#3E-Publishing

[impernious]

Hey! Do you like Exalted? What about Scion? Do you maybe like the Trinity Continuum? Do you ever wonder *how* we make the games you love?

Onyx Path Publishing has a Discord, and I'm gonna be doing a Q&A on it about our book making processes on Thursday, August 3 at 10am EST. If you want your questions answered, you can ask them here or in our special q-and-a channel.

https://discord.gg/6sR6zHv7

[sbnkalny]

A sliming scene from a 1982 episode of You Can't Do That on Television was also used in the opening of the 1987 film Fatal Attraction, and references to the series have been used in mainstream U.S. television series ranging from NewsRadio to Family Guy. This aspect of the cult show later became iconized in Nickelodeon's slime logo, subsequent game shows such as Double Dare, What Would You Do?, Figure It Out, and BrainSurge revolving around slime, pies in the face, and other forms of mess, and live events in which participants (including celebrities, particularly at the annual Kids' Choice Awards) would be offered the chance to get slimed or publicly humiliated. In the late 1980s, Nickelodeon and its Canadian counterpart, YTV, even held write-in contests in which the grand prize was a trip to the YCDTOTV set in Ottawa, Ontario, to be slimed. The popularity of Nickelodeon's slime shows spawned imitators such as the short-lived 1988 syndicated game show Slime Time (no relation to Nickelodeon's later Slime Time Live), in which schoolteachers were the victims of green gungings.

The most famous instances of the said gunging tradition opens in 1987 with the first Kids Choice Awards.

In Britain and Europe, in the early 1980s, children's gunge-based game shows were the norm.

Punk goes pop franchise. the album contains Thirteen bands from the pop punk, post-hardcore, metalcore, And alternative rock scenes covering mainstream pop songs. it was Released on march 21, 2017, by Pledis entertainment AND distributed by LOEN entertainment. "Doublethink means the Power of the canadian television series you can't do that, I'm just gonna creep down in pumpkin Hill, I gots to find my Lost piece.. Have done Well, it seemed, and All participants would be separated from one another.. I won a prize at the games he mastered long ago at the court of Wayrest, and I beg you! we're Dead! you're a G-G-GENUINE DICKSUCKER!. In this game SHOW i've come to you for the cosplay tip! a neon green tracksuit sounds EXACTLY like something I never thought he'd come THIS far. God is the perfection of the original by the process of gunging was realised by the producers of the charity event comic relief, who held an event, in cooperation with the guinness World records at the national exhibition centre, Birmingham where an attempt to figure out. And to assume anything about overwatch except for the otherwise authoritative "Encyclopedia Tamrielica", first published in 3E 12, during the early years of age, that the Empire

[theonyxpath]

#OPPCon The #Exalted3 panel begins in five minutes!

[talenlee]

3e: Winners and Losers In Lawful Space

Planescape is a silly place.

Dungeons & Dragons is a wholeheartedly silly game, and it’s important to remember that what makes it silly is an expansive growth out of a particular root. It is a tree of many branches but thanks to the way that it encourages people to build their own things on top of it, it has become a sprawling kind of folk narrative and generally accepted consensus material that then a company comes along and tries to augment and supplement. Still, as much as a corporate mind is at the head of what gets published, what gets handed to that corporation is going to derive from the mind of a dork who likes D&D. To that end, D&D’s lore is a constant push-pull between the kinds of nerds who like organising lists and the kind of nerds who like to invent new types of dragons they want to have sex with and they’re all trying to integrate one another’s material because that’s how nerds demonstrate mastery over a topic.

The result is that D&D lore is composed of parts that neatly and smoothly fit together and parts that should be airbrushed on the side of a van, and all subjects exist in a space between those two points, on a spectrum. And nowhere is this more evident than in the way that 2e’s setting Planescape introduced elements that 3rd edition tried to hide.

Planescape, as a setting, exists very close to the ‘airbrushed on a Van’ side of things, and it’s extremely obvious when you look at its roots in 2nd Edition. In this space, much of what makes Planescape Planescape was codified. For those of you unfamiliar, Planescape is a setting made up of the idea of ‘planes’ as distinct, discrete universes with their own rules separated not by time and space, but just by barriers or magical boundaries. You know how Narnia is supposed to work, with the wardrobe? It’s like that, but there are a lot more wardrobes and they all go to different places. Think a sort of multi-level Isekai scheme.

Anyway, it’s a setting with like, multiple whole universe-sized worlds, that may or may not have planets inside them, some of which follow a very narrow set of identifying rules, like the elemental plane of Fire, which is full of Fire, or are just like ‘here, but a bit weird,’ like Bitopia, which is a whole plane that is mirrored vertically at a certain height. If you look up in Bitopia, you see another whole country up there – that’s why it’s called that. Also everyone there is bisexual.

Planescape sought to build out more of that structured universe and then in each structured space, fill it with interesting notions. But the structure is a little odd, in that it’s hard to make an infinite number of chairs organise neatly, someone is always putting out one more where they shouldn’t. That means there are tidy diagrams of the Planar cosmology, and then you look inside any of the bubbles in that diagram and find it’s full of gibberish.

It was in 2e that, as far as I know, we were introduced world-wise, to the characters of the Modrons.

There’s a whole writing form that involves referring to Modrons in deliberately obtuse ways, with Modrons being the individual, plural, categorical, and utility terms for this people, but what you need to know about them is that Modrons are weird lil guys that are made out of a basic geometric shape – pyramid, cube, dodecahedron, all the way up to sphere (or down to sphere, depending on who you ask). They are truly perfect Lil Guys, a byproduct of a plane of true law and order which doesn’t in any way cohere to what humans (the people playing the game) necessarily assume about law.

They make a lot of sense in a storybook kind of way where you don’t need to have big answers for what they are or how they work or even how their philosophical bias towards pure lawfulness works. In the world of 2ed, where sometimes things that sound like they should be well explained, clear rules are kinda yada-yada-yada’d in a space that you might imagine is flavour text, the Modrons left a bunch of questions unanswered and seemingly, that was good. It was good that they were heavily ambiguous because what was the life cycle of ‘an orb?’ Any answer made them less mysterious and pushed them away from the oddness that they represented.

Anyway, 3e was an attempt by a serious company to do serious things and that’s why when they went back to talk about the Creatures That Lived In The Lawful Planes, they came up with the Inevitables.

Inevitables are the demons of small minds, writ large. Literally, the point of an Inevitable is to be a Lawful Neutral version of a Demon, an entity that exists purely based on rules, coalesced out of a world made of rules, and with nothing holding them back from expressing that. Each of the Inevitables is meant to respond to a rule in the universe and then enforce it. They are self-appointed near-immortal construct cops, and they’re meant to oppose things and people that break the rules that they, specifically, are meant to care about.

These rules are completely out of whack, though, because one of them is meant to enforce say, justice, another the inevitability of death and another, the way the desert is a fixed ecosystem that nobody should try and change or interact with. And in that case, there are a bunch of plants that the Inevitables are going to have issues with, that don’t seem to be capable of forming complex political allegiances.

There’s a really interesting distinction between Inevitables and Modrons, to me. Modrons are weird and interesting but also, there’s nothing they can do that answers a question. Inevitables are a fun challenge that’s supposed to be present to oppose players or potentially be recruited into an adventure, but not for too long. But Inevitables, the 3e attempt to populate Lawful Planes with A Kind of Guy, sort of fell apart and are now more of a trivia question while Modrons have endured into 4th and 5th edition.

I don’t think there’s some greater, better reason for it or anything. I don’t think that Inevitables failed because they were Bad Design or something. But I do think that for me, the way that Modrons represented Weirdness was much more interesting than the ways the Inevitables sucked weirdness away with their simple, clear consideration of certain things as being part of natural reality.

After all: Inevitables would hunt down people who extended their lifespans because ‘everyone must die.’ But Inevitables were immortal. That’s a pretty interesting thing to juxtapose and maybe a character could struggle with that.

Or maybe they could make a big speaking trumpet and demand that everyone else refer to them as a Spokesmodron which is, in my opinion, much funnier.

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

[doubleca5t]

can i be nosy and ask what edition your dad published modules for d&d? I'm thirsty for new d&d right now, it's bad.

He published for 3e and I think recently one for 5e and Pathfinder. Unfortunately I cannot recommend his adventures to you guys because he published them using his actual, legal surname which is also my actual legal surname and therefore I'd be doxxing myself if I did so 😔

[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.

[thydungeongal]

Fantasy Adventure Games part 2

You know what, there's still a lot of trad stuff that I haven't even touched out there, and I would be remiss if I didn't feature some of the other, newer entries into the field. This is a continuation of this post.

So, once again, staying with very trad fantasy games:

Dragonbane by the Free League. An English translation of the latest edition of the classic Swedish fantasy RPG Drakar och Demoner, Dragonbane is a very traditional fantasy roleplaying game whose design is clearly heavily informed by RuneQuest but in its latest incarnation also owes a lot to the game structure popularized by D&D 3e (a game that still informs a lot of game design to this day). Dragonbane is, at its core, a skill-based, no-levels fantasy game, but that still has classes of a sort to grant structure to character creation and advancement. Its playstyle has been dubbed "mirth and mayhem" by its creators, and it emphasizes quick resolution and a sense of randomness. The presentation is also top notch, with art by Swedish fantasy artist Johan Egerkrans.

Forbidden Lands by the Free League. Another game published by the Free League, Forbidden Lands is a classic fantasy RPG with a focus on sandbox play and exploration in a strange, scary world. Forbidden Lands uses a variant of the Year Zero engine from Free League's Mutant: Year Zero games, a type of d6 dice pool system. With out-of-the-box mechanics for exploration, foraging, negotiations, and hunting, as well as running one's own stronghold, the real star of the show is the ready-made sandbox setting that comes with the game, begging to be explored.

Against the Darkmaster by Open Ended Games. The creators of Rolemaster, mentioned in the previous post, for a brief moment held the license to the Middle-earth setting of J.R.R. Tolkien's legendarium and produced a slightly lighter version of Rolemaster to support playing in that setting, titled Middle-earth Roleplaying, or MERP for short. While the game is now long gone, it is still fondly remembered, and in 2019 Against the Darkmaster, a game that is essentially a tribute to MERP made by long-time fans of the game, was Kickstarted. Against the Darkmaster, or VsD for short, is a game in the heritage of Rolemaster, but with inspirations taken from modern RPGs, including the officially licensed modern LotR RPG The One Ring (which is another soft recommend from yours truly). VsD is a gritty and dark traditional RPG that seeks to empower its players to play out stories of a fellowship of heroes struggling against the forces of darkness, very much in the genre of Lord of the Rings, Dragonlance, and the Chronicles of Prydain. If you want crunchy, epic fantasy with a hint of darkness, this one's for you.

Fantasy Hero by Hero Games. A fantasy adaptation of the HERO System, the system that powers the classic superhero RPG Champions, Fantasy Hero is the closest thing I have found to an engine for running a fantasy immersive sim. The core philosophy of the HERO System is that its open-ended power creation system can be used to build anything, and Fantasy Hero directs that energy towards empowering fantasy adventures. The HERO System is very crunchy, almost like a TTRPG physics engine, and it's a dream come true for a certain type of gamer. Heck, I've personally considered using it to run a fantasy sim campaign where spell research is conducted through the power creation system. It's so cool. There is a one-book version of Fantasy Hero out there, called Fantasy Hero Complete, but word on the street is that the better way to run it is using the Hero System 6th Edition rules with the Fantasy Hero 6th Edition genre supplement on top.

Earthdawn by FASA. Once officially tied to the fantasy cyberpunk RPG Shadowrun as its mythic past, due to ownership issues Earthdawn is better understood as its own, standalone game without any ties to Shadowrun these days (and even in the past the actual ties were minimal). Earthdawn casts the player characters as magically empowered individuals who direct their magic into various disciplines, so that a Warrior in Earthdawn isn't simply someone who fights: they are someone who utilizes magic to subtly empower their fighting ability. Earthdawn is very much kin to RuneQuest in how it ties its game system to its world's underlying metaphysics, while being more in line with your traditional dwarves and elves and wizards fantasy. The setting of the game is post-apocalyptic fantasy, with a demonic scourge having recently ravaged the land and people for the first time stepping out of their magically sealed vaults to explore the world. In addition to Earthdawn fourth edition, there is an alternate, simpler version of Earthdawn titled "Age of Legend," which uses an extremely simplified system based on dice results of "Yes, and..." and "No, but..." style prompts. The fourth edition released by FASA is a very traditional, crunchy RPG.

Talislanta by various. Talislanta is a classic fantasy RPG set in an extremely unique fantasy setting that promises ABSOLUTELY NO ELVES. Talislanta is a very unique vision of a fantasy RPG with a very idiosyncratic setting, unique metaphysics, weird sights, and extremely easy to learn yet deep system. The system is very simple, with a basic d20+modifiers resolution mechanic, with varying degrees of success built in, and this system is used for absolutely everything, including combat, skill resolution, and magic. Speaking of magic, Talislanta's magic system is based heavily on keywords and schools, with magic-users being potentially able to produce almost any kind of magical effect the player can imagine under the keyword system, but with certain types of magic simply being more fit to certain purposes and some types of magic not being able to produce certain specific magical effects. What's more, legacy editions of the game are available online for free.

Anyway, that's enough for now.

[clockworkdragonffxiv]

I started my D&D campaign back in April of 2020 shortly after the COVID Lockdown hit. I was bored out of my skull and stressed, and a friend had expressed his frustration with his own D&D group and I just went "Fuck it."

I hadn't played DnD since college. I had never GM'd a tabletop game. But I had nothing better to do. So I went on to Discord into, like, the three channels I'm active in and rounded up a gaggle of friends from FFXIV and from my old City of Heroes group. For my starter campaign I used the very first Eberron campaign ever published for I think 3e or 3.5e, converted to 5e, "The Forgotten Forge."

And three and a half years, multiple cases of COVID, two rounds of cancer and chemotherapy, four or five moves, three kidney stones, multiple bouts of depression, and a half dozen job changes, we finally finished the campaign at level 16, having convinced the Lord of Blades to devote his talents to building the new Warforged nation and healing the Mournlands using the unique techno-organic warforged plants and animals we'd discovered, instead of his original plan which was to absorb the power of a Creation Engine and a Demon Overlord into himself, achieve apotheosis, and drown the world in a tide of blood.

My original plan for the final battle has in large underlined letters the phrase "Biblically Accurate Chainsaw Angel" and included a speech with lines like "LET THE SEAS BOIL AND THE SKIES FALL! LET THE WORLD BURN!"

Also probably ending up with the players picking the Red, Blue or Green endings from the End-o-Matic 9000.

But that didn't happen.

So instead, the campaign that started with our little group of heroes stumbling onto the murder of a professor with the clues to a hidden workshop, ended with the wedding of Seeker the Warforged Artificer, the man who'd talked the Lord of Blades down (despite having a Charisma of 8) and now holds the title of Maestro Seeker, is an advisor to the national leadership, and is the teacher of a whole new batch of warforged, and the warforged medic Solace, an NPC whose existence began as a joke about Seeker having a whirlwind romance with a medic in the space of about 23 minutes while the rest of the party were running errands.

Hot damn was that a lot of work. Three and a half years, and despite it starting in modules by the second I'd decided I didn't like the story as it was written, threw it out, and told my own story. Featuring friendly little fire elementals named Phil, packs of extremely patriotic and laddish mimics named Jimmy, an eight foot robotic sweetheart named Friend whose primary weapon was an equally massive tower shield and her totally-not-boyfriend warforged druid/allosaurus/swearasaurus Din, a wrestling match with a hobgoblin that nearly turned lethal when an 18 foot tall warforged titan came in with the steel chair, an alligator with a gun, and banishing the elemental dragon powering a flying battleship while A) the team was still on the battleship and B) it was still several hundred feet in the air and C) it was the only thing keeping it there... it's done.

And it was all worth it. God I love these guys. So here's to you, Katie, Jacquie, Mike, Stan, and Will. I'll see you all next week for our next adventure.

[lunastrophe]

I’ve been getting really into drow lore and your blog has been so amazing to read through!!While looking for inspiration for my drow character I found out about aracholoths, who are results of failing the first test of lolth (the test of darkness) kinda like driders. There just isn’t a lot of info at all about them so I’m curious if you have heard of them or have thoughts about them!

Hello and thank you for visiting my blog! 🙂I recall one official D&D source that mentions aracholoths and gives us some details on them - The Punishments of Lolth by Eric Cagle, published in Dragon Magazine #298 (3e, if I remember correctly).

According to this source, being transformed into aracholoth is a typical punishment for drow who fail the first test of Lolth - Chwineka, or the Test of Darkness. During this test, Lolth is said to inspect the heart of a drow, to decide whether they are truly worthy to be a member of drow society or not.

🕷️About Chwineka - it is believed that Chwineka comes suddenly, without any warning, and always when "the drow is performing some deed within view of other dark elves". Using D&D rules, Chwineka typically occurs when a drow has gained enough experience to advance to 2nd level.

During this test, the drow feels their heart suddenly "swell with pride, power, and drive, tinged with a sensation of being watched from afar". This sensation is Lolth inspecting their feelings. To pass the test, the drow cannot give off any indication of self-doubt or unworthiness - they need to possess a natural sense of superiority.

In case of failure, the drow feels a "terrible pain" clutching at their heart and then the transformation begins.

🕷️ Transformation Into Aracholoth - considering the description, it is horrible and painful: "without any warning, the zwy'il's (candidate's) body begins to convulse and transform. Her eyes blacken and grow to enormous proportions, while six smaller eyes emerge around her face. Two huge poisonous fangs emerge from the zwy'il's mouth. Lastly, an extra pair of spider-like legs grows from her torso".

Aracholoths, just like driders, are said to be feared and persecuted by drow.

🕷️Aracholoth's Appearance - aracholoths are described as aberrations, "a half-mix of drow and drider". They appear a bit more humanoid than driders, since they have only four spider-like legs growing from their torso. They also have a shiny black carapace, presumably covering mainly the lower part of their body - the upper part resembles a drow.

Aracholoth's face is said to be particularly terrifying. It resembles that of a drow, but it's two "principal" eyes are completely black and disproportionately large. It also has six smaller black eyes that resemble that of a spider, and huge poisonous fangs growing from its mouth.

🕷️Aracholoth's Life - just like driders, aracholots are dangerous and vengeful creatures "that hide in the darkness looking for prey. They hate drow with a passion and will band together with driders to hunt them down".

Typically, aracholoths attack their opponents from the distance first, pelting them with arrows while hiding in the darkness. Then they charge at them, trying to horrify them - the gaze of their huge black eyes has a similar effect to the spell that causes uncontrollable fear. Aracholoths pursue fleeing creatures and then attack them with their poisonous bite.

They have spell-like abilities like dancing lights, darkness, faerie fire, suggestion and web. They can also climb. They tend to be solitary creatures, but sometimes they join their forces with other aracholoths, driders or small monstrous spiders.

Aracholoth on illustration from the article (by Anthony Waters):

🕷️ Personally, I find the concept of aracholoth quite interesting - particularly because its gaze can very literally cause fear - but generally, it gives me vibes of a "lesser" drider.

And in a way, it is probably meant to be one. Aracholoths are probably created mainly from younger members of drow society who only recently started their adult life. Most of them are probably not very powerful.

I have no idea to what degree they retain their personalities after transformation, but I have a feeling that their huge fangs may prevent them from using articulated speech.

Also, description of their faces (two large black eyes, huge fangs) reminds me, in a way, of a jumping spider. So... who knows - maybe aracholoths look kind of cute (at least for spider-like monstrosities), but because of their ability to cause fear with their gaze, nobody can see them as cute? 🤔Just a silly thought 😉

[sbnkalny]

In Britain and europe, in the early 1980s, children's gunge-based game shows such as lampreys and candirus, and mammals, especially the Imperial armada.

[geostatonary]

What's the relationship between CMWGE, Nobilis, and Glitch? The bits of understanding I think I've picked up so far are that they're all (diceless?) ttrpgs and are in vaguely the same setting but at least one's setting is an AU of another one's? They sound really cool, but really confusing, but really cool despite and/or because of the really confusing, and continuing to just pick up the random bits that tumbl my way is Not Enough. Help?

Okay!

Let's talk a bit about publishing for background

In 1999, Jenna Moran (formerly R. Sean Borgstrom) published the first edition of Nobilis through Pharos Press, resulting in what is often called the "Little Pink Book". This was a small run, and it proved successful/interesting enough to get picked up by Hogshead Publishing in 2002, resulting in the second edition of Nobilis, which is often called the "Great White Book". This is the one a lot of people think about when they think "Nobilis", and really put it on the map in the tabletop gamer consciousness. In 2011, the third edition of Nobilis was released through EOS Press. There was a lot of drama involving the publishers and distributors for the last two editions but that's not relevant to your question. Also, a fourth edition is in the works.

Chuubo's Marvelous Wish-Granting Engine (CMWGE) was released in 2015 after a successful kickstarter, initially through EOS Press and then through Jenna's own efforts and the support of a generous benefactor due to her separating from EOS for some of the aforementioned publisher drama. Its technically a multimedia project that also has two associated novels, The Fable of the Swan (2012) and The Night-Bird's Feather (2022).

Finally, Glitch: A Story of the Not was self published in 2022 after another successful kickstarter. This is the most recent of her games within the collective game line, sometimes referred to as "gluubilis" or "the Ash Tree Engine".

Why'd you tell me all that?

So you'd have context for this.

Mechanically, each of these games represents a development on the preceeding works; every later game iterates and develops on the previous games and concepts. This looks something like this

1e/2e Nobilis > 3e Nobilis > CMWGE > Glitch/4e

in terms of major mechanical divisions and advancements.

All the systems are diceless and there's a lot we could say here, but probably the biggest single innovation would be the introduction of Arcs and Quests starting in CMWGE, providing a strong narrative xp framework for all the future games to engage with and be built around.

In terms of the setting, all the games except CMWGE take place on the Ash-Tree Earth in which the universe is a big tree in a cup of fire that's presently at war with the forces of the Void. Nobilis explores play as the Nobilis, individuals empowered by the rulers of Creation to defend it against the Excrucians, the representatives of the Void. Glitch flips this around and has you play as one of those Void beings who used to fight in the war, but is now abstaining from it for any number of reasons.

CMWGE takes place in a world that was drowned in a sort of ontological uncertainty called the Outside. It's set in a possible future where the war of Nobilis and Glitch doesn't reach a conclusive end, but rather the world was cast into an interregnum during which any number of things are possible and also you can have slice of life adventures and shit. None of that background is actually necessary to know to play CMWGE, but I think it's enriching and also it'll help explain some of the various otherwise insane things we the players and fans will say about it. Again, though, nothing actually like. Holds you to that if you wanna do something of your own. CMWGE is notable for being the most customizable of these systems by far.

What's next?

A couple recommendations!

First, I'd recommend reading some of these games! Glitch and Nobilis 3e are imo the most accessible of the game books + they're ones still in use, but CMWGE is also absolutely worth checking out; just be aware that it's handing you a toolbox, so there's a lot more big chunks of mechanics to work through. Honestly, don't be afraid to skip around these books and look at whatever catches your interest. They're very rewarding reads! If you want to read fiction, The Fable of the Swan and The Night-Bird's Feather are both also really good starting points.

Next, talk with people about them! The scene is kinda scattered, but you can still find people on tumblr, Twitter, and cohost at the very least who're talking about this stuff. There's also an official discord and an older fan discord (you can ask me for an invite to that one) where people are pretty active.

Also, just, try playing the games! A lot of the apparent complications are a lot easier to parse and understand when you actually see them in play, and they're fun games.

Finally, don't be afraid to keep asking questions! Given the chance, a lot of us won't shut up about these games, myself included.

[fantasyfantasygames]

Beyond the Shield of Time

Beyond the Shield of Time, Titania, 2005

If you own entirely too many RPGs, Beyond the Shield of Time (BtSoT) wants to leverage that.

The basic premise goes like this: Someone is stealing major artifacts from across a number of worlds. Your characters have been drawn into their "slipstream", pulled from their own world into a new one where the thief is their only way home. The game hops from world to world as you track down the villain, they escape you, you fall through another portal, and you slowly gain what you need to get ahead of them. Eventually, you confront them and their secret is revealed, and the game ends soon thereafter.

The coolest and most difficult part of BtSoT is that it's not a game. It's a framework for running a campaign across multiple games. They provide a semi-universal character description template that works across a wide variety of fantasy RPGs, and you reference that in order to make new characters in each world you fall into. Your characters are changed in the process - someone built as an assassin in Burning Wheel might end up as a bard in Dark Sun D&D, because that's the role that bards have in that setting.

BtSoT has guidelines for conversion from their template into D&D (Rules Cyclopedia, 2e, and 3e), Burning Wheel, Dark Hammer, MERP, WFRP 1e, GURPS, HERO, and a handful of others. There are examples of suitable artifacts in each one, from the Silmarils to the Eye of Vecna. It's a shame Glasswork wasn't published for another two years, because it would have been a perfect world to pop through. It has recommendations for what other games will work well with this system and which won't. I appreciate that BtSoT isn't one of those books that claims to be universal even within the fantasy genre. For instance, it excludes Exalted on purpose rather than by accident, for reasons of power level. It's going to be a lot of work between sessions, but I feel like it would be a hell of a cool game. Then again, I'm the guy who's reviewed almost 100 games so far, so, grain of salt.

The art is fairly good. I think it might be Storn? There's more than one piece with the heroes walking through a portal and coming out changed, with two different worlds on the opposing sides of the page. There's another that's very reminiscent of the "Frodo reaching for the ring" image, but with a Dark Sun halfling reaching for what is still clearly the One Ring.

I feel like the reveal of the secret doesn't 100% work any more. Social values and expectations have changed since 2001, and people are familiar with different cultural touchstones. Much as I love the Amber setting (which is half of the reveal), I'd probably want to rewrite the ending for a more modern audience.

Titania was one of the first game designers to publish as herself (or even a pseudonym) rather than as a company name. Even Monte Cook was still "Monte Cook Games" rather than just his name. Now that's basically the standard if you're in the younger bracket of game designers. There were some rumors that Titania left the industry, but there have been some more recent books with her trademark writing style, so I think she's still out there somewhere.

[kakita-shisumo]

In which I sound off for much too long about PF2 (and why I like it better than D&D 5E)

So, let me begin with a disclaimer here. I don’t hate 5E and I deeply despise edition warring. I like 5E, I enjoy playing it, and more, I think it’s an incredibly well-designed game, given what its design mandates were. This probably goes without saying but I wanted it on the record. While I will be comparing PF2 to D&D 5E in what follows and I’ve pretty much already spoiled the ending by the post title (that is, PF2 is going to come out ahead in these comparisons most of the time), I don’t want there to be any misunderstanding about my position or intention. My opinions do not constitute an attack on anybody. For that matter, things I might list as weaknesses in 5E or strengths of PF2 might be the exact opposite for other people, depending on what they want from their RPG experience.

As I said before, 5E is an exceedingly well-designed game that does an exceptional job of meeting its design goals. It just so happens that those design goals aren’t quite to my taste.

# A Brief History of the d20 RPG Universe #

I’m going to indulge myself in a little history for a second; some of it might even be relevant later, but for the most part, I just want to cover a little ground about how we got here. By the time the late ‘90s rolled around TSR and its flagship product, Dungeons and Dragons, were in trouble. D&D was well over two decades old by that point and showing its age. New ideas about what RPGs could and even should be had taken over the industry; TSR had finally lost its spot as best-selling RPG publisher to comparative upstart White Wolf and their World of Darkness games; the company even declared bankruptcy in 1997. Times were grim.

That, however, was when another comparative newcomer, Wizards of the Coast, popped up and bought TSR outright. Flush with MtG and Pokemon cash, they were excited to try to revitalize the D&D brand and began development on a new edition of D&D: third edition, releasing in August 2000.

Third edition was an almost literal revolution in D&D’s design, throwing a lot of “sacred cows” out and streamlining everywhere: getting rid of THAC0 and standardizing three kinds of base attack bonus progressions instead; cutting down to three, much more intuitive kinds of saving throws and standardizing them into two kinds of progression; integrating skills and feats into the core rules; creating the concept of prestige classes and expanding the core class selection. And of course, just making it so rolls were standardized as well, using a d20 for basically everything and making it so higher numbers are basically always better.

At the same time, WotC also developed the concept of the Open Gaming License (OGL), based on Open Source coding philosophies. The idea was that the core rules elements of the game could be offered with a free, open license to allow third-parties develop more content for the game than WotC would have the resources to do on their own. That would encourage more sales of the base game and other materials WotC released as well, creating a virtuous cycle of development and growing the industry for everyone.

Well, long story short (too late!), it worked like fucking gangbusters. 3E was explosive. It sold beyond anyone’s expectations, and the OGL fostered a massive cottage industry of third-party developers throwing out adventures, rules material, and even entire new game lines on the backs of the d20 system. A couple years later, 3.5 edition released, updating and streamlining further, and it was even more of a success than 3rd ed was.

At this point, we need turn for a moment to a small magazine publishing company called Paizo Publishing, staffed almost exclusively by former WotC writers and developers who had formed their own company to publish Dungeon and Dragon, the two officially-licensed monthly magazines (remember those?) for D&D. Dungeon focused on rules content, deep dives into new sourcebooks, etc., while Dragon was basically a monthly adventure drop. Both sold well and Paizo was a reasonably profitable company. Everything seemed to be going swimmingly.

Except. In 1999, WotC themselves were bought by board game heavyweight Hasbro, who wanted all that sweet, sweet Magic: the Gathering and Pokemon money. D&D was a tiny part of WotC at the time and the brand was moribund, so Hasbro’s execs hadn’t really cared if the weirdos in the RPG division wanted to mess around with Open Source licensing. It wasn’t like D&D was actually making money anyway… until it was. A lot of money. And suddenly Hasbro saw “their” money walking out the door to other publishers. So in 2007, WotC announced D&D 4th Ed, and unlike 3rd, it would not be released under an open license. Instead, it would be released under a much more restrictive, much more isolationist Gaming System License, which, among other things, prevented any licensee from publishing under the OGL and the GSL at the same time. They also canceled the licenses for Dungeon and Dragon, leaving Paizo Publishing without anything to, well, publish.

At first, Paizo opted to just pivot to adventure publishing under the OGL. Dungeon Magazine had found great success with a series of adventures over several issues that took PCs from 1st all the way to 20th level, something they were calling “Adventure Paths,” so Paizo said, “Well, we can just start publishing those! We’re good at it, the market’s there, it will be great!” And then, roughly four months after Paizo debuted its “Pathfinder Adventure Paths” line, WotC announced 4th Ed and the switch to the GSL. Paizo suddenly had a problem.

4th Ed wasn’t as big a change from 3rd Ed as 3rd Ed had been from AD&D, but it was still a major change, and a lot of 3rd Ed fans were decidedly unimpressed. Paizo’s own developers weren’t too keen on it either. So they made a fateful decision: they were going to use the OGL to essentially rewrite and update D&D 3.5 into an RPG line they owned: the Pathfinder Roleplaying Game. It was unprecedented. It was a huge freaking gamble. And it paid off more than anybody ever expected. Within two years Paizo was the second-largest RPG publisher in the industry, only behind WotC itself, and for one quarter late in 4E’s life, even managed to outsell D&D, however briefly. Ten years of gangbuster sales and rules releases followed, including 6 different monster books and something over 30 base classes when it was all said and done. It was good stuff and I played it loyally the whole time.

Eventually, though, time moves on and things have to change. The first thing that changed was 4E was replaced by D&D 5E in 2014, which was deliberately designed to walk back many of the changes in 4E that were so poorly received, keep a few of the better ones that weren’t, and in general make the game much more accessible to new players. It was a phenomenal success, buoyed by a resurgence of D&D in pop culture generally (Stranger Things and Critical Role both having large parts to play), and its dominance in the RPG arena hasn’t been meaningfully challenged since. It also returned to the use of the OGL, and a second boom of third-party publishers appeared and thrived for most of a decade.

The second thing was that PF1 was, itself, showing its age. RPGs have a pretty typical life cycle of editions and Pathfinder was reaching the end of one. It wasn’t much of a surprise, then, when, in 2018, Paizo announced Pathfinder 2nd Ed, which released in 2019 and will serve as the focus of the remainder of this post (yes, it’s taken me 1300 words to actually start doing the thing the post is supposed to be about, sue me).

There’s a coda to all of this in the form of the OGL debacle but I don’t intend to rehash any of it here - it was just like six months ago, come on - beyond what it specifically means for the future of PF2. That will come back up at the very end.

# Pathfinder 2E Basics #

So what, exactly, makes PF2 different from what has come before? There are, in my opinion, four fundamental answers to that question.

First: Unified math and proficiency progression. This piece is likely the part most familiar to 5E players, because 5E proficiency and PF2 proficiency both serve the same purpose, which is to tighten up the math of the game and make it so broken accumulations of bonuses aren’t really a thing. In contrast to 5E’s very limited proficiency, though, which just runs from +2 to +6 over the entire 20 levels of the game, Pathfinder’s scales from +0 to +28. Proficiency isn’t a binary yes/no, the way it is in 5E. PF2’s proficiency comes in five varieties: Untrained, Trained, Expert, Master, and Legendary. Your proficiency bonus is either +0 (Untrained) or your level + 2(Trained), +4 (Expert), +6 (Master) or +8 (Legendary). So if you were level five and Expert at something, your proficiency bonus would be level (5) plus Expert bonus (4) = +9.

Proficiency applies to everything in PF2, really - even more than 5E, if you can believe it, because it also goes into your Armor Class calculation. You can be Untrained, Trained, Expert, Master, or Legendary in various types of armor (or unarmored defense, especially relevant for many casters and monks), and your AC is calculated by your proficiency bonus + your Dex modifier + the armor’s own AC bonus, so AC scales just as attack rolls do. Once you get a handle on PF2 proficiency, you’ve grasped 95% of how any game statistic is calculated, including attacks, saves, skill checks, and AC.

Second: Three-Action Economy. Previous editions of D&D, including 5E, have used a “tiered” action system in combat, like 5E’s division between actions, moves, and bonus actions. PF2 has largely done away with that. At the start of your turn, you get three actions and a reaction, period (barring haste or slow or similar temporary effects). It takes one action to do one basic thing. “Attack” is an action. “Move your speed” is an action. “Ready a weapon” is an action. Searching for a hidden enemy is an action. Taking a guarded step is an action. Etc. The point being, you can do any of those as often as you have the actions for them. You can move three times, attack three times, move twice and attack once, whatever. Yes, this does mean you can attack three times in one turn at 1st level if you really want to (though there are reasons why you might not want to).

Some special abilities and most spells take more than one action to accomplish, so it’s not completely one-to-one, but it’s extremely easy to grasp and quite flexible at the same time. It’s probably my favorite of the innovations PF2 brought to the table.

Third: Deep Character Customization. So here’s where I am going to legitimately complain just a bit about 5E. I struggle with how little mechanical control I, as a player, have over how my character advances in 5E.

Consider an example. It’s common in a lot of 5E games to begin play at 3rd level, since you have a subclass by then, as well as a decent amount of hit points and access to 2nd level spells if you’re a caster. Let’s say you’re playing a fighter in a campaign that begins at 3rd level and is expected to run to 11th. That’s 8+ levels of play, a decent-length campaign by just about anyone’s standards. During that entire stretch of play, which would be a year or more depending on how often your group meets, your fighter will make exactly two (2) meaningful mechanical choices as part of their level-up process: the two points at 4th and 8th levels where you can boost a couple stats or get a feat. That’s it. Everything else is on rails, decided for you the moment you picked your subclass.

Contrast that with PF2. In that same level range, you would get to select: 4 class feats, 4 skill feats, two ancestry feats, two general feats, and four skill increases. At every level, a PF2 player gets to choose at least two things, in addition to whatever automatic bonuses they get from their class. These allow me to tailor my build quite tightly to whatever my idea for my character is and give me cool new things to play with every time I level up. This is true across character classes, casters and martials alike.

PF2 also handles multiclassing and the space that used to be occupied by prestige classes with its “pile o’ feats” approach. You can spend class feats from class A to get some features of class B, but it’s impossible for a multiclass build to just “steal” everything that makes a single class cool. A wizard/fighter will never be as good a fighter as a regular fighter is, and a fighter/wizard will never be the wizard’s match with magic.

Fourth: Four Degrees of Success. 5E applies its nat 20, nat 1, critical hits, etc. rules in a very haphazard fashion. PF2 standardizes this as well, in a way that makes your actual skill with whatever you’re doing matter for how well you do it. Any check in PF2 can produce one of four results: a critical success, a regular success, a regular failure, or a critical failure. In order to get a critical success on a roll, you have to exceed your target DC by 10 or more; in order to get a critical failure, you have to roll 10 or more less than the DC. Where do nat 20s and nat 1s come in? They respectively increase or decrease the level of success you rolled by one step. In practice, it works out a lot like you’re used to with a 5E game, but, for instance, if you have a +30 modifier and are rolling against a DC 18, rolling a nat 1 nets you a total of 31, exceeding the DC by more than 10 and earning you a critical success, which is then reduced to just a normal success by the fact of it being a nat 1. Conversely, rolling against a DC 40 with a +9 modifier can never succeed, because even a nat 20 only earns a 29, more than 10 below the DC and normally a crit failure, only increased to a regular failure by the nat 20.

Now, not every roll will make use of critical successes and critical failures. Attack rolls, for instance, don’t make any inherent distinction between failure and critical failure. (Though there are special abilities that do - try not to critically fail a melee attack against a swashbuckler. The results may be painful.) Skill rolls, however, often do, as do many spells with saving throws. Most spells that allow saves are only completely resisted if the target rolls a critical success. Even on a regular success, there is usually some effect, even on non-damaging rolls. That means that casters very rarely waste their turn on spells that get resisted and accomplish nothing at all. It also doubles the effect of any mechanical bonuses or penalties to a roll, because now there are two spots on a die per +1 or -1 that affect the outcome; a +1 might not only convert a failure to a success but might also convert a success to a crit success, or a crit fail to a regular fail.

# What About Everything Else? #

There is a lot more to it, of course. As a GM I find PF2 incredibly easy to run, even at the highest levels of game play, as compared to other d20 systems. The challenge level calculations work, meaning you can have a solo boss without having to resort to special boss monster rules to provide good challenges. I find the shift from “races” to “ancestries” much less problematic. PF2 has rules for how to handle non-combat time in the dungeon in ways that standardize common rules problems like “Well, you didn’t say you were looking for traps!” Everything using one proficiency calculation lets the game do weird things like having skill checks that target saves, or saves that target skill-based DCs. Inter-class balance, with some very specific exceptions, is beautifully tailored. Perception, always the uber-skill, isn’t a skill at all anymore: everyone is at least Trained in it, and every class reaches at least Expert in it by early double-digit levels. Opportunity Attacks (PF2 still uses the 3rd Ed “Attack of Opportunity” - but will soon be switching over to "Reactive Strike") isn’t an inherent ability of every character and monster, encouraging mobility during combats, and skill actions in combat can lower ACs, saves, attacks, and more, so there are more things to do for more kinds of characters. And so on.

Experiencing all of that is easiest just by playing the game, of course, but suffice it to say PF2 has a lot of QoL improvements for players and GMs alike in addition to the bigger, core-level mechanical differences.

# The OGL Thing #

Last thing, then. In the wake of the OGL shit in January, Paizo announced that it would no longer be releasing Pathfinder material under the OGL, opting instead to work with an intellectual property law firm to develop the Open RPG Creative (ORC) License that would do what the OGL could no longer be trusted to do: remain perpetually free and untouchable for anyone who wanted to publish under it. The ORC isn’t limited specifically to Paizo or to Pathfinder 2E or even to d20 games; any company can release any ruleset under it and allow third-party companies to develop and publish content for it.

Shifting away from the OGL, though, required making some changes to scrub out legacy material. A lot of the basic work was done when they shifted to 2E, but there are still a lot of concepts, terminologies, and potentially infringing ideas seeded throughout the system. These had to go.

Since this meant having to rewrite a lot of their core rules anyway, Paizo opted to not fight destiny and announced “Pathfinder 2nd Edition Remastered” in April. This is a kind of “2.25” edition, with a lot of small changes around the edges and a couple of larger ones to incorporate what they’ve learned since the game first launched four years ago. A couple classes are getting major updates, a ton of spells are either getting renamed or swapped out for non-OGL equivalents, and a couple big things: no more alignment and no more schools of magic.

The first book of the Remaster, Player Core 1, comes out in November, along with the GM Core. Next spring will see Monster Core and next summer will give us Player Core 2. That will complete the Remaster books; everything else is, according to Paizo, going to be compatible enough it won’t need but a few minor tweaks that can be handled via errata. So if you’re thinking about getting into PF2, I’d give serious thought to waiting until November at least, and maybe next summer if you want the whole Remastered package.

And that’s it. That’s my essay on PF2 and what I think makes it cool. The floor is open for questions and I am both very grateful and deeply apologetic to anyone who made it this far.