#3E-Critical Thinking

[gamerhamlet]

guhhhhh I love my solo bg3 run and character v much but my multiplayer campaign is so special to meeeee 💕 like tldr but it soothes a lot of the problems I have w dnd/forgotten realm’s writing to talk them out w others instead of slogging through them alone while writing revisions in my head

[thydungeongal]

You've inspired me to make my own megadungeon (or at least run one), are there any good examples you know of? Since you did once mention current megadungeons doing things wrong.

I also want to say your blog and those like yours have been a major inspiration and make me want to create stuff! And have a great evening :)

Oh, I think the person who you want is @maximumzombiecreator, she's the one who's talked about modern megadungeons doing things wrong! (I think the one she was talking about was some megadungeon for Pathfinder 2e?) Oh, there was a time when @tenleaguesbeneath and @imsobadatnicknames2 vagued about one particularly catastrophic attempt by one blogger to make a D&D 5e megadungeon that never amounted to much. But yeah, I've reblogged those posts in question, and now I've summoned them so they may articulate their thoughts on the matter better.

I don't want to speak over anyone, but if I recall correctly: MZC's criticism of that PF2e megadungeon hinged on it lacking procedures for random encounters and restocking, two important things for making the megadungeon feel alive and reinforce the idea that it can't actually be meaningfully cleared, whereas the criticism of that 5e megadungeon was based on the idea that it was like. A dungeon shaped succession of linear D&D 5e adventure days. I think it was characterized as a "megadungeon-themed theme park ride," which feels very apt.

Personally, I'm a fan of the megadungeon on a conceptual level but have not had a chance to run one, but of the ones I have looked at I have a few that have stuck out to me:

Highfell is a megadungeon plus mini sandbox setting centered around a dungeon on a flying island. So, besides the dungeon itself, it immediately presents the party with the question of HOW THE HELL DO WE GET UP ON THAT FLYING ISLAND?

Rappan Athuk, originally released for 3e but having since been converted to almost every retroclone as well as Pathfinder and 5e, is pretty dang huge. I haven't delved deep into it (ha!) but it also features a whole sandbox surrounding the central dungeon, so there's potentially years worth of content in there.

Finally, not one I have actually read but that I am looking at hungrily, Halls of Arden-Vul. Everyone says it's basically a masterclass of megadungeon design, and I believe them, but also the complete version of that dungeon costs like a hundred bucks. Which is understandable since it was originally released in five volumes. But yeah, it has appeared in Bundles of Holding in the past for as little as twenty smackaroos, so I'm waiting for it to come back.

Anyway, of course a lot of classic TSR modules pretty much fit the megadungeon description these days: Temple of Elemental Evil and Undermountain I feel definitely count, and those two seem to appear on every "greatest D&D adventures ever" list. I've only skimmed through the former, but if you happen to find it floating around somewhere, maybe check it out for ideas!

[oinonsana]

Tactical Combat, Violence Dice and Missing Your Attacks in Gubat Banwa

In this post I talk about game feel and decision points when it comes to the "To-Hit Roll" and the "Damage Roll" in relation to Gubat Banwa's design, the Violence Die.

Let's lay down some groundwork: this post assumes that the reader is familiar and has played with the D&D style of wargame combat common nowadays in TTRPGs, brought about no doubt by the market dominance of a game like D&D. It situates its arguments within that context, because much of new-school design makes these things mostly non-problems. (See: the paradigmatic shift required to play a Powered by the Apocalypse game, that completely changes how combat mechanics are interpreted).

With that done, let's specify even more: D&D 5e and 4e are the forerunners of this kind of game--the tactical grid game that prefers a battlemat. 5e's absolute dominance means that there's a 90% chance that you have played the kind of combat I'll be referring to in this post. The one where you roll a d20, add the relevant modifiers, and try to roll equal to or higher than a Target Number to actually hit. Then when you do hit, you roll dice to deal damage. This has been the way of things since OD&D, and has been a staple of many TTRPG combat systems. It's easy to grasp, and has behemoth cultural momentum. Each 1 on a d20 is a 5% chance, so you can essentially do a d100 with smaller increments and thus easier math (smaller numbers are easier to math than larger numbers, generally).

This is how LANCER works, this is how ICON works, this is how SHADOW OF THE DEMON LORD works, this is how TRESPASSER works, this is how WYRDWOOD WAND works, this is how VALIANT QUEST works, etc. etc. It's a tried and true formula, every D&D player has a d20, it's emblematic of the hobby.

There's been a lot more critical discussion lately on D&D's conventions, especially due to the OGL. Many past D&D only people are branching out of the bubble and into the rest of the TTRPG hobby. It's not a new phenomenon--it's happened before. Back in the 2010s, when Apocalypse World came out while D&D was in its 4th Edition, grappling with Pathfinder. Grappling with its stringent GSL License (funny how circular this all is).

Anyway, all of that is just to put in the groundwork. My problem with D&D Violence (particularly, of the 3e, 4e, and 5e version) is that it's a violence that arises from "default fantasy". Default Fantasy is what comes to mind when you say fantasy: dragons, kings, medieval castles, knights, goblins, trolls. It's that fantasy cultivated by people who's played D&D and thus informs D&D. There is much to be said about the majority of this being an American Samsaric Cycle, and it being tied to the greater commodification agenda of Capitalism, but we won't go into that right now. Anyway, D&D Violence is boring. It thinks of fights in HITS and MISSES and DAMAGE PER SECOND.

A Difference Of Paradigm and Philosophies

I believe this is because it stems from D&D still having one foot in the "grungy dungeon crawler" genre it wants to be and the "combat encounter balance MMO" it also wants to be. What ends up happening is that players play it like an immersive sim, finding ways to "cheese" encounters with spells, instead of interacting with the game as the fiction intended. This is exemplified in something like Baldur's Gate 3 for example: a lot of the strats that people love about it includes cheesing, shooting things before they have the chance to react, instead of doing an in-fiction brawl or fight to the death. It's a pragmatist way of approaching the game, and the mechanics of the game kind of reinforce it. People enjoy that approach, so that's good. I don't. Wuxia and Asian Martial Dramas aren't like that, for the most part.

It must be said that this is my paradigm: that the rules and mechanics of the game is what makes the fiction (that shared collective imagination that binds us, penetrates us) arise. A fiction that arises from a set of mechanics is dependent on those mechanics. There is no fiction that arises independently. This is why I commonly say that the mechanics are the narrative. Even if you try to play a game that completely ignores the rules--as is the case in many OSR games where rules elide--your fiction is still arising from shared cultural tropes, shared ideas, shared interests and consumed media.

So for Gubat Banwa, the philosophy was this: when you spend a resource, something happens. This changes the entire battle state--thus changing the mechanics, thus changing the fiction. In a tactical game, very often, the mechanics are the fiction, barring the moments that you or your Umalagad (or both of you!) have honed creativity enough to take advantage of the fiction without mechanical crutches (ie., trying to justify that cold soup on the table can douse the flames on your Kadungganan if he runs across the table).

The other philosophy was this: we're designing fights that feel like kinetic high flying exchanges between fabled heroes and dirty fighters. In these genres, in these fictions, there was no "he attacked thrice, and one of these attacks missed". Every attack was a move forward.

So Gubat Banwa removed itself from the To-Hit/Damage roll dichotomy. It sought to put itself outside of that paradigm, use game conventions and cultural rituals that exist outside of the current West-dominated space. For combat, I looked to Japanese RPGs for mechanical inspiration: in FINAL FANTASY TACTICS and TACTICS OGRE, missing was rare, and when you did miss it was because you didn't take advantage of your battlefield positioning or was using a kind of weapon that didn't work well against the target's armor. It existed as a fail state to encourage positioning and movement. In wuxia and silat films, fighters are constantly running across the environment and battlefield, trying to find good positioning so that they're not overwhelmed or so that they could have a hand up against the target.

The Violence Die: the Visceral Attacking Roll

Gubat Banwa has THE VIOLENCE DIE: this is the initial die or dice that you roll as part of a specific offensive technique.

In the above example, the Inflict Violence that belongs to the HEAVENSPEAR Discipline, the d8 is the Violence Die. When you roll this die, it can be modified by effects that affect the Violence Die specifically. This becomes an accuracy effect: the more accurate your attack, the more damage you deal against your target's Posture. Mas asintado, mas mapinsala.

You compare your Violence Die roll to your target's EVADE [EVD]. If you rolled equal to or lower than the target's EVD, they avoid that attack completely. There: we keep the tacticality of having to make sure your attack doesn't miss, but also EVD values are very low: often they're just 1, or 2. 4 is very often the highest it can go, and that's with significant investment.

If you rolled higher than that? Then you ignore EVD completely. If you rolled a 3 and the target's EVD was 2, then you deal 3 DMG + relevant modifiers to the DMG. When I wrote this, I had no conception of "removing the To-Hit Roll" or "Just rolling Damage Dice". To me this was the ATTACK, and all attacks wore down your target's capacity to defend themselves until they're completely open to a significant wound. In most fights, a single wound is more than enough to spell certain doom and put you out of the fight, which is the most important distinction here.

In the Thundering Spear example, that targets PARRY [PAR], representing it being blocked by physical means of acuity and quickness. Any damage brought about by the attack is directly reduced by the target's PAR. A means for the target to stay in the fight, actively defending.

But if the attack isn't outright EVADED, then they still suffer its effects. So the target of a Thundering Spear might have reduced the damage of an attack to just 1 (1 is minimum damage), they would still be thrown up to 3 tiles away. It matches that sort of, anime combat thing: they strike Goku, but Goku is still flung back. The game keeps going, the fight keeps going.

On Mechanical Weight

When you miss, the mechanical complexity immediately stops--if you miss, you don't do anything else. Move on. To the next Beat, the next Riff, the next Resound, think about where you could go to better your chances next time.

Otherwise, the attack's other parts are a lot more mechanically involved. If you don't miss: roll add your Attacking Prowess, add extra dice from buffs, roll an extra amount of dice representing battlefield positioning or perhaps other attacks you make, apply the effects of your attack, the statuses connected to your attack. It keeps going, and missing is rare, especially once you've learned the systematic intricacies of Gubat Banwa's THUNDERING TACTICS BATTLE SYSTEM.

So there was a lot of setup in the beginning of this post just to sort of contextualize what I was trying to say here. Gubat Banwa inherently arises from those traditions--as a 4e fan, I would be remiss to ignore that. However, the conclusion I wanted to come up to here is the fact that Gubat Banwa tries to step outside of the many conventions of that design due to that design inherently servicing the deliverance of a specific kind of combat fiction, one that isn't 100% conducive to the constantly exchanging attacks that Gubat Banwa tries to make arise in the imagination.

[vintagerpg]

Another entry in the “Fix D&D” sub-genre of RPG design, this is The Complete Warlock (1978), from Balboa Games. It is essentially a hack of the original white box D&D and, surprisingly, refers to the original text near constantly. Though published in 1978, it was developed in 1976, making it a pretty early example of this sort of exercise. It’s a shame it didn’t get to press earlier — in a case of parallel innovation, a lot of the work here resembles somewhat the final product of Advanced D&D and I think coming out in the shadow of the Players Handbook effectively buried this game.

There are three main topics in the book. The first is a new combat system, because of course there is. It’s overly complicated and not worth discussing, really, except that it uses a resolution table that is similar in its arrangement to RuneQuest and in some ways anticipates design fads of the ‘80s like the universal table in Marvel Super Heroes. There is also a critical hit table. It isn’t as robust as Rolemaster, but it does take into account different weapons and hit locations. Again, pretty early for this sort of thing!

Second is magic, which is overhauled primarily through spells. I don’t think this set of spells is either better or worse. Just different. A little more plainly worded, a little more plausible and conservative in effects. This is probably a good place to note that this book is far easier to read and navigate than the OD&D books.

Third is an overhaul of the thief. This is done by essentially giving them a massive list of thieving abilities to choose at each level, similar to a spellbook. This is pretty cool, works as a better skill system that anything D&D muster for two more decades and actually feels similar to the way advancement is presented in 3E.

Not much in the way of interior art, but what a cover by Tim Finkas, right? So evocative. Love that dragon.

[prokopetz]

Now, to be fair to those D&D grognards regarding 4e- for which I was one, though I've softened somewhat over the years, especially because of a younger player who came in during 5e and now can't stop raving about how much he thinks 4e is better -the primary complaint was that it didn't feel like *D&D*, not that it was itself a bad game. Personally, I'm just not a fan of symmetrical design and I didn't like it wore its mechanics on its sleeves. (I don't have a question, I dunno how to Tumblr)

(With reference to this post here.)

I've never been able to take assertions that this or that edition of Dungeons & Dragons "isn't real D&D" seriously. No iteration of D&D is real D&D. Practically every major revision has represented a huge departure from its predecessor, to the extent that it hardly makes sense to talk about the game at all without specifying a particular edition – D&D’s history is functionally half-a-dozen completely different games in a trenchcoat. Like, the game's current iteration isn't identical to the one you grew up with? Welcome to the club!

(As an aside, I'm particularly entertained by 3E/Pathfinder fans making the it's-not-real-D&D argument, given that the Third Edition represents a considerably larger departure from the Second Edition than the Fourth Edition does from the Third. Indeed, the criticisms that 2E fans levelled at 3E are often nearly identical to the criticisms that 3E fans levelled at 4E, right down to the specific assertion that it too closely resembles a particular popular video game published by Blizzard Entertainment – 3E was widely dismissed as "just tabletop Diablo" in precisely the same manner that 4E was panned for being "just tabletop World of Warcraft"!)

[indierpgnewsletter]

Traveller & Champions

What is your relationship with the characters you play in RPGs? What do you want it to be?

In Traveller (the classic version, I add, tipping my hat), you make a character through what is now called the “lifepath method”. That name is a bit misleading because in this game, it’s more of a career path. And maybe more specifically, your military career path. Traveller was a game of veterans and if you want to get complicated, that’s what we should talk about. But let’s keep it light and focus on this unassuming table:

Now honestly, this table is iconic but I couldn’t make sense of it without having read the rules of the game (twice). But to put it simply, you’re rolling dice to see which branch of the intergalactic military you joined (either enlisting in your first choice or being drafted by whoever would be willing to take you). Then, you roll to see if you survive your first term, whether you become a commissioned officer, whether you get promoted, and whether you’re allowed to re-enlist for the next term or forced into an early retirement. If do re-enlist, you repeat the process till you retire or die.

Apart from picking your first choice (which you might not get), there are no decisions made in this process (don’t disagree yet!). You roll the dice and whatever happens to your character, happens. You just find out. You might die – and if you’re serving in the Scouts, it’s very likely you do – and you just have to start again with a new character. I think consensus is that this method can be surprising but detached.

Let’s talk about Champions. Traveller came out in 1977 and was revised constantly over the next decade. Champions came out in 1980 and is remembered by many as the classic superhero RPG. In 1984, we got Champions 3e which I understand is what cemented it as a landmark in RPG history.

In Champions, you build your character. You get skills (Security Systems, Swinging), Special Effects (Extra Limb, Mind Control), Advantages (Useable at Range), and Disadvantages (Unusual Looks). You pick your skills, spend power points to buy your powers, balance your advantages and disadvantages, and come out the other end – sometimes hours later – with your character. It’s fair to say that Champions is only decisions – it’s nothing but decisions. And that feels different. I think consensus is that this method has lots of strategy and self-expression but is very involved.

At first, it feels like these two games are on opposite ends of a spectrum. But actually, there’s a contradictory impulse in both of them. When you play Traveller, it’s a step-by-step process of discovery. You roll the dice and learn something about the character and then you immediately contextualize it. With every fact you learn, you spin the fiction. If you needed to roll a 7 to not die and you roll exactly a 7, you think, “Wow, they must’ve had a near-death experience. What could it be?”. And these are decisions. Big, important, affecting decisions. Often Traveller‘s lifepath doesn’t spit out a random character, it spits out someone that you’ve closely watched struggle and live for years before they come to you. If that doesn’t make you care about them, what is? At the same time, when you play Champions, you can build and tinker and strategize and eventually make somebody who you might not actually enjoy playing. Sometimes, you get caught up in the general aura of optimization and make somebody effective but that isn’t the same as somebody fun. Or you build them “wrong” and you get a character that is out-of-step with the rest of the group in power, which ends up annoying in other ways.

To zoom out a little, this isn't a criticism of either game. The point is this spectrum of controlled character creation starts to look a little superficial. Reality is much more complicated. Random can become involved and self-expression can become detached. So then what about about these two different methods is actually the important part?

(This first appeared on the Indie RPG Newsletter.)

[shadow-fell]

Ulder Ravengard

have you met Ulder and gone dude why are you so mean to your son? do you want to write some fun angst for Wyll? well then do I have some meta for you.

This is a summary of the events of Murder in Baldur's Gate, the adventure that introduced Ulder + a lot of other plot points for BG3, plus some bits from his later appearances in Baldur's Gate: Descent into Avernus and Rise of Tiamat. MiBG isn't widely run, but this is heavy spoilers, so reader beware!

Murder in Baldur's Gate is an adventure very few people have heard of and also one of the most critical to the plot of BG3 (aside from Descent into Avernus which it was introduced as a direct companion/sequel to). It was part of the D&D Next playtest for 5e, and was written so that it could be played in 3e, 4e, or with the playtest rules, and is thus a really weird but fun adventure to run.

The core concept is this: Grand Duke Abdel Adrian (AKA Gorion's Ward AKA Charname from BG1/BG2) is attacked by the last remaining Bhaalspawn. One of them kills the other, and the survivor is turned into the Slayer, who the party is introduced helping to take down. What no one knows is that this also led directly to the resurrection of Bhaal, who proceeds to lurk in the shadows, manipulating events.

The main structure of the module is that there are three characters vying to take control of the city in the upheaval - Duke Torlin Silvershield who wants to consolidate power for the patriars and himself, Rilsa Rael of the Guild who's trying to start a populist uprising, and Ulder Ravengard, who's vying for the open Duke spot and trying to get the Flaming Fist more control over the city.

They're also all three touched by Bhaal, slowly driven over the deep end to drive the city into chaos. There are 10 stages, each with a mission from one of the three. If things go off as written (either because the party, working for that antagonist, did as they were told, or if they failed to intervene) they gain a rank of 'Bhaal's Favor' - with the winner ascending as the Chosen of Bhaal and wreaking havoc on the city.

Who is Ulder Ravengard at the start?

"Ravengard is not a zealot or a fascist - not yet, anyway."

Blaze Ulder Ravengard is the fourth son of a lower city smith, who is intensely loyal to the Flaming Fist, believing them to be the backbone of the city. He's repeatedly described as being disciplined, focused, and utilitarion. He has "no interest in domestic matters" and his soldiers respect rather than love him.

However, unlike most of the Fist, his goals are for the good of the city. He "seethes over the eagerness of ill-doers to control others, steal the fruits of honest folk's labor, and otherwise misuse hardworking people" - what manifests mainly in a crusade against the Guild, but he's no fan of the patriars and their corruption either.

Specifically, he plans to "wage war" against the Guild - and is aware that "wars aren't won without casualties or collateral damage" - pointing out his blind spot that "he excuses all actions taken for the public good while simultaneously deploring identical deeds that others carry out for less altruistic reasons"

Ulder's main flaw is that he thinks the ends justify the means, and that he's willing to do anything to protect the "honest" citizens of the city against crime. He's fine with intense methods if they produce results. That is to say, he's a cop.

To be honest my whole meta on Ulder really can be summed down with "ACAB" but we'll keep going anyways.

Murder in Baldur's Gate

It's Uktar 1482, at the Founder's Day celebration, and Grand Duke Abdel Adriain is dead. Ulder was his right hand, and was there for the death - but unarmed, because the Flaming Fist don't have authority in the Upper City, only the City Watch, who due to poor planning were too far away to do anything to help.

Ulder is the only one of the three antagonists to meet with the players openly, and invites them to Wyrm Crossing where he offers temporary membership in the Flaming Fist. His plan is to regain order, investigate the death (he thinks the Guild is behind it) and put himself up as Adrian's replacement.

Most of the module occurs in "stages" where each antagonist has their own plan going, which the party can either help or hinder.

Ravengard shuts down two gambling dens run by the Guild in the lower city, boarding them up and bringing the owners in for questioning.

Ravengard sends extra Flaming Fist to patrol the docks to check on workers from the Outer City he believe to be behind recent vandalism and tax robberies - they proceed to enact some police brutality.

Several statues (including the Beloved Ranger) are vandalized by a group of patriar youths. Whoever the party turns them over to gains a rank of Bhaal's Favor

Ravengard begins campaigning for Duke. Traditionally, the spot has ties to the Lower City and the Flaming Fist, but the Parliament of Peers wants a patriar instead - Wyllyck Caldwell. Ravengard blackmails Caldwell to get him to step away.

Ravengard convinces the Harbormaster to raise tariffs on luxury items (in response to the stage 2 sumptuary laws Silvershield enacts)

The Court of the Fist is set up - an illegal military tribunal where the Flaming Fist begin capturing suspected Guild members and sympathizers,

Ravengard closes down the Baldur's Mouth under suspicion the Guild is using it to communicate.

Rioting in the city breaks out, the Flaming Fist cracks down violently if the players don't intervene

Ravengard declares martial law. Not complying with the Flaming Fist is grounds for execution.

Ravengard sets up public executions. Over a hundred are killed within the first hour.

It Ends With Blood: if Ulder Ravengard is the Chosen of Bhaal, he reigns death on the city from above using the trebuchets in the Seatower of Balduran.

Event 10 occurs for the top two of Bhaal's favor, and Event 11 for the chosen - which is canonically Silvershield. So, we know events one through nine were at least ordered, even if circumvented - martial law is the only one that can't be averted.

Given that he ends up "winning" (becoming Grand Duke) I think the executions probably didn't happen (and instead Rilsa Rael staged her prison break) but it doesn't actually break canon.

Rise of Tiamat & Descent into Avernus

Sometime around or shortly before 1485, Ulder is named Grand Duke. 1485 is the year Wyll is banished for his pact with Mizora - which means he was only the Duke's son for maximum a few years.

In 1489, Ulder represents the city on the council to deal with the threat of Tiamat, where his traits are:

Ideals: Responsibility, glory ("I am trusted with protecting thousands of lives, and I will not betray that trust no matter what my personal desires.") Interaction Traits: Honest Pledged Resources: Flaming Fist warriors and expert advisers to train conscript troops

In Descent to Avernus, he's described as having been elected "backed by idealistic commoners and enemies of the other established dukes" and that his concerns are the "stability and prosperity" of the city. He's the "voice of reason and common sense" but not egalitarianism.

The central tenet of DIA is that Ulder Ravengard is an honorable man, and without him to keep the Flaming Fist in line, they exercise their power cruelly (guided along by Vanthampur as she tries to consolidate power)

In Elturel, Ulder has taken charge of the city's defense. You meet him as he has tried to recover a relic and been caught by a psychic attack from Baphomet, that is mostly grounds for him to give a lore drop.

Okay, that's a lot of information. Summary please?

Ulder Ravengard is a cop.

He's not a bad cop. He's not interested in power, wealth, or fame. He wants what's best for the city...and he believes that the Flaming Fist, with the right motivation and guidance are it.

But, like, he's still a cop. He's inflexible, and doesn't see much nuance in situations. He's Lawful Neutral, in a genuine sense, he believes in the righteousness of Order, and can't see the nuances or the downsides.

If he's a righteous man, why hasn't he put work into reforming the very corrupt Flaming Fist? Because Good Cops don't fix anything, and I don't think he actually has a problem with most of it. Sure, the punishment is extreme, but you were committing a crime - Mercy is a virtue for a judge to hold, but it isn't a right. He's more concerned with the corruption vis a vis bribes from patriars and the Guild than the police brutality angle.

He's a good man to have running your army. He's a good man to marshal your defenses as your city goes plummeting to hell. Grand Duke of Baldur's Gate? The only thing he has going for him is that everyone else is just as bad.

Of course he exiled Wyll - if you're not guilty, you have nothing to hide. There was nothing more damning than not being able to speak (which Mizora knew; she is, in fact, good at her job). Ulder's views of patriar corruption (and status as being from the lower city) also has him uniquely positioned to be very harsh - he can't be the person who lets his son's crimes slide, not and clamp down on the patriars doing the same thing.

But once he had the context, he accepted him immediately - the ends justify the means. Ulder Ravengard is a man who would make a deal with a devil to save his city...so long as he knows the price.

(now, on the 'leaving 17yo Wyll in charge...look, this gets complicated, but the only way it works is if he's put in charge of the Flaming Fist, not as 'heir to the Duke' mostly because Ravengard doesn't trust most of the Fist to not be corrupt. Even then, I think it's likely to be a bit more of Wyll's POV (I have to step up!) and less an official chain of command, but he could easily have been an official member).

There are definitely places with Wyll that you can see how he has and hasn't taken his father's ideology. He's got some naive views (Baldur's Gate, welcoming refugees??) that suit someone who was taught the theory but never actually practiced politics, but he definitely has a leaning towards some of Ulder's views about law and order and ends and means.

And as for Grand Duke Wyll Ravengard, well....

...let's just say, with the right people pushing buttons, I could see him going down the 'declare martial law' route too.

[makeshiftcoop]

Misfits - Core Tapes (or my first attempt at game blogging)

Disclaimer: I will update this text with some frequency, and it will be fixed here. I know it's a mess right now, sorry!

So, for a while, im kind of making a game.

Something that can mix my obsession growing up with comics and the newfound success of media that deals with powers and mutations and subverts the "Marvel Style".

So, Misfits is my Post-OSR-Resistance attempt to that. Inspired by stuff that i like from the OSR and Post-OSR corners of the ttrpg designsphere (like Bastionland, Mothership, Songbird 3e, Eco Mofos and Lost Bay), by things from Rowan, Rook and Decard and they Resistance games, and by a myriad of other influences on rules lite games like 24XX, Offworlders, Lumen and etc etc etc

I expect to post more about it here soon but, for now, those are the bones of Misfit. I have to shout it to the void before making other stuff. Hope someone enjoys it's initial vibe:

1. MISFITS MUGSHOTS (Character sheet):

Stats (1 point each and assign 5. No Stat can get to 6):

- Body (Physical experiences, agility, strength, throwing punches, jumping between buildings) 

- Vibe (Social experiences, charisma, etiquette, flirting, bluffing) 

- Weird (Unreal experiences, spirit, soul, sixth sense, your PWRZ, searching metaphysical insight, harming extracorporeal entities)

- Brains (Intellectual experiences, logical thinking, riddle solving, not falling for bullshit)

Moodboard: Pick a few and expand on it's vibe (coming soon, but it's basically a style section. it's important to look cool and pretty) 

Stuff: Important stuff to use or carry around. Things that cause harm have a stress die attached. Other stuff can be used contextually to gain an extra die, success on a action, clear stress, etc.

PWRZ: Cool powers. They usually have a stress (damage) tier, a flavor description and a mechanical effect. (Pick a passive PWR and one for each weird point) 

- Passive

- D4 

- D6

- D8

- D12 

- D20 

Quirk (Some different mechanics of the Mugshot):

2. ACTING

- When attempting an action with uncertain outcomes or where complications could be interesting, roll d6s with the most approriate stat (I think as ways of doing or feeling things).

- Always roll at least one dice. If in advantage or disadvantage add or subtract dice as seem fitting. If disadvantaged below zero, start to roll and pick the worst.

- Stats are meant to be flexible and open to creative problem solving.

- Misfits can throw a knife with their Body, their Brains or even with their Weird after using the knife for years, getting attached and naming it Poco.

- Stuff and people can have complex relations with Stats (seeing status as ways of feeling) that may allow creative interpretations.

- Nothing just fails. Something always happen in the world.

- If an action is too complex to be solved with a single roll or take space and time to develop it's a PLAN. A complexity will be defined in a CLOCK format between 4 and 12 segments, where the Misfit will be able to act to advance those segments until completion. Failing in actions related to the PLAN can start an opposite clock with consequences, expand it's segments or even collapse the entire PLAN with approriate (and possible disastrous) consequences (I see PLANS as a way of extending actions into sequences, helping to streamline the play and also raising the stakes. It's a way I enjoy to play especially solo)

3. DICE RESULTS:

1-3: A failure. But more than that, an outcome that didn't met the expectations. Some complications arrived, the competition was fiercer than it looked like, the stakes are now higher, the context changed. Stress can be suffered. 

4-5: A success with complications. A twist, new element or context can enter the situation as well.

6: Success. Clean success, the narrative moves forward as intended 

More than one 6: Critical success. More stress dealt, more favorable circumstances, sunshine and rainbows.

4. STRESS:

A track that goes to 10 that stores all the Misfit's misfortunes. Everytime you receive stress from any source unless your PWRZ (be it physical harm, a very embarassing interaction or mental overload from a paracausal entity) fill the track and roll a D10. If the result goes under the current stress value, the Misfit suffer a Strike. A concrete manifestation of consequences related to one of the stats. 4 Strikes and you are OUT. If the stress comes from your PWRZ you just fill the track withou rolling for strikes. Your PWRZ themselves can't take you out but they will make you frail.

5. HURTING THINGS (AND GETTING HURT) 

- The combat is dynamic, focused on player facing rolls. 

- The Misfits always go first, unless taken unprepared. 

- Enemies attacks come with results of Failures or Success with complications. 

- The turn goes on in Vibe order. Any action can be attempted. Failing actions in combat usually leaves the Freak exposed to being hurt. 

- Foes have particular behaviors as described on UNEASY THINGS (future zine with threats). When the resistence of a foe hits 0 it's dead. Most will not fight until that point. But some will.

6. THE EVERYDAY AND THE SANDBOX (It's in a new post!):

- What you do?

- Conspiracies and Happenings (to gain Fame)

- Spend FAME to create PLANS and make your Happenings, Factions and know more Faces

- PLANS: Complex actions that require time and multiple efforts (Flirting, Making Friends, Organizing a Party, Creating a Bowling Club, Investigating a Murder, etc)

- MESSY SCENES!: Complex moments with big stakes that deserve narrative spotlight. Like: A Chase, Fighting Big Things, Fucking, Karaoking, Dueling,

- The game can be played with as many complexities as wanted. Some PLANS and MESSY SCENES can be easily diluted to one rolling, simple combat or just roleplaying without dice. But i think those are nice procedures to Solo play and also for some types of Group Play, easing players into narrative control within their MESSY SCENES and framing clearly objectives with the PLANS

7. FAME (you guessed right, coming soon): 

- Solving Conspiracies and helping FACES out in Happenings grants FAME. 

- FAMOUS Misfits can really alter the Everyday, starting factions, throwing up legendary ragers, becoming marketable capers or even starting an revolution. 

8. CREDIT/GETTING STUFF

- Misfits always have enough to get by. Some start with a little more, as can be seen by their Mugshot or Moodboard.

- Credit is abstracted in 6 tiers that follow the PWRZ tiers and can be used to buy stuff, define "loot" and payments.

-Acquiring things that are into your credit tier is mundane and simple. Everything above your credit tier requires either some valuable stuff or you will be In Debt

- While In Debt you can't buy nothing above the misfit tier, and have to get some loot to sell, win some reward for a happening, or go to The Board and find some Job

-To change your Credit tier you don'thave to hoard riches, but get known. The only way to upgrade your credit tier is investing Fame.

TIERS: 1. Misfit/simple (resources with no die value. worthless in trading/selling) 2. Working class (D4) 3. Degree haver (D6) 4. Up and coming (D8) 5. Money mover (D12) 6. Filth rich (D20)

9. WRONGDOING - Every Misfit has already beem accused of some kind of wrongdoing. It can be true or it can be made up. Fact is, a Misfit can't really stay put and live a normal life cause they already have been stripped of the normality.

10. PATH - Also a future exploration here, but the idea is having another layer of personality and a goal beyond "live life, make friends, fight the system" for Misfits. My idea here is to eventually get to something like Beats from The Heart, turning Paths as ways of getting more powerful:

An exploratory list of Paths: - Hedonist - Communitary - Explorer - Revolutionary

[saemi-the-writer]

Pour le "sequel or not sequel", je pars sur mes trois Disney préférés : La Belle et la Bête (tu peux partir sur le 2e film uniquement ou le 2e et le 3e, comme tu le sens !), La Petite Sirène (idem) et Le Bossu de Notre Dame (sorry not sorry :P)

Merci Cali, c'est parti !!

Beauty and the Beast

The sequel(s) was/were better than the first movie! | Good sequel(s) | They were okay | MEH | Good potential but they messed it up | They were so unnecessary | BURN THEM

This movie is wonderful on its own, it didn't need any sequel! A small expanded universe maybe, but instead of making some cute and interesting short movies or short novels, they made these 1-hour tortures!! I didn't watch the 3rd movie, thankfully, I let some critics suffer in my place (lmao), and the few I've seen made my skin crawl. Thanks for making Belle show Stockholm syndrome signs, I hate it!!!

The Little Mermaid

The sequel(s) was/were better than the first movie! | Good sequel(s) | They were okay | MEH | Good potential but they messed it up | They were so unnecessary | BURN THEM

LM 2: showing how Ariel is adapting after leaving for a very different world would have been interesting to follow, but they chose to make Melody pull an Ariel (even if she had a better reason to be fascinated by the sea!). And even if you keep the movie until Melody runs from home, I think it would have been more interesting to redeem Morgana with her and Melody bounding, Morgana realizing that she doesn't need her mother's approval anymore and moving on. Melody had good potential as a heroine, but they made her too similar to Ariel or took the spotlight away from her with silly sidekicks.

LM 3: I liked seeing more of Ariel's sisters, a shame the settling is so lame! Like seriously, why make Triton even worse than what he was in the first movie?! And the whole plot makes Ariel seems like a moody teenager who only is interested in what her father forbids, NO! And the title "Ariel's beginning", beginning of what? She doesn't care that much for music in the first movie, it's also making her versatile and spoiled! The French title "Ariel's secret" is worse! XD I wished to see how and why Ariel became so passionate about the human world!

The Hunchback of Notre-Dame

(you little gremlin!!! XD )

The sequel(s) was/were better than the first movie! | Good sequel(s) | They were okay | MEH | Good potential but they messed it up | They were so unnecessary | BURN THEM

(takes a deep breath in) Why? Just why would they do that?! Stop the massacre!!

While a sequel wasn't needed or mandatory for the characters' development, there could have been some topics or subjects to bring up! There were characters in the novel that didn't make it in the first movie, they could have worked on something with them! Even take some inspiration from Victor Hugo's other novels if needed, without making a too weird fusion of course! And you know what's worst? There are still some things here and there in what they produced that could make at least a decent sequel, and they still served us a huge shit!

[talenlee]

The Everything Wrapup of 2023

Here we are, at the end of the year.

I write a lot on this blog — this year represents a full 365,000 words, more or less. I cover a range of topics, too, with ideas like the interactions within queerness and politics, the life of a fundamentalist Christian, game making, writing, media analysis and of course, by volume, tons and tons of Dungeons & Dragons nonsense.

Chances are, at the end of the year, you haven’t read everything I’ve done. I have, but I’m just one person, and therefore, statistically negligible. What if you want to read a bunch of stuff on my blog, but don’t know what I made this year that you’d think is cool?

Let me give you a run-down on my favourite articles of 2023, then! Get ready for some links!

First of all, the articles about Dungeons & Dragons. I wrote about the prestige class system, which wound up distorting the game around it, and oh look it’s capitalism again. I wrote about the way that D&D gets you playing with its ideas before you ever touch a dice, and the way that DMs should give players a meaningful mechanical anchor to a story type they want (ie, a boyfriend). Also, in the vein of a stuff I felt like I should have addressed a long time ago, this is the year I decided to finally grapple (hah) with the grappling rules in 3e, which I have been joking about for years.

Then I took things to the other side of the screen in 3e, looking at the idea of action economies, through one of the most broken 3e spells, Haste, about what monsters imply about the world with the question of what an otyugh means; not what it is or what it does, but what it means when you see one. There’s also an article to inspect the confusing worldbuilding presented by gods with an incentive system, and a consideration of the monsters from the epic level handbook, my favourite part of that book.

I looked at 4th edition a lot, of course, because it’s the best edition. This year though, I made a change from my usual content of ‘explaining how this works’ to people, and instead started on talking about ways I expand it, or execute on it. For example, I talked about using ideas from Blades in the Dark for skill challenges that normally seem very singular, and I dumpstered one of the worst classes in 4e D&D for fun, and explained the ability scores part of D&D, something that I feel needs to be how it is even if there’s no good reason for it to be this way. Also, since it was going to be necessary for eventual consideration in some How To Be articles, I figured I’d examine the critical hit system of 4e D&D, and how to take advantage of it.

I suppose if I’m talking about the year in review and I’m already in Hasbro territory, have the articles about Magic: The Gathering that best represented my feelings about Magic: The Gathering, a game that has released twenty sets in the past two years, of which I have liked three, and hated the rest. There was my 20th year anniversary playing mtg and the anger and despair I felt about it, there was anger and despair at the lord of the rings cards and then, since I wasn’t done, a bunch of anger about the dr who cards as well I guess.

That’s D&D in the general though, what about D&D in the specific? Ie, my D&D, the D&D that’s about the world I made and play in, and have been playing in since I was a teenager?

I have been actively trying to present Cobrin’Seil as a whole place, examining systems and places and all that stuff. That meant a lot of what I was doing was finally formalising and writing down cultures and places because how do you belong to a world if you can’t point to the nearby parts of the world and know what’s over there?

First, I decided to describe the boundaries of the country of Dal Raeda, the importance of the Eresh Protectorate’s Kings’ Highway, through the story of the city Lagan. Heading north, into the vast sprawling forests of the north, I spread out across the continent, showing a host of the countries and cities there. Then I showed you Mosetto, a zeppelins and airships driven cogcore country inspired by Nausicaa, and the Mykin that live in their canyon. Further north and in the biting colds, there’s Torrent, a city of constant lightning storms, and the jock weedsman war monks that live there and refuse to die. Back south to the ocean coast, but not into Dal Raeda, across the coastline, you see the archipelago country of Kyranou, a nation inspired by Greece and Avatar, and continuing along that coastline, across the neck that leads to Dal Raeda, there’s the magepunk roaring 20s country of Visente. South from Visente, into the ocean, there’s Uxaion, a dreadful mage-necro-cyberpunk island city for players to adventure against unfair things.

The biggest and most prominent change to the geography of the world was the project that started when I resolved to to strip out my old region with the weak name of ‘kryphaneos,’ and turned into a three part article examining that new location, and its particular locations and cultures. That was how I created my new favourite thing in the setting, the horror peninsula of the Szudetken, a place that is informed by a vision of horror that speaks to Christian Fundamentalism of the 1990s. Of course, once I’ve described the Szudetken, how can I guide players to belonging in those places? Player themes!

While I was doing large multi-part articles about varied cultural groups, what about The Beast People? Well, first, why the setting has those terms, and then, a consideration of those people , in two parts. I also looked into the assumptions about orcs and language, and even wondered whether or not ‘straight’ is the default in the world, at least as a created and reasonably communicated orientation. What’s more, while talking about the assumptions of language, I examined the economics of a ‘gold piece’ in a world and what that means about the assumed universality of capitalism.

But finally, and probably the most fun, and the one I want to use as a template for future examinations, I finally wrote up the Halfling Hulks and the player faction of the Northumbrians after them. I love this so much because I love the way it gives a player an experience of living in the world they are. The story of loading and unloading a boat, of the people you know around the docks, of the everyday normal for people, and the degrees of what a player character can be used to or expect. Sure, you probably know about ‘the big halfling boats’. But if you’re really familiar you might know the Northumbrians, by name. You might even be one.

When talking about fundamentalist nonsense, I feel the writing is less fun but no less important. Particularly, there are some ideas that people don’t seem to realise are present in Christian spaces, and assume that surely, that’s not a thing. Things like the seemingly absurd idea of suicide denial. This article wound up being about self-immolation? Which is not a non-bummer, lemme tell you.

I tackled the idea, and my framework for all consideration of Christian fundamentalism, in that I am firmly convinced that all fundamentalism is a grift. Any genuine believers are feeding into a system with a grifter upstream. Sometimes that grifter is after control, like they want to control people’s lives such as causes the horrorshow of dating while in a fundie church, and sometimes the grifter is trying to sell a particular product. Like, you know, the eerie conspiracy theory lurking underneath assumptions about translations and therefore why you should only buy the one they’re selling.

What about games? I make games! I love talking about games! Setting aside the Game Pile (and there was a video compiling those a few days ago), I also wrote a bunch about game making. In fact, this year featured a lot of design sketches for whole games:

Boyfriend Material, a game about monster-banging and its graphic design limits

A cooperative game design about wrestlers

A competitive game of bitchy gay courtiers sneering at one another

A Goncharov card game

A sorting-algorithm based game of building teams

A game about Goblin Postmasters messing up

A game design about Wandering Samurai choosing their paths

A design about Werewolves bootlegging and selling their wares

And then, removed from specific game designs, there’s my article considerating what parts of a game are or aren’t interface, which is based on a consideration of Donald Norman. Another article on how your game represents speed and therefore time, Bloodwork articles examining the ongoing design of a game about vampire gangs and what vampires are for, and probably my most well-seen article this year, a treatment of how the idea of ‘the magic circle’ is pretty much just privilege.

Media, media, media, I like media, you like media, we all like media and I sure talked about a bunch of media! I did an examination of the ship of Jessie Teamrocket and Ash’s Mom, which isn’t a joke, and is very much a well-supported ship, I wrote a long form examination of an incredibly tedious dude from a very mid anime who was nonetheless incredibly influential, a discussion of the character of Bridget Guiltygear and how boys might now feel alienated from her, an article about Goncharov, the movie that tumblr made up and had fun with and then the whole rest of the internet declared ‘cringe’ while we were having fun, an article about Halloween, the original one, which was so much better than I expected, an article about Lie To Me, a tv series built around a pseudoscience masquerading as real science masquerading as real magic, an article about how we perceive a series like Lycoris Recoil, the absolute beast of an article about what I still think of as ‘the first half’ of Megatokyo, the series of articles about My Hero Academia, a show that gets worse the more I remember it, a series of articles about Person of Interest, my article about the truly excellent anime Summer Time Rendering and then my article about the There She Is!! web animation that’s also about racism.

You know, the easy stuff. Then I went on to present a consideration of generative art, with ‘Smooth Alex Jones,’ my thoughts about Chernobyl and the idea of measuring harm not by deaths but by lost life because of that whole pandemic and global climate crisis haha, why racist colonialism was part of the horror of Lovecraft’s work and therefore you can’t just ‘ignore’ it, and hey, while we’re talking about how we perceive reality, I also wrote about the miserable feeling of watching reality bifurcate in front of me and realising I will never not be angrier. Don’t worry, though I wasn’t stuck with downers, because I was able to also write something about a fun little glance at the Confederacy’s currencies, which are bad, because Confederate art consistently sucks, and a queer reading of Wreck It Ralph’s only interesting plot.

This is also the year in which I finally became a fan of The Locked Tomb series, which remains weird to me because of my childhood with the author, who I haven’t spoken to in – well, a few months, but before that I hadn’t spoken to her in decades. Anyway, I read the Locked Tomb books this year, and gosh I liked them a lot!

If you wanna follow my journey, starting with the first book, then articles where I just kinda had more opinions on things that just happened to suddenly become about The Locked Tomb. Like how the way The Locked Tomb reflects my experience growing up wrong, then questions about how the mind and body relate to one another, and, as someone who grew up under a cult leader, an examination of the type of person Jod is.

Know what The Locked Tomb gets people talking about? Well depressed lesbians and sexy cannibalism, but also it’s the thing that leads to people talking about world building! And I’ve written about world building! I made a bunch of articles about doing a better job with world building.

Like how you can force variety into your world with math, the implications of magical genetics and how to avoid like, making wizards into eugenecists, the types of magic you can do with goo and why that’s cool as hell in my fantasy settings, considering how food works in worlds with sentient foodstuff based on Pokemon, and of course, bringing Star Wars in for a beating when I ask why you make a slave race that can feel pain, you weirdoes.

The two most important worldbuilding articles I wrote this year, in my opinion, the piece about The Major Difference between the Warlock and The Paladin. These two articles are in my opinion my best work and I still reference the Paladin one for people to give them ideas for approaching the identity of an idealistic warrior.

Finally, and this does follow on from The Locked Tomb I swear, I wrote about writing this year. And I’ve been thinking about writing a lot because of how that book makes me feel about my own writing. Basically I want to write better because oh my god they’re so good.

Anyway, I wrote about thinking about relationships in terms of who reacts and how you can make them react. I wrote about boys who are just generically positive in a way that suggests nothing about themselves, and how characterisation is more than being enjoyable to look at. I wrote a short fiction about mars conspiracy theories. Then, directly, I wrote about treating myself seriously and reflecting on writing after reading The Locked Tomb, and an attempt to improve my writing through an exercise in descriptive voice. Finally, and most importantly, I wrote about the importance of treating your work like it’s worth treating like it’s work.

That’s it.

That’s the year.

By a quick count I just linked you to a hundred thousand words’ worth of free reading. It’s good! I liked doing it! You should read it if you like! And if you don’t, I don’t care~!

Check it out on PRESS.exe to see it with images and links!

[kerriskatheotstudent]

Standing on the edge of becoming an OT.

With hands shaking, a voice trembling and legs quaking – I stand at the edge. It was 19:32, on a mundane Monday evening, when I received the call. “Welcome to OT!” When has the intro to Taylor Swifts latest heartbreak single ever let me down? The greatest power one could hold, is the capacity to shift the dimensions of another’s life. Growing up, I had always dreamt of facilitating such power - to equip people with the ability to feel fulfilled within themselves, to truly make a difference. The granny’s said doctor, the grandfathers said engineer, the parents said accountant, but the humanitarian in me said occupational therapist.

Being an OT student is extremely daunting, but not as daunting as having to explain in layman’s terms what OT truly is. I cannot count the numerous day-old jokes about helping my family members find employment. Between having to formulate an understandable definition of OT to those around me, and handling a goniometer, I often found myself asking “do I even know what I’m doing here?”. “Am I qualified enough to do this?”

 “Reflection is a process which helps you gain insight into your professional practise by thinking analytically about any element of it.” (Health and Care Professions Council, 2021). As a third-year student, it is integral that I begin to reflect not just on the progress that I have made so far, but also on what aspects of my skillset require further refining, to ensure that I will be a competent professional.

“When a flower doesn't bloom you fix the environment in which it grows, not the flower”. (“When a Flower Doesn’t Bloom, You Fix the Environment in Which It Grows, Not the Flower.,” 2021). I am no stranger to feeling stuck. Mental health has been a factor in affecting my performance – my state of mind has had a direct impact on my ability to execute tasks and fulfil responsibilities. As a student, a weakness that I consider needs to be worked on, is my ability to handle stress and anxiety. Reflecting on the way I tend to handle my stress; I acknowledge how it becomes crippling and impacts my quality of learning. And so, to ensure that I bloom, I remind myself to handle my weaknesses with grace, as “any personal development journey is a lifelong commitment, not a sprint or achievable task. It will weather bumps and roadblocks, but it can also thrive in other areas of your life”. (Miles, 2022).

A strength that I have learnt to capitalize on, is utilizing my personality in a therapeutic manner. As an extroverted and friendly individual, I find it almost natural to form good rapport with my clients. Through creating this relationship, client’s respond well to intervention and proposed sessions which ultimately results in better occupational performance.

Through reflecting and critically analysing my position toward becoming an OT, I begin to harness my strengths and improve my weaknesses, allowing me to be the best professional that I could possibly be. With hands shaking, a voice trembling and legs quaking – I stand at the edge, at the edge of becoming an OT.  

References

“When a flower doesn’t bloom, you fix the environment in which it grows, not the flower.” (2021, May 7). https://julieparkerpracticesuccess.com/when-a-flower-doesnt-bloom-you-fix-the-environment-in-which-it-grows-not-the-flower/#:~:text=%3E-

Health and Care Professions Council. (2021). What is Reflection? Www.hcpc-Uk.org; HCPC. https://www.hcpc-uk.org/standards/meeting-our-standards/reflective-practice/what-is-reflection/

Miles, M. (2022, February 10). What Is Personal Development and Why Is It Important? Www.betterup.com. https://www.betterup.com/blog/personal-development

OTR/L, R. L. (2023, April 15). What Exactly Is Occupational Therapy? Myotspot.com. https://www.myotspot.com/what-is-occupational-therapy/

[greyssquare]

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[jesawyer]

Heya. From a game mechanics perspective, was there ever a conception of which class a player should use in Pillars of Eternity I/II? I understand that the game was built around viability, but it's interesting that a rogue companion was not included in the base releases. Curious about your thought process on companion class choices and how it influences the player's decisions.

No. I tried to design the systems and content such that a player could play any class and could ignore/avoid any companions/classes they didn't want. Priest still feels, if not integral, very valuable for a Pillars 1 playthrough, but I think it feels less critical for Deadfire.

Edér is the first companion you encounter to ensure you have an easily managed tank. Aloth is second so you get ranged/AoE offensive magic. Durance is third so you get a healer. I didn't want to have situations where people made wizards or rogues and didn't have access to a tank for hours and hours.

Rogues in Pillars and Deadfire are not "skill" classes like they are in 3E/Pathfinder. They're strikers whose class skills focus on traditionally "roguey" things, but other classes can cover those skills more easily in Pillars than in 3E. Durance is perfectly capable of disarming traps (as long as you can spot the trap) and picking locks through the whole game.

[dmsden]

Folk of Cliff and Challenge - Personal Plot for Goliaths

Hullo, Gentle Readers. For this month’s Personal Plot episode, we’re going back to the Elemental Evil Player’s Companion to visit a race that got a big boost in popularity thanks to a certain podcast - Goliaths. If you still need a copy of the Elemental Evil Player’s Companion, you can find it for free download at https://media.dnd.wizards.com/EE-Players-Companion_0_0.pdf

The Goliaths hit the scene with their particular look and personality in 3E with the “Races of Stone” book. It can be argued, however, that their origins really come from 2nd edition’s Dark Sun Campaign Setting. That boxed set gave us “half-giants”, who share so much with the goliaths in general that, when 4E’s Dark Sun came along, they just said to use goliaths as is for half-giants. The personalities of Dark Sun’s Half-Giants are very different from the Goliaths...but the personalities of most Dark Sun races are different than the standard...Dark Sun halflings are tribal cannibals, for example. In recent years, the presence of Grog Strongjaw, goliath barbarian, as part of the Vox Machina campaign of Critical Role has certainly contributed to them gaining some prominence, and it’s been nice to see some new miniatures appearing of them.

The personalities of goliaths have been shaped by their mountain habitation. They live in often frigid, dangerous cliffs. They are reclusive from other folk, and they know they must be self-reliant. Those who cannot benefit the tribe are exiled, especially if their physical skills are in declined. This reminds me of old, now disproven stories of wolves being driven out of their pack when they can no longer fend for themselves. In terms of personality, this tends to lead to a race of risk-takers and competitors, a people who will also be marking how they compare to you.

There’s a lot of story to come out of this. If there are competitions in your world, like an Olympics, or even fighting pits, it’s easy to imagine that a goliath would want to be involved. This could lead to a story where a goliath climbs the ranks of an organized fighting club. It could also lead to a story where a goliath finds their beloved games are rigged. Would a goliath leave the games in shame, feeling they hadn’t earned these accolades, or would they seek to destroy the corrupt system and replace it with something more honorable? Either one could make for a interesting story.

The description of a goliath’s constant need to prove themselves and improve upon their deeds is a built-in mechanic for DMs to expand story. Let’s say a goliath fighter is known for slaying a smaller local dragon at low levels. It’s easy to imagine them needing to prove their Wyrmslayer reputation by seeking out increasingly dangerous dragons. What happens if they then meet a dragon much too powerful for them to face? This could certainly lead to some interesting role-playing, as the goliath comes to terms with the possibility of their failure.

Goliaths traditionally live high in the mountains, and it’s easy to imagine this puts them in competition with other creatures that enjoy mountaintop lairs. Dragons, of course, like to perch on high mountains, but wyverns, perytons, gryphons, hippogryphs, yeti, dwarves, and aarakocra might also claim these lands. If it’s a dangerous creature, it’s a natural move to go and fight it to remove it, but what if it’s a race like dwarves or aarakocra? This could make for interesting diplomatic situations if the challenge isn’t best solved with axes.

I think that, of many races, the goliath is the most natural to have a rival. Maybe the PC goliath and another goliath set out at the same time. The DM could have the PC occasionally hear of the other goliath’s deeds. This could naturally spur the PC to seek out more dangerous situations, more powerful foes, and more amazing treasures. If the rival is a darker shadow of the PC, so much the better. Maybe they’ll become a lieutenant of the major villain of the campaign, giving the goliath a personal stake in why they seek to undo the villain’s ultimate plans.

Another way to have a “Rival” might be to have a goliath hero, maybe even an ancestor of the PC, part of the background of your campaign. The PC might wish to measure up to their hero’s deeds, and, ultimately, to surpass them, coming a legend in their own right. Perhaps there’s one challenge the goliath hero couldn’t overcome, like slaying a specific beast, or plundering a specific dungeon. If the PC can accomplish what their ancestor could not, it would bring great honor to them and their family...perhaps even restore honor that was lost when the ancestor failed.

One element I remember from 3E that I thought was really cool was that the lithoderms - the dark, stone-like markings on a goliath’s skin - were supposed to contains elements of prophecy that presaged a goliath’s destiny. If the goliaths in your campaign believed this, imagine if a goliath’s lithoderms suddenly radically altered. An entire campaign arc could be built out of this idea.

I hope that this article has given you ideas to help a goliath PC in your own campaign. They’re a really interesting race, and I’m happy to see them sticking around in the game’s lore. Next month, we’ll return to the Player’s Handbook to seek out the wisdom of the Sage. Until then, may all your 20s be natural.