Category Archives: DnD

Assassin-themed Khador

They make wives into widows, hence “Widowmakers”

I don’t care for the whole Khador == Soviet Russia oversimplification, but with the release of the Kayazy Underboss unit attachment and Yuri the Axe, there’s a rather solid cold-blooded-killer army available now for the Motherland:

Faction: Khador
Army Points: 750/750
Victory Points: 26

Kommander Sorscha Kratikoff
– Destroyer
Yuri the Axe
– Manhunter
– Manhunter
Doom Reavers
Kayazy Assassins (8)
– Kayazy Assassins Underboss
Kossite Woodsmen (6)
Widowmakers
Eiryss, Mage Hunter of Ios
Gorman Di Wulfe, Rogue Alchemist
Kell Bailoch
Croe’s Cutthroats (6)

Each model is directly associated with assassination, Kommander Sorscha being renown in WARMACHINE for her “woosh” tactic, leading to the quick demise of many enemy Warcasters over the years. The Destroyer has traditionally played the role of Sorscha’s assassination-partner for the Wind Rush to Icy Gaze combination along with Eiryss. Each of the other mercenaries is explicitly a professional assassin, as are the Kayazy ally unit. The Widowmakers are snipers, not assassins, but this is a rather fine semantic point from the perspective of Khador’s enemies. The only models that are a bit of a stretch thematically are the Doom Reavers (a penal unit of berserkers driven mad by their enchanted weapons). I included them due to the criminality of their background. The Kossite Woodsmen are treated as mercenary near-criminals in the background information, and add to the “hired gun” flavor of much of this list.

It’s also almost entirely Advanced Deployment, which is big fun. Line your little gaggle of murderers up against precisely the assets you mean to. A variation is also possible for 500pt games, but doesn’t quite have the punch and lacks the thematic overkill.

1938-2008

Dungeons & Dragons

Gary Gygax, the co-creator of the Dungeons & Dragons roleplaying game, died earlier today. God only knows how many hours I’ve spent playing his game over the years. Many of the tropes he introduced through Castle Greyhawk and the now-iconic characters from his early campaigns are planted in the fertile imaginations of millions of people around the world, young and old. I raise my Bigby’s Interposing Hand in salute, old man.

Rise of the Runelords

Rise of the Rune Lords

Back when Wizards of the Coast canceled Dragon and Dungeon magazines as printed product lines, Paizo Publishing took it upon themselves to finish up an adventure series they already had in-progress. The result was the Rise of the Runelords, a six-part adventure set in a new campaign setting of Paizo’s creation. As with previous adventure paths (starting with the Shackled City that started in Dungeon #97 back in 2003), it is intended to take a group of lowly 1st-level adventurers through an interconnected series of challenges that weave together into a grand adventure culminating with some pretty impressive high-level stuff. Ending an adventure path at level 20 is a reasonable expectation, and the challenges at the climax are worthy adversaries.

I haven’t actually run Rise of the Runelords, having purchased each installment more as a symptom of my RPG addiction than for any practical purpose, but I’m sorely tempted to give it a shot now that I have all the material. Central to the premise is an ancient, largely-forgotten empire ruled by a fractious group of specialist wizards. Some great cataclysm came down upon this ancient empire, and the ruling wizards (the Runelords of the adventure’s title) had to withdraw from the world until they could reconstitute their power. A variety of events have finally come to awaken the transmuter Runelord, which represents a tremendous threat to the wellbeing and safety of everybody on the continent.

A theme that runs throughout the adventure path is the close association of the seven deadly sins with the seven schools of Thassalonian magic (they didn’t have Diviners, it turns out). They may Evocation to Wrath, Transmutation to Greed, Enchantment to Lust, Conjuration to Sloth, and so forth. The less-than-heroic tendencies and personalities of the heroes are to be used at various times, with certain encounters keyed to whoever the most proud party member is, or the greediest, and so forth. The seven deadly sins show up frequently as the primary motivations for the various villains and scoundrels that appear throughout the Rise of the Runelords, something that helps set this story apart from others I’ve seen.

The production quality is excellent, printed in full-color on solid-feeling glossy paper. A number of talented writers and artists were called to collaborate on this project, with writers like Wolfgang Baur and Nicolas Logue putting their weight into background information and individual legs of the adventure, and artists like Wayne Reynolds putting together some great illustrations to help give everything the pop that helps a DM whet his appetite. Priced at $USD19.99 apiece, picking up all six is a bit on an investment, the blow made softer in my case by being spread out over a whole year. I’ve run through the first few chapters in my head and am pretty confident it would take my play group the better part of two years to pound our way through this, which makes it a reasonable investment if you’re keen on the idea of running somebody else’s creation.

Next up will be the Curse of the Crimson Throne, which takes place in the same campaign setting (starting in a different area, one that the party wouldn’t likely have visited in Rise of the Runelords). The Curse of the Crimson Throne should have six installments (I’ve seen preview covers, but only the first three look finished to me, the tail end appearing to be mock-ups put together with artwork from the first adventure). This will be followed by another adventure named the Second Darkness. I’m guessing that the folks at Paizo are pretty happy with how things have been going since their magazine publishing days.

Book of Nine Swords

Swordsage vs. Ettin

My weekly RPG group has recently reverted to a Forgotten Realms game, complete with the stereotypical traveling-circus nonsensical party composition (an Ogre, two Humans, a Gnome, and a Halfling), and I’ve taken it upon myself to give the fabled Tome of Battle, the Book of Weeaboo Fightan Magics a shot with a Silas Coldwater, Crusader of Tyr.

In broad terms, the Tome of Battle seeks to make melee combatants more interesting to use than simply Move Action, Attack with the occasional Full Attack, 5-foot-step. The kinds of tactical options available to the typical Fighter or Barbarian character have generally involved wading hip-deep into rules that involve attacks of opportunity, special modifiers, and contested die rolls (grapple, trip, bull rush, and sunder: I’m looking at you, here). Basically they bog things down and tend not to be terribly useful against Gargantuan critters with more than two legs. Tome of Battle introduces three new character classes — basically just Fighter variants — that take advantage of a new set of rules for Maneuvers and Stances.

Maneuvers operate a lot like spells in that they have minimum level requirements. In the case of my Crusader, I can make an extra-powerful “Mountain Hammer” attack every once in a while, or use Stone Bones to gain temporary damage reduction, or a number of other flashy tricks. Stances are special maneuvers that are pretty much always on. Silas generally operates in Iron Guard Glare stance, which grants an armor class bonus to all his allies (but not to himself) against any opponent that Silas threatens.

The Tome of Battle is considered one of the books that 4th Edition Dungeons & Dragons will be drawing greatly from; it was an experiment in some new ways of handling tactical encounters that works pretty smoothly. It also shows a bit of how the Wizards of the Coast folks would like to handle character advancement going forward. They wanted to make it so that players would have interesting choices to make every time their characters become more accomplished. For a Fighter, character progression meant a small number of skill points, often used simply to reinforce aptitude in areas that character was already good at, the Fighter would get some more hit points, and his base attack bonus would go up. Yawn. Every second and every third level, the Fighter would get to select a new feat. This is the chief way in which a Fighter would differentiate himself, the primary mechanism by which he’d be cool.

For the Crusader, they mix this up a bit. To illustrate, I’ll describe the decisions I got to make on my way to 6th level.

  1. 1st: Any character has a ton of choices at 1st level. What’s the basic character concept? What race, class, class abilities, skills, equipment, etc help demonstrate that concept? I went with a polearm-wielding Crusader with Combat Reflexes and a smattering of maneuvers like Vanguard Strike that help his buddies do their jobs better.
  2. 2nd: Here a Fighter would get a bonus feat. A Crusader instead gets a second stance and a class ability that helps with saving throws. Silas picks Martial Spirit, which lets him heal allies a little when he hits an enemy in melee.
  3. 3rd: Everybody gets a feat at this level, and a Crusader gets a new maneuver. 3rd level is when 2nd-level maneuvers are available, so I take Mountain Hammer, which lets me do an extra 2d6 damage, bypassing damage reduction and hardness.
  4. 4th: Everybody gets a stat improvement, a Fighter would get a bonus feat, and a Crusader gets to upgrade one of his old maneuvers, swapping it out for a new one. 2nd level maneuvers are pretty cool, so I swap out a 1st level one that I really took as a placeholder, and grab another tasty 2nd level maneuver.
  5. 5th: This is a dead level for Fighters, but when Clerics and Wizards get 3rd level magic. Similarly, Silas got a new maneuver at up to 3rd level. I get him White Raven Tactics, which allows an ally to go at exactly one initiative after him, even if that ally had already acted that turn. This lets the Fighter in the party get two full-round actions, sometimes before our opponents even get a chance to act. Neato.
  6. 6th: Everybody gets another feat, Fighters get two, and a Crusader gets to trade out another Maneuver (throw away an old, stale one for a new, hot one). I could trade out Crusader’s Strike (which lets me heal 1d6+5 to an ally when striking a foe) for Revitalizing Strike (which lets me heal 3d6+6 — eventually 3d6+15 — when striking a foe), a clear upgrade for something that’s nice at low levels but utterly unimpressive at mid-level or high-level play. Or perhaps I’d be better served taking Defensive Rebuke, which forces any opponent Silas strikes to target him or provoke an attack of opportunity (handy with Combat Reflexes and a reach weapon). Decisions, decisions. There are several other options as well.

That doesn’t go into the various interesting class abilities. Basically I get to make real decisions in mid-combat without having to muck through a massive spell list. Nice. The other Tome of Battle classes, the Sword Sage and Warblade, have their own distinct flavors, differentiated by the palette of maneuvers available to them, their class abilities, and the means by which they get to refresh their maneuvers.

A lot of the descriptive text is the kind of poorly-conceived high fantasy oriental tripe that I expect from Dungeons & Dragons, the kind of stuff that leaves me incapable of running a serious game in Greyhawk or the Forgotten Realms. That said, it’s an interesting addition to the way that D&D operates. Separate it a bit from the half-baked mysticism and I think they’re really on to something here. I can only hope that their approach to the 4th Edition Fighter is heavily inspired by the game mechanics, if not the fluff, of this book.

Cthulhutech

Cthulhu + Science Fiction = Cthulhutech

Hey, you put chocolate in my peanut butter! You put peanut butter in my chocolate! BAAAWW!

Mongooge Publishing has finally released Cthulhutech. I put a custom order in for it at my favorite local gaming store just yesterday. It combines key concepts of the classic Cthulhu Mythos with stylistic and thematic elements of Japanese giant-robot science fiction shows like Gundam, Guyver, and Neon Genesis Evangelion. This has been a controversial move.

There are genres that have been around the block a few times, which have built for themselves a special place in the hearts of gamers. They’ve been with us for years, we’ve dabbled with them all, embraced some, rejected others, but everybody seems to have an opinion on them. Swords & Sorcery is the classic RPG genre, due to the Dungeons & Dragons foundation upon which dice-and-paper roleplaying is build on. Space Opera is another, bolstered by the popularity of entertainment standards like Star Wars, Star Trek, Battlesar Galactica, Babylon 5, and what-have you. Cyberpunk (dark near-future) science fiction really took roots with the R. Talsorian Cyberpunk and FASA’s Shadowrun, spinning off innumerable knock-offs. But where Swords & Sorcery draws its lineage to Tolkien, Space Operas look back to Star Blazers and thousand pulp novels, and Cyberpunk spawned from more recent works by the likes of William Gibson, one of my favorite genres germinated in the mind of Howard Phillips Lovecraft and several of his contemporaries.

I speak, of course, of the Cosmic Horror genre, most frequently associated with the Great Old One Cthulhu. Back in the early 1980s, Chaosium published a roleplaying game that drew heavily on the works of H.P. Lovecraft and those who were inspired by him. They put together a beastiary of unspeakable, indescribably-awful creatures alluded to in the source material, and hung together a cohesive cosmology of sorts. Thousands of gamers were exposed to Lovecraft for the first time through Chaosium’s classic work, and consider it an accurate representation of Lovecraft’s writings.

This isn’t really the case, though. Originally the stories of Cthulhu, Yog-Sothoth, Shub-Niggurath, and so forth were a loosely-woven web of stories by multiple authors. Robert E. Howard borrowed Lovecraft’s creations from time to time, and vice versa, but they weren’t necessarily related to each other in any kind of strict hierarchy. Regardless, many of the RPG enthusiasts out there have expressed various shades of anger at some of the sci-fi tropes that Mongoose has brought into their game, apparently provoked by the notion that the Cthulhu Mythos as they understand it is already complete, perfect, and immutable.

I’ve got my book on order, I’ll pay good money for it. I hope to post a review that will address some of the concerns that have come up:

  • Mankind harnessing mythos magic is antithetical to the notion that such things are beyond the ken of the fragile human mind
  • Doing battle with the great old ones or elder gods is utterly absurd
  • Various dogma regarding the nature of the Mi-go
  • The status of Deep Ones in relation to R’lyeh and the current disposition of Cthulhu Himself
  • Whatever mechanics the game may have regarding the mental stability of player characters

Monsterpocalypse

Monsterpocalypse

Today Privateer Press announced their first departure from the Iron Kingdoms setting in a major release. First they had the Iron Kingdoms RPG setting, released as d20 supplements. Then came WARMACHINE, a miniatures tactical game that is set in the Iron Kingdoms. It has been doing really quite well, spawning a stand-alone expansion game called HORDES that shares the setting, timeline, and several major characters. This past year Infernal Contraption was released, a card game based on the Iron Kingdoms take on goblins and the Iron Kingdoms concept of mechanika. This one’s a more complete departure: Kaiju. That’s right, giant rubber monsters, teams of super-men, the Tokyo Tower being destroyed over and over again…

I’m not quite sure what to make of this descent into matters so clearly weeaboo.

Monsterpocalypse Preview

Goblin Defense Fund

Goblin activists take to the streets!

Brothers and sisters! Friends and neighbors! Squiggs and Nobs! Lend me your ear, for the Goblin Defense Fund needs you. Yes, you, the guy sitting in his underwear browsing the web with a bowl of Cheetos and a bottle of Michelob that was looking for Tenjo Tenge prons. As Wizards of the Coast goes into its final months of preparation and polish in anticipation of the May 2008 release of 4th Edition Dungeons & Dragons, we have have an opportunity to set right the wrongs of the past 33 years. No more denigration of the noble Goblin. No more casting of aspersions at the Goblin moral fiber. No more elf-loving propagandist slurs against our little green buddies.

Sign the petition. Comment on the developer blogs. Take up the banner in any RPG-related forum you may participate in. We can make a difference, folks!

*Hat tip to Wolfgang Baur, whose livejournal page brought this movement to my attention. I must note, however, that Mr. Baur participated in the creation of a scandalously bigoted, anti-Goblin adventure called Pathfinder, published by Paizo Press.

Anticipation Versus the Hype Machine

New core books, oh my!

You can put me on the list of people that are wary of what the Dungeons & Dragons 4th Edition is going to look like, but admittedly I’m rather middle-of-the-road about it. After 2nd Edition AD&D and the Skills & Powers expansions (which I think of as AD&D 2.5th Edition) had been out for a few years, I was rather burned out on Dungeons & Dragons. I’d done my time playing with power-gaming, rules-lawyering, munchkin half-elven psionicist/ranger dual-classed super-monkeys and spent some quality time playing Call of Cthulhu, 3rd Edition Earthdawn, and some Cyberpunk 2020 every now and then.
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My Favorite Copypasta

Mmm… Delicious copypasta

That’s it. I’m sick of all this “Masterwork Bastard Sword” bullshit that’s going on in the d20 system right now. Katanas deserve much better than that. Much, much better than that.

I should know what I’m talking about. I myself commissioned a genuine katana in Japan for 2,400,000 Yen (that’s about $20,000) and have been practicing with it for almost 2 years now. I can even cut slabs of solid steel with my katana.

Japanese smiths spend years working on a single katana and fold it up to a million times to produce the finest blades known to mankind.

Katanas are thrice as sharp as European swords and thrice as hard for that matter too. Anything a longsword can cut through, a katana can cut through better. I’m pretty sure a katana could easily bisect a knight wearing full plate with a simple vertical slash.

Ever wonder why medieval Europe never bothered conquering Japan? That’s right, they were too scared to fight the disciplined Samurai and their katanas of destruction. Even in World War II, American soldiers targeted the men with the katanas first because their killing power was feared and respected.

So what am I saying? Katanas are simply the best sword that the world has ever seen, and thus, require better stats in the d20 system. Here is the stat block I propose for Katanas:

(One-Handed Exotic Weapon)

1d12 Damage
19-20 x4 Crit
+2 to hit and damage
Counts as Masterwork

(Two-Handed Exotic Weapon)

2d10 Damage
17-20 x4 Crit
+5 to hit and damage
Counts as Masterwork

Now that seems a lot more representative of the cutting power of Katanas in real life, don’t you think?

Farewell, Erinyes

Erinyes to the left, Succubus to the right

With 4th Edition Dungeons & Dragons around the corner, lots of of things from previous editions will be changing around. Among these changes are some clearer delineations between Baatezu (Devils) and Tanaari (Demons). Rich Baker, developer at Wizards of the Coast, says they’re going to be tidying up the Devils to be more humanoid, more likely to use weapons and armor, as opposed to their more chaotic, bestial counterparts. That makes some sense.

Something that really caught my attention was that they’re going to be getting rid of the Erinyes as a devilish counterpart to the Succubus; apparently they’re just too similar to be two separate creatures. This is more a function of thematic drift than anything else. The Erinyes were the enforcers of Hell’s laws in Greek mythology, dragging those who created death kicking and screaming down to the underworld. The fact that they are female, along with the kind of artistic license that has lead to such silliness as chainmail bikinis, along with some rather shallow thinking by neckbearded RPG enthusiasts that equate “evil female” with “seductress” has caused the noble Erinyes to slide down to a real similarity with the more debased “sneak into your bed at night and suck out your soul” concept of the Succubus (and her counterpart, the considerably less interesting to RPG fanboys Incubus). Sword & Sorcery artists have basically three ways to draw women: child, old hag, and smoking hot sex-bunny. Nothing about the Erinyes is thematically childish or elderly, so the sultry seductress Erinyes became the graphic representation for the Furies of Hades.

I’ve personally found the corrupted version of the Erinyes to be far more interesting as a plot device. The Succubus is basically just a “gotcha” to throw at some philandering adventurer type that likes to pinch all the barmaids’ bottoms between dungeon crawls. “You lay your best line down on that maiden at the bar. Roll your Diplomacy… Yeah, she’s totally digging you. You buy her a couple drinks and she invites you back to your room.” Several failed Charisma-based Willpower saves later, the adventurer is in seriously bad shape for no particular reason. Alternately you have some manipulative devil-lady pulling the local warlord’s strings plunging the entire realm into tyranny and evil; this is more suitable work for a Devil than a Demon, the way D&D delineates things. The Succubus as an incarnation of lustful urges makes sense, but isn’t an interesting creature for adventurers to foil. The Erinyes as manipulator of greed and ambition defies the origin of the name, but is far more useful for a DM looking to challenge his players in an interesting way.

Goblin, Orc, Bugbear, Gnoll

I respect that the WotC folks don’t expect to reverse this corruption of the Erinyes concept, even while saying that there may still be a role for Furies (a far less interesting name for the same thing) that are conceptually distinct from Succubi. I wonder, however, how far they’re going to take this. Is there really a serious distinction between an Orc and a Hobgoblin? How about Gnolls? Is there any substantive difference between a Kobold and a Goblin, for that matter?

A great many of the critters found in the Monster Manual and its sequels fill nearly identical roles for most purposes, and the broad pallet of choices has been a part of Dungeons & Dragons’ appeal over the years. Your kingdom isn’t being assailed just by an army of Orcs, oh no; you’re beset by a terrible alliance of Hobgoblins, Bugbears, Mongrelmen, Orcs, and Trolls. Whatever shall you do?

I’m certainly in favor of the D&D development team taking a hard look at the plethora of meanies that are presented, prefabricated, for us. An unexamined game isn’t worth publishing, to paraphrase Socrates. That said, they should always bear in mind that many of us have certain favorites that we’d the loathe to do without. Though I haven’t used an Erinyes in a D&D campaign since 3rd edition was released years ago, I would appreciate it if the editorial assumption were to improve and differentiate rather than to remove.