Friday, July 29, 2016

Bundle of Lamentations

Over at Bundle of Holding, they're doing a Lamentations of the Flame Princess bundle, and it's doing really well.  I've talked about why Lamentations is awesome before, so if you need to round out your collection or if you just want to test drive Lamentations, take a look at it.

Also, James Raggi put up a post about how the Bundle breaks down and why you should support it.  You should read it.  Of note, the bundle is one of the top-performing this year:


The longer you wait, the more expensive it gets to get everything.  So, you know.  Get on it.

Wednesday, July 27, 2016

The Obligatory Update

Combing through my archives, it appears I never mentioned the two big changes to my games these days.

1) Crux of Eternity made the jump to D&D 5e.  We started in fourth edition about five years ago, and just made the upgrade.  (For those of you playing along at home, we made the switch at Session 48: Revenge of the Giants, Part 10)  Everybody is happy with it, so far as I can tell.

2) Bread and Circuses is over.  It ended with the fellowship heading in four separate directions:
  • Dhavita, her wife Marguerite, and Thava head northwest to possibly book passage back to Dhavita's homeland, since she's apparently a princess there?  And her vampire dad might be willing to do something about these slavers.
  • Rat and Resh head south, possibly to crusade against (and gain control of) the goblin tribes there.
  • Croitus heads west to continue working for the spirits.
  • Southie was infected by some eldritch parasite and recaptured.
We'll likely revisit them sometime in the future, but that seemed like a good place to stop.  With Bread and Circuses over, the sequel to the Deadlands game is upon us.  Graduate school devours a lot of time, so I probably won't be providing regular updates the way I did for the first game.

The Actual Point of This Blog Post:

Updating the D&D game to 5e required a few conversions.  I'm currently running the Revenge of the Giants adventure (which works much better as a 4e adventure than a 5e adventure, but we're rolling with it).  I've included a couple of them below.

First, for the "D7: Three Corners Gambit" encounter, the PCs potentially face a doppelganger trained as a rogue.  As such, I took a regular doppelganger (Monster Manual, pg. 82, or in the DM Basic Rules) and added rogue (assassin) levels.  It's a glass cannon by itself — against five level-fifteen PCs, it didn't stand a chance (it's really hard to use stealth when you have five pairs of eyes on you), but it almost killed one of the PCs when it got her alone.  (I mean, look at its stats.  If it gets the drop on someone, it attacks with advantage and deals 2d8 + 22d6 + 4 damage — an average of 90 damage.)

Doppelganger, 16th level Rogue
Medium monstrosity (shapechanger), neutral
Armor Class 14
Hit Points 156 (24d8+48)
Speed 30 ft.
Str 16 (+3), Dex 18 (+4), Con 14 (+2), Int 11 (+0), Wis 13 (+1), Cha 18 (+4)
Saving Throws Dex +7, Int +3, Wis +4
Skills Deception +10, Insight +7, Investigation +3, Perception +4, Persuasion +10, Stealth +10
Tool Proficiencies thieves’ tools, disguise kit, poisoner’s kit
Condition Immunities charmed
Senses blindsense 10 ft. (must be able to hear), darkvision 60 ft., passive Perception 11
Languages Common, Giant, Thieves’ Cant
Challenge 7 (2,900 XP)
Shapechanger.  The doppelganger can use its action to polymorph into a Small or Medium humanoid it has seen, or back into its true form.  Its statistics, other than its size, are the same in each form.  Any equipment it is wearing or carrying isn’t transformed.  It reverts to its true form if it dies.
Ambusher.  The doppelganger has advantage on attack rolls against any creature it has surprised.
Assassinate.  The doppelganger has advantage on attack rolls against any creature that has not yet acted in a combat.  Additionally, any hits the doppelganger scores against a surprised creature are critical hits.
Cunning Action.  The doppelganger can take a bonus action on each of its turns in combat; this action can only be used to take the Dash, Disengage, or Hide action.
Evasion.  When subjected to an effect that allows it to make a Dexterity saving throw for half damage, the doppelganger takes no damage on a successful saving throw and half damage on a failed one.
Impostor.  With three hours of study, the doppelganger can unerringly mimic another’s speech, writing, and behavior.  It gains advantage on any Charisma (Deception) checks it makes to avoid detection against suspicious parties.
Infiltration Expertise.  The doppelganger can spend 25 gp to establish a convincing alternate identity.
Reliable Talent.  When the doppelganger makes an ability check that allows it to add its proficiency bonus, it can treat a d20 roll of 9 or lower as a 10.
Sneak Attack.  Once per turn, the doppelganger can deal an extra 28 (8d6) damage to one creature it hits with an attack if it has advantage on the attack roll.
Surprise Attack.  If the doppelganger surprises a creature and hits it with an attack during the first round of combat, the target takes an extra 10 (3d6) damage from the attack.
Uncanny Dodge.  When an attacker the doppelganger can see hits it with an attack, it can use its reaction to halve the attack’s damage against it.
Actions
Multiattack.  The doppelganger makes two melee attacks.
Slam.  Melee Weapon Attack: +6 to hit, reach 5 ft., one target.  Hit: 7 (1d6 + 4) bludgeoning damage.
Rapier.  Melee Weapon Attack: +6 to hit, reach 5 ft., one target.  Hit: 8 (1d8 + 4) piercing damage.
Read Thoughts.  The doppelganger magically reads the surface thoughts of one creature within 60 feet of it.  The effect can penetrate barriers, but 3 feet of wood or dirt, 2 feet of stone, 2 inches of metal, or a thin sheet of lead blocks it.  While the target is in range, the doppelganger can continue reading its thoughts, as long as the doppelganger’s concentration isn’t broken (as if concentrating on a spell).  While reading the target’s mind, the doppelganger has advantage on Wisdom (Insight) and Charisma (Deception, Intimidation, and Persuasion) checks against the target.


The other bit involves the frost giant soldiers from "F1: Attack on Flotsam."  The contingent of frost giants has a leader called a "frost giant windcaller."  It's supposed to be some manner of elemental shaman.  To make one, I took the standard frost giant (Monster Manual, pg. 155, or in the DM Basic Rules) and upgraded its Charisma from 12 to 18.  Instead of adding spellcasting, I just gave it a magic item to call winds:


Drum of the Four Winds
Wondrous item, rare (requires attunement)
The drum of the four winds allows a user to summon and manipulate winds.  Made for giants, the drum weighs 750 pounds; a frost giant can easily carry it, but a typical character will have to be creative to move the thing.  The caster must spend an action playing the drum to cast the following spells:
At will: gust of wind
3/day: wind wall
1/day: conjure elemental

Wednesday, June 15, 2016

The Lesser Bot

The Lesser Bot is a world-building device waiting to happen, being a Twitter grimoire of randomly-generated seals for Goetic-style demons.  Some examples are listed below:

Friday, June 3, 2016

UA3: Coercion Rules

This is just a quick post about the UA3 Gamma Playtest rules.  (If you want the narrative side of things, replay reports are over at Cucullus Non Facit Monachum.)

The new coercion rules got used twice last session.  If you're unfamiliar, the new edition of Unknown Armies has a new system whereby you can put pressure on somebody's Shock Gauges (the sanity mechanic of UA and the Madness Meters from UA1/UA2).  You think of appropriate leverage, make a roll, and if you succeed, that person now has a choice — do what you ask, or make a sanity check.

Examples include:

  • "See this knife?  Go up to the hill again and I'll cut you with it."  (Coerces Violence.)
  • "I know you really, really need this job.  Why don't you come back to my place tonight and I'll make sure you keep it."  (Coerces Helplessness.)
  • "I'm pretty sure your family will totally disown you if they see what's in this envelope, so why don't you tell me what I want to know, eh?"  (Coerces Isolation.)
  • "See my friend here?  Ah, good, you see him.  Yes, well, he's small enough that I could hollow out a bird and have him fly anywhere to find you.  If you don't want to see him again, you'll give me the book."  (Coerces Unnatural.)
  • "Don't do it, man!  I've got a wife and kids at home!  You're better than this!"  (Coerces Self.)
The more personalized the leverage, the bigger the sanity check.  It starts at rank-1, but if you can somehow incorporate all of your Passions and all of the target's Passions into the coercion attempt, it rises to rank-7 (rank-8 if you roll well).  If you're clever, you can reach even the most jaded person.  (And if one shock gauge doesn't work, you can always try another one.  Or just use it as an indirect measuring method — "This chick didn't blink when I pulled a big knife and threatened her, so she's probably seen some carnage in her time."  You can get more granular information than you can with the Evaluates Gauge feature, but on the other hand, you don't need to threaten anyone to Evaluate a Gauge.)

I've seen a lot of people say that the coercion rules aren't great because you'll largely be using them against non-player characters, and the Game Master can always choose to ignore the check and take the sanity hit or whatever.  However, I say that's a bad argument because the GM can always cheat.  If you're playing your NPCs correctly, it'll flow naturally.

Here are the two examples from last session:
  • Leah goes all Lysistrata on Iggy, saying that she won't sleep with him any more if he doesn't spill the beans about his dealings with her father — her Hot identity coerces Isolation (and while he might be blasé about the whole thing, this is her family she's talking about, so she manages to increase the rank of the sanity check by drawing on her own Passions).  He's a pretty cool customer, so he says that's just how things will be, but as he's ready to leave, he apparently likes this woman way more than he thought he did, and the thought of never seeing her deeply rattles him.  (Or maybe it's just the thought of having to face her dad in the morning across the meeting table.  Who knows?)  He freaks out and fails his sanity check.  Fight, flight, or freeze?  Iggy seems like he'd fall back on fighting his way out, so he starts slapping her around.  He's never been violent towards Leah before, so she makes a sanity check and fails it.  She also falls back on fighting, and now we're in a full-blown domestic dispute.  It was an unexpected outcome, to say the least.
  • Jones delivers Rebecca's message to Minnie, saying the "wrath of Atlantis" will be on her if she visits the Hollywood sign again.  He doesn't know what any of that means, but he really sells it with a Status test.  She knows he means business, and whatever the "wrath of Atlantis" means, she totally believes it.  She suddenly thinks Jones, Kevin, and Leah are way more important than they are, and if she ever heads for the Hollywood sign again, she takes a rank-3 Helplessness test.  And gets to live with the knowledge that she's just incurred the "wrath of Atlantis."
Both of those took the game in an unexpected direction (particularly the first one), and that's usually a good thing.  We really didn't expect domestic violence to be the sort of thing we'd explore in this game, and yet, now Iggy and Leah find themselves in that place.  And Minnie gave the player characters just enough information to be scared and let them know they're in way over their heads while also letting them know that they currently have a tenuous bit of leverage — anybody she tells about this encounter is going to think they're shadowy, occult badasses and will come to the table with that expectation.

Wednesday, May 11, 2016

On the 7th Sea Quickstart

About two and a half weeks ago, Arashi at the Felling Blade ran the 7th Sea Quickstart.  I missed out on 7th Sea during its original run (although I have a couple of the books), and so knew little about it apart from what friends have told me.

I don't have a whole lot to add — his review hits most of the salient points — but I will reiterate a couple of things he mentions.

It's definitely of the new-wave school of narrativism common in a lot of indie games.  The rules are simple and the PCs are pretty competent from initial character creation.  I understand the initial rules used the roll-and-keep system from Legend of the Five Rings (both being John Wick and AEG, it makes sense), and you can see that system's province here.  Roll your dice pool (add a stat and a skill, plus any modifiers, just like new World of Darkness).  Instead of looking for a target number, this one uses funky dice math like, say, Wild Talents — you're looking for groups of ten.  So, say you roll a 3, 8, 7, 4, 5.  You rolled two successes — one 7-3 pair, and one 8-4 pair.  (Or 7-4 and 8-5, or whatever).  If you have any dice remaining, the GM can purchase them (so that oddball "5" in the above example is fair game) by giving you a plot point.  The GM gets to keep those dice in a bonus pool and use them at inopportune times.

It's a neat system, and lets you unpack a lot of data from a roll, but the downside is that interpretation of results (especially if you're trying to avoid giving the GM dice — in the above example, you could avoid this by using 3-4-5 as a set and 7-8 as a set) can take a little while as you're studying handfuls of dice.  (I think T. S. Eliot said it best when he said, "I will show you fear in a handful of [dice].")  This is probably the sort of thing that would get quicker as you go, though.

And then there's dueling.

One-on-one fights are hard to model in RPGs; by necessity, one character is dueling while the others are watching, and watching stuff happen for a long time is death in an RPG.  (Most RPGs don't really do one-on-one fights — D&D, for example, usually models skirmishes and a lot of the higher-level enemies are too potent to take on solo.)  Optimally, you want to make duels a psychological, collaborative effort, or otherwise make them tense and fun to watch while being quick to resolve.  Most games that come to mind (Deadlands and Legend of the Five Rings, for example) try the latter.  This game does neither — the example duel is a long, unwinnable slog in which the other PCs are not to interfere.  (The PCs are supposed to win it, but Nicole played the duelist and didn't win, and we know another person who played the duelist in the quickstart and didn't win.)

The big problem comes down to enemy stats.  PCs can cut through hordes of enemies, because dealing a point of damage to a Brute Squad (that is, getting a single success on your attack roll) takes out a guy.  Since big dice pools can easily hit five to ten successes, taking out a horde of mooks in a round is relatively straightforward.  Villains, however, have hit points that scale with their level — so a level three villain is going to effectively have nine hit points (3×3), a level four villain will have sixteen (4×4), and a level eight villain will have sixty-four (8×8).  (Most of the PCs in the quickstart had somewhere in 15 to 20 range, if I recall.)  This, by the way, represents generic dangerousness — a level 8 villain who is a potent and skilled manipulator surrounded by a web of intrigue and a network of contacts has the same 64 hit points as a level 8 villain who is a swaggering brute of a man bristling with pistols and axes.  (I suppose the difference in a duel is that the manipulator probably doesn't have a lot of melee experience.)  Sixty-four hit points is a bit of a slog, but appropriate for a group as three to five swashbucklers gang up on one unfortunate bastard.  But one-on-one combat between two relatively evenly matched opponents?  All else being equal, 64 hit points are going to outlast 20 hit points.  Maybe you're supposed to game the system in a way that the fight is winnable, or maybe you're not supposed to give the GM so many plot points that he makes everything difficulty 15 (oops), but I'm not sure how much it would have helped.  (I mean, I was playing the Fate-witch, and I gave the duelist +5 dice to all swording rolls during the duel.  It didn't help.)

Arashi and I were talking about possibly translating villains' dramatic wounds into a different system in a duel — so instead of the 8×8 scheme for a level 8 villain in group combat, maybe he just has eight hit points, or sixteen.

It's not all complaints and bad news, though.  The game really models the narrative in the way a lot of modern indie games do.  Characters start out quite competent, and as with a lot of modern games, if all you have is a hammer, any situation can be a nail.  (I'm pretty sure I took out mooks by flirting at one point, because my combat stats were low.)  Fixing the rough spots would let the system do exactly what the authors want with it, and as with so many things, experience with the system likely speeds it in play.

Monday, May 9, 2016

Unknown Armies, third edition: Actual Play

(Before we get started, further information is available: interested parties can read my Unknown Armies 1st/2nd edition review, or my review of the UA3 Gamma playtest.)

My playtest group and I haven't had much of an opportunity to play yet (and the rules we did use encompass all the standard make-a-skill-check stuff that you don't really need a playtest to discuss), so this will primarily cover character creation.

For background, the group is a subset of the Bread and Circuses group (just myself and three players, solely on the principle that three are easier to schedule than four or five, particularly when the players are two couples, so you're functionally only scheduling around two groups), and comprises the following:

  • Me, with all the nonsense that entails.
  • "Croitus."  He's previously played "Joy and Sorrow" from One Shots, and that's it.
  • "Dhavita."  She has also just played "Joy and Sorrow."
  • Nicole.  Nicole has previously played several Unknown Armies one shots (five, I think), as well as my Truth Shall Set You Free campaign.  (As a side note, we updated her UA2 character to UA3 in about ten minutes.  It seriously took almost no time at all.)
We've so far played two three-hour sessions about a week apart; character creation took four of those hours, with the understanding that everybody looked over my handouts and their character sheets in the intervening week to understand the concepts a little better.  (Call it four or five hours, maybe.)  On the one hand, that's a long time for character creation — I ran a UA2 one shot where an avatar of the Merchant was holding an occult Swap Meet, and we had time to create characters and play the adventure.  On the other hand, the character creation mini-game is its own thing, and at the end of it, you have a sweet prop like this:

Pins on a corkboard.  Click to enlarge.
So that's probably a feature rather than a bug.  Being older types who cut our teeth on World of Darkness and Call of Cthulhu (and for one of us, AD&D), a lot of the new-wave indie design is different enough that it requires a bit more headspace.  Other than taking a while, though, it worked really well to get everyone into the mindset of Unknown Armies.  (The character sheets, which look like badly scribbled psychiatric charts, also help.)

(One note, though: if you're GMing, bring lots of pictures in case your players don't bring any.  Although I probably went overboard.  Still, it worked out nicely.)

So, from there, we determined that line producer Jasper Fitzroy is giving his production company (1574 Productions) over to his ditzy second wife, Pamela Kruse-Fitzroy, and there's only a week before the deal is finalized.  He's grown more reclusive as his new right-hand man, Iggy Williams, increasingly performs day-to-day business.  Amid this growing situation is the fact that Los Angeles apparently has weird holes in its spacetime, such that an appropriately aware person can use them to hide or teleport.  (And an untrained person can fall into them and end up somewhere else.  Like, say, Long Beach to Malibu.)  Those two things don't appear to be connected, but you never know.

Into this situation, we have:
  • Jones, played by "Dhavita."  An air traffic controller at LAX.  Jasper's plane should have crashed into another plane a couple of years ago, but he was the only one who witnessed the two planes phase through each other.  No one else noticed.
  • Kevin, played by "Croitus."  A bike messenger on a weird trip.  Ever since he surfed from Long Beach to Malibu in a matter of minutes, he's been searching for the hidden doorways that pockmark L.A.  He likes to draw weird maps, trying to discern the Pattern he knows is just on the edge of his perception.
  • Leah, played by Nicole.  Jasper's daughter, she's on her own New Age bent; these days, she's following the example of Valeria Lukyanova and turning herself into a living, occult doll.  She learned that things were weird when she had a bad drug experience a few years back, and the guy who sold it to her described the exact trip she just had.
I'd say the fact that they all picked New Agers and occultists and conspiracy theorists without much prompting by me is a success of the system.

There are a couple of snags in the rules, though.  Some of the players didn't fully get the balance of shock gauges and abilities at first (although that may have been a failure of my explanation rather than anything else; my cheat sheet was apparently helpful).  Objectives, too, were difficult; the player group is supposed to determine their group Objective first, even before characters are made, but we did it last because that seemed more natural.  (And we haven't done milestones at all; that probably seems even stranger to a group used to the traditional plot structure of RPGs before, say, 2010 or so.)

Despite the snags, though, character creation ran relatively smoothly — I'd say the length and the rules questions are problems that could be easily remedied by either character creation summaries/handouts or the character creation tutorial video that was funded as part of the Kickstarter.

As for the rules, we only made a couple of rolls, but as with previous editions, the game system largely runs in the background.  I only consulted the book once in play, and it was to determine how a supernatural ability (the Versatility identity, for those of you keeping score at home) worked.  I'd imagine I may have consulted the book a little more if we broke into Relationships or coercion (combat's the same from the previous edition), but I'm sure that will come with time.  (And will get easier with increased familiarity.)

So, in summary, the system is solid — we basically just need a finished book that's easy to reference in play to smooth out the rough spots.

Edit (6-2-2016): This mini-campaign now has its own Obsidian Portal page.  Read about it if you're into that sort of thing.

Friday, April 29, 2016

Dungeons & Dragons and Magic: the Gathering Crossover

So a while back, I posted a thing about a D&D 4e Planeswalker splat for Magic: the Gathering.  Now there's something more official: on Wednesday, Wizards of the Coast put out a free pdf detailing the plane of Zendikar for D&D 5e.  It has an overview of the world, as well as new races and some new monsters.

While I wouldn't want them to go all-out and start monetizing D&D the way they monetize M:tG, detailing the planes as adventuring worlds for D&D is hardly a bad thing.  (Further information is available here, and in The Art of Magic: the Gathering—Zendikar)

Check it out, if you're into that sort of thing.

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