Unusual Gaming Terms

Here’s a list of unusual gaming terms that you either might not know the definition of, or the correct pronunciation (in truth, I had to look up about half of them).  They’re not game specific (like THACO is), but can apply to gaming in general.

Please, dispute or add to any of the following…

  • Asmodeus – [az-muh-DEE-uhs] – the prince of demons, or an evil spirit.  Most pronounce it incorrectly. – Answers.com, Dictionary.com
  • Paizo – rhymes with [pie-dough], comes from a biblical Greek word meaning “to play.”  paizo.com
  • Skype – is a proprietary software application that allows users to make voice calls over the Internet.  RPGs can be played this way.
  • Trope – A trope is a common pattern, theme, or motif in a story – words are generally used in a sense different from their literal meaning.
  • Sandbox game – a non-linear game, free from boundaries or railroading.
  • Railroading – regardless of the desired actions of players, the gamemaster attempts to steer the players down a predetermined path, possibly taking free-will away.
  • Godmoder – a godmoder is one step further than a powergamer (some say worse).  He attempts to ‘win the game’ using whatever/all means available.
  • Beer & Pretzels Game – beer and pretzels are light and cheap snacks.  Not much thought goes into preparing or consuming this meal.  It’s perfect to go with a light and cheap game, one that requires little effort, but still hits the spot.
  • Delve – “Dungeon Delve provides the DM with an array of small, easy-to-run dungeons each specifically designed for a night of gaming.” link
  • LARP – live action role playing.  People dress up and role play as if they were playing a table-top RPG, but without the table, paper, dice, etc.  Oftentimes the “game” is based off a specific table-top game.

Race, Class, Role, Build, Background and Theme

One of the biggest innovations in D&D 4e has been the broadening of character generation. Your character is no longer a simple Race and Class combo (though he can be just that, if that’s what you want) but a multi-faceted being complete with backstory, previous occupation, career path and social class, all in as much (or as little) detail as you choose.

And they’ve managed to do it without turning it into a stewing pile of power-gamery mess too. Way to go, WoTC!  Let’s take a look as each facet of your potential multi-dimensional character to see how it all fits together.

Race

Your character’s Race denotes the core of his (or her) being; it’s who they are when stripped of everything else. Their race says most about your hero’s appearance, and much about their culture, social upbringing and outlook on life. Unless they are shaped differently by the campaign setting or something particular to your hero’s background, it’s fair to expect that their overall attitude will be much the same as any member of their race. For example, the vast majority of Elves possess an affinity for the Natural world (forests in particular), but the campaign setting (such as Dark Sun) might change that radically, or this particular Elf have been brought up in an Urban environment.

That’s not to say that all Elves are nature-loving, bow-wielding hippies (though Dwarves may say that’s exactly what they all are), but that this cultural implication is present in their racial makeup. How that upbringing shapes the PC though, is entirely up to you. Maybe this particular Elf is thoroughly sick of the colour green, and never wants to see another living tree as long as she breathes. Hey, it could happen.

Class

In 4e, a PC’s Class is less about who they are and more about how they fight. Class describes where your character gets his combat training/kewl spells/prayers/psionic potential, but also how they use it when facing opposition. Both the Fighter and Rogue are Martial characters, though their fighting  styles are very different. One charges forward, while the other runs and hides. Draw your own conclusions there.

But Class is more than that. It helps explain how your character responds to a challenge both on and off the battlefield. Each Class opens up a list of Trained Skills from which your PC selects several, and these Skills say more about a character than their Class selection. For example, a Human Rogue is more likely to feel kinship with an Elven Ranger if they both have the Streetwise Skill than with another Human Rogue who lacks it; both the Ranger and the Rogue share a knowledge of urban life and respect for the more seedy side of towns.

Class might also explain a hero’s motivation. It’s easy (if more than a little stereotypical) to create a sneaky Halfling Rogue or stoic Dwarven Cleric of Moradin, and no further explanation of their motivation is needed. I encourage players to move away from that and instead use Background Options to help explain your hero’s motives. More on those in a mo’.

The selection of Class also chooses your hero’s Power source. 4e D&D has taken a leaf out of the much loved Rolemaster’s book with the implementation of Powers. Just as Rolemaster had the Realms of Essence, Channelling, Mentalism and Arms (non-combat), 4e has Arcane, Divine, Psionic and Martial, and add to that with Primal, Shadow and doubtless more to come. These control where the PC draws his powers from – Arcane gain power from the magical world around them, Divine from the Gods, Psionic from within themselves, Martial from their physical abilities, Primal from the untamed chaos of nature and Shadow from freakin’ Batman. I’m looking forward to the 4e take on the Rolemaster Archmage who recognises that all Power sources are essentially the same and draws from all of them. Wicked!

Note to self: Write more contrasting Rolemaster with 4e D&D. Comparisons abound!

In some ways though, your 4E’s hero choice of Class is the least important choice he has to make, even though it’s the most mechanically complex. Choose Eladrin as Race and  the Background Options Noble & Criminal and you’ve already got a compelling character. Making him a Paladin, Wizard or Warlord just adds another wrinkle to the pie. Do pies get wrinkled?

Role

Wait-a-minute. Isn’t a character’s Role tied to his Class? I mean, all Wizards are Controllers, right?

Well yeah, but I’ve argued before that the two shouldn’t be tied together, and it looks (with D&D Essentials) that this hard-and-fast rule is being loosened, and that’s a great thing for the game.

Right now, if you want to play a Martial Defender (for example), you’re playing a Fighter. But what if you want to play a Fighter who is more of a Striker (fewer hit points, more damage) or even a bow-wielding Controller (even fewer hit points, more foes)? How about a Wizard who specializes in Force Fields (Defender) or one who singles out individual enemies with fearsome emotion-controlling spells (Striker)? You could conceivably argue that Gandalf was an Arcane Leader rather than a Controller, and you wouldn’t be wrong.

I foresee this as a direction 4e will increasingly take, and it’s an exciting one. Separating Role from Class opens up a whole new vista for character generation, and I’m stoked!

Build

Builds are a simple, shorthand way of saying “if you take this, this, this and this, you will end up with this kind of character.” They’re entirely optional and provide a good newbie-friendly way to guide them through character generation. Want to play a Tactical Warlord or a Great Weapon Fighter? Just follow this build advice, and you’re good to go.

Despite their primary function as a guiding tool, the Builds can also serve as a role-playing jumping point. Your Tactical Warlord is likely to have a very different personality than an Inspiring Warlord, both in and out of combat. That’s partially represented by the priority of the attributes (a higher Charisma usually denotes a more outgoing personality) but also with their outlook on life; in this example, a Tactical Warlord is more likely to be coldly clinical in their assessments, whereas an Inspiring Warlord knows that it’s the hearts of men (or dwarves, or elves …) that can truly win the day.

Unlike the other optional elements of character generation (Background Options and Themes) your hero gains absolutely no mechanical bonus for following a Build other than the satisfaction of having put together a nice, well-optimised character. Conversely, there’s nothing to lose for not following a Build neither; you’re entirely free to choose between the Class Features, Feats and Powers however you wish. While you might not end up with a character with the same single-path focused optimisation as one of the Build, your hero will be (and here’s the important part) much more fun to play.

That’s not to say that Builds don’t have their place. They give us much more of an insight into the game designers’ minds. The Build represent how they expect the Classes to be played and a solid foundation for your own tinkering with Class element and Feat selection. For example, you could take Great Weapon Fighter, but replace Power Attack with Potent Challenge. Minor changes to the Build like this help make your character that more unique.

So Builds are a great way to help get a handle on the Classes, and on the game as a whole. They’re a great starting point for new players and oldies alike who are trying out a new class for the first time. It pays to know when to follow a Build, when to tweak them and when to ignore them altogether. Let’s save that for a blogpost fsome other time, ok?

Background Options

Now we’re talking! Background Options are my favouritest optional rule in 4e D&D – to the point where I don’t consider it optional at all. Background Options are an Essential part of character generation as they serve to provide your PC with that all-important backstory. And that’s pure gold for this GM.

Background Options also confer a minor (though significant) benefit in the form of a +2 to one skill, adding a Skill to your potential list of Trained Skills, granting a bonus language or some other special boon. That’s a choice of five benefits. No, not four. Clearly you can’t count.

See, here’s how the choices break down:

1. Add a +2 to an Untrained skill. This gives a small bonus to a skill which you wouldn’t normally have access to, or one which you don’t want to spend Training on. This is a good choice if you choose a Background Option that offers Associated Skills that overlap with and Skill Bonuses from your Race. For example, an Elf with the Background Option Geography:Forest could be at +4 to either Nature or Perception without Training at all! That’s perfect if you want to play a Class that lacks the Perception skill and is short on Training points. How about a keen eyed Elf Fighter who specializes in the Greataxe?!

2. Add +2 to a Trained skill. Back to that Elf. Make him a Ranger and (thanks to being an Elf and the Geography:Forest Background Option) he can be at +9 Perception even before stat bonus. That’s one eagle-eyed Ranger! Choosing a Background Option that synergizes nicely with your Trained skills is a smart move though taking a Background Option which just emphasises something we already know (Elf + Geography:Forest) is laaaaaaame ! Think about the more esoteric Background Options to make your character much more interesting. An Elf with Occupation:Mariner can still take that +2 Perception, but is a much more engaging character to play. Imagine an Elf with an ornately carved wooden leg……

3. Add another skill to your list of Trained skills. Each Background Option offers two skills. Pick one to either gain a +2 (as above) or add it to your list of available Trained Skills choices. That’s a +5 bonus, but the cost is that you have one less choice to spend on something else.  This is a great choice if you want to create a character who has access to knowledge outside their Class’ normal field of interest. A Fighter who is an Arcane Refugee would make a terrific character as his village was destroyed by magic (rather than orcs – unless they were Orc Wizards) and he could take Skill Training in Arcana, making for one highly knowledgeable warrior who hates spellcasters. This also gives him access to the Ritual Caster Feat, too, meaning he could sometimes be forced to use the very thing he hates. See what I mean about Background Options being GM gold?

4. Gain a bonus language. Boooring, unless you really want to play a character who can speak both Goblin and Giant. For these kind of multi-lingual characters, it’s better (imho) to use the Background Option to gain a Skill-related bonus and burn a Feat on the Linguist Feat.

5. Any other Boon. Some Background Options (particularly those from the Scales of War adventure path) offer more unusual benefits to the character. These tend to be more powerful and Feat-like in nature (such as the Assassin background which adds both Arcana and Stealth to your class list, and gives a +1 bonus in both). I try to steer my players away from these options, but allow them on a case-by-case basis, depending on just how much of a hard time I can give the hero in-game 😀

Background Options cover a whole range of choices – from mysterious happenings during their birth to the geography of their homeland; from their pre-adventuring occupation to wealth level; from Early Life and Parentage to Recent Events. It’s all there and more, in spades. You’ll need the PH2 or a D&D Insider account to access them, but for my money, Background Options alone make it worth the price of entry.

Your hero isn’t limited to a single Background Option, though he only gains the mechanical benefit from one of them. If you want your hero to be a Former Gladiator Scorned Noble Magic Scholar who is a Fugitive from a Vengeful Rival with a Missing Master, that’s very all right by me!

Note to self: Use multiple Background Options and Risus notation? The character above could be Former Gladiator (3), Scorned Noble (2), Magic Scholar(1), Fugitive from a Vengeful Rival (4), Missing Master (5). Hmmm. Food for thought.

Themes

So far, Themes are only present in the Dark Sun campaign setting as they provide just a little more oomph to your character. That’s firmly in keeping with the setting as characters in prior editions were generated at a higher level than 1st from the start. Each theme grants an additional Encounter Power to the character, putting them kinda-almost at the same power level as a 3rd level character (only without the hit points, surges, utility power, feats or equipment – so really not like 3rd level at all). Every character takes one Theme, and only one. Extra goodies (feats, paragon paths and optional Powers) are unlocked at later levels, if you choose to follow the Theme’s natural course.

Each Theme is a natural fit for one or more character classes (such as the Gladiator Theme for a Fighter), but the real fun comes from mixing things up.  How about a Gladiator Monk, or a Dune Trader Warlord? More on that shortly…

I like Themes. They can tie the adventuring party together (“You’re all Gladiators!”), but still give them plenty of flexibility (thanks to freedom of choice over Race, Class and Background Options)  to make each character unique and memorable. Themes also help to tie the characters more closely to the campaign setting – you’ll only find Dune Traders on Athas – in a way we’ve not seen before. That’s definitely a win in my books! Despite the power creep, I expect to see setting-unique Themes to find their way across all the campaign settings in due course (perhaps requiring a Feat to gain them). That won’t be a bad thing.

Mixing it up

What’s more fun? An Eladrin Paladin, or an Eladrin Paladin Merchant Prince Dune Trader? How about a Halfling Star Pact Warlock Monster Hunter Travelling Missionary? Or a Dwarf Gladiator Rogue who was Born on Another Plane?

Background Options and Themes come into their own when you play against expectations. As Elf with Geography:Forest might as well just be an Elf, whereas one with Geography:Wetlands has an interesting twist. Likewise, a Fighter with Occupation:Military isn’t going to win any prizes, but make him a Wizard……

There’s no shortage of Background Options both in the books (regrettably, not in PHI though) and in the Character Builder, so make good use of them.

Your GM will thank you for it, I swear!

That Is Not A Real Person – It’s A Stuntman

Over the course of a few days you contemplated what race you’d play, what class, what build, what history. You thought about his purpose in the game, his personality, and his goals. You were creating a living, breathing hero, instead of filling out some stats on a character sheet. At least, you thought you were.

There he was, Rolen Darkmoor, a two-weapon fighting emo ranger (emo?), who had all of the makings of a fully-fleshed out character, complete with a one-page description of all things non-statistical. You’ve selected a specific set of dice to go along with this person (because really, he deserves it), and you’ve found the fan-made character sheet that best suits his style.

Yep. This ranger is ready to hit the range. This hero is ready to be heroic. This live character is ready to come to life.

And bring him to life you do. You’ve fought orcs, goblins, mystery warriors, and even a white dragon.  You’ve roleplayed your inner conflict in staying loyal to the Assembly of Advisors, yet wanting to leave it all behind ranger-style.  You’ve embraced the journey of finding out the secrets of your own mysterious past.  Yes, this character has come to life.

Aaaaaand then you completely crush the realism of your character when you charge toward several hobgoblin archers (16 squares away) thinking you will get to them and engage them double-scimitar-style, only to get dropped by four arrows to the chest (two crits), now making death saves.

At that moment you took a fully visioned, real person, and turned him into some stats on paper.

Sure, he’s a hero, and he does heroic things.  But why would you assume that you could charge after archers, and not get killed?  It’s because you stopped thinking about how a fantasy character would engage the archers, and started crunching numbers instead.  “Let’s see, I have 54 hit points, my AC is 23, I can move 14 squares this round – I’ll be ok.”

What you should have said was, “Hmm, we need to move tactically against the archers.  Perhaps I’ll wait until after the fighter goes.”

Ok, you can’t really put yourself into your character’s shoes.  You can’t really know his combat capabilities.  All you have to go on to fight the fight are his powers and stats.  I get that.  But still, sometimes you need take a step back and ask yourself, “Mechanically, I should be able to pull this off, but is it realistic to try?  Am I playing the character, or playing the numbers?”

All right, Rolen Darkmoor wasn’t your character; he was mine.  You didn’t try to pull off a stupid stunt because you thought the numbers added up; I did.  You didn’t stop playing a real person in favor of a stuntman; that was me.

When he fell, sure it was funny-haha, “thunk-thunk-thunk-thunk, and down he goes!” But it slapped me in the face.  My fellow gamers get a laugh out of that one every once in a while, but all I get out of it was the memory of me betraying my character’s character, and me betraying realism.  Had I stopped to think, “What is the best way to face these hobgoblin archers?” instead of going number-strong into the fight, I would have stayed in-character, in the game, as a real-life person, and not stats on a piece of paper.  I was a stuntman.

So, I challenge you to not make the mistake that I did.  I challenge you to try as hard as you can, to get into your character’s shoes and stay there.  I challenge you to make decisions as if you’re actually there, instead of your character sheet.  I think you’ll find that playing the role, instead of playing the game, is much more rewarding.

Incidentally, the title of this article “That is not a Real Person – It’s a Stuntman” comes from a quote in a movie.  Bonus points to whoever figures out what movie the quote is from, and what movie the characters are watching when it is said.

Gwen Avery, the Alchemist (steal this NPC)

“I’ve traded sleeping in the mud for sleeping between silk sheets with my lover. It’s not a glamorous life, but it’s safe.”

Gwen is the talented alchemist who owns Gwen’s Alchemy. She has a well-deserved reputation for quality and honesty. Gwen dabbles in the creation of unusual poisons that combine potent animal venom with magic. For example, she’s learned that the weakness-inducing venom of a large spider can be enhanced with a Sleep spell. If the initial spider venom does not incapacitate a foe, then the magical effect – the spell – certainly will. Gwen developed her magical poisons while trying to figure out non-lethal ways of securing her home and possessions against intruders. Rumors of her work have caught the attention of the local Thieves’ Guild, who would love to possess such poisons.

Gwen’s shop can be placed in any town or city in your campaign. Below are a few scenarios that can be prepared with very little effort.

  1. Services for Hire: Characters fresh from the field might have potions or poisons that they need identified or brewed.
  2. Bodyguards Needed: Jonathan Lansing, Gwen’s lover, fears for her safety. He has heard rumors that the Thieves’ Guild wants to force Gwen to brew magical poisons for them. Jonathan will hire the party to keep an eye on Gwen’s lab. While on the job, a group of rogues will attempt to break into the shop. If the party intervenes and apprehends the thieves, they will have Jonathan’s eternal gratitude.
  3. Tempting Target: For unscrupulous characters, the allure of Gwen’s shop might be too much to pass up. Rumors of potions, gold and magical poisons would make any rogue salivate. Also, Gwen is known to have a wealthy lover. Perhaps if she was kidnapped, he might pay a hefty ransom for her safe return.
  4. Have lightning bolt, will travel: Even though Gwen has a very comfortable life, she is concerned that her skills as a wizard are slipping. Imbuing potions with magical energy takes its toll. She thinks that it might be time to head out into the field in order to revitalize and challenge herself. Therefore, if a good-aligned party of adventurers are in need of magical support, Gwen might be willing to accompany them.

Riddle Me This…

I still have no clue as to what I’m doing… that is… how to run, improve, maintain, fix, or manage a website.  I mean, it took me forever to understand about hosting, add-on domains, wordpress, themes, widgets, and plugins.  My buddy, Sam over at Roleplaying Pro, had to show me how to create a link – physically show me the process (I know, major, right?).  And in truth, I’m sure I’m breaking some rules, aren’t I?

Ok, sure. I’m not a tech savvy guy – most people don’t know how to set up a website, but I’ve also only ever sent two text messages, don’t have a Myspace page, can’t download a song if my life depended on it, don’t know how to back-up my computer, and have never twitted / tweeted / twittered (whatever).

However, I know that I like running Stuffer Shack, and I want it to be successful.  I want to know that people out there find it useful on occasion.  I want to improve the site so that it’s as functional as possible.  I’ve gotten some great advice from some fellow bloggers (you know who you are), and have found that gamers, in general, are pretty much a great bunch.  That’s another reason why I want the site to succeed (if that makes any sense).

So, riddle me this…

  1. How important is Facebook and Twitter with regard to this website? Would incorporating those things be beneficial?
  2. Is there anything else I’m not doing – that I should be doing?

Your help is greatly appreciated.

Deck of Many Boons

Wouldn’t it be cool if you could get some sort of benefit in-game for doing things that promote better gaming?   I do.  That’s why I hand-crafted the Deck of Many Boons.  It may look like an ordinary deck of cards, but this could not be further from the truth!  You see, it took many decades of alchemy, wizardry, and drunken dumbery to create, no, to manifest this artifact!

“Well what does it do” you ask?

Thank you for asking! It’s not what it does for you, but what you do for it!

Only if you are serious about gaming, may you unlock its treasures.  Only if you make an effort to promote general good gamery, may you reap the rewards.

By the very nature of good and evil, yin and yang, dark and light, law and chaos, neutral and… neutral, the Deck of Many Boons will incite within you a systemic wave of karma – for the good you put into it, it gives good back to you.

Behold! The Deck of Many Boons!

You shall draw one card from the Deck of Many Boons, should you perform the following:

  • Arrive to the game session on time, ready to play

In addition, every player at the table shall draw one card from the Deck of Many Boons, should any of the players perform the following:

  • Successfully perform an amazing, jaw-dropping task, one that your character should have failed horribly
  • Unsuccessfully perform an easy task, one that only requires a skill check for spits and giggles, resulting in in the utter humiliation of your character
  • Pull out some unbelievable roleplaying or humor that utterly entertains and floors the entire group

These cards that you now possess in your possession are not to be hoarded!  Thay are to be given back to the Deck of Many Boons!  In doing so you are immediately gifted the gift of the card!  Should the GM refuse to let you put a card back into the Deck of Many Boons, all players at the table shall draw another card!, from the Deck of Many Boons!  At the end of the nightly game session, which is at the end of the night, all outstanding, unused cards will shamefully be put back into the Deck of Many Boons, and the player will thusly be shamed.  These are the unbreakable rules of the Deck of Many Boons, and shall not be broken!

Behold! The cards from the Deck of Many Boons!

  • 2 – make any enemy reroll an attack or skill check
  • 3 – reroll a skill check
  • 4 – reroll an attack
  • 5 – turn a successful attack into a critical, or make another attack
  • 6 – perform one additional, single action
  • 7 – make an enemy/npc look like a fool
  • 8 – trump everyone in initiative (going first), as long as you don’t roll lowest
  • 9 – use a skill as if you were trained in it
  • 10 – use a feat/talent/special ability that you don’t have, as long as you qualify for it.  Lasts for one round.
  • J – improve your speed by 50% for the round
  • Q – make a minion or enemy of up to your level/ability flee
  • K – player fiat – railroad the GM with your lucky break (you find ammo, you find a friendly NPC/you know someone in town/you kick the broken engine and it starts, you find the trap door, etc.)
  • A – General Bad Ass, sir!  For one round or scene, you come off as the ultimate bad ass.  The GM will treat your character with the respect that they’ve earned.  Bonuses and extra abilites are almost not needed, as you are the General Bad Ass.  You may not railroad the game, but you may surely act like you are running it.
  • Joker – When your character fails at something, the GM may invoke the Joker.  When this happens, not only will you fail at your task, but you will fail miserably, entertaining everyone else at the table.  All other players may draw a card from the Deck of Many Boons!

Behold!  The Deck of Many Boons!  Behold!

The Road to Blackmoor – Steal this Adventure

This adventure is designed for Warhammer Fantasy, but (of course) could be tweaked for any fantasy game.

Plot: The PCs are hired to retrieve some scientific research from the lord’s manor in Blackmoor, though they get more than they bargained for when they find that the area surrounding Blackmoor is indeed cursed.  Ultimately, the PCs must identify and eradicate the source of the curse.

What’s really going on: Markus, a well-off scientist and inventor, moved to the small village of Blackmoor over ten years ago to work in peace.  Last year he was successful in creating an electrical generator as a potential power source.  However, in his quest to advance technology, he inadvertently disproved the existence magic as it relates to mortals.  In a world full of magic, his work and notes solidly proves that magic, as it is understood, cannot exist.  Markus finds this all interesting, but believes it is of no consequence.

The effect of the machine he created in his home, as well as the physical research and notes, has created a void around Blackmoor – an area that magic (as it is understood by mortals) no longer exists.  However, being that chaos magic cannot be understood, it remains unnaffected.  Not only that, but the area around Blackmoor has seen an influx of chaos magic.  This has caused the area around Blackmoor to undergo some strange happenings.

  • Magic performed by anyone in or near Blackmoor receives a penalty of five black dice (or a -5 penalty in 4e).  Those who practice chaos magic receive a bonus of two white dice (or a +2 bonus in 4e).
  • A flooding of chaos energy has forced the vegetation to grow uncontrollably.  The forest surrounding Blackmoor has overgrown into a dark canopy that little or no sunlight can penetrate.
  • The overgrown forest has become home to an increasing number of beastmen (orcs or gnolls in 4e).  This makes traveling to Blackmoor, or near it, dangerous.
  • Old people of the village have simply gone mad in one form or another.  The adults have turned into near-zombies, as they really have no desire to live anymore, and the children have all been possessed by minor demons.

When the strangeness started to occur, Markus was killed by a doppleganger that entered the area (he was simply drawn there).  A month after he assumed the identity of Markus, he finally figured out why he was drawn there by going through Markus’ research.

At that moment, Elsa Whickham, a devout cultist, entered the village (she too was drawn there).  Being somewhat powerful, she drove the doppleganger out and moved into the manor (it’s the biggest house in the village).  She came here to set up a temple for her chaos demon that she is now able to summon, and is using all of the mindless human drones wandering around the village.  Elsa is a very tall, gothic-looking woman, the kind that could intimidate any man.  She doesn’t care about the old people, as some of them can still tend to her needs, nor does she care about the possessed children, as they pose no real threat to her.

The Player Characters

The Doppleganger hires the PCs to go to Blackmoor to retrieve all of “his” work, before Elsa figures out what it is.  No one else wants the job, because the area has generally been deemed cursed due to the overgrown forest (and the fact that so few people return from Blackmoor).   He doesn’t think that she will prevent anyone from taking it, as long as she doesn’t know its significance.  If she won’t part with it, the PCs are to take it forcibly.

The travel time is four days (one day to the forest, three to ride through it).  On the way there, they meet up with a minor noble also traveling to Blackmoor (actually intending to travel through it).  If the PCs don’t suggest traveling together for safety, he will.  He’s traveling in a horse-drawn carriage, accompanied by a driver and bodyguard.  Play it up that he is a bit snobbish, controlling, and not afraid of anything.

Just as the group are about to enter the overgrown forest, a horse runs out of the forest without its rider.  The horse is spooked and has been splashed with blood (presumably from its rider).  The rider is nowhere to be found.  About an hour into the forest, if the PCs are very perceptive, they can see a bow on the ground, but no body.  Twelve feet up, four-inch thick branches have been broken.  A large beast has killed the rider and taken his body.  For the rest of the trip, the heroes are followed by beastmen (or gnolls)  in the woods.  At some point in the forest, the PCs will be attacked by a large pack of beastmen/gnolls.  The monsters kill the NPCs (have the noble cowering as he is ripped to shreds).

Just before they enter the village (past sunset), they are practically chased into the village by a very large number of beastment/gnolls.   Once inside the village, they find an old man (in the dark) randomly hacking away at some fences with a hatchet.  He cannot be helped or communicated with.  An old lady sweeping her porch with an imaginary broom babbles incoherently.

The village is rundown. The fields have not been worked in months, and have been overrun by trees and other vegetation.  No horses, goats, chickens, etc. can be found (they’ve all been eaten by the children).  Children can be seen about, but act very strangely (when they skip down the road, they do so in perfect unison, singing child songs in perfect harmony).  Other children drink ale from the old lady’s cottage (it’s her duty to feed them).  If asked, the children don’t know where their parents are, “probably out working the fields.   Drink some whiskey with us.” The children are not children at all, but have been possessed.  They seem to have a great interest in the PC’s horses.

Once the PCs make it to the manor, a child offers to stable their horses (again, no other horses can be seen, though their saddles are clearly visible strewn about).  If the PCs agree to this, one of their horses will turn up missing by morning.  They are greeted by a very tall woman, Elsa, who eventually offers to put up the PCs for the night.  If any of the PCs are injured, she can heal them, as she has excellent first aid skills.  Dinner consists of food the PCs are familiar with, and a meat that they are not (human flesh).  She doesn’t go into details about it.  She knows what the PCs are after, knows what the research really is and does, but passes it off as if it’s just some junk, and let’s the PCs take it.  Her real motivation is one of the PCs…

Make sure that in a creepy village such as this, Elsa still seems somewhat normal.  In any other village she would seem like a master vampire hellbent on domination fetishes and goth decor.  But here, she is almost a safe-haven.  The PCs may suspect her of something, but she offers nothing for them to hint at.

When the PCs awake in the morning, one of them has scratches and bite marks all over his torso.  He also remembers a dream he had that night involving Elsa – the most passionate night of his life.  If it weren’t for the scars and bite marks, he would have thought it just a dream.  Even if others were in the room that night, they never heard anything.  If mentioned to Elsa, she smiles coyly, and bids the PCs farewell.  All of the research and machinery that the PCs need to take must be taken in a wagon or carriage.

While leaving the village, the children all follow the PCs without saying anything.  Play it up in a very “Children of the Corn” way.  If at any time the PCs look for the adults, they don’t find them.  The old lady shouts out ramblings at the PCs as they leave, at one point saying, “The sun is North and the sky is red, that scientist died and is buried to bed.” If pressed or questioned, she can say nothing of any intelligent meaning.  In truth, she knows that the scientist was killed by a doppleganger, but is unable to formulate that into words, or point to where the scientist is buried.

The trip back home is a tense one.  For the entire four days, the group is followed and/or harassed by dangers from the forest (though there should not be any real deadly danger).  The horses are uneasy for the whole trip due to the chaotic effects of the scientific research in the wagon.  Normally, the cargo would cause the PCs to slowly lose their minds, but Elsa wants the cargo to get to a larger city, so she has blocked the effect from targeting the PCs.

When the PCs get back to town, they can drop the cargo off at the merchant’s grounds.  Neither the merchant or the doppleganger are there, though.  If the PCs won’t part with the cargo unless they get paid, someone will find the money to give them.

After leaving the merchant’s place, they happen upon a public hanging.  In watching the event, they find out that the person being executed is indeed the scientist/doppleganger (all doppleganger’s are evil assassins, right?  That’s why he’s being executed).  It is at this point that the PCs find out he is actually a doppleganger.  As he’s struggling for air, he changes shape into several different forms (presumably ones that he has assumed in the past).  With the scientist/dopplegnger dead, and the merchant out of town, the PCs either have yet to be paid, or are waiting for their next job/adventure.

Over the course of the next few days, the PC’s slowly notice subtle changes in the town.  Some trees start growing in the center of roads, beastman/gnoll attacks happen extremely close to the town, and then finally they notice some children acting very strange.  People also begin to have problems casting magic.  If the PCs don’t figure out that the cargo they brought along has something to do with it, you need to help them along.  Should they go back to investigate the cargo, they find that the workers on the merchant’s grounds are all very complacent, and do anything the players ask.

Upon investigating the cargo, they discover that the scientist had a diary.  In it, he describes his work, his findings, his theories, and notes on the strange occurrences in Blackmoor village leading up to his death.  By now you must get the PCs to understand that simply by bringing the scientific research (the research that disproves magic) to their town, they have also brought the curse.  The only real course of action at this point is to destroy all of the research, and then head back to Blackmoor to rid the village of the evil there, completely stopping the curse.

If the PCs have trouble with this, they are contacted by the Lord Marshal of the town (the captain of the town guard).  He knows that the PCs went to the “cursed” town of Blackmoor and brought back cargo (few people, if any, have come back alive from Blackmoor).  With the town starting to become cursed, he naturally suspects the PCs.

Whether the PCs can successfully defend his implications or not, he will appeal to their  “expertise” on Blackmoor, and insist that they accompany him and his troop to Blackmoor to deal with the curse once and for all.  The PCs have no choice – they must go back to Blackmoor.  However, this time the group is constantly threatened by beastmen/gnolls, though not attacking the group until the night before they reach Blackmoor.

In this big, dangerous battle, give the players control over groups of soldiers.  Each player gets bonuses for his own attacks, defense, and damage for every soldier in his group (makie it 4, 5, or 6 soldiers in each PC group).  With every hit that the PC takes, he can choose to take the damage, or take one soldier out of the fight.  Remember, while all of soldiers are in the fight, none of them get actual attack/defense rolls; they are simply augmenting the PCs rolls.

If any of the soldiers survive, they dissappear in the middle of the night (having been summoned to Blackmoor by Elsa).  When the PCs finally arrive in Blackmoor, their horses begin to bleed from the nose and mouth.  With the scientific research that disproves magic no longer in Blackmoor, magic now works here normally, but the area is still filled with chaos.  Here they are greeted by Elsa and her new son.  Elsa appears to have aged about 60 years, and is very frail.  The son appears to be about 8 years old, and is the spitting image of the PC that slept with Elsa.  When he sees the PCs, he welcomes them and says, “Hello father.” Yes, the son is actually less than two weeks old.

Elsa’s whole purpose here was to erect a temple, and then bring her god-demon to life by way of inception and birth.  She let the PCs go back to their hometown with the cargo because she felt it would bring her more human drones (and in fact it brought her soldiers who became drones).

By now the PCs should want to kill Elsa and the kid.  Let them kill her, but the child gets away.

It’s obvious to the PCs that the surviving soldiers have traveled to the other side of the village (a large group of bumbling men leave good tracks).  The PCs should be able to follow the tracks without any rolls needed.  About half a mile into the forest, they come to an area where many of the trees have been cleared away.  A shoddy temple (a large log structure) has been erected next to a pond.  In certain parts of the pond, pools of oil are lit up on fire, making several bonfires resting on the water’s surface.

As the PCs are deciding what to do next, adults (who are presumably from the village) start walking out of the pond, all zombie-style (yes, they’ve been underwater for awhile).  Some even walk out from the forest, not bothering the PCs.  If the PCs want, they can get into the temple just by walking with the village adults.

From here it’s up to you to decide how the adventure ends.  The child is indeed inside the temple, and may be spotted for a moment from the distance (so the PCs know for sure he is in there).  Do the PCs get into a big fight with a bunch of almost-undead?  Do they find a way to bring the whole temple down and burn it up?  Do they go inside to see the soldiers all fused together, acting as pillars for the temple?  Is the child-demon easy to kill, or one tough bastard?

After all is said and done, do the children need to be killed, or do they revert back to normal children?  The same question applies to any surviving zombie-adults.  Should the heroes go back to town as the only survivors of an awful curse, but having eliminated that curse?  Or do they also get the honor of saving the people of Blackmoor.  The grim nature of the final outcome depends largely on you.

Drakes Contest Winner!

It’s time to announce the winner for the Drakes contest!  The contest consisted of 20 entries in the form of comments, all describing either a character, enemy, monster, NPC, adventure idea or encounter idea.  Interestingly, almost all of the entries were of adventure ideas.

Honorable mention goes out to NonCharon and Peter Steven King (comments #2 and #4).

The entry that got the most votes from the Stuffer Shack crew was from KyckRicky:

“Denison is a half-orc corporate wage slave (Mr. Johnson)…”

As Colin pointed out, “I love the thought of giving the PCs every chance to define their morality, and the morality of the party,” I couldn’t agree more.

Thank you everyone for your contributions.  Winner has been notified via email.

Savage Worlds Markers?

So, I recently got a request for some “Shaken and Wounds Markers” for Savage Worlds (Deadlands would be my favorite).  Right now Stuffer Shack offers Mini Counters and Bloodied Markers, but I was wondering what other types of markers/counters I could make.  What games do you think would benefit from some sort of markers?  For instance, Star Wars D6 has the Stunned, Wounded, and Incapacitated conditions.  Also, 4e has a slew of conditions that markers could designate.  While I’ve played a few different games over the years, I haven’t played a lot.  That’s why I’m asking the webverse (you).

Specifically, I’m looking to offer all kinds of markers and counters for a variety of games.  What would you like to see? What would be helpful for your game?

Malik, the Explorer – Steal this Background

Malik approaches life head-on with a sense of raw, unbridled enthusiasm. Although he has never really “fit in” anywhere and has oftentimes been the subject of scorn, ridicule, and hostility, Malik still approaches everyday with zest, zeal, and the desire to live life fully. Although an optimist at heart, years of wandering and seeing the evils wrought by both man and creature have left him outwardly withdrawn, stoic, and morose. Only travel, seeing new places and meeting new people seems to lighten his mood and make him feel like “himself.” Malik’s mood and demeanor are noticeably improved when he sees “good” things happen or is able to help make a difference for those in need.

Although 65 years old, Malik’s infernal heritage gives him the look and health of a man in his 30’s, only the weariness in his eyes betrays his true age. Malik’s Mark of Passage is on his left inner wrist but he normally keeps it under wraps and hidden from view, just like the other tattoos that cover his body and tell the story of a lifetime of occupations, adventures, and travels. When he uses his arcane or racial abilities, Malik’s Dragonmark glows with a burning, violet energy causing him pain and discomfort.

Malik has tanned red skin, deep yellow eyes with smoldering red pupils, and wears his jet-black hair pulled back into a pony-tail. Two thin braids hang from just behind his upturned horns. Malik is fond of jewelry (a leftover from his days as a pirate), and has various beads and baubles woven into his braids. He also has a few pieces of jewelry on his tail, hanging from his ears, and an amulet he never removes, given to him by the dragonborn barbarians of Seren,  representing the symbol for eternal life.

Malik tends to dress in simple, functional clothing, preferring loose fitting long-sleeved shirts and leather breeches. Over his shirt he wears a black sleeveless, waist length chainmail coat given to him by the dwarves of the Mror Holds. He wears leather wraps on his lower legs and forearms for both protection and to hide his mark. He also wears a very utilitarian leather bandoleer full of pockets of various sizes for all manner of things that he picks up and carries with him. Rounding out his clothing is the ankle-length, dusty gray, hooded cloak that Malik wears when he is “on the road.” Malik carries two weapons with him at all times; a matched pair of short swords known as An-une’esh (elven for Fate and Destiny) that were given to him by a Valenar chieftain in Taer Shantara.