How To Play the Game
By Monte Cook * Senior Designer
Wizards of the Coast RPG R&D

"It's with some regret that my first letter to your magazine was prompted by something negative, for I really like Dragon Magazine. I think it offers wonderful advice and game material on a monthly basis. That is why I was surprised when I read Tracy Hickman's "How You Play the Game" article in issue #277.
I strongly disagree with some of the positions Tracy takes, and while I admire the goal of encouraging people to have more fun with their game, I think his methods do much more harm than good. In fact, much of the advice in the article is a blueprint on how to create a player who is the bane of both the DM and the rest of the group.

The article starts out with a story of how an adventuring party was trying to figure out the runes in a room and a barbarian character got bored and started fights with nearby monsters, which ended up killing a number of PCs. This is meant to be something desirable? To my thinking this is hardly different than coming upon two friends playing chess, getting bored while watching them enjoy their game, and tipping over the board to watch the pieces fly, because that would be more fun--the game's players be damned. Disrupting other people's fun because you are bored perhaps suggests that you should switch playing groups, but it certainly does not give you license to forcibly impose your will on others.

Later on in the article, particularly in the section, "Take charge of your own destiny" the article's advice really goes wrong. "The appeal of roleplaying games is that they forge camaraderie and encourage cooperative endeavors." So far so good, but it goes on: "But if the result is not heroic, then it's time to take matters out of the hands of the committee." This is tantamount to saying, "The opinion of the others in the group doesn't matter if they don't agree with what you want to do."

Tracy's article seems to take the position that rather than reacting to the situations put forth by the I'm horrified at the suggestion that the players might hold the game hostage until the DM gives them what they want. That's no way to play a roleplaying game. In my own games, such a player would be asked to leave--or simply not invited to return (an action I don't take lightly--it's something I've only done twice in 22 years of DMing).
Tracey's article seems to take the position that rather than reacting to the situations put forth by the DM, a player should just think of crazy things to do and act upon them. This attitude is damaging to the game because it discourages rather than encourages a DM to prepare an interesting and thrilling adventure -- because the troublesome player will ignore or wreck it all anyway. Worse still, in my opinion, the article states "If you find yourself facing a puzzle to which you cannot figure out the answer. . . walk away from the entire adventure. I bet your DM will somehow get you the necessary clues to get you past that impenetrable puzzle."

The rest of the article contains some valuable and thoughtful advice. I agree with Tracy's suggestions for creating interesting character backgrounds, interacting with NPCs, and using dramatic flair when roleplaying (although I believe that it is okay and not everyone's going to want to play a swashbuckler with flourish and panache).

It doesn't change the fact that the article does damage to the game. A section unfortunately trimmed from Chapter One of the new Dungeon Master's Guide due to space dealt with "player types" that described various kinds of players and their approach to the game, encouraging the DM to embrace multiple play styles (although this is addressed somewhat on page 8-9 of that book in the section "Determining Style of Play.") The "troublemaker" player type is one that ignores the actual events in the game and just does whatever he can think of that will mess with or hurt the other players and disrupt the DM's planned adventure. In the Dungeon Master's Guide, it was listed as one of the very few types to arduously avoid. This article creates "troublemaker" players. I hope no one follows this advice.



Viva la Revolution!
Tracy Hickman * Game Designer
NYT Best-Selling Author

I am flattered at the notion that an old gamer like myself, with a stroke of my keyboard, seems to have threatened the foundations of roleplaying across the multiverse. Cool! Who knew?
Unfortunately, Mr. Cook seems to have missed my point: That complacent games--and complacent gamers-- need to be shaken up from time to time. In real life, great ideas and visions often die a slow death being "Bogged down in committee." The same can be said for heroic action in role playing games.

Monte seems to see D&D as another form of chess, a set of rules where the outcome is determined through a contest of intellectual manipulation of conflicting mathematical probabilities. I see D&D as a simulation of a fantasy environment in which the heroes of our imagination attain some measure of life. This goes beyond probability rolls, charts, and tables. Monte seems to take a Newtonian approach; I lean more toward chaos theory.

I realize that the approach of my article is radical and, to a certain kind of DM, downright threatening. Imagine the audacity of mere players thinking that they have an active role in a roleplaying game! Monte states my position as "rather than reacting to the situations put forth by the DM, a player should just think of crazy things to do and act upon them." My actual position is more accurately stated as follows: "Rather than merely reacting to the situations put forth by the DM, a player should act like the hero his character is supposed to portray."

As to player's holding the game hostage, how is this any different from DMs holding their players hostage in a bad game? If the game design is flawed or the Dm is not properly doing his or her job, why not just walk away? Why toss away an afternoon trying to solve a puzzle when the DM has not provided you with the means or information to solve it? In my seminars, I emphasize the need for DM's to listen to their players to understand what the DM is doing right and what the DM is doing wrong. If your DM has his head in his rulebook, he might need a message that is very loud and very strong.

I am in complete agreement with Monte concerning "troublemaker" players in games, as he defines them. If you, as a player, think that my article is a license to become a "troublemaker" in your game, then you have also missed my point: Troublemakers are anarchists and should be stomped out.

I am advocating something else: "Revolutionist" as a player type. Revolutionist act on them. Revolutionist players play their heroic character rather than the game rules. Revolutionist players know when a DM is leading their PC around by the nose and laugh in the face of such tyranny. Revolutionist players are the McGyvers of the game rules, using them in unexpected ways. Revolutionist players cooperate with other players but boldly go--and boldly die--when others quiver in fear or are locked in committee debate.
players pay attention to the background and events in the game and

Revolutionist players are terrifying to DMs who are unprepared for them. They require the DM to demonstrate the same cooperation with players that the DM has traditionally enforced among the players. This, perhaps, is the most important and frightening concept of all.

Roleplaying games might have a lot of dice and rules, but they are first and foremost about roleplaying. Ironically, Monte's team did a wonderful job of doing that very thing. The new edition is a magnificent achievement and has brought back, for me, the magic that once was D&D. I wish I could get my copy signed by Monte's Team.

My article might create trouble for DMs, but it does not create troublemakers. The point of being a revolutionist player is to take back the experience from the realm of "running a game" and put it firmly back in the realm of "having an adventure." Players of the world: unite!

On the Sublimity of Hackmaster 4th Edition: Cohesive Setting Design

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From the name, to the parody art style, Hackmaster seems designed to drive away both the casual and serious player of RPG's.

Who then does it appeal to and why? The old school gamer looking for a chuckle, the fan of the Knights of the Dinner table comic, The person wondering at the seriousness of the title?

But when they do get past the name and the required parody text and finally pick it up and read it--they discover an amazing thing.

Hackmaster 4th edition is brilliantly designed.

Why and how is that?

It takes all the lessons of the OSR and implemented them in an official reprint of 1st edition, an exceptional game itself.

Design via Play

Hackmaster is not an abstract design. It is a codification of processes that developed throughout play. In a very literal sense, it is written by a group of people who were playing a mashup of 1st and 2nd edition Dungeons and Dragons and had developed a system of rules to address many classical problems when playing those systems raw.

How do I modify rigid character creation while maintaining the integrity associated with 3d6 down the line? Flaws and Build Points.

How do I mechanically encourage players to act their role while maintaining agency and keeping experience points as an objective measure of progress? The honor system. Put simply, while in great honor, you receive a +1 bonus to every die you roll, even dice like Hit Points.

How do I address leathality without bogging down play? The hit point kicker, exploding dice and the threshold of pain. Players get bonus hit points at creation, but you don't have to lose them all to be taken out of combat. Below a certain threshold you must save to remain active in combat. This has the added advantage of making constructs and undead play very differently, making them the terrifying.

There are more: critical hit tables that can wound your character permanently, degrading armor that absorbs damage, A fatigue factor to address invulnerable fighters in plate armor.

There are 2 crucial things to note here.

These systems were designed and used in play. They weren't abstract ideas. They were what was actually happening on the table. So while reading the above and thinking "All that must be complicated" what actually happens is very straight forward and simple. Like any complex thing it takes a week or two to learn and then becomes second nature. In practice, these rules are fast.

These systems enhance the experience of play. Yes, play slows down for a moment when criticals
are being rolled, but I know from experience that those moments while waiting for the result are ripe with baited breath. The need for gold to train makes the players desperate for rumors of adventure. The training and skill rules provide real things useful things for the players to spend their fortunes on. They desperately want to stay in great honor to maximize the benefits of the money they do spend on training.

After a bit of practice with the system, I've never felt I've had to do less work to motivate the players to play or even lead the direction of the campaign. The system and its different parts are designed to motivate and sustain long-term campaign play, to the construction of castles and beyond.

When my first group started play, we basically rolled with 1st edition rules and added in one rule at a time, until after a few months, all the rules were in place.

Modularity

This is the strength of traditional AD&D. Don't like weapon speed versus armor? Drop it. Running a different campaign? Add in the inheritance tables, or roll on the Hackmaster disease tables.

Setting via tables and mechanics

If you do sit down and decide to play Hackmaster RAW, there is a final surprise awaiting. The setting is delivered not via exposition, but via tables and random generation. We had several year plus campaigns and because of the cohesive interaction of all the tables, charts, and rules, we only ever had one person qualify for a monk. That made the monk special in a way other classes weren't. 

It is an functioning ecosystem of gygaxian naturalism. If you can leave your entitlement at the door ("I want to play what I want! {pout}") then you will find yourself playing a game, both as a player and a Dungeon Master, to discover a world. You uncover what happens as much as you decide what does. 

I know what the swamp looks like between the borderlands and the fortress of the witch queen, it is filled with dinosuars, some cult of shambling false undead, and hordes of murderous elves. 

If you play there is always something new to find out. 

Hopefully this makes Hackmaster 4e a little more open and clear to those who don't know what it's all about, and explains why I might be looking forward so much to giving the new Hackmaster a try.

On Objective Design, Player Types

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Categorizing people into player types is an exercise in superiority, cliquishness and judgement.

Let's not be like that.

There are two dimensions to Player Categorization (Archtypes) in objective design.

1.) What do players get to do during the game?

and

2.) What experiences do players seek from those activities?

Game Activities

What do players actually get to do during the game?


Engage Gameplay: Most often this means utilizing the combat engine of a game, but it just as easily refers to skill rolls, space combat, or unique mini-games designed by the Dungeon Master. They are characterized by each player getting to take an individual turn, important stakes of some kind to give meaning to the outcome of the conflict, and utilizing both the skills of the player and the player's avatar, whether that be her character, a ship, or their gambling skill

Planning and Resource Management: This is a discussion about what to do next or how to do it. It is characterized by asking questions about the situation and the facts, asking questions about what needs to be done, and asking questions about what the players are able to do. This can be planning for a Shadowrun, solving a puzzle or riddle, or figuring out how to recover a treasure glimpsed through a translucent portal.

Exploration: This means many things. It is exploring sites like dungeons, but it is also talking with people in the game, or even asking questions about the setting. Exploration is done when you choose where to go, talk to non-player characters, roll on a random table, or even read the rule-book to pick a class. You are gathering information about the world. 

Upkeep and Logistics: This is the one most likely to be misunderstood and in error. 

Did you record your treasure? Update your experience? Calculate your combat bonus? Figure out how much it is going to cost to manage that Castle? What's your encumbrance value? 

Do not assume that this category is one to be avoided. Upkeep and Logistics add depth and weight to the choices made during the game--they add reality to the world. There are a great many games that dispose of these outright, but making that choice comes with a sacrifice. Having that last arrow, or needing the gold that badly can force choice and create drama without removing agency at all. 

It is also crucial to realize that having these choices does not mean tedium. You can manage weight by stone instead of pound. You can track ammunition via die roll, instead of counting down. 

Socializing: Hanging out is great! This is a key part of the experience, playing a game with actual real people. It's not casual to enjoy the company of other people. 

Game Experiences

What experiences do those activities provide? What things do the players seek?

Gameplay

  • Competence: "Power-gamer" is derisive and inaccurate. Some players receive a charge by being good or skillful at the game.   
  • Empowerment: A hero is you. Mastering the game presented allows you to succeed and feel a measure of power.
  • Tactical Acumen: This is a localized specific form of problem solving. It provides positive reinforcement for system mastery.
Planning

  • Problem-solving: This isn't always solving puzzles and riddles. Sometimes this is the good idea on the moment's spur. Thinking of the right idea, being creative, or solving the puzzle.
  • Leadership: Making a final decision or coming up with a plan effectively means you are acting as leader. This is relevant whether or not you are using an actual party leader or a caller.
  • Impact: The choices made by the players in this stage can have long term effects in the play environment. 
Exploration

  • Role-Assumption: Putting yourself into a situation that isn't real, or putting yourself into  the mindset of a person that isn't you is both pleasurable and cathartic. This is the need that is fulfilled by the player who always plays a dwarf or wizard or perhaps someone from popular media. They find comfort in their role.
  • Discovery: The exploration explorer. They are looking for relationships between things. This can be romantic relationships between non-player characters, the dungeon layout, the contents of hexes, or how the gate works to get into the treasure chamber. It is the environment and its relationship to the world and the player that is being explored. 
  • Theatrics: Exploration often involves non-aggressive conflict and interaction with non-player characters. It provides the opportunity to talk to other players and the Dungeon Master in your role.
Logistics

  • Transposition: These mechanical pieces that dictate the realities of the realm that you are exploring allow disbelief to be suspended. Dealing with the logistics of weather damage or the expense of psionic strength points add to the cohesiveness of the experience for the player. 
  • Achievement: Earning experience through rigid objective goals means that achievement in the game is an actual accomplishment instead of something that is given. Making good decisions about resource expenditure is satisfying when the advantages are gained.
Socializing

  • Social Needs: In a literal sense, socializing fulfills the third level of Maslow's hierarchy of needs. Although infrequently used by designers, games can be designed to specifically encourage this need. 
  • Savoir Faire: Doing things to save the day or using cool powers at an appropriate moment. This is the social side reward to several of the needs above. It matters because people see it.
  • Relaxation: Killing bad guys and taking their loot fulfills your need for fun and enjoyment. This activity often works at odds with providing difficult challenges to players which can cause frustration as well as a feeling of accomplishment.

Story

Notice how "Story" isn't in there. The above categorizations can be used to structure a fast-paced TV-episode type of game as well as a traditional dungeon crawl. 

I've always been disturbed by it being a label for players. What role-playing game doesn't have a story? Perhaps the Dungeon Master has a grand plot occurring in the world, perhaps every occurrence is only a sequence of random events that upon later reflection tells of your rise to power, perhaps care is taken to structure thematic arcs within the activities above.

The presence or absence of 'story' and the 'storyteller' or 'storygamer' type seems orthogonal to actual concrete objective design (The Vorthos/Melvin axis, Thank you Mark Rosewater). You can have as much or as little of it as you like with great success, so long as you allow the players agency.

But there is no "Story" activity when playing a game, unless you count sitting there and listening to the Dungeon Master read. That isn't playing a game.

Negative Space

There is no category for the disruptive player, griefer, overtalker, rules-lawyer or other various common ailments, because those are social ills, and cannot be resolved by rules or design. 

Can that be clear enough? No in-game or out-of-game rule can address emotions or substitute for communication. Having a mechanic that forces someone to be quiet does not resolve the issue. If they are not cogent enough to table it when you say "We can deal with it later" or wave it off, then why would a rule make it ok?

The answer is, it doesn't. It simply provides space for one person to make an argument to authority instead of dealing with other human beings as, well, human beings. 

Categories

The other thing of crucial note, is that these aren't labels. They are categories. Each player has differing desires at different times for each type of category. Each player is a combined ranking of the goals. They are the rewards that players get from your game.

The Objective Design is to use each of the concrete activities to address specific needs. This ties right in with the Demon of Design Series. You are choosing what to present. Don't just include a bunch of stuff that wastes the players time. You can include things to waste the character's time to accomplish a goal (wandering monster checks increase risk: Logistics->Achievement), but not just to waste time.

Other Research

This is far from the first post on Player types. Wizards of the Coast even performed a quantitative analysis! It's interesting for a couple of reasons, first is that it was likely used to drive the development of 4th edition, which was not a commercial success for Wizards of the Coast. In general it seems that games based of a strong quantitative or theoretical background don't do particularly well in the market.

I am of the opinion that just because some popular things are crap does not mean that a thing cannot be both popular and good. Generally I find that longevity is a good metric of the strength of an idea.

They characterize the "four types of players" into thinkers/power gamers/character actors/and storytellers by placing them on a dual axis graph with a story-combat axis, and a strategic-tactical axis. Though these loosely correlate to the activities of play, I find any poll of players which finds that there is a numerically equal distribution across all types suspect. 

The Point

If you play a lot of role-playing games, you'll find that every moment is filled with one of the five activities. Role-playing game design isn't about presenting a dungeon or a bunch of rules or sussing out purposes of play or any of that jazz. 

It is simply ordering these five activities in sequences and presenting them in interesting ways. All my design articles talk about that. Adventure Design presents the way you can structure these activities. Set design explains how you can present them in publication so that they are a useful artifact in play. The Demon of Design talks about how design is purposeful and should focus on the experience of the players and not other goals at their expense. And this Objective Design series talks about what players get out of the game so you know what to design towards.

That's how this is useful. You already know you're going to have each of the five types of activities. When you create your game and design the activities in, you do so to provide opportunities to meet player needs. You say "This is an opportunity to show leadership, tactical acumen, and problem solving" when you put a puzzle fight requiring teamwork in the game.  

When we speak of Objective design, we talk about how well what is published accomplishes its stated goals. If you present a battle where they win no matter what choice they make, then what need is that fulfilling? And what is the cost of fulfilling that need? A successful game or module overloads each of the concrete events within it to fulfill multiple needs, and makes sure to not neglect the majority of them to focus on just one. 

There are examples here, and here of other methods of categorizing players. See if you can spot the difference between the ones that are categorized because it is helpful towards the goal of making a product* and those that are categorized to make someone feel better about the way they engage in an activity.

"Well, I'm the good one here!

*Let's also not get too commercial here. They are designed to help making a product because the person wants to make a product that is actually hella-fun to use. They want to maximize the enjoyment of the experience they are preparing. Making money from that is an extremely optional byproduct. Reference OSR blogs.


On the Ancient Feat

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Ok, so at some point we have to admit that picking a new ability or power can be pretty cool for a player.

Yes, it carries with it a ton of baggage and problems.

  • Creation requires picking from huge lists instead of rolling and going
  • It effectively is design by denial; it takes things everyone should be able to do and puts them behind walls. "No Bob, I can't let you do that, because that will invalidate spending a feat on that."
  • They show up in splatbooks in great numbers. The quantity causes a lot of them to be stupid.
  • The fact that feats are chained (you need x to get y) mean that you have to plan and build your characters out.
I will seriously Paypal you 1$ if you can find anyone who ever bothered to take Multitalented Mastery.


Multitalented Mastery (Half-Elf)
You are adept at numerous disciplines.
Prerequisites: Character level 5th, half-elf, multi-talented racial trait.

Benefit: All of your classes are considered favored classes. You gain either +1 hit point or +1 skill point whenever you take a level in any class. Apply these bonuses retroactively for all class levels that have not yet gained one of these bonuses.

Normal: Half-elves with the multi-talented racial trait have two favored classes.

Imagine the circumstance this is useful, you have two classes and take a prestige class, right? Then you're getting a few extra skill points (at least 3) and it totally seems useful.

 Except prestige classes can never be a favored class.

What a nightmare.

Of course, there are traps by design also. Monte Cook wrote an essay called Ivory Tower Game Design, now erased. But nothing is gone forever, here's the link from the way back machine Justin Alexander notes in his thoughts on the article that it is impossible to have many choices in a game and have those choices all be balanced from one another. Something is going to be better than another thing. But if you don't realize how useless whirlwind attack is, well, you're going to have a bad time.

So, what is it that makes a good feat? What guidelines can we use to create abilities like this in rule light games that avoid all the problems inherent in the current modern system?

Here are the guidelines for old school feats.


  • No chains. Possibly prerequisites, such as "Must be level 4" might be allowed, but only in ways that segment whole groups of feats, not little dinky separate and unique prerequisites for each and every feat. "Anything off this page at the start. When you reach level 4, you can pick from both pages".
  • The feats must not be something anyone could attempt. This is actually setting design. Is there a roll based chance to discover what a potion is? Or is it something that can only be done with training? It can provide a large bonus on something everyone can do.
  • If feats are available at character creation, there should be very few (7) options, or there should be the option to select the feat later (after the first adventure).
  • The total number of feats, along with their mechanical descriptions should be very few. Think about narrowing your design space. Will this feat fold into another one? Can you just re-fluff another feat to serve this purpose? Does this feat work better as something a class can just do? Is this a feat that everyone will take? Is there another feat that is superior in all or most ways to this one? If so, eliminate it.
  • No feat should be designed to provide something background or character oriented. You can say "I'm a sailor" and you don't need some special "sailor" feat to make it true. That customization should come about from skills (if you use them), ad hoc bonuses, and re-skinning the flavor of feats.
  • The benefit must be substantial, which is likely a side effect of flattening the list. +3 hit points and +1 to AC vs. one opponent are right out. You will only get 3-10 of the things anyway.
  • Flavor is superior to power
  • Feats are useful for providing customization to fighting and thief classes that wizards normally gain through spell selection, so their feat selection options should be greater and more frequent, while wizards should be less.












On the Combat Skill II

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Continued from part I here. . .

There's an opportunity there.

The old 'martial arts' skills were always overpowered. poorly designed, shoehorned into the weapon proficiency/non-weapon proficiency system. This was particularly egregious with the Hackmaster martial arts system, requiring both master in the skill, and mastery of each technique, though it did separate the martial arts skill from level.

Here's my position. If a fifth level mage can fireball a group of guys, and a tenth level mage can disintegrate a dragon, I am totally down with a circle kick doing double damage.

Each style has specific restrictions, whether weapon restrictions or who they affect. I think it is superior to think of these as magical paths, like very restrictive spell lists for fighters instead of mages. I think role-playing restrictions are something to be considered, a fighting style really defines a character above and beyond a mechanical increase. If you take Karate, what school did you learn it from? Who was your teacher?

This is not a new idea, indeed Book of Weaboo Mag- Nine Swords has fighters structured this way, and 4th edition has similar powers for fighters.

In general form, the Martial Art Style works like a normal skill in the way it is gained and learned. But it is not rolled.

  • Only one may be selected until reaching name level, at which point a second may be learned. 
  • Every even rank (or 10% points) you receive a new ability. 
  • Every odd rank (or values of the skill that end in 5%) you gain something specific via the skill. 
  • There are three tiers of ability. Tier one abilities can be picked till rank 6 (0-30%). Tier 2 from rank 7-12 (31-60%), and tier 3 from rank 13 or higher (61%+). 
  • Abilities replace your actions for the round unless noted otherwise. 
  • In systems without skill ranks (like ACKS) take the style as a proficiency and consider twice your level as your rank.
  • In a system like Skills: the Middle road (i.e. basic/expert/master) Consider having the skill at basic, giving you ranks equal to your level, expert giving you ranks equal to 3/2 your level, and master giving you ranks equal to twice your level. (i.e. a fifth level expert would have eight ranks, an eighth level expert would have 12). 


It is written down on the sheet like a normal weapon skill, with the specific abilities listed below it.

Skill
BP Cost
Relevant Abilities
Mastery Die
Course Prerequisite
Course Cost
Course Difficulty
Target
DC
Blank
Karate
7
(DEX+WIS)/2
1d6
N
600gp
+5%
NA
DC NA
?
Kendo
10
(DEX+WIS)/2
1d6
N
400gp
+10%
NA
DC NA
?
Savage Healing
8
WIS
1d4
N
800gp
+0%
NA
DC NA
?
name
X
STAT
XdY
N
XXXgp
+X%
X
DC XX
?

Karate Style


A punch should stay like a treasure in the sleeve. It should not be used indiscriminately.” – Chotoku Kyan

Karate is an "Empty Hand" Style, focusing on hard strikes and kicks. It is the physicality of emptiness. Practitioners strive to purge their minds of selfishness and approach all situations with a clear mind and conscience. The physical art is only applied in situations where one must down another or be downed by him.

Restrictions: Karate can only be used empty handed. Armor may not be worn. You must not be Chaotic or Evil.

When you are using Karate Style, your base stats are as follows.
Att/RoundDamageACPrincipal Attack
1/11-68Hand

Rank Increases: Use the following increases at odd ranks.
PercentageAtt/RoundDamageAC
5%3/2--
15%-1-6+1-
25%--7
35%2/1--
45%-1-8-
55%--6
65%5/2--
75%-1-8+1-
85%--5
95%3/11-8+24

Abilities: These are learned at each even rank (% multiple of 10, e.g. 10%, 20%, etc.). You are limited to which you can select by your skill.

Tier 1:

  • Circle Kick: If you hit with this kick, you do double damage. If you miss, you lose your next single attack. (e.g. if you have 2/1, and you circle kick in a round instead of making two attacks, then next round you will only make a single attack)
  • Iron Fist: Your hand strikes do an additional 2 points of damage. 
  • Crushing Blow: You may strike objects and ignore their hardness. 
  • Feint: Use a single melee attack to feint. Your next strike will be at +2 to hit
  • Meditation: 1 hour of meditation is equal to 2 hours of sleep. While meditating, you do not suffer from heat, cold, hunger or thirst. You remain aware of your surroundings and do not suffer penalties on surprise or initiative. 
Tier 2:
  • Eagle Claw: uses a devastating strike to do crush stones, shatter weapons, or do damage. The martial artist can make a single attack against an opponent. If it hits, it does 3-30 damage. This is the only attack that can be made. No strength bonuses or other increases can be applied to the damage. 
  • Defensive Strike: If you choose total defense as an option, you may attack any opponent that attacks you and misses with a +4 bonus to hit.
  • Flying Kick: With a charge, you can jump in the air and do a flying kick. If this attack hits, you do triple damage, and your opponent must save versus paralyzation with a penalty equal to your level or fall prone (with appropriate modifiers applied for stability) and be knocked back up to 1 foot per point of damage at your discretion. If this fails, you land prone next to your opponent. 
  • Empty Mind: You gain a +4 on saves versus all mental, charm, psionic, or fear attacks.
Tier 3:
  • Blinding Nerve Strike: When you attack a humanoid opponent, every time you hit, they must save versus paralyzation or become blinded for 1 turn. Only one nerve strike can be used on an attack.
  • Stunning Nerve Strike: When you attack a humanoid opponent, every time you hit, they must save versus paralyzation or become stunned. Only one nerve strike can be used on an attack for 1 round. 
  • Iron Body: All attacks that hit you have their damage reduced by 2.
  • Steel Skin: Increase the damage die of your physical strikes from 1d8 to 1d10. 

Kenjutsu Style

"The primary thing when you take a sword in your hands is your intention to cut the enemy, whatever the means. Whenever you parry, hit, spring, strike or touch the enemy's cutting sword, you must cut the enemy in the same movement. It is essential to attain this. If you think only of hitting, springing, striking or touching the enemy, you will not be able actually to cut him."― Miyamoto Musashi

Kendo is the way of the sword.

Restrictions: You must wield a long blade with two hands.

When you are using Kenjutsu Style, your base stats are as follows.
Att/RoundDamageACPrincipal Attack
1/1As SwordAs ArmorSword

Rank Increases: Each odd rank increases the damage you do with the sword by 1 i.e. at rank 11 (55%) you would do +6 damage with your blade.

Abilities: These are learned at each even rank (% multiple of 10, e.g. 10%, 20%, etc.). You are limited to which you can select by your skill.

Tier 1:

  • Weapon Proficiency: You are treated as having weapon proficiency in the sword. This grants you multiple attacks as a fighter of your level. This does not stack with normal specialization and does not need to be selected if you already have proficiency with the sword and/or you are a fighter.
  • Jaguar Stance: While in this stance, gain a +2 bonus to your armor class, and to saves made to dodge or avoid spells. Only one stance may be used at a time.
  • Turtle Stance: While in this stance , gain a +2 bonus to your armor class. and reduce all damage you take by 1.
  • Wind Strike: As a full round action, you may attack any opponent within 6".
  • Spirit Blade: Any sword you wield counts as magic for damaging creatures.

Tier 2:

  • Folded Step: Dimension door (transport to any location in sight) instantly 1/day. This can be done instantly, i.e. between attacks.
  • Multiplicity of Forms: Mirror Image 1/day.
  • Movement Strike: On a strike you miss, move up to your movement.
  • Preemptive Strike: 1/day, strike an opponent before they attack you.
  • Defense Strike: While using the total defense action, you may strike any opponent that makes an attack against you.
  • T'ien-lung Stance: You gain a +2 bonus to hit, and levitate 1" off the ground. Your movement does not interfere with your ability to make attacks.

Tier 3:

  • Desert Wind: Move up to double your full movement. You may strike each target you are adjacent to one time.
  • Ki Shout: Improve your attack, damage and armor class by 1/2 your level for 1 turn once a day.
  • Ghost Blade: You ignore armor and attack all opponents with touch attacks when using your sword.
  • Leaping Revenge: If attacked at range, you move adjacent to the target and strike if you are within 20". This can trigger once per attack you get per round, and does not count against your attacks per round. (i.e. if you have 3/1 attacks, and you get attacked by three different ranged attackers, you may move next to each and strike them. When your turn arrives you may take it as normal)


Savage Healing


"The art of healing comes from nature, not from the physician. Therefore the physician must start from nature, with an open mind."

Savage healing is an art of being at one with nature, and understanding how those processes affect the body.

Restriction: Savage healers cannot use a shield, nor any armor heavier than leather. Savage healers must be expert natural healers (10 ranks in healing or 50%+ in healing). Savage Healers must not be able to heal via magic.

When you are using Savage Healing Style, your base stats are as follows.
Att/Round
Damage
AC
Principal Attack
1/1As WeaponsAs ArmorStaff
Healing touch: All Savage healers gain a number of healing dice (d4) equal to their level. These refresh after a rest. They may heal any creature by taking a full turn, and using as many of their dice as they wish to heal the creature.

Rank Increases: Each rank increase grants an additional healing die.

Abilities: These are learned at each even rank (% multiple of 10, e.g. 10%, 20%, etc.). You are limited to which you can select by your skill.

Tier 1:
  • Stunning touch: Savage healers can use their healing dice to deal subdual damage to creatures. They must strike, bare-handed, and hit successfully. 
  • Sickening touch: Savage healers can use their healing dice to apply a penalty to creatures. For every die expanded, the target takes a -1 penalty on attacks, skills, damage, and initiative. This sickness lasts for a full day. The savage healer must strike, bare-handed, and hit and the target must fail a save versus poison.
  • Healing Aura: Once a day, a savage healer can expand healing dice equal to 1/2 her character level. For every healing die expanded, all allies within 6" heal 1 hit point per healing die per round. e.g. if a Savage Healer expends 3 dice, then for one turn, all allies within 6" heal 3 hit points a round. 
  • Cure Poison: The Savage Healer can expend 2 dice to grant someone another save versus poison with a +4 bonus.
Tier 2:
  • Strong Healing: Your healing dice are d6's
  • Fast Healing: You can now heal people more quickly, taking only one round.
  • Healing Vigor: Your healing dice can now provide bonus temporary hit points. Any excess overhealing is temporary hit points that last one turn. These cannot exceed one half the creatures natural hit point total.
  • Natural Awareness: While awake, the Savage Healer can see 360 degrees around him and is immune to surprise.
  • Cure Disease: The Savage Healer can expend 4 dice to Cure Disease as the spell
Tier 3:
  • Healing Burst: once a day, a savage healer can heal all allies within 6" with as many healing dice as she wishes to use.
  • Healing Shield: If the save healer concentrates taking no other action, and is within 4" of an ally, they can use their healing dice to nullify damage the ally takes. On a hit, they may expend as many dice as they wish to negate damage. The dice are rolled, and the damage is reduced by the total on the healing dice.
  • Fast Healing: The Savage Healer is so in tune with nature that she gains the ability to regenerate 1 point of damage per round. This requires the healer to be conscious.
  • Savage Purity: Become immune to all disease and poison. You may not become undead. All natural animals treat the Savage Priest as friendly. They begin to age more slowly.

Some notes: Any class may take this, provided they can find someone to teach them. Only one style can be selected, simplifying the choices. Within that style their are less than seven options at any given time. The space it takes up on the sheet is marginal, and far less than any sort of spell list.

In play, you would record it like this
Karate (47%): 2/1, 1-8+2 damage, AC 7
    Circle Kick: x2 damage, lose next attack if miss
    Iron Fist: +2 melee damage (noted above)
    Feint: Trade attack for +2 bonus to hit on next
    Flying Kick: Charge, 3x damage, save vs. para or opponent is prone + move 1' per point of damage

Savage Healer (66%): 15d6 healing dice
   Stunning Touch: Use dice to deal extra subdual on bare hand attack
   Healing Aura: 1/day spend up to 4 dice for healing allies within 6" for 4hp/round
   Cure Poison: 2 dice to give save vs. poison @ +4
   Strong Healing: Use d6 as healing die
   Fast Healing: Heal as a full round action
   Healing Vigor: Healing overcharge gives temporary hit points
 
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