The Design Demon and the Amazing Technicolor Enviornment

"Don’t prep plots, prep situations." - The Alexandrian a decade past.

This is part IV in the Design Demon series, part 1 is here, part 2 is here, part 3 is here. The Design Demon series is about how to philosophically approach the design of the game. The players drive play, but the play they encounter should be deliberately designed. Let's continue:


Your space is flat. Not only literally, it's dull, dull, DULL.
I'm weary of it for you.

You can design a room as an encounter, and that's. . . fine. It's ok. Lots of people do that, and you shouldn't feel bad if you do that. I mean you have to start somewhere. Sure. The bottom is as good a place as any.

Repetition ad infinitum of I attack, I attack, I attack—the fights been joined and then all the players  do is attack. That isn't happening in my game, and it's not because I'm some crazy savant that can magically conjure enough words to make combat seem more exciting.

I make combat exciting with deliberate design. Will what I do work for you? Let's find out!

Finding out!

The map displays where the encounter happens, and yet the map is not the environment. You must think on this.

Why is your map flat? Do you desire a flat space, or is it because paper is flat? Your will is stronger than the shape of the paper. Seize your will, and put it to the task of designing the space.

We design space ready for action—not space with an encounter. The encounter may be prepared ahead of time. The particulars of encounters engaged is left to fate. Bodies do not stand, arms steepled over sacrifices, checking their watch impatiently for the players.  How the players draw near this dynamic situation within the space determines the specifics of the encounter—the players choices determine the outcome.

The space contains features which drive emergent play.

The emergent play is organic and complex, because it arises due to the unforeseen interactions between the environmental components. We play to find out what happens. Every outcome the players can connect to their choices is a sense of ownership, every outcome out of their control or dictated to them removes that ownership and engagement.

Dynamic Spaces


Verticality: You are disgustingly reliant on flat spaces. Place a platform, stairway, depression, archway, pit, bannister, half-size barrier, arched ceilings, or multiple vertical platforms every twenty to thirty feet in rooms and chambers, and every fifty to sixty feet in corridors.

Liquids: Including one liquid per small environment or two for larger environments, such as a temples main floor or other large adventure space.

Water is most common. Other liquids include oil, acid, sludge, ectoplasm, magma/lava, jelly/slime, sand(ish), rivers of souls, elemental energy, et. al. Approximately every fifty feet there should be a basin, pool, river, waterfall, standing liquid, dripping liquid, spraying gouts of liquid or liquid spout.

Barriers: Liberally distribute, mobile or not. Mobile barriers include tables, boxes, barrels, wooden dividers, shelves and benches. Solid barriers provide cover from light missile fire and disrupt the line of effect magic needs to function. Transparent barriers provide a bonus versus missile fire, and protect from straightforward melee attacks as well as preventing line of effect from functioning.

Barriers may also be knocked over, either offensively or defensively.

Terrain abnormalities: Difficult terrain is the beginning. Notice it simply doubles movement. This use of terrain shapes mobility on the field and is the most direct method.

Another common terrain is grease—save to avoid going prone, or move in a straight line and exit on the other side of the grease. It's also flammable. Ice is as grease, non-flammable, with falling ice making the terrain difficult.

Fog eliminates visibility, changing the fight. Ground mist obscures anything knocked or on the floor.  Severe enough mist provides obscurities short characters. Vegetation is difficult terrain for most creatures that provides both partial physical and visual cover. Fighting in partial vegetation against creatures that are not affected by it increases the difficulty of the encounter.

Consider your setting. Salt may affect spirits or elves in unique ways. You have tactical infinity—do not include everything. (q.v. vectors) Think about what you are designing. Design towards your theme. Terrain can include dead magic zones, ley lines, unstable ground, wind channels, conveyor belts et. al. Terrain itself may be invisible, from magic pathways in the air,wind mazes or force walls on the ground.

Do not limit yourself to these, consider well the following.

The terrain should be consistent. It should have a known effect non-diegetically explained beforehand. Terrain should always be open information the players have. This does not mean that there can't be hidden information. This just means the players have an understanding of how the hidden information works, like fog, obscurement, or the invisibility spell. As long as the players understand the terrain, situations may exist where different people in the conflict can be in or out of phase or time of reality, different people are in control of different bodies, or doppelgangers run amuck as long as it's consistent and presented ahead of time to the players.

Do not use terrain that requires a successful check to act. This creates a terrible experience. Players randomly losing turns sounds way better than the way it mechanically works out at the table. Being able to act is core to the economy of gameplay, and restricting that randomly makes for a terrible experience, not an exciting one. No one wants to check to see if they can play.

Consider the themes, common monsters, setting, and player abilities when designing terrain for your group. Consider archetypes when designing terrain.

One final note, be sure to describe the mechanical effects clearly. Allow access to the what. Consider the following. Explain the 'why' and it embodies exposition, exasperating players. If why is discovered from player desire, engaging play is the result. There should a rational presentation of even a metaphysical space, i.e. even if the shape is a tesseract and modrons portal in from one place to another, players should understand the mechanical underpinnings of the mechanics.

The upper reaches: What hangs from above? Consider ropes, chains, catwalks, stones/stalactites, lanterns, burning coals, clothing, vegetables, tools, hooks, bodies, meat, curtains, beads, et. al. Do not forget cave fishers, giant ticks, piercers, and other 'monster hazards'.

Periodic state changes: These should be environmental effects that occur in a predictable fashion. A pillar that shoots any substance on intermittent rounds, sections of terrain subject to falling debris, pits that open or close, walls that move, obstructions that sequentially block sections of the battlefield, ancient sorceries, wards, and leys, energy that arcs, reverse gravity fields, unstable terrain that pushes anyone on it in a changing direction, rotating poles that fling chains about, lava coming up through grates, bolts that fire in certain changing arcs each round.  fountains of acid that spray at regular intervals, giant pendulum blades, and magical beams that make things grow or shrink, et. al.

Objects: Every room should have one to three objects within it that can be used by the players. Consider sacks of potatoes, shovels, chairs, torches, metal buckets, et. al. Chambers should contain one to three objects attached to the walls; spears, shields, monster heads, plaques, paintings, curtains, tapestries, plants, ceramic figures, shadow-boxes, et. al.

Secondary Goals: Once your players begin to fear your encounters less, upon reaching superhero levels, goals beyond winning the combat should be combined in the spaces. Keeping in mind the suggested vector limit below. Secondary goals include innocents to be saved, prisoners to be freed, people hanging saved from being dropped into something, destroying an item, preventing an item from being destroyed, activating a mechanism, stopping a disaster, et. al.

Limitations

These features can drastically affect the outcome of the game. This is intentional, and is why the players must know the meaning of the environment, in the same way you understand it, so they can leverage it. It is this player skill that makes high lethality combat enjoyable and manageable. Not through large hit point pools, but instead through dynamic control and utilization of the fictional space within the game.

Keep in mind that adding platforms and putting mages and archers on them is synergistically more powerful than either feature alone. This collection of features and expansion of goals is key to how middle to high level characters are challenged.

No more than nine vectors should be used simultaneously, no less than 5, and seven is ideal. More and some players will lose the thread. Less and the game is straightforward and less interesting. Vectors include any factor relevant to the encounter. When resolved, explicitly removing the vector from the situation, new factors should be introduced organically.

If you don't know the difference between a room and a chamber, do a favor and download my free Tricks, Empty Rooms, and Basic Trap Design guide from drivethrurpg. Over 100,000 downloads. Way over. Check it out.

You could favorite and forget this, or maybe put it on the links to wisdom website, or you could step up and help make more of this content happen, by joining other artists, creatives, and nobel vanguards in our community on Patreon, Twitch and Discord, and get free stuff, .pdfs, virtual table-top ready images, peeks inside my notebooks, and more!


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A Guide to the Ultimate Grim Dawn Expansion

We live in a golden age of games.

There's so many and so much, that it's overwhelming. There's more content than there are hours in a human lifetime to consume it. It is a massive ecosystem dominated by toxic and exploitive baron-companies.

A lot of very smart people I know decided that playing video games takes too much. Games can unbalance a life pretty quickly. World of Warcraft is related to the concept of a poop sock.

Maybe twice a year I mess around with a new game for a few dozen hours? That type of entertainment is like a movie. I talk about it with my friends, it's an interesting and fun diversion.

But I use video games for other things. I'm very productive. I'm appropriately medicated. Puzzles and mindless tasks help me both think and cope.

Let me repeat that. A portion of my ability to cope with life is in doing tasks that are focused around self care. Given free reign to do whatever I want, I spend between 30-90 minutes daily engaged in activities to help myself stay centered.

Sometimes this is meditation, sometimes it's a walk. It's always grinding the coffee beans by hand. But frequently it's software that has the same effect. So even though I only 'play' a couple of games a year, I have others as activities I've integrated into my life. Some people have some aspect of their social lives tied up in video games, not just over the Internet. I know a group of employees in town that plays Clash of Clans as a group on their phones.

The current name for that phenomenon is "live services" or "lifestyle games". It's a terrible name, and coming to terms with that in gaming was one of the things that helped me find balance. Games and what they do to the mind are powerful mojo, and like all things that put us in touch with the source, have to be treated with respect.

Grim Dawn Ultimate Mode
Grim Dawn is one of my current games.That playtime you are looking at is from when they first released the first act, till now, the release of their final expansion. It's relaxing.

Grim Dawn is a game I know well. Believe me, I know what to do, I know all the numbers straight thru, and how to make myself more survivable too. I'm not the best player, that has nothing to do with luck, and mindlessly slaying mobs for 20 minutes cycles up my mind, enough end the game and solve whatever problem I might have.

Crate added a feature to start the game from Ultimate mode, not requiring you to play through the first two cycles. This feature is astoundingly misunderstood.

See, it's not uncommon for action role playing looting video games to require you to play through multiple times, increasing the difficulty each time. Normally, you just play the game. You start on normal or veteran, then after you complete the game, you replay the whole game on elite. If you can beat elite, you can play the game one more time on ultimate difficulty, with the best drops and the most danger! But after hour 400+, the way I played the game changed.

I've seen so many people who ask, How do I start the game on Ultimate?

You just don't. It's not a balanced play experience. It's not designed to take a first level character though the game. If you want to play the game, start on normal. This new feature was designed specifically with players like me in mind.

GUIDE TO PLAYING GRIM DAWN ON ULTIMATE MODE

Don't.

Before the expansion released, here was my procedure: I'd start the game, and run to the early loot corpses. There's several corpses in the first area that grant you a green weapon of exceptional utility. You can grab an axe, a gun, or a two handed blade. I grab which-ever-one goes with the build I'm going to try out.

Then I enter the Crucible. The Crucible is an paid expansion that allows you to fight hordes of monsters in waves in exchange for treasure given equal to a high score. It also gives tributes when you can use to toggle bonus zones for advantages in Crucible or turn in tributes to get devotion points. I'm running the Crucible specifically to gather tributes to exchange for devotion points.

I run one set of ten waves. This gets me to level 7-9. I then grab the treasure, and take my mostly green equipment back for another 30 waves of the crucible. I do this three times to accumulate the 15 tributes to Unlock the first 5 devotion points in the crucible.

Why? Devotion points (normally gathered by activating shrines in play) allow you to modify your build using both unique abilities and to shore up weaknesses and focus strengths. Look at this star chart! The cost of these increases in the crucible the more you have.

This entire process takes around 10 minutes, tops. Once that happens, I then load up the main game, and speed-run the game to ultimate. I have to complete the hidden path witch quest (for the extra skill point) and the two quests that give bonus attribute points. I also grab all the shines that are directly in the way, brining my devotion point total up to around 35-40.

Running through veteran and elite takes between five and six hours. I use a movement ability and movement speed gear to make a beeline through the game. You can even skip the whole first act by repairing the bridge (although I usually kill the warden and complete act I in the base difficulty to pick up all the devotion points from shines).

In order for this to work, I usually have complete gear sets for level 20 (Explorer's, providing a nice boost to movement speed), level 40 (the Perdition set, bloodcallers set, or other early-mid game sets) ready for them to go. I use experience potions, from maximum reputation vendors. That allows me to kill the boss on elite in about 5 hours, puts me somewhere between level 45-55, and ready for ultimate.

Then I can finally play the game. Ultimate has the best drop rates, and more content than I need to hit level 100 before I can even finish all the content. It is where the actual game begins.

The whole point of the expansion allowing players to enter Ultimate was to eliminate the time spent needing to speed-run the first two difficulties. 

If you try to start Ultimate as a straight level 1 character, you will be using a butter knife against enemies that will cause you to explode like a microwave shoved into a grape. Preparing a character for ultimate requires the following:

  • You have to access the Forgotten Gods content on the difficulty level you want to skip. This can be done by speaking to the new character that appears in Devil's Crossing at the end of act I. My death knight was at the end of Ultimate, deep into the Ashes of Malmouth content, and I found him inside Malmouth, so it's likely you'll be able to access Forgotten Gods from any of the major towns.
  • When you access the content, there's a guy with a bag that looks like a normal vendor. On his consumables page, he sells the tokens. They run in the range of 200k.
  • On a new character, use the token. The elite token unlocks elite and gives a skill point. The ultimate token unlocks elite and ultimate and gives two skill points. You also gain the appropriate amount of attribute points.
If you do that, and then follow the procedure above to boost a character to where they need to survive ultimate, it'll be fine. 

It was a change that helps me with the way I play the game. It's why I still play this, and quit Hearthstone. It's because they play it too. They aren't looking to maximize profits. They are just looking to flourish while providing something worthwhile. 


Have a good weekend. Take time for yourself.

I don't have anything to do with Crate, the company that makes Grim Dawn, other than I think they made a very fun game. Ymmv. Support me on Patreon.


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On Hexploration, a closer look

It's been out for a while, I figured I'd talk about what's inside.

This is an screen resolution example of a hex from the Hexplore series.

My games are about the players exploring. What are they exploring? Well, you're looking at it. This is the environment that contains the adventure sites.

This whole idea was about this small bit of text from the Dungeon Master's Guide.
You give him a map of the hex where the location is and of the six surrounding hexes. The player character and his henchmen and various retainers must now go to the construction site, explore and map it, and have construction commence.”- 1st Edition Dungeon Masters Guide, Gygax © 1979
The abandoned fort
That's how it went. The players left the dungeon, and Gygax abstracted out the hex exploration. But the thought of an overworld, that you explore for juicy pockets of treasure? Man, it's that feeling I love. So, I've been trying to do it with hexes like these. Part of reaching some new place is the novelty right? People love novelty.

So when they reach the fort, you can show them something like the illustration to the left.

This method of doing and using these hexes is exciting.

My eventual plan is to do a cluster of 7 hexes, of each terrain type. I think it's novel, and works really well with the method of play that's becoming increasingly common, online. Patrons get access to high definition copies of the images to be used in online play (as well as free copies of the work itself). But if you're not a Patron, you could still pick up a copy and take your group through a series of dungeons like these:

Join our great group on Patreon, get some of my stuff and discord benefits. There's actually a lot of benefits to joining the community. Patrons get first shot at online games I run, lots of people in the community are these fantastic artists, it's really a little bit like an art and gaming collective out there, so come join us on patreon and hop on the discord with your new roles. Or you can pick up the borderlands .pdfs for just a few dollars!

Every one of the pages in the .pdf is filled with art rich content like shown. Characters are detailed, situations and treasure are listed, mechanical specifics are left to the Dungeon Master to fill in, based on his or her chosen game.


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On How to Make 5th Edition Dungeons and Dragons more Old School


 Click to get the Book of Lists
Moving parts of 5th Edition Dungeons & Dragons are designed for heroic fantasy gaming. Mid-level characters are mighty heroes, slayers of dragons, and ready to take on any danger. Their resilience makes them brave, dangerous and deadly threats, with the resources to overcome any obstacle.

Usually these are planned adventure arcs. Here's a bad guy. Here's his evil forces. Here's a variety of deadly environments, ripe for heroic activity.

I don't have bad guys. I don't have expectations about what will happen when the game starts. I'm here to play a game to find out what happens. The core cycle of play for 5th edition doesn't match that style.

What changes do I make to my game so that I can play 5th edition in the classic style?

5th Edition to Classic/OSR style play


  • Give 1/100th the experience for killing monsters. Give 1 experience per gold piece value of treasure collected.
This shifts the focus of play. Fights are dangerous and they only cost, they don't reward. It puts the focus back on outhinking your opponent to get the riches, without exposing yourself to the risk of a fight. Because your players aren't expecting to get experience by killing things, you're free to populate your world with liches, dragons, and other deadly creatures, because there's no unspoken expectation that players should fight creatures to advance. 

I also recommend against using the milestone system, because this either presumes an outcome or distances player skill from advancement. They should advance comparable with their skill at securing treasure and power, commensurate with the risks they take. They should not advance simply by reaching numerical thresholds.

However, granting experience for surviving your first in-game month, witnessing a death, locating a new feature, exploring a new area, or other tasks that create a sense of adventure or exploration is encouraged, as long as these rewards are delineated ahead of the game and accessible to the players.

In general, keep rewards low, and look to advance one level every 3-5 adventures till reaching level 3, and then distribute treasure so that levels take between 4-6 adventures (weeks) to level. Obviously taking a lot of people along and being cautious will slow this rate. Taking risks and braving danger can shorten this. 

This results in treasure hordes that maintain their value, even if they don't increase in size very much. It makes finding a piece of jewelry or a few hundred coins a rich find. If the treasure grow at a slow rate, it should compensate for the rapid advancement assumed by fifth edition play.  See my Hack & Slash blog compendium II for an in depth look at treasure valuation and type.


  • Change long rests to take a week and short rests to take 8 hours

In the 1st edition game I'm currently in, even with a Cleric, Druid, and Paladin healing through bed rest is relevant. Changing a long rest to a week and short rests to overnight makes play more threatening and decisions more meaningful. Characters are forced to spread their resources in a manner more like an older-style game. 

This seriously adjusts the class balance.  Melee classes and classes that don't rely on refreshing abilities (rogues, rangers, champions) are significantly more effective. 

Cantrips are fine. Firebolt is fine. In earlier editions there was silliness with jarts. Wizards with crossbows abound. Allowing wizards to attack in combat is ok. Shooting flame wasn't common in classic style games, so purists will disagree. Better a bolt of fire than some weird-o flinging jarts into combat. (A jart is a weaponized dart—taking traits from a javelin. Javelin-dart: jart.)


  •  Eliminate Death Saves

They don't exist. You die when you reach 0 hit points. That takes it back to Original Dungeons and Dragons or Basic/Expert. There, your game is ridiculously deadly. 

No classic style game that I'm a part of is actually that deadly. In my game, I use a critical hit table after opponents drop to zero hit points. Any hit taken at 0 hit points causes a serious long term wound or death. Another option, made popular by 1st edition, is any hit that drops you from a positive hit point total to a negative hit point total more than twice your level kills you instantly, otherwise you are bleeding out to -10/-Constitution total/-2xlevel. Take your pick.

  • Give Inspiration Strictly for Creative Play
Classic style play is not about people talking to each other in character, necessarily. It's about the players facing challenges. The games are based around challenging the player, not their character sheet. So inspiration isn't about remembering to display your background accurately—classic gaming assumes background is what happened in play. What happened before the adventure is of minimal importance. Does the Dungeon Master talk in-character for all the monsters? Yeah. Can the characters if they want? Yeah. Is it the focus of play? no.

  • Recalibrate Encumbrance & Light
Classic style games focus more on basic resource management. 

Make the light spell 1st level. Make Continual Flame 3rd level. Make Produce Flame consume a 1st level spell slot if used 6 times. 
Remove Darkvision from Elves, Half-Elves, Half-Orcs, and Tieflings. This leaves Dwarves and Gnomes as the only races that can see in the dark.

You can carry a number of significant items equal to your Strength. A significant item would be a suit of light or medium armor, a weapon, a bundle 5 of torches, a potion, a vial of oil, a lantern, 200 coins, etc. A suit of heavy armor or a bulky item takes 2 slots. If you have more than 1/2 your slots filled, you are encumbered per the variant rules in the 5th edition Player’s Handbook on page 176. If you are wearing a suit of armor that grants disadvantage on Stealth (Dex) checks, you are encumbered. If you have more than 3/4 of your slots filled, you are heavily encumbered. Let common sense carry the day.
  • Consider the Ability Check Proficiency  variant rule on page 263 of the 5th edition Dungeons Masters Guide
It's really difficult to get players away from the idea of skill checks. Removing skills from the game is an optional way to move the je ne sais quoi of the game towards a more old school play style. This is certainly the option I would use with new players, to reduce choices required at player character creation. 
  • Remove individual initiative checks and always consider morale
Old school play is fast. Reasons you might have a dozen combats in the course of a session are two fold. Players generally take their actions in groups without worrying too much about which character goes first. Popular options include vegas style, where each side rolls a single die, and high roll goes first, or over/under, where for the first round some players move before the monster, and then the players and monsters alternate turns.

The second fold is there's no morale in the versions of Dungeons & Dragons that give the majority of experience from killing monsters. Institute morale to avoid combat slog. You can wholesale steal whatever system you find most useful, but a 2d6 roll against a target based on bravery is fine. If the die roll beats the numbers, the monster flee. Triggers for this roll are losing guys, or having a leader cut down (often providing little mini-missions in combat). Example targets are 11 for fanatic, 9 for brave, 7 for average, 5 for poor.
The Bell Curve is important to morale, because it makes enemy behavior predictable enough for the players to take advantage of it. It is possible to convert the appropriate % chances to a D20, but it appears arbitrary, (Why is this one 11+ and the next one 16+ on a d20?). But 2d6 for 9/7/5 (good/normal/bad) is straightforward and predictable. 

  • Finally, understand that unlike low level games that cap at the lord stage, 5th edition allows characters to consider growing in power far beyond the first 9 levels, making them powerful in a similar way that demigods are powerful.
Consider a limitation of level inflation, either by capping advancement and allowing players to purchase features like E6 or E8 systems, or by increasing the experience points required to advance beyond level 5 by some arbitrary value.


Conclusion

It seems like it is a great deal of work to do, and yet, it is not! It's just a few house rules that speed up play. The advantages are manifold. You have easier access to classic style adventures like Eyrie of the Dread Eye, Isle of Dread, and Keep on the Borderlands, now that the gameplay assumptions match what's happening at the table. You have compatibility with the system that's most frequently played. 

You get to keep playing the exploratory, extemporaneous, player-driven, long term games you love.

Watch your players minds begin to turn, as they engage with the game by trying to figure out ways to turn it to their advantage. 






On the best places to gather rare plants

Rare plants are useful for whatever you want. Resurrection? A magical enchantment? Some bullshit mcguffin?

Rare plants—if they want the thing, they go to the place where it is. Now your job is easy because you know where they are going. Where are the best places to get these rare plants?

Spider Moss: This is found in rotting abatis, deep within shadowy forests. It often grows thick and infests spiders, fermenting their brain to fulfill its arachnivorous needs, making them aggressive and territorial.

Lady Tongue: This fleshy bud is on a tight bright green lappaceous and acanthous-shaped branch. It exudes a strong smell, and is found in very warm places, near geothermal vents. Though pungent and bitter, the folem in the stem is a favored food for magically twisted creatophagous horrors.

Green Gel: A moss that exudes a gelatinous, slightly lumesent gelital spoor. It's found deep within caves below the water level. The frequency of elemental discharges such as the spawning of weirds and mephits is a beef-witted brabble that coxcombs use to befuddle cottiers for entertainment. However, we plight no guarantee of safety.

Bride's Comb: This cteniform fungus is found high in trees in arid lands. The roots of the fungus rot the pitha of the tree, causing frequent breaks. It is only commonly found 200'+ above the base of the plant.

Dungeon Algae: This bright green algae is found only deep in subterranean environments, near madid fonts of underdark radiation.

Mortal Spore: This plant can only be collected from a marcescent limb of a living creature. This is usually accomplished by constricting the blood until the limb begins to rot. Exposing the withered limb to the air from fresh corpses will seed the mold.

Berry Dripping: Found on the underside of mazzard bushes. It's a residue deposited by the rectrix of cockatrice.

Frozen Dungmuk: Many adventurers and ner-do-wells are familiar with the brunneous mold and its pyrophilic tendency, but when the mold grows in dark frozen clefts, Dungmuk is the result: looking like a glossy clump of fecal colored spheres, covered in poudrin ice flowers.

Glow Threads: This airy plant floats in the water like a bundle of loose threadless string. It only lies in shallow pools in shaded sunlight inhabited by radds, a species of electric catfish.

Vorpal Mold: Hangs from the ceiling in humanoid caves. Grows from the spend and humors of beastmen, creating bundled coils of Vorpal Mold. When disturbed, it violently spasms ejuaculating lacerating wire-like vines.


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On how to Level UP

Do you have questions?

Check out Level up! A book of fantasy gaming lists in .pdf and print.

DTRPG Digital
DTRPG Print (In approval)
Amazon Kindle
Amazon Paperback
Lulu Digital
Lulu Print

It's a book of lists! But more than that—it's a way to bend your mind in more creative ways.
What are the top types of magical currency? Why do wizards live in towers? What exactly is wrong down at the brewery? What are all the different types of secret doors?

So, fun and useful for you. But invaluable for the young or curious about Dungeons and Dragons. What were the top news stories from Dungeons and Dragons history? Whatever happened to the fourth edition virtual tabletop? What are all the different versions of Dungeons and Dragons? Through humor and page after page of classic fantasy style illustrations, it helps those who don't know a lot about Dungeons and Dragons feel less anxious and more comfortable.

In other news, I talk a little about my latest release with Matt Finch! But the important part is there in the thumbnail. Check it out for a fun interview.



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