#but not the hubris of like an evil dark wizard empire

[snow-lavender]

having a place where the locals all but grab you by the shoulders and yell "for the love of god, if you value your life, stay away from the black rocks" sounds like something out of a dark fantasy novel, perhaps in a scene meant to illustrate the hubris of man in the face of the unknown.

but no, it's just a normal part of life as a nova scotian interacting with tourists.

[blazingstar24]

When the night that the Cerberus Assembly got formed was called the Eve of Crimson Midnight and Ludinus is a founding member and is now very deeply entrenched in the Ruidus/Predathos happenings. 👀

Like sure it was probably called that because of the bloodshed. But now I’m like is Ludinus Ruidusborn? And is he an exalted Ruidusborn. And did he display some of his power that night. Because two whole city blocks get destroyed in a wizards duel. That’s one more block than Imogen destroyed!

He supposedly left his people because the Empire had more opportunities but what if he left because everyone there knew he was Ruidusborn and was not chill about it. Or taking it a step further, what if it wasn’t an Aeorian experiment that fucked up Molaesmyr? Because that’s just posed to us by Matt as what is believed to be the cause. What if Ludinus is an exalted Ruidusborn and caused the fall of Molaesmyr?

Spoilers for Call of the Netherdeep ahead:

Dani confirmed for us that Predathos is theorized to be able to create other beings, but warped and corrupts and twists life. We know that the Netherdeep was accidentally created by Alyxian a known powerful Ruidusborn. The Netherdeep is filled with twisted creatures and ruiduum corrupts people and other organic things.

What exactly happened to Molaesmyr? After the appearance of the fog, all life began to get corrupted and twisted into dark creatures. The trees turned malevolent and turned purple.

What if Ludinus, either by accident or perhaps on purpose, or on accident but due to hubris in believing he could control this power, unleashed his powers and then oops fucked up and everything got corrupted.

Would he feel bad about it? Who knows. Probably not. Maybe he was like “damn that was fucking sick, I’m definitely better than everyone here, and better than the gods”. And Predathos went “hell yeah, you are, now how’s about me and you go murk them?”

A lot of things make sense if Ludinus is Ruidusborn honestly. Like why Predathos chose to speak to him. Why he is so insanely powerful. The emotionlessness, because controlling your ruidus powers seem to be in line with your emotional state.

But also if he’s not, does that just make him Predathos’s little blorbo? Like did Predathos ignore all the Ruidusborn and went “I want this wizard”. Like just went fuck Otohan, I want the evil old elf wizard man. The apogee solstice is just Ludinus’s Travelercon?

Essek: Maybe you should try friends sometime

Ludinus: *thinking about Predathos* Fuck you! I have a friend!

[neuxue]

Who are some of your favorite villains?

Oh man, that is a question, anon. This is not a comprehensive list, because if I started listing every morally corrupt character who owns my soul, we’d be here all night. I’ve also taken a somewhat flexible definition of villainy at times, because…it’s complicated.

Also, spoilers for uh…most of the things listed; I’ve tried to keep it vague where possible, but the nature of villainous arcs means sometimes that doesn’t work. I’ve listed the work before the commentary, so if you don’t want spoilers for the thing, skip that section.

In no particular order…

Lord Asriel and Marisa Coulter (His Dark Materials): okay, so arguably they’re not villains, per se, but they each serve as antagonists at various points, they’re ambitious and proud beyond belief, and their morality is…well. Complicated. (Did I lose my mind at the ‘corruption and envy and lust for power. Cruelty and coldness. A vicious probing curiosity. Pure, poisonous toxic malice […] you are a cesspit of moral filth’ speech, from a corrupt angel to the one deceiving him? Abso-fucking-lutely. Also ‘I wanted you to come and join me. And I thought you would prefer a lie’). They’re also on this list because they were my Formative Villain Faves from the age of 7, which probably tells you something about who I was as a child and who I am as a person.

Nirai Kujen (Machineries of Empire). You really…could not write a villain more My Type if you tried. I’m not sure I could write a villain more My Type if I tried. Immortal, immoral mathematician who traded empathy for the ability to act on it, reconfigured a universe, and has lost most of his humanity but not his sense of beauty? I am but a simple woman. It helps that there is one hell of an enemies/allies/lovers dynamic going on between him and another character who is a different sort of my type, and it’s precisely my kind of Fucked Up Power Dynamics.

Moridin (Wheel of Time): ’Your logic destroyed you, didn’t it?’ I have a whole…thing about villains who see themselves as a kind of anti-Chosen One. I’ve written about it slightly more coherently elsewhere, but it comes down to a particular kind of despair and perception of inevitability, that they have no choice but to fight and that their role is always to lose, and that they will be cast and remembered as the monster, and so there is not reason not to be monstrous, but that doesn’t help with the self-hatred.

Semirhage (Wheel of Time): I could pick a lot of the Forsaken, and one or two other characters from WoT but I’ll stick to two here. Semirhage is all about pain without emotion, and I’m into it.

Malkar (Doctrine of Labyrinths): okay, he’s sort of in the category of scenery-chewing villain you love to hate, but I do love to hate him. And he causes so much delicious pain for the major characters; it’s almost like he’s running a charity service for those of us who like watching our favourite characters hurt.

Aaravos (The Dragon Prince): Listen. Listen. Trapped in a mirror, lost and alone and yet only letting that show in glimpses, possibly a Prometheus figure, graceful and beautiful and terrible, and that voice. Also the entire aesthetic. He is awful, and he is a delight, and he has that kind of cruelty that you can almost forget about - it’s as though he’s so into the villain aesthetic that you almost think it’s just an aesthetic, almost forget how capable he truly is of horrors, and so when he commits them it’s all the more thrilling.

Astrid & Athos Dane (Shades of Magic): The Dane twins deserved better. And by better I mean more screen time. They were criminally underused as villains and they had such potential. Vicious and cruel in a world where to be otherwise is to die, holding power by blood and pain, and chaining another …well, if not villain then certainly antagonist to their will, forcing him to serve the world he wants to save? Which brings us to…

Holland (Shades of Magic): Holland is…arguably not a villain but as an antagonist he is absolutely my type: powerful and ruthless and broken, and yet somehow still fighting; a character whose defining trait is his extraordinary will (and also self-hatred); a character who, literally in canon on the goddamn page, is told ‘no one suffers as beautifully as you’. (Plus he gets a redemption arc! That lets him remain complicated and doesn’t undermine his competence! And while it falls into redemption-equals-death, his death doesn’t come at the turning point in his arc the way it does for so many villains - he gets a whole road-trip first!)

Melisande Shahrizai (Kushiel): oh man. She’s such an interesting character, and the narrative does an excellent job of creating that link between her and Phedre - a really, really compelling and beautiful form of 'you know it’s a terrible idea but you can’t help yourself’. Also, she and Marisa Coulter should never be allowed to meet (by which I mean, I would read that fic). I’m also always here for a female villain who gets to be complicated, who has depth beyond just the typical 'femme fatale’ (though Melisande could certainly claim that title), and who is truly central to the story rather than there to look pretty.

Azula (Avatar: The Last Airbender): For all that I love Zuko, he doesn’t belong on this list, flexible as my definition of 'villain’ here is. Azula, on the other hand…sharp and vicious and a void of anger and fear inside, and if she has to feel that, then the world should too.

Zhao (Avatar: The Last Airbender): It’s at least 85% the voice, and the other 15% is the way he looks at Zuko (I know, I know, I’m sorry).

Rhaegar (A Song of Ice and Fire): Rhaegar’s villainy is…complicated, but he gets a spot here anyway. I have a niche subtype that can be defined as Sad Harpists (Rhaegar, Maglor, Deth, Morgon, Asmodean), so that’s part of it, as is the way he sets that aside out of what he perceives as necessity. But also most of his draw is how he’s this shadow hanging over the entire narrative and yet is himself a void in it; we see so little of him, know so little of him in truth, catch only glimpses and will never know what’s behind them, and every character sees him differently, and he has defined all their lives but we know almost nothing of his. I’m all about identity and choices, and the fact that his are so thoroughly obfuscated but have such a lasting impact on the entire world really does it for me.

Baru Cormorant (The Masquerade): Does she count as a villain? I suppose it depends entirely on whose point of view you’re watching from, which is kind of the point. Regardless, she is so much of what I want from a character, from an author who doesn’t do things halfway. Intelligent and ambitious and utterly ruthless, to both herself and the world she wants to burn down around her.

Delilah Briarwood (Critical Role Campaign 1): any character whose cry of agony and despair takes the form of 'I broke the world for us!’ is a character I’m going to like.

The Lone Power (Young Wizards): mostly because the traditional greeting, upon encountering them, is ’fairest and fallen, greetings and defiance’, and I am a simple woman. But also because they’re the Lucifer figure, in all senses - evil, perhaps, but mostly a necessary embodiment of entropy, one who must exist and must struggle and must always lose, beautiful and bright and terrible, and oh so proud.

Judas (Christian Mythology): He betrayed a guy with a kiss. What more do you want from me?

Rin (the Poppy War): By the end, she makes a very compelling case for herself as a Villain Protagonist and I, for one, am into it. Also, 'genocidal’ gets tossed around a lot when villains are discussed, often without cause, so uh…points to Rin for actually deserving it? (This book is strongly in the category of Not For Everyone, but if it’s your thing…weaponising gods.)

Loki (Marvel franchise & Norse Mythology): so, I have a complicated relationship with 'trickster’ figures and characters, in that I like the idea of them, but tend only to actually enjoy the ones who fall on the darker side of that line they all dance around. Loki, in pretty much all his incarnations, fits that mould.

Achilles (Greek Mythology): Is Achilles a villain? Depends who you ask. But he’s powerful and proud and doomed, and knows it. I just…heroes who go out in a blaze of glory are all well and good, but villains who step up to the flames of their own damnation?

Ruin (Mistborn): It’s funny; I really enjoy a lot of Sanderson’s stories, but by and large he tends not to write my type of villain (which I will forgive him because he gave me Kelsier). But Ruin…starts off like just another godlike semicorporeal villain with absurd power, as you do, and then gets significantly more interesting – and tragic – when you learn the full story. I have a thing for villains who chose their villainy out of necessity (with a side helping of hubris) and become that which they most hated or feared. The ones who look at a razor’s edge and think 'I can walk that’. Who look at power that will consume them and think 'I can control it’. It’s a very specific kind of… arrogant sacrifice, I suppose, and it never ends well and I’m into it every time.

[gamesmasternotes]

I’m getting all of my notes together, because come 2020 I will be running a D&D campaign which will likely be a long running one - Dragonlance!

THis is one of my favourite settings, as I remember reading the old novels by Margaret Weis and Tracy Hickman when I was very young. I can probably credit them with the first tiny spark in my soul which eventually became a fully fledged tabletop roleplay and D&D enthuasiast. So having the chance to go back to them and run the original Chronicles story - the opening trilogy in what became hundreds of novels in the setting - is fantastic.

This is the basic briefing on the world I’ve so far given my players:

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THE WAR OF THE LANCE takes place in ANSALON, a continent on the world of KRYNN. The world's major gods are the High God and his children: good Paladine, neutral Gilean, and evil Takhisis, opposed by Chaos, who seeks to destroy Krynn. Evil chromatic and the good metallic dragons are things of legend, and tied to the gods as divine beings. Humans are Krynn's most common humanoid race, but Elves, Dwarves, Kender, Gnomes, and Minotaurs occupy the world as well. Clerics derive magical powers from their gods, and wizards derive their power from the three moon gods.

At this point in history, it has been three hundred years since the Cataclysm obliterated the great empire of Istar and changes the entire surface of Krynn. The Age of Despair followed, during which the gods were entirely absent, having left behind the world they felt had abandoned and shunned them. The disrespect of the Kingpriest went on, ignoring the thirteen warnings sent, convinced by his own hubris that only he – a mortal – could defeat evil.

The gods sent a “fiery mountain” to completely destroy Istar and the Kingpriest, the impact shattering other areas of Ansalon, drowning some areas and raising new mountains. Following that, contact with the gods was cut off entirely.

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The group I’m running for are currently neck-deep in a long Call of Cthuluhu game, just stepping in to what I’ve been told is the third and final act of Horror on the Orient Express, which is why I’m making sure my notes are together now and ready to go next year. It gives me time to go over my plans and make sure of what I’ve got and what needs adapting. Anyone with Dragonlance experience is of course welcome to offer advise, but the crux here is that the last time the setting had rulkes was D&D 3rd edition. We want to play 5th. So some adaptations need to be made.

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If you’re actually one of my players, this is where you should STOP reading.

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As the narrative of Chronicles goes, five years ago a group of friends would frequent the Inn of the Last Home in the treetop city of Solace. Having adventured together for some time and grown weary of the actions of those serving the new religions since the Cataclysm, they made a pact to separate. Each would take a different path and travel Ansalon searching for some sign of the true gods, agreeing to meet back in that inn five years later.

I plan to start my party at Lv5, as brand new characters of their own devising. They will completely replace the Innfellows in the narrative of the War of the Lance, starting the game with their return to the Inn of the Last Home after their five year journey. My plan is that the world will exist as though the classic set of characters never existed. After their original encounters and the introduction of the Blue Gem Staff, the party will be visited by none other than Raistlinn Majere. He will explain that HE has erased his own cohort from history, because they FAILED to defeat the Darkness. As such, he has twisted time using forbidden magics to give another group of characters a chance to succeed.

Its quite a twisting of the ending of the Chronicles trilogy, and I should point out for those who have read other books in the series that I am basing this SOLELY on the mythology of the Chronicles trilogy (so assuming Legends, etc has not happened yet).

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In order to make it work of course, some changes need to be made. Dragonlance, the world of Krynn, the continent of Ansalon, are not the same as Faerun, Eberron, etc. Different races have prominance, others are more common than in other places, and some are outright unheard of (because they didn’t exist in D&D at the time Dragonlance was being written and developed). So in terms of races, these are the changes being made:

The most common races, those developed more in the stories, are Humans (Civilized and Nomadic, Elves (Qualinesti, Silvanesti and Kagonesti), Dwarves, Gnomes, Kender (Halflings), Centaurs and Minotaurs.

Rare but accessible races in clude Half-Elves and Half_Ogres (Firbolgs and Goliaths).

Very rare races, with my apporval only, include Kyrie (Aaracokra), Phaethons (Aasimar) and Thanoi (Loxodons).

Races I’ve banned outright, because they are to be used as purely evil or isolationist races, include Dargonesti  (Sea-Elves and Tritons), Ogres, Orcs, Half-Orcs, Goblins, and Hobgoblins.

I have also banned Dragonborn, Lizardfolk and Kobolds as player races, because there will exist only as the evil Draconian race.

Other races which are never mentioned in the Dragonlance stories (as far as I know) are a tricky question I haven’t addressed yet. I’ll probably base my decision on them on whether someone can come up with an interesting concept for them in the game world. These are of course the Tieflings, Gith, Genasi, Changelings, Kenku, Kalashtar, Tabaxi, Shifter, Yuan-Ti, Warforged and Tortles.

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Some alterations also need to be made to character classes before we begin, as some are represented very differently within the world of Dragonlance, and need addressing.

Mostly everything can stay the same, the key difference being however a complete lack of Divine Magic at the start of the story.

As Chronicles begins, the gods do not grant power to any beings on Krynn. The restoration of that link is part of what the Chronicles story is about - finding the old gods and trying to get them to come back, and dealing with the one or two who already have.

As such, I’m putting in the rule that as the story begins, no Cleric or Paladin has Spellcasting, or any other healing ability. The exception of course, will be if one characters WANTS to play a Cleric, then they will find themselves as the chosen wielder of the Blue Gem Staff, the first artifact of the gods to be seen on Krynn in three hundred years, which LETS them use their class spellcasting ability. This helps kick the party into the narrative too.

As part of this though, I’m making the world a little harsher. There is a point in the story at which Divine Magic does return should the party choose to do as the original Innfellows did and make it happen (at Xak Tsaroth). However I am ruling that no spellcaster can use any healing or divine-influenced spells until this event occurs (or something like it at least).

As part of that, seeing as there are no gods and no truly god-like beings on Krynn, I’m ruling that no levels can be taken in the Warlock class until this event occurs (because there are no beings around to be a Patron other than the central villain of the narrative!).

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The final note in my planning is based in Paladins, which I think need a full re-flavouring. My intention is that Paladins will stand-in as the Knightly Orders of Ansalon, very intentionally to allow something special should somoene wish to affiliate with the Knights of Solamnia (such as Sturm Brightblade in the novels). I think the concept stands well for them, and makes the Knights more than just Fighters. The spellcasting part of the class makes it a bit weird though, which is what I think needs adjusting to make it fit. I think the Healing restriction I already mentioned will help itigate it, but I will likely have to strip down the spell list for Paladins and maybe replace a few spells entirely with new ones. This way I can make every spell they have more of a martial ability than an explicit spell, which would work nicely for the Knights of Solamnia. I might even be able to flavour each new rank in a Paladin’s Oath as rising to a new Order within the Knights.

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I’m very interested to know what other people think, and waht advice they’d give based on this framework. People with better knowledge than I might be able to offer new ways to address a few of the alterations I’ve made, and hopefully I’ll have it all organized in a good, structured way and ready for when the game begins next year.