Friday, January 6, 2012

Just Add Pie

So Nine-And-Thirty Kingdoms (always worth a look) posted this method for procedurally generating landscape instantly using what he calls over there "dice-maps" and what I call over here "die-drop tables" for reasons lost to time.

Basically his idea is, you drop a handful of d6s on the piece of paper and it gives you a map of nearby stuff plus distances to it.

This first thing I thought is, for any given landscape, you could go to Google Docs, quickly make a pie chart, and stick it in the center so that you could make custom "collapsed" maps for any given continent or area. So you not only know the distance to places but their character as well. Just extend the pie lines out and features in that sector is that kind of thing. This took 3 minutes:Then I figured you could do this for buildings, too--though in a slightly different way. Basically you write a "destination" (i.e. interesting-stuff-having location--the kinds of things where you start drawing and think "I know I want a lich riding a wereworg in here and a pile of old tapestries but that's about it...") in each part of the pie, then the dropped dice indicate how many rooms away in each direction said feature is. The numbers that actually come up on the dice can then be your wandering monster rolls for each direction. A little ball-and-stick flowchart connecting-the dots and bam--instant dungeon. Good for when the PCs reach levels you haven't finished yet...

In other news, the second one came out as an inverted peace sign for some reason.

Wednesday, January 4, 2012

Tense Moments

Thinking about this--this isn't so much a skill system as an alternate way to use the systems D&D (and games like it) already have to adjudicate situations when you want to add tension.

So:

Skills (or "Noncombat tasks that a PC might reasonably specialize in").

Simple skill is like: there's a task and a number you have to roll, roll over, roll under.

Sometimes, though, you want to make the execution of a skill as dramatic and tense as combat.

Quick review: Why is combat drawn out in most RPG rules?

1. The stakes are generally high (life or death)
2. A partial success or failure is meaningful (injured foe or friend--this injury matters even after the combat's over)
3. The task and subtasks it consists of are fun events in-themselves, even outside of any context. At least if the DM is doing it right. (You dodge, you swerve, you slash and lose a finger and all that.)

In contrast to fighting, D&D skills in the basic rules tend to be simple--pass/fail.

Type IV introduced skill challenges, of which I know little, but which, as a player, I have experienced and not really noticed having an effect much--though I assume the idea is to create just such high-tension skill moments. Crossing the tightrope, ooo, nope, whoa, ok.. etc. the general scuttlebutt on them seems to be: the quality of them is highly dependent on GM skill.

Anyway here's my idea:

Each test either has a difficulty class (DC) like in Type III D&D (this is just like an ascending AC. A number you have to roll w/modifiers to do the thing) or if you are using a roll-under-attribute system it has a bonus or penalty associated with it (make a dex check at -2 or +3 etc.). Both are ability score based--int for making stuff, dex for tricky physical tasks, str for swimming, etc.

Like a hard task could be DC20 or it could be -5 to attribute check.

(This is all old news. This is how people already do stuff in versions of D&D.)

If you don't have the skill, it's just pass/fail. You succeed, good, you have made a tea kettle or climbed a wall. You fail, the bad thing happens, the lock seizes up, the knot uncurls, the trap fails to spring, etc.

IF you DO have the skill and you succeed, well, good. You succeeded just like everybody else.

(Still, all this is old news. Here's the new bit...)

If you DO have the skill and you fail, the DM rolls d6. If the die is over your current level, you fail. If it's equal to or below, the DM narrates some mayyyybe-it's-working type situation ("the lock is rusty but a tumbler is beginning to come loose...""you slip suddenly, but catch hold of a badger-shaped rock at the last minute..") and you have two options:

1. You can try again.

2. If the task is the kind where you can start doing it and give up half-way without catastrophic disaster (i.e. you make it half-way across the chasm and then turn back rather than just falling) you have the option to "chicken out" and stop rolling now and have things go back to more-or-less how they were before the failed roll.

If you try again:

If you succeed, good.

If you fail, the DM rolls another d6, if this d6 plus the previous d6 is over your level, you fail. If it's still under, you can try again.

etc. etc. until you run out of levels or succeed.

This means by 6th level you will obviously automatically get one reroll. By 12th level you automatically get 2 rerolls. (No need to keep track of this, the dice will make it obvious.)

Why a d6?

I figure 6th level represents the point at which you obviously are definitely reliably always a little better at your specialty than the average PC. (This is going by thief PCs in AD&D--until about 6th level you still kind of suck much of the time and using your abilities is often a bad idea.)

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In addition to the tension factor, I also think this system will scale better at high levels than simply giving skilled PCs one-re-roll per level or +1 to the roll per level--After 4thish level everything is way easy unless the basic task has such a high DC or negative modifier that nobody unskilled could ever try it. In other words, doing it that way means you have to have a lot of walls that only a skilled person could climb, and even then you keep having to scale up the difficulty as the PC gains in power.

This system means that (since the basic roll is still just vs. unmodified attribute) a skilled PC is measurably better at doing things than an unskilled one, but does not live in a world where s/he'll start automatically succeeding and need more and more difficult tasks just for the game to justify having the PC have the skill in the first place.

(I mean--if there's a wall in a 10th level dungeon only a thief with a skill can climb then that means either the party has to have a thief or the players know on the metagame level that there must be another way in. Plus I also just find degrees of awesomeness beyond, say +6 difficult to really appreciate on a visceral level. If you get to a point on a d20 system where some PCs are at +4 and some are at +9 and anybody below +5 is actually kind of crap, relatively, I find it hard to imagine what that's like in real-world analogues. What's a +9 guy look like compared to a +15 guy? +15 vs +20? It gets kind of abstract and numerical.)

Plus no skill points to keep track of in this system. Though I like the LOTFP 6-point system, it's not compatible with the have-it-or-don't skill system already in my campaign.

____

So, anyway, this seems like a decent bolt-on for any have-it-or-don't skill class-and-level system. It requires no new things on a PC's character sheet.

And again, I wouldn't use it for every test, just when I wanted to add suspense when the consequences are a big deal.

Tuesday, January 3, 2012

Split-Column Assignment Generator

Dear Exploring Infinity,
I have no idea how I found your blog, or this nifty situation generator that you made for Firefly. I also don't know anything about Firefly other than that it happens in space and has something to do with that Buffy guy people like.

Anyway, since it seemed pretty much useful for any game, I reformatted your table in split-column format. That way, if you have to roll a new situation fast (as you often do in sandbox D&D) you can roll once and read across, or, if you have a few more seconds, re-roll again for any result you don't like. I don't know if this kind of speedy flexible table is useful in the kind of games you play (we have no followed blogs in common and your categories are all games I don't run) but it is for me, so thanks! Your table is appreciated and has been added to the archive.

Rock.

Monday, January 2, 2012

An Embarrassment of Impressive (& More Pie Charts)

Finally finished reading all the way through Secret Santicore and I have to re-say: it is very good. Like I can't think of the last time I saw anything published (for money or otherwise) that had this much stuff that was actually going straight into my game immediately.

People keep asking for The Complete _________(something other than a city)_____ Kit? Well a lot of what would go into a thing like that is right in this obscure little pdf. (And it's nice to see many of the Hack Vornheim Contest winning DMs continuing to come up with creative stuff here.)


The little details really make a huge difference here: like Jeremy Duncan's Vat Spawn character class? Ho hum more mutants, yeah yeah, weird weird--but he tells you they are immortal and their whole personality and skillset 're-boot' every 100 years. That explains so much and suggests so many possibilities. Plus the actual mutations and weirdnesses he gives them seem actually thought-out and playable rather than just the typical Dragon Magazine grab-bag of abilities-inspired-by-the-last-movie-I-saw.

Anyway, highly recommended. Again.


Also worth a look: Zombiesmith Miniatures appears to be producing some intriguingly Cobalt 60-ish miniatures, from what I can tell from their extremely poorly-organized site. (No offense, so far as I can tell, all miniatures sites ever are extremely poorly organized. Whats up with that?)
Aaaaand here are some entirely unrelated infographics regarding the girls' race and class choices over the course of all sessions. I have limited the info to only PCs in games I GMed in order to avoid filling my head with even more useless data and maybe accidentally crowding out things like what month it is and what city I am in.

Sunday, January 1, 2012

Games I Ran In 2011

By location, just the LA group:

Not that you care, but I just discovered the pie chart maker. Just marking time until I decide if there's any point to using one to make a drop-die chart.

Friday, December 30, 2011

The Best D&D-able Comic Books According To Me


Slaine
Simon Bisley is to Warhammer what Frank Frazetta is to D&D. Or Warhammer is to D&D as Simon Bisley is to Frank Frazetta. Anyway, when he wasn't drawing insane Doom Patrol covers that bend all minds, Bisley did this totally metal barbarian comic and you should buy it.



Ironwolf
I was surprised to hear Keith Baker hadn't seen this steampunk-before-steampunk tale of sabres, swashbuckling, wooden starships, vampires, werewolves, aristocrats, honor, snottiness, cynicism and intrigue before inventing Eberron. When I showed him his eyes just about rolled back in his head.

Howard Chaykin's self-pencilled 70s original is mainly remarkable for the make-Barbarella-weep astrofabulousness of the female character designs and the later, Mike Mignola pencilled Ironwolf: Fires of the Revolution is remarkable because fuck yeah Mike Mignola.


Hellboy
Speaking of Mike Mignola. If you are interested in Hellboy but have never checked out the comics and don't know where to start, I'd start off with The Chained Coffin and Others then, if you're hooked, buy all the others with Mignola art and read them in order. If you're still hooked, the Ryan Sook and Duncan Fegredo ones are an acceptable methadone, though the fact that both artists are both so good when they aren't being hired to draw just like Mike Mignola makes their work there somehow coverbandish in a slightly depressing way.

Some notes here: Mignola's Fafhrd & Grey Mouser adaptation sounds like it can't lose, but the lack of true Leiber prose plus Mignola's inability to overcome the perennial challenge of doing medieval scenes using the traditional comic book coloring process makes this about 25% less sweet than it should be. For things in the same fantastic vein that work out a little better, see the Lovecrafty "Sanctum" story in Batman: Legends of the Dark Knight and Doctor Strange/Doctor Doom: Triumph and Torment.



Blood: A Tale
Kent Williams paints some excellent stream-of-consciousness gobbledegook vampire stuff with swords and snakes and trees and dreams and more unerotic nudty than I have ever seen outside a wrestling ring. 4-issues, easily acquired in one bit.



Elektra Lives Again
Why is this Frank Miller drawn/ Lynn Varley painted modern ninja book listed here?

1-It is criminally under-appreciated and with Frank Miller's reputation sinking every time he opens his mouth, its star will probably only dip lower in years to come, and

2-It has the best medieval-weapon slugfest scene ever in a comic book.


Cerebus
Oh, Cerebus... For those who don't know, Cerebus is 300 black-and-white issues of an Aardvark acting like Conan and a comic book creator going from making fun of Conan to being sublimely inspired to succumbing to a particularly uncharming, pleonastic, and misogynistic brand of insanity. Dave Sim gets very good at drawing shadows and aardvarks, though his people are a little rubbery (though these days a lot of people like that kind of thing, so whatever).

The rundown for the unitiated:
The cheapest preview is a single issue called Cerebus #0. If you like it, buy more:
First book: Cerebus: the "funny-animal" original stories--they read like unusually ambitious Dragonmirth strips but are maybe essential to understanding the more serious stuff that follows.
High society--the first intimations of awesomeness.
Church and State and Jakas Story--What the legend is built on. This is the goods right here. Wintry weird politics, slapstick, isolation, and eccentric worldbuilding.
Melmoth--expendable divagation into an Oscar Wilde obsession.
Flight, Women, Reads, Minds--Good, interesting, maybe great, but the rot is clearly approaching and the misogyny first appears I think in Reads. (
Cerebus is rather like the Star Wars question: everyone agrees Empire is the best and that at some point the franchise became terrible--nobody agrees about what point that is.)
Guys--Not as terrible as it is about to get, but clearly now just an old hippie telling jokes about bars.
From then on: total mind rot in progress. Very sad.




Moebius
For English readers, the best starting place is the Epic/Graphitti collected edition #2--Arzach and Other Fantasy Stories. If you like that trip into his frenchy, pterodactyl-laden greenskinned dreamland then you''ll probably like the sci-fi stories in volume 3 Airtight Garage and volume 4 Long Tomorrow. His style has wandered quite a bit over the course of his career: dreamy greens, lumpy cowboys, unhatched New Age-isms, spirally psychedelic erotica, bog-standard balloon-nose French slapstick, so preview anything before spending too much money on it. This might help.


Little Nemo
The earlier full-color strips are a jaw-dropping mix of Ringling-Bros fire-engine-colored Americana, opiated surrealism and art nouveau elegance. There is so much to admire that ignoring the black character in Sambo-makeup and pointlessly meandering plotlines is pretty easy. Last I knew, a complete edition hidden behind an incredibly ugly and unrepresentative maroon-colored hardcover was still available.



Legion of Super-Heroes Vol 4 #5
Oh, it's a long story. But basically a crazy wizard manages to fuck up history so that magic defeats technology up until even the 30th century. So this single issue is the Medievalized versions of the superheroes trying to get their timeline back. Keith Giffen manages to do what Mike Mignola couldn't and creates the most convincingly Lankhmarish visuals in comics history.

Some people thought Keith Giffen's run on Legion was too dark, too dense, too complex, and too hard to understand. These people are all child molesters. There is nothing like it in the history of comic book storytelling and if we had to lose a few illiterate waterheads off the fanbase in order to see it, then those are the risks of the culture business.

Many more people have never even heard of Giffen's run on Legion of Super-Heroes because nobody fucking reads Legion of Super-Heroes. I envy these people because they can go buy back-issues of the first few years of Legion Volume 4 and be extremely surprised and confused and engrossed and happy for a few days in a way that's otherwise fairly difficult to do without taking off your clothes, leaving the house, getting fat, or paying some creep with weird facial hair for a carefully-titrated helping of something illegal.


Thor #337-#367
Walt Simonson's run on Thor is exactly what level 15+ D&D should look like: Fire demons and usurpers and lone heroes mauling legions and hordes and bad elves and sound effects that take up half a panel and galaxies on fire and visuals like Viking tracery in a pinball machine. It was worth Stan and Jack making a beardless nordic Superman ripoff with a wingy helmet and six dots on his red-caped costume just so Walt could turn it into this. Check it.

Years later, Simonson did Elric, it didn't work.


Sandman #50
Neil Gaiman's stories always work best when the artist inspires the dizzy wonder he wants you to feel and P. Craig Russel's take on Arabian-Knights-era Baghdad is as dazzling as it needs to be. Planescape fans also must read Gaiman's "Season of Mists" storyline. It is pretty much exactly where Planescape came from. Plus Kelley Jones drew it, so even if you disagree, hey, Kelley Jones.

Speaking of Kelley Jones: Batman: Red Rain is Batman + Dracula so kinda maybe you have to read that and Jones' Deadman is full of horrific-pretty-much-even-the-end-table-looks-like-a-zombie KJ visuals.

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There are, of course, many other comics that deal with the fantastic. Did I hear about (your favorite one here)? Bone? Red Nails? Prrrrobably. Did I like it? Probably not, otherwise it would be here in this list. But if I haven't, I'd love to check it out. Good comics are hard to come by.

Wednesday, December 28, 2011

Yay!

Vornheim got an award for Christmas.

Books, being inanimate and leading basically sedentary lifestyles, are pretty hard to shop for. But that'll do.

Thank you to everyone over at Diehard GameFAN.

For no reason, here's a picture of a lich: