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[sunshinewarlock]

If you’re wondering what the whole drama regarding tieflings is in the Dungeons & Dragons fandom: basically, capitalism ruined tieflings, and for once that’s not even slightly a joke.

Tieflings were first introduced as a playable species in Dungeons & Dragons 2nd Edition, via the Planescape campaign in 1994. At the time, there were no particular rules regarding what a tiefling was supposed to look like. The text explicitly stated that their basic physiology could vary wildly depending on what their fiendish ancestor was, and one of the first major Planescape supplements even included a table for randomly generating your tiefling’s appearance, if you were into that sort of thing.

This continued to be the case up through the game’s Third Edition. However, when the Fourth Edition rolled around in 2008, the game’s text suddenly became very particular about insisting that all tieflings looked pretty much the same. Some campaign settings even provided iin-character explanations for why all tieflings now had a standardised appearance. Understandably, this made a lot of people very annoyed.

There was naturally a great deal of speculation concerning what had motivated this change. It was widely cited as “proof” that Dungeons & Dragons was trying to appeal to the World of Warcraft fanbase – which was nonsense, of course; nearly all of the Fourth Edition’s allegedly MMO-like features were things that popular MMOs had borrowed from Dungeons & Dragons in the first place, and to the extent that tieflings’ new look resembled a particular WoW race, it was in that they were both extraordinarily generic.

In reality, it was a change that had been lurking for some time. Though Dungeons & Dragons is directly published by Wizards of the Coast, Wizards of the Coast is in turn owned by Hasbro, and Hasbro has long regarded the D&D core rulebooks as a vehicle for promoting D&D-branded merch – in particular, licensed miniature figures.

This was a bugbear that had reared its head before. When the Third Edition received major revisions in 2003, Hasbro corporate had ordered the game’s editors to completely remove any discussion of how to improvise minifigs for large battles, and replace it with an advertisement for the then-current Dungeons & Dragons Heroes product line. Implying that purchasing licensed minis wasn’t 100% mandatory simply would not do.

If you’ve gotten this far, you’ve probably already guessed where this is going: tieflings having no standard appearance made it difficult to sell tiefling minifigs, as any given minifig design would only be suitable for a small subset of tiefling characters. In the brutally reductive logic of the corporate mind, Hasbro reasoned: well, if we tell tiefling players that all of their characters now look the same, we can sell them all the same minifigs. So that’s what the game did, going so far as to write justifications into several published settings for magically transforming all existing tiefling characters to fit the new mould!

This worked about as well as anyone who isn’t a corporate drone would naturally anticipate – and that’s the story of how capitalism ruined tieflings.

[sunshinewarlock]

A Workshop for Creating Magical/ Fictional Crystals: A Guide from a Geologist

Hi folks, its me, here to talk about fictional writing again! Today I'm just tackling the idea of magical stones/mana stones by looking at existing minerals today and some neat properties that they have, and how you can apply these things to a fictional world. The goal is mainly to help you if you are stuck trying to come up with a unique magic system, or a unique identification/characteristic of your mineral.

First Things First: Mineral Shapes

I am exhausted, petered out, down-right fatigued by seeing every mineral depicted with having the crystal structure of calcite and quartz. There are soooooo many cooler, more interesting crystal structures, don't you think you would stop and take a look at a perfect cube in nature? It is completely unsettling.

Second: Color

Color within minerals can either be really important, or not important at all! It is your choice to decide if color is going to be something that means something to your mineral. But what are some times when the color is important? Well.... there are some elements that are called chromophores, this classification just indicates that these elements, when present, will determine the color of whatever they are in. So, if you wanted to treat mana like a chromophore, you could say, "Oh everything that contains mana turns green!" This could mean that regardless of the mineral, if that mineral is a specific color, it means it contains mana. This concept is exciting because you can just stop here and use minerals that already exist! You can also use it as an indicator for a magical ore! Chromophores are typically metals, so if you are making a new metal weapon, making the ore of that metal a unique color would make a lot of sense!

However, your mineral can also just be every color of the rainbow like quartz and perhaps that's what makes identifying your mana stones elusive and create an illusion of scarcity that your character can solve.

There are other things that can change the colors of minerals, like radiation damage, and electron exchange, but I think that is beyond what would be helpful! So lets talk about some unique color properties that happen in nature that seem magical in the first place! Maybe you don't need to design a mana stone, but you want a unique gemstone that only the royal family passes down or something (IDK).

The first one is the alexandrite effect! This is where a mineral can change color in natural light vs. incandescent light. (the mineral itself is not changing, but the lights contain different amounts of different colors that then get absorbed by the stone). Even if you don't use electricity in your fictional world, you could have the colors change in the presence of light magic. This could create fun misunderstandings about what the mineral is reacting to!

Pleochroism

Pleochroism is something that most minerals have, it is frequently used to help identify minerals in thin sections, however minerals are usually not pleochroic enough for it to be visible to the naked eye! Pleochroism is just a fancy name to describe the change in how light is absorbed based on the angle of the mineral! So if you scroll up to the first image where I showed a lot of crystal shapes, most of them have angles where they are longer and shorter! This will effect the way light travels in the crystal. Tanzanite is a popular mineral that does this.

Photochromism

This is when a mineral will change color (in a reversible way) when exposed to UV light (or sunlight), I am not going to go too into the details of why this is happening because it would require me to read some research papers and I just don't feel like it. The mineral that is best known for this is Hackmanite!

Alright! These are all the really cool color effects that might inspire you or maybe not, but now I am going to talk about how you might find your minerals within a rock!

When I see a lot of magical caves/mines, typically I see them with some variation of a geode honestly, but most minerals are not found like that! Now I am sure most of you guys have seen a geode, so I will not really talk about those, but I will talk briefly about porphyroblasts which is when the mineral grows larger than the minerals around it, this happens in metamorphic minerals!

sorry random stranger, but this is an image of garnets inside a finer-grained rock at gore mountain in New York!

Another way you might find minerals is in a pegmatite! This is when all minerals are really large! This is a formed from really slow crystalizing magma!

But something else to think about is that your mineral might just be massive, it doesn't have to have distinct crystals, it may be similar to jadeite where small grains grow together which leaves it looking smooth and seamless! A note about all of these is that you would have to mine into the rock to find these, there would not be any natural caves in these rocks! Caves are only ever really formed in limestones and maybe marbles (rocks that react with acid).

How can your characters identify these minerals?

Typically when you are out in the field you will look to see what type of rocks the minerals are found in (The overall texture of the rock will tell you how it formed). If you know how the rock formed, it will narrow down the amount of minerals you need to think about by quite a bit! Next, you are going to look closely at it and observe its crystal structure, does it have an obvious crystal? if so what is the general shape? If it is broken, how did it break? Did it fracture like glass or did it break along uniform planes. Some minerals have a thing called cleavage (breaks along planes of weakness). If a mineral exhibits this habit, it will again help narrow this down. Next we can look at color. Color can be misleading, because minerals like quartz can be any color imaginable, but minerals like olivine will always be green! The next thing your character can do is test for hardness, minerals all have a specific hardness that can help identify it as well.

After you go through all of this, your mineral might have some special property! This could be magnetism, fluorescence, reactions to acid, or any of the color changing effects I mentioned above! Other than that, your character can take it back to a lab and do a number of things to identify it, but the most typical thing would be for them to make a thin section (very thin piece of the rock) and observe it under a cross polarized microscope!

On that note folks! I hope this helped in some way in thinking of new magic mineral properties! I have other guides that explore some different fictional worldbuilding issues you might run into, but if you have any topics you would like me to cover please that I haven't mentioned already, let me know!

[sunshinewarlock]

I don’t think I have the chops for D&D or other tabletop RPGs but I could make a good DM’s assistant. I don’t play the game but I sit and listen and then after the session the DM can ask me for ideas.

[sunshinewarlock]

In recent posts I've complained that a lot of tabletop RPGs which toss around the term "fiction first" don't actually understand what it means, and I've been asked to expand on that complaint. So:

In my experience, there are two ways that game texts which want to position themselves as "fiction first" trip themselves up, one obvious and one subtle.

The first and more obvious pitfall is treating "fiction first" as an abstract ideology. They're using "fiction first" as a synonym for "story over rules" in a way that calls back to the role-playing-versus-roll-playing discourse of the early 2000s. The trouble is, now as then, nobody can usefully explain what "story over rules" actually entails. At best, they land on a definition of "fiction first" that talks about the GM's right to ignore the rules to better serve the story, which is no kind of definition at all – it's just putting a funny hat on the Rule Zero fallacy and trying to pass it off as some sort of totalising ideology of play.

A more useful way of defining "fiction first" play is to think of it not in terms of whether you engage with the rules at all, but in terms of when they're invoked: specifically, as a question of order of operations.

Suppose, for example, that you're playing Dungeons & Dragons, and you pick up the dice and say "I attack the dragon". Some critics would claim that no actual narrative has been established – that this is simply a bare invocation of game mechanics – but in fact we can infer a great deal: your character is going to approach the dragon, navigating any inclement terrain which lies between them, and attempt to kill the dragon using the weapon they're holding in their hand. The rules are so tightly bound to a particular set of narrative circumstances that simply invoking those rules lets us work backwards to determine what the context and stakes must be for that invocation of the rules to be sensical; this, broadly speaking, is what "rules first" looks like.

Conversely, let's say that your game of Dungeons & Dragons has confronted you with a pit blocking your path, and you want to make an Athletics check to cross it. At this point the GM is probably going to stop you and say, hold up, tell us what that looks like. Are you trying to jump across it? Are you trying to climb down one wall of the pit and up the other? Are you trying to tie a rope to the halfling and toss them to the other side? In other words, before you can pick up the dice, you need to have a little sidebar with the GM to hash out what the narrative context is, and to negotiate what can be achieved and what's at stake if you mess it up; this, broadly, is what "fiction first" looks like.

At this point I know some people are thinking "wait, hold on – both of those examples were from Dungeons & Dragons; are you saying that Dungeons & Dragons is both a rules-first game and a fiction-first game?" And yeah, I am. That's the second, more subtle place where game texts that talk about "fiction first" go astray: they talk about it as though being "fiction first" or "rules first" is something which is inherent to game systems as a whole.

This is not in fact true: being "fiction first" or "rules first" is something which describes particular invocations of the rules. In practice, only very simple games spend all of their time in one mode or the other; most will switch back and forth at need. Generally, most "traditional" RPGs (i.e., the direct descendants of Dungeons & Dragons and its various imitators) tend to operate in rules-first mode in combat and fiction-first mode out of it, though this is a simplification – when and how such mode-switching occurs can be quite complex.

Like any other design pattern, "fiction first" mechanics are a tool that's well suited for some jobs, and ill suited for others. Sometimes your rules are fine-grained enough that having an explicit negotiation and stakes-setting phase would just be adding extra steps. Sometimes you're using the outputs of the rules a narrative prompt, and having to pin the context down ahead of time would defeat the purpose. Fortunately, you don't have to commit yourself to one approach or the other; as long as your text is clear about how you're assuming a given set of rules toys will be used, you can switch modes as need dictates. However, you're not going to be capable of that kind of transparency if you're thinking in terms of "this a Fiction First™ game".

(Incidentally, this is why it can be hard to talk about "fiction first" with OSR fans if you're being dogmatic about fiction-first framing being an immutable feature of particular games. Since traditional RPGs tend to observe the above-described rules-first-in-combat, fiction-first-out-of-combat division, and OSR games tend to treat actually getting into a fight as a strategic failure state, a lot of OSR games spend most of their time in fiction-first mode. If you go up to an OSR fan and insist that D&D-style games can never be fiction-first, then attempt to define "fiction first" for them and proceed to describe how they usually play, they'll quite justifiably conclude that you have your head up your ass!)

[sunshinewarlock]

Something I love about The Far Roofs is how much of a swerve its premise is if you're coming to it uninitiated.

Okay, so there's these talking rats with a culture of swashbuckling heroism – basic Redwall/Reepicheep stuff.

Also, there's a magical realm called the Far Roofs which exists above every human community, and that's where the rats go adventuring; a little weird, but you can see the precedents in popular fiction. It's like wainscot fantasy taken to its logical-yet-absurd conclusion.

By default, the game wants you to play as a fictionalised version of your (presumably human!) self and go up onto the Far Roofs to have adventures with the rats. All right, now it's coming together: it's like isekai fantasy meets The Muppet Show, with you as the obligatory human character, right?

Then we get to the nature of those adventures: the rats have this whole culture built around questing against beings they call "the Mysteries" – beasties with names like Harpy and Goblin and Unicorn. So basically it's a bunch of muppety rats on the roofs fighting Dungeons & Dragons monsters, and you go up and help them do it. Great.

And then you get to what the Mysteries are actually like, and... well, I'm going to let the following excerpt carry the weight here. (This particular bit of text also appears in a previously published work by the same author, so I'm not giving anything away that's still under wraps.)

Unicorn, which is named Numinous, dwells three steps away and beyond the world, but most often in the Farthest Roofs, where the Steppes of the Sky come down to touch the Vast and Earthen Court. There it is stepping upwards from the world, as it has always been stepping upwards from the world, caught in a moment of transcendent glory that does not complete. It simply is. Melanthios heard the footsteps of Unicorn. Melanthios heard the ringing of Unicorn’s bells. So Melanthios chased Unicorn off to the Farthest Roofs, and Melanthios did not return. Anton and Karel, who were his sons, were wiser than their father. They heard the bells but they did not follow. Instead, they memorized the scent. They gathered swords, and ropes, and nets, and they went out. They brought food and water and all manner of gear. They clung to the roofs with all four feet wheresoever after Unicorn they went. It proved no good. Anton looked up, and Karel to his brother. The world came down— That’s what Karel said. He had time to look away. He had time to bury his head in his paws. He did not see the fullness of Unicorn’s presence. He only saw Anton his brother become unreal. In the light of the moment of the Unicorn, Anton became as a paper figure in the fire. His reality burned out. His shadow seared into the roofs behind him. Where he’d stood, for just a moment, the Steppes of the Sky came down to touch the Vast and Earthen Court; and Anton was gone away. So Karel ran and Karel ran and Karel ran from the Unicorn; and all his life, he envied but was more fortunate than his brother.

These are gods. You're going up there to kill God.

Like, it's still silly wainscot fantasy with funny talking rats, but there's that tension. It's like if Fraggle Rock occasionally took a hard turn to serious cosmic horror – Lord Dunsany by way of Jim Henson – and that tonal juxtaposition was treated as something unremarkable.

Basically what I'm saying is go back The Far Roofs.

[sunshinewarlock]

#I was scrolling through the notes and nodding along to these tags and some others and then came across tags complaining about the Veteran#that called it ''silly'' and said ''why does it exist''.#And I'm not going to say that EVERY meaning of it is obvious because I'm sure there's stuff I'm missing but like? Why???#It's consequences for an action you can take whenever you want and be way more effective than anyone else because of your career background#it's an ace up your sleeve that also destroys you. Zenith moves are cool in Heart: the City Beneath and the Veteran is cool in Wanderhome.#Anyways besides mechanics to make your game fun it is saying something about violence.#Wanderhome doesn't take place in a world without war. It takes place in a world after a war.#And there are consequences and fall out and ramifications and all the other words for having your dominoes fall.#Plus if you're a veteran who is still killing then I think you're no longer a vet but a soldier.#Just… definition-wise.

(via @wanderingandfound )

some indie TTRPG settings are so obsessed with being Wholesome and Low Conflict that they end up being like "what if Footloose was set in a town where dancing was ALLOWED!"

well I'll tell you. the answer is that that would not be very interesting

[sunshinewarlock]

I love me a pseudo-historical arranged marriage au but it always nudges my suspension of disbelief when the author has to dance around the implicit expectation that an arranged marriage should lead to children, which a cis gay couple can't provide.

I know for a lot of people that's irrelevant to what they want from an Arranged Marriage plot, but personally I like playing in the weird and uncomfortable implications.

So, I've been thinking about how you would justify an obviously barren marriage in That Kind of fantasy world, and I thought it'd be interesting if gay marriage in Ye Old Fantasy Land was a form of soft disinheritance/abdication.

Like, "Oh, God, I don't want to be in this position of power please just find me a boy to marry", or, "I know you should inherit after you father passes but as your stepmother/legal guardian I think it'd make more sense if my kids got everything, so maybe consider lesbianism?", or "Look, we both know neither of our families has enough money to support that many grandkids, so let's just pair some spares and save both our treasuries the trouble".

Obviously this brings in some very different dynamics that I know not everyone would be pinged by, but I just think it'd be neat.

[sunshinewarlock]

some indie TTRPG settings are so obsessed with being Wholesome and Low Conflict that they end up being like "what if Footloose was set in a town where dancing was ALLOWED!"

well I'll tell you. the answer is that that would not be very interesting

[sunshinewarlock]

Preindustrial travel, and long explanations on why different distances are like that

I saw a post on my main blog about how hiking groups need to keep pace with their slowest member, but many hikers mistakenly think that the point of hiking is "get from Point A to Point B as fast as possible" instead of "spending time outdoors in nature with friends," and then they complain that a new/less-experienced/sick/disabled hiker is spoiling their time-frame by constantly needing breaks, or huffing and puffing to catch up.

I run into a related question of "how long does it take to travel from Point A to Point B on horseback?" a lot, as a fantasy writer who wants to be SEMI-realistic; in the Western world at least, our post-industrial minds have largely forgotten what it's like to travel, both on our own feet and in groups.

People ask the new writer, "well, who in your cast is traveling? Is getting to Point B an emergency or not? What time of year is it?", and the newbies often get confused as to why they need so much information for "travel times." Maybe new writers see lists of "preindustrial travel times" like a primitive version of Google Maps, where all you need to do is plug in Point A and Point B.

But see, Google Maps DOES account for traveling delays, like different routes, constructions, accidents, and weather; you as the person will also need to figure in whether you're driving a car versus taking a bus/train, and so you'll need to figure out parking time or waiting time for the bus/train to actually GET THERE.

The difference between us and preindustrial travelers is that 1) we can outsource the calculations now, 2) we often travel for FUN instead of necessity.

The general rule of thumb for preindustrial times is that a healthy and prime-aged adult on foot, or a rider/horse pair of fit and prime-aged adults, can usually make 20-30 miles per day, in fair weather and on good terrain.

Why is this so specific? Because not everyone in preindustrial times was fit, not everyone was healthy, not everyone was between the ages of 20-35ish, and not everyone had nice clear skies and good terrain to travel on.

If you are too far below 18 years old or too far past 40, at best you will need either a slower pace or more frequent breaks to cover the same distance, and at worst you'll cut the travel distance in half to 10 or so miles. Too much walking is VERY BAD on too-young/old knees, and teenagers or very short adults may just have short legs even if they're fine with 8-10 hours of actual walking. Young children may get sick of walking and pitch a fit because THEY'RE TIREDDDDDDDDDD, and then you might need to stay put while they cry it out, or an adult may sigh and haul them over their shoulder (and therefore be weighed down by about 50lbs of Angry Child).

Heavy forests, wetlands and rocky hills/mountains are also going to be a much shorter "distance." For forests or wetlands, you have to account for a lot of villagers going "who's gonna cut down acres of trees for one road? NOT ME," or "who's gonna drain acres of swamp for one road? NOT ME." Mountainous regions have their traveling time eaten by going UP, or finding a safer path that goes AROUND.

If you are traveling in winter or during a rainstorm (and this inherently means you HAVE NO CHOICE, because nobody in preindustrial times would travel in bad weather if they could help it), you run the high risk of losing your way and then dying of exposure or slipping and breaking your neck, just a few miles out of the town/village.

And now for the upper range of "traveling on horseback!"

Fully mounted groups can usually make 30-40 miles per day between Point A and Point B, but I find there are two unspoken requirements: "Point B must have enough food for all those people and horses," and "the mounted party DOESN'T need to keep pace with foot soldiers, camp followers, or supply wagons."

This means your mounted party would be traveling to 1) a rendezvous point like an ally's camp or a noble's castle, or 2) a town/city with plenty of inns. Maybe they're not literally going 30-40 miles in one trip, but they're scouting the area for 15-20 miles and then returning to their main group. Perhaps they'd be going to an allied village, but even a relatively small group of 10-20 warhorses will need 10-20 pounds of grain EACH and 20-30 pounds of hay EACH. 100-400 pounds of grain and 200-600 pounds of hay for the horses alone means that you need to stash supplies at the village beforehand, or the village needs to be a very large/prosperous one to have a guaranteed large surplus of food.

A dead sprint of 50-60 miles per day is possible for a preindustrial mounted pair, IF YOU REALLY, REALLY HAVE TO. Moreover, that is for ONE day. Many articles agree that 40 miles per day is already a hard ride, so 50-60 miles is REALLY pushing the envelope on horse and rider limits.

NOTE: While modern-day endurance rides routinely go for 50-100 miles in one day, remember that a preindustrial rider will not have the medical/logistical support that a modern endurance rider and their horse does.

If you say "they went fifty miles in a day" in most preindustrial times, the horse and rider's bodies will get wrecked. Either the person, their horse, or both, risk dying of exhaustion or getting disabled from the strain.

Whether you and your horse are fit enough to handle it and "only" have several days of defenselessness from severe pain/fatigue (and thus rely on family/friends to help you out), or you die as a heroic sacrifice, or you aren't QUITE fit enough and become disabled, or you get flat-out saved by magic or another rider who volunteers to go the other half, going past 40 miles in a day is a "Gondor Calls For Aid" level of emergency.

As a writer, I feel this kind of feat should be placed VERY carefully in a story: Either at the beginning to kick the plot off, at the climax to turn the tide, or at the end.

Preindustrial people were people--some treated their horses as tools/vehicles, and didn't care if they were killed or disabled by pushing them to their limits, but others very much cared for their horses. They needed to keep them in working condition for about 15-20 years, and they would not dream of doing this without a VERY good reason.

[sunshinewarlock]

[sunshinewarlock]

From the article:

NASA has released a free, original tabletop role-playing game, and it’s one part educational experience and another part sci-fi/fantasy epic with magic and dragons. The crux of The Lost Universe, the organization’s first TTRPG,involves a mystery: What would happen if the Hubble Space Telescope disappeared? It’s a simple premise and one that hides the complex backstory underscoring the events of the role-playing game. Without getting into the weeds, the game takes place on a planet called Exlaris, which was once thrown into chaos when a black hole moved too close and kicked it out of its orbit. The planet has since gone back to some degree of normalcy and is now almost completely dedicated to academia. In one city, a scholar named Eirik Hazn made a spell to connect with Earth to study the Hubble Space Telescope, which has famously collected data on black holes. However, the spell and telescope are stolen by a dragon, and researchers working on the project have been disappearing, so the players — Earthlings who worked on the telescope at NASA who were brought through a portal to Exlaris — have to save the day. The official 44-page gameplay book is available to download for free on NASA’s website. You can play it in a party with 4-7 players, but you may need to fudge a few things to graft this narrative onto your TTRPG system of choice. The book says it’ll take around 3-4 hours to get through the adventure.

[sunshinewarlock]

There comes a point in every high-concept indie RPG author's career when one must ask: "Is this piece of orthodox rules tech I'm carefully avoiding really objectively bad, or is it merely present in D&D?"

[sunshinewarlock]

[sunshinewarlock]

Was talking about sandbox design in a ttrpg server, and though this is a bit tongue-in-cheek, I think these really are good things to consider when you approach sandbox design in a ttrpg (and elsewhere!)

[sunshinewarlock]

at some point, I wanna make a short list of resources frequently used by dlsite games, because a lot of people assume there's more of a baseline quality gap between "eastern" and "western" rpgmaker games than there actually is, and a lot of that comes down to the JP rpgmaker community having established avenues through which to acquire cheap royalty-free assets that specifically match the vibes of rpgs lol

[sunshinewarlock]

ever thought that less roleplaying games should be about loveable fantasy heroes saving the world and more of them should be about pathetic and petty aristocrats trapping each other in concentric layers of convoluted madcap scheming? well good news, my ttrpg most trusted advisors is on sale again! it's a silly pseudomedieval pastiche optimised for playing low-prep, light-hearted one-shots as a party of characters at the intersection between lord vetinari, blackadder, and the gang from it's always sunny, and it's 50% off through to the 26th of december!

[sunshinewarlock]

tabaxi warlock with two patrons, Curiosity and Satisfaction