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Avalon

@gentgamer

An Ideological Diversity of Influencers I listen to/Read.

UserNames are from YOUTUBE

List is alphabetical:

  • Andrew Klavan
  • Ann Coulter
  • Antonin Scalia
  • Armoured Skeptic
  • Armstrong and Getty (Jack Armstrong & Joe Getty)
  • Ashley Rae Goldenberg
  • Ayaan Hirsi Ali
  • Blaire White
  • Bill O’Reilly
  • Bill Whittle
  • Black Pigeon Speaks
  • Blonde in the Belly of the Beast
  • Brittany Pettibone
  • Carl Benjamin (Sargon of Akkad)
  • Count Dankula
  • Clarence Thomas
  • Dave Cullen (Computing Forever)
  • Dave Rubin (The Rubin Report)
  • David Barton (Wallbuilders)
  • David Horowitz
  • David Wood (Acts17Apologetics)
  • Dennis Prager (PragerU)
  • Dinesh D’souza
  • Dr. Jordan Peterson
  • Dr. Michael Savage (The Savage Nation)
  • Dr. Steve Turley
  • Edward Snowden
  • FA Hayek
  • Gad Saad
  • Gavin McInnes
  • Glenn Beck
  • IQ Al Rassooli (Idiot’s Guide To Islam)
  • James O'Keefe (Project Veritas)
  • Joe Rogan (The Joe Rogan Experience)
  • John Stossel 
  • Jonah Goldberg
  • Laura Loomer
  • Lauren Chen (Roaming Millennial)
  • Lauren Southern
  • Lee Doren (HowTheWorldWorks)
  • Ludwig von Mises
  • Matt Walsh
  • Mark Levin
  • Matte Kibbe
  • Michael Knowles
  • Michelle Malkin
  • Mike Lee
  • Milo Yiannopoulos
  • Milton Friedman
  • ML Christiansen (The Beta)
  • Pat Gray
  • Paul Johnson
  • Paul Joseph Watson
  • Peter Schweizer
  • Rabbi Daniel Lapin
  • Raheem Kassam
  • Ravi Zacharias
  • Ray Comfort 
  • RazorFist
  • Rev. Dr. Martin Luther King Jr. 
  • Shoe0nHead
  • Stefan Molyneux
  • Steven Crowder
  • Stu (Steve) Burguiere
  • Ted Cruz
  • TheFourthAge (RJ)
  • Thomas Cahill
  • Thomas Sowell
  • Tucker Carlson (Fox News)
  • TimCast (Tim Pool)
  • Tommy Robinson
  • Voltaire’s Ghost
  • W. Cleon Skousen

Level & nature of influence does vary. 

Heroism in Hong Kong, 2019

[note: for those who use the mm-dd-yyyy US date format, in the photo above “1/10/2019″ means Oct 1, 2019. Also, “Carrie” refers to Carrie Lam, the Chief Executive of Hong Kong]

Stay strong HK

The B.O.L.O.G: A Big Ol’ List Of D&D Generators...

Ladies, Gentlemen and Everyone and Everything in-between, I present to you: The B.O.L.O.G, or the“Big Ol’ List of Generators”, something I’ve been working on for a long time.

The “Big Ol’ List Of Generators” (or B.O.L.O.G for short!) has pretty much everything, with over 100+ DM and Player Tools, Random Generators, Cheat Sheets and Reference Sheets to help take your DnD Games to the next level!

20 “Totally Not Weird” Things To Say To Your Players...

  1. As far as your character can tell, there is nothing unnatural about it.
  2. The trap appears to be disarmed.
  3. Do you touch it, or are you just looking?
  4. Who goes first?
  5. From what you can see…
  6. This room does not appear to contain anything.
  7. There’s no visible effect.
  8. You don’t seem to spot any traps in the immediate vicinity.
  9. As far as you would know…
  10. You feel fine.
  11. Can I see your character sheet a second?
  12. Can you describe in a little more detail how you do that?
  13. What order are you walking in?
  14. It doesn’t seem to do anything.
  15. Are you sure about that?
  16. You can certainly try!
  17. How close do you want to get to it?
  18. By the way, where exactly are you all standing?
  19. Before you fall asleep…
  20. I need to borrow a few more dice for a while.

If you oppose the sexualization of children, you’re a “creepy conservative.”

The leftist media is responding to charges of child pornography and pedophilia with “why were you looking?”

To those on the left: are you currently ready and willing to defend child pornography and the sexualization of children because the media says you should?

If not, it’s time to speak up. Now.

The B.O.L.O.G: A Big Ol’ List Of D&D Generators...

Ladies, Gentlemen and Everyone and Everything in-between, I present to you: The B.O.L.O.G, or the“Big Ol’ List of Generators”, something I’ve been working on for a long time.

The “Big Ol’ List Of Generators” (or B.O.L.O.G for short!) has pretty much everything, with over 100+ DM and Player Tools, Random Generators, Cheat Sheets and Reference Sheets to help take your DnD Games to the next level!

If you are on prescription medication, check to make sure it doesn't interact with your cold medicine - dextromethorphan, a common med, is not supposed to be taken with many mental health medications.

REBLOG TO SAVE SOMEONE'S LIFE!

Clogging the ER when you're able to breathe and not actually dying could kill someone. For the love of god just stay home unless you're 100% for real dying.

important!! save!

UPDATE: Many medical professionals are saying that you should NOT take ibuprofen if you have COVID-19, as it’s been shown to worsen outcomes for some patients.

Unpopular Opinion

You can have a story with:

-white people

-straight people

-single race couples

-non disabled characters

-cis gender characters

-mentally stable characters

-no diversity

and still be a good story! Being inclusive doesn’t make it good unless the plot and characters work well together. 

“Alexa kill this clown” is exactly why OP’s point needs to be said. They never inferred that a writer can’t write something inclusive, only that a story doesn’t need inclusivity to be good. Plus, just because a story doesn’t have a diverse cast doesn’t mean the author can’t write diverse characters, only that they chose not to.

The fact that people respond to this with hostility is exactly why that point needs to be made.

It is also completely possible to identify with or empathize with characters who are completely dissimilar from you. This should not be controversial either.

I’m just gonna talk about some related comments I stumbled across on a Last of Us 2 video.

Ironically, when someone says “I need characters to be minorities like me so I can relate to them”, they’re just showing how shallow they are, not that the work is flawed. My favorite character is probably Miles Vorkosigan, and the only real trait I share with him is “intelligent smart-alec”.

Also, “this character has X trait, therefore they’re gay/trans” is sexist.

Ah, Social Justice Amnesia strikes again. There’s plenty of games with protagonists who aren’t white or male. I don’t know about straight, but a lot of the time it doesn’t really come up.

Druckmann didn’t just say “LGBT people exist”. He basically devoted an entire DLC to Teen Lesbian Date Night - which seems like a porno name when I phrase it like that - and a large portion of the gameplay trailer for the second game. As a certain arachnid lesbian I know said, they’re clearly making a point of it.

Can I just bring up a thing I remember from a few years back?

When the show, Avatar: The Legend of Korra was airing I heard no shortage of citations of the focus testing behind that. Apparently at the time they’d questioned making Korra a girl, but male focus testers thought she was cool and awesome. The thrust of this was that boys, at the very least, had no issue relating to Korra or liking her as a protagonist.

Now I heard this brought up over, and over, and over, and over during and after the shows run. I heard it brought up repeatedly as a reason why we “could” have  a relatable protagonist and cast without that cast needing to match their primary viewer demographic.

So with that all said my question is, what the fuck is with some people if a batch of average boys can relate to someone who isn’t 100% identical to them, but everyone else can’t. To the people bitching at op, what’s your mental deficiency that makes you incapable of empathy?

We’re always hearing that men are the least empathetic on this site, that men are deficient in key human aspects of compassion and relation to others, so if that’s the case it still wasn’t an issue what’s your excuse?

Food for thought for the sociopath crowd out there.

Not to mention the massive female fanbase for Marvel movies, but apparently they needed a female-led solo movie for Reasons.

BTW, don’t go near /r/MarvelStudios for the next few weeks. It’s been a Captain Marvel circlejerk for a while. Everyone who criticized the trailers is a “troll” or a “fanboy” or “misogynist” or some combination of all three.

I suspect that aspect of Korra got eclipsed by Korrasami, which is all the SJWs seem to remember it for now.

Speaking of empathy, remember how so many SJWs completely failed to even understand men’s and women’s criticisms of the Gillette ad, even when they were supposedly responding to them? There was one conversation where the SJW dude just kept strawmanning the criticism, and I don’t even think it was conscious.

Anyone who tells you you should unnaturally inject diversity into your story either knows nothing about how writing works, or/and is a shit-tier „Jefferson is a vegan trans-boi“-style writer.

As someone aspiring to be an author let me say this. No one can force you to write characters you don’t want to. I’m sure if my stories ever get really popular there will be people out there being like

“T is so gay for N!”

“C is def trans.”

“A IS TRANS SORRY I DON’T MAKE THE RULES.”

And these kind of comments that people make about authors/ creators’ characters is what makes me sort of wish it never makes it popular.

Once, when I was younger, I decided to write a book series that would have the usual buddy-cop pseudo-romantic tension, except one of the dudes involved would actually be bisexual. This would be a cynical attempt to bait slash fangirls.

Now that I know how bad the fujoishi are, boy, am I glad I never went through with it.

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https://en.m.wikipedia.org/wiki/Samus_Aran

Is 1986 far back enough? Boy I loved this game.

Anonymous asked:

soo ive seen a lot of posts on how to be a better dm, but do u happen to have any tips for how to be a better player? like tips on how to improvise/roleplay better or just things that you wish your players did more?

First off, Anon, I am so sorry it’s taken me a while to get to this. I wanted to do it justice, and with the wedding, I let the blog fall to the wayside. But though the answer is long overdue, I hope it helps.

SO YOU’RE PLAYING DND

We talk so so much about GMs needing to accommodate players and needing to make sure players are having fun and just How to Be a Good Storyteller/Improviser/Mechanical Genius/Memory Gremlin/Mediator/Babysitter/Friend/Person, but you’re right, we rarely touch on the other side of that equation. We expect a lot of our gamemasters, and they do carry a lot of responsibility when it comes to a DnD game. But we as players can definitely make that process easier, and we should! Everyone at the table should be having fun, including the GM. Here’s some ways that you, the player, can help facilitate that.

Before the Game:

Make a character that will fit in the world/campaign you’re playing in. GM’s should help accommodate you, but if you make a lone wolf dragonborn barbarian with a deep seated hatred of nobility in a game that’s mostly political intrigue, that’s kind of your bad, bro. Oddball concepts and characters that defy tropes of the setting can work, but don’t break the flavor/nature of the game before it’s even begun! I promise you the GM wants to make your concept work, but they also want the spirit of their setting to continue to work as intended. Player/GM relationships need to be about compromise.

Make a character that meshes with the party (or will in the future). I’m talking about this from a purely flavorful standpoint. If you make a loner vigilante who screws everyone over, not only is that taking enjoyment away from other players, it’s making more work for the GM. You don’t have to start out with a ‘we’re one big family’ attitude, but you should have a character who is open to working with others, or who will change and grow in that direction.

Talk to the GM about your character. Unless you’re playing a really impromptu session, or the GM specifically said not to, you should definitely discuss your concept and even mechanical build with the GM! It can help them seed story hooks for your character and build challenges that test your class. Obviously this is less of an option in Adventure League play, but we’re talking about private campaigns for now.

Come to the table with a positive and open-minded attitude. I hope that you are playing because you want to. Let the GM know you’re excited! Actively engage and participate in things at the table, both in and out of character. Be open to things not going your way, cause they can’t always, and try to be good-natured about obstacles and changes in the game.

This last one segues us into

At the Table:

Be distinct in the difference between in character and out of character. This is probably something your table needs to discuss, whether you’re using a hand sign and everything else is considered in character, or if you have to specify that you’re speaking in character, or what. But I love it when players use voices or otherwise signify that they are in character. General roleplay tips can be found here!

Be gracious about accepting when you’re wrong. Look, I’ve seen my share of arguments at the table. I’ve been in a few of them, and they suck. When you’re disputing something, take a second to step back and ask yourself if it matters in the long run before you push the issue. Don’t argue for the sake of being right - we’re all wrong sometimes! And while you shouldn’t let a GM make unfair rulings, you should also be open to house rules, even if you disagree. It’s not your table, and if you want to open the issue for further discussion, you should do so outside the game.

Be aware of your fellow players. There are going to be sessions where some players are more relevant than others, especially in story driven games. That’s okay! Recognize when it’s an opportunity for someone else to have the spotlight, and help them recognize those moments too! In an ideal world, everyone gets the spotlight every time, but the reality is that sometimes you gotta recognize when it’s your time to pull back a little bit and let other players take the lead. Being aware of other players and having an open dialogue about your characters can also help you bring them more into the game if they’re feeling out of it. I love when my players help each other in this way.

Be aware of the story. Look for story hooks, and go after them when you find them! I love it when my players make decisions that are narratively interesting, even if they’re not the smartest decisions or even if it pushes their character in a new/different direction. There’s nothing more frustrating as a GM than laying out a variety of story hooks and having the players ignore them. That being said, if you’re not interested in the story hooks, tell the GM what you would be into.

Be open to character change. This is a huge one. So often we talk about people who say, “It’s what my character would do.” This is fine, and in fact you should know your character’s ideals and traits. But you gotta acknowledge that people change, and if a character decision is gonna be narratively destructive or just in general going to cause a lot of unnecessary strife in or out of game, you should ask yourself if that’s the decision you want your character to make, rather than being less stubborn and making the character change a bit. Balance between what the character wants and what is good for the table is important.

Communicate. In general, I really like having feedback from players on how they enjoyed sessions, things that worked/didn’t work, what they’re excited for, theories about the plot, and what I like to call the character check, which is when they give me an update on the emotional and moral state of their character. Knowing these things can help me make sessions feel more personal, like they’re tailor-made for the party. Most importantly, though, I like to know if they’re having fun. I want them to come talk to me if there are issues, because I can’t resolve them if I’m not made aware of them!

I hope this helps! Happy gaming!

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Bonus Bestiary: Calligraphy Wyrms

(it’s the gold one on the bottom)

CR 2

Neutral Diminutive Dragon

Legacy of Dragons, pg. 26~27

Oooh my god. Oh my god. Oh my god!!! I want one. I want four. I want just an entire library filled with these little guys–seven inches long, the smallest Dragons in all of Pathfinder!–just writing and writing. Calligraphy Wyrms were once the archivists of the sovereign dragons of the land, and have since spread all over the world, taking up jobs as scribes or scroll-sorters in libraries and colleges of every size. They’re driven by a love of learning and a need to record everything that interests them, using ink generated in their claws and throat to scribble down all their thoughts with the precision of a typewriter. They even have a +7 in Craft (Calligraphy)!

Aiding in their duties is a few cute little spell-likes. They can use Arcane Mark and Read Magic at will, and can use Erase 3/day to either undo a mistake or scrub out hazardous rune traps that it may stumble across in its duties. It can even coat over the hazardous rune traps of its masters with a 1/day Secret Page, hiding mundane or magical writings from prying eyes… Or simply covering over their own mistakes until they rest for the day and regain their uses of Erase.

At 7 inches long, Calligraphy Wyrms are obviously not deadly powerhouses. Their gore, in fact, cannot deal lethal damage under most circumstances; it does 1d2-3… But they have a rather odd +2d6 Sneak Attack, letting them give a potentially fatal shanking to pests such as rodents, insects, and level 1 thieves. Their extremely small size combines well with their 80ft(?!) flight speed, letting them strike from undetected angles before retreating and hiding among scrolls and tomes once more. If an enemy is already aware of them, though, a Calligraphy Wyrm can unleash an Ink Spray once every 2d4 rounds. It’s not a breath weapon, as the book adorably notes that the Wyrm sneezes a 10ft cone of ink, forcing everything in range to make a DC 12 Reflex save or be absolutely coated in the stuff, not only revealing invisible opponents in the area but blinding them as well until they take a standard action to wipe the ink away… Which gives the Wyrm enough time to get into position for a good stabbin’.

A Calligraphy Wyrm can deal some surprising blows, but still isn’t exactly made for combat. It’s got some serious utility, but it’s greatest utility is not immediately apparent. As a full-round action, a Wyrm can change from a dragon to a masterwork pen that another being may use to make Craft (Calligraphy) checks of their own… Or just use as a regular pen, I guess. What’s important about this form, though, is that while a Wyrm cannot use any of its spell-like abilities or even move until it uses another full-round to switch back, it still maintains the ability to hear its surroundings… And interpret them with its 60ft blindsight.

Anything with blindsight is difficult to sneak up on, least of all something with it out to 60ft, twice as far as most beings can walk in a single round. Anyone with one of these critters as their ally, sitting peacefully atop their shoulder or tucked inside their sleeve, has an early warning system against any incoming invisible nasties, a talent infinitely more valuable than most people would give it credit for. It’s even more useful for casters; anyone with the Improved Familiar feat can take on a Calligraphy Wyrm as their familiar once they reach level 7. A Wyrm cannot normally communicate in their pen form, but a caster with one as their familiar can wear their ally as a fancy but unassuming implement in their pocket protector and commune empathically with one another, giving the caster a heads up on anything trying to sneak up on them, which typically spells death (or worse) for the critter doing the sneaking.

Make sure the system you use matches the kind of players you have, for an optimal experience

Admin Note: This is part of the ongoing series called “D&D isn’t the only TTRPG if you don’t want fantasy play another goddamn game!”

I already reblogged this once but this is important:

Like I run a D&D blog. I understand that D&D is the most well-known and popular RPG in the world. But a lot of the time I see people going like “Hey I want to run a D&D campaign and throw out all the D&Disms and here’s all the notes I have for running a campaign about courtly romance and chivalry in a historical setting” and I’m just like STOP YOU DON’T NEED TO RUN THIS USING D&D

There’s a sort of a mistaken assumption that because D&D is the biggest game on the market and that it’s fantasy that it should be the go-to fantasy game but look it’s not D&D isn’t a generic fantasy game it’s a very specific kind of fantasy all of its own, one that steals liberally from swords & sorcery and high fantasy and adds fucking extradimensional cube robots for good measure

So next time you’re thinking about a fantasy campaign in a decidedly non-D&Dish setting consider instead of jamming the square peg that is D&D into a round hole trying to find a system that actually supports what you’re trying to do

And this is not to say that you shouldn’t play D&D: D&D is hella fun. But there’s a lot of genres and styles that D&D does a piss-poor job of doing, and because of that it’s so good we’ve got other games

*cracks knuckles*

All right then. I’ve been meaning to dust off my own D&D sideblog for a while, so here we go with providing some examples. I’m limiting this specifically to other types of fantasy outside of the standard high fantasy and sword & sorcery millieu.

Courtly Romance and Chivalry

There are a number of options for this, and they range from standard secondary world fantasy to more historical and mythological settings. My list here shouldn’t be treated as fully extensive.

Blue Rose - based on the romantic fantasy subgenre, specifically as seen in the works of Tamora Pierce and Mercedes Lackey. A lot of courtly drama and intrigue and swashbuckling, based in a fictional world.

Pendragon - naturally based off of Arthurian mythology, and having a lot of stuff given over to the court of Camelot and the chivalric adventures of the various knights. The same company also has a kickstarter for a spin-off called Paladin: Warriors of Charlemagne that might be worth checking out.

Historical Fantasy

This one’s a bit more prominent as historical settings serve as an inspiration for a variety of fantasy worlds and games, and this of course invariably extends to settings that actually use historical settings with a degree of fantasy elements thrown in. Note that I’m going to emphasise Europe here simply due to greater familiarity with games in that millieu, and as a European myself I’m ill-equipped to judge how accurate or respectful games using other settings actually are.

Because of this, feel free to add other examples in reblogs

Chivalry & Sorcery - one of the early tabletop games inspired by D&D, taking a more pseudo-historical approach. It’s based on 12th century France and strives for a degree of historical accuracy and medieval politics.

World of Darkness, Dark Ages (including Vampire and Mage) - while the World of Darkness has earned some negative attention lately (and for good reason), the dark ages RPGs are still an old favourite of mine. Also worth checking out is Mage: The Sorcerer’s Crusade, set during the Renaissance. The Mage stuff has a really cool open-ended magic system worth checking out.

Ars Magica - this exists along very similar lines to the dark age material above, based around mages and magic-users in a ‘Mythic Europe’ setting. It also has a really cool open-ended magic system, and one of my personal favourites.

Awwww shit heck yes I might want to add to this list but this is a really good starting point

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I’m gonna talk about my magic system! This is for my exponentially-growing fantasy headworld, which is currently very cleverly called the ‘Fantasy Thing’.

So I’ve got two types of magic in this world, and they play by very different rules. The working names for them right now are runic and innate.

Runic is a symbol-based magic– every single spell exists purely in a written form. Some of the really simple spells, like producing a light, utilize a single rune. More complex spells are comprised of multiple– sometimes many– runes strung together. Weaving them together in such a way that the runes a) do not foul each other up, and b) work at all is something that takes a long time to master. This is why the vast, vast majority of runic mages, even fighting mages, have a scholarly background.

Of the two magics, runic is safer. If you do not write the rune (or set of runes) exactly correct, it will not fire and nothing will happen. Summoning some horrible entity from the nether world, and botched the inscription on the summoning circle? Your spell will not work, and the entity will remain safely in the nether, and you will get to waste a few hours of your life figuring out what you wrote incorrectly.

Since runic spells must be written in order to be used, mages who use the same spell(s) with extreme frequency will often have them tattooed on themselves. The most common place is the underside of the arm, though there are some regional variants– including the back of the hand, the face, and the hips. Constables will often have tracking and binding spells printed, and battle mages will choose some offensive spell (ie. fire and lighting, push/pull, etc.) and make that their specialty. Tattoo artists are highly regarded and sought after, and charge a hell of a lot of money for their work. Each artist has his or her own particular style, so you can totally tell who did a particular mage’s tats.

Runic magic has been in my head rather longer than innate has, so I’m still figuring out everything some things about the latter. Literally anyone can learn and use runic magic, in the same way that anyone can learn higher mathematics– some people just find it easier than others. Innate mages must be born with the ability, and it is uncommon, though not rare. It is also hereditary, so magic tends to run in families.

Innate magic is considerably more dangerous than runic. If a spell is improperly cast, it can backfire on the mage– this can result in the rather messy and spectacular death of said mage, if they are unprepared. Where runic is bound by a very specific set of rules and what can be cast is literally whatever is written down, innate magic is a lot more flexible, and is basically limited to the imagination of the caster (and whatever Laws of Magic/Physics I make up because I am pedantic).

Each rune has a particular amount of power associated with it– for example, a particular rune for a light spell will always run for X minutes at X luminosity, no matter who casts it. An innate spell depends on the strength of the caster, so some people will find lighting a single candle challenging, while others will be able to throw around monstrous spells and barely be winded. All spells, either runic or innate, use a lot of calories, so mages in general tend to be big eaters.

A quick comparison of each type of magic can be as follows: Runic is safer (no backlash), can be learned by anyone, has a set power level, and can be cast as quickly as you can write out a very complex series of runes (ie. v e r y  s l o w l y) unless you have something pre-set up (like a tattoo). Innate can backlash if you do it wrong, can only be used by those born with the ability, varies wildly in power level, can be cast very quickly, and has a much wider variety of spells to work with. Innate magic also uses three times as much of the mage’s energy as runic does, so they get tired faster.

My character Shrike is an innate mage with some runic training.

Forgotten Realms Lore: The Shadow Thieves (of Amn)

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Symbol of the shadow thieves. Art by Ned Dameron for Cloak & Dagger.

The Shadow Thieves was a thieves’ guild based in Athkatla, a large port city in Amn. They were formerly the most prominent thieves’ guild in Waterdeep, but have since been all but routed from the city by the Lords of Waterdeep. It is alleged they had some arrangement with the Council of Six, as the merchants of Waterdeep are the main trading enemies of Amn.

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A Shadow Thief of Amn takes a victim, art by Randy Gallegos for Player’s Guide to Faerûn.

Leadership

The Shadow Thieves were ruled in Athkatla by a group called the Shadow Council. Marune “The Masked”, who reported to the Shade of Baldur’s Gate, thereby the entire Shadow Council, led a sect of the guild still operating in Waterdeep.

Cloakmasters of the Shadow Thieves. From left to right: Avimmuck Wanderfoot, Blackmane, Peldar Armsmith, Dinnom Baraizal, Fansa Windblossom, Bichan Rarkat, Chog, Tren Saykatt, Marune, Mahmud Biinazol, Chaks, and Tenosh. Art by Ned Dameron for Cloak & Dagger.

Organization

The Shadow Thieves were a strongly structured organization, using this as advantage to avoid any action that desegregated the whole organization. The supreme leader of the guild was the Grandmaster of Shadows, that led the Shadow Council, previously known as Shade Council. The Council divided the Realms territory in region, each member of the council act as supreme leader of that territory, there were two members of the council as leader of the no-Amnian regions. Under the council’s members were the Cloakmasters. One Cloakmaster administrated a territory that comprised maximum 10,000 people, so a rural area usually had only one Cloakmaster and metropolis had various Cloakmasters (usually divided for the districts or quarters of the city). Under the Cloakmaster there were the guild masters, or Silhouette. Usually there were ten guild masters, one for each different criminal activities in which the Shadow thieves deal: Assassins, Beggars, Bounty Hunter, Con Artist and Tricksters, Burglars, Cutpurses and Pickpockets, Enforcers and Thugs, Racketeers, Scouts and Spies, Fences, Smugglers and Pirates. The Guildmasters administrated their criminal activity in autonomy, although under supervision of the Cloakmasters, and usually law enforcers arrived to capture only to those level; by the name’s status usually law enforcers believed to had dismantled the guild capturing a guild master but in truth was only a moderate rank.

Agents of the Shadow Thieves. From left to right: Harlesk Knowin, Rekx Tihler, Sheffol, Renal, Oryal Forestal, Kueh-Ku, Chechu al Khish (Calimshan), and Doxon.  Art by Ned Dameron for Cloak & Dagger.

History

The Shadow Thieves began to operate in Waterdeep in 1255 DR. After the guild was infiltrated by Lhestyn, a Lord of Waterdeep, in 1298 DR, it was destroyed, its leaders were unmasked or killed, and the Shadow Thieves were banished from the city. They resettled in Athkatla. They have since grown to be one of the most prosperous thieves’ guild in Faerûn. With the exception of Waterdeep, they currently hold the lion’s share of criminal activity along the Sword Coast and Amn.

Ever since their expulsion, the Shadow Thieves have long attempted to reestablish themselves in Waterdeep. Until around 1372 DR the constant vigilance of the Lords of Waterdeep had kept the guild at arms length. But as Waterdeep fell on hard times, the Shadow Thieves got an opening they were quick to exploit. For over five years, the guild slowly came to dominate criminal activity in the docks, southern and trades wards with the northern ward of the city being at risk as well.

In 1370 DR, Marune unveiled a grand scheme for giving the Shadow Thieves an unassailable edge over the Lords of Waterdeep. The necromancer began distributing slippers of shadowwalking to the guild’s highest-ranking thieves. These agents could then effortlessly navigate Waterdeep’s shadows, beyond the reach of the city’s Lords.

List of resources for dnd

roll20: Make an account to play the game

Orcpub: For hosting and editing your character sheet

DND Wiki: Homebrew things, races, classes, misc

Players Handbook: Rules how to play how to make a character, all basic information for playing a game

Discord: to talk during and about the game

Mythweavers: another character sheet editor

Homebrewery: homebrew creation tool. Uses basic coding language to great effect.

If anyone wants to join just join the discord server and post your character

can randomly generate just about ANYTHING. awesome for dms

Tabletop Audio: background music and sound effects for the ambience.

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PCGen - a character creation program that handles all the tricky and tedious parts of building characters, including NPCs.

d20pfsrd.com - all the free information you would ever need to play Pathfinder, an alternative to D&D

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DiceCloud: Interactive character sheet that can be edit and shared with yourself or others easily. Pulled up anywhere with internet connection on PC, Mac, or mobile device. Use it to also mark down health, death saving throws, spell slots, experience, and more on the fly. 

DnDMagic: List all spells currently available from Player’s Handbook and Elemental Evil. 

5th Edition Spellbook app: Make spellbooks for all your characters, manage spells, prepare spells. Keep track of Spell Save DC, and Spell Attack bonus on your mobile device. 

Squire - Another character creation and management app. Contains most of the basic info and spells already, with options to create spells, items, classes/subclasses, etc. This is the free version, but pro has more options for DMs, including initiative order control.

RPG Generator - An app that randomly generates things from NPC appearances to criminal gangs. It’s free and a great on the fly DM tool.

Kobold Fight Club: A generator for building and managing encounters. Good options to help narrow your monster picks and will calculate the XP to help you manage the difficulty. You can also save your encounter and it has tools for keeping track of encounters as well.

Medieval Fantasy City Generator: A nice tool if you need to map out a city but are having some trouble coming up with it, or you just need something on the fly.

Donjon: A site with all sorts of generators, tables, and other resources for various tabletop rpgs.

Weak Magic Item Generator: A generator for specifically making items that are weaker than a +1 item in 5e. There are a lot of interesting effects included on this generator and it is fun to play with.

Fantasy Name Generators: A one stop shop for any of your naming needs. There are an absurd amount of generators here.

morepurplemorebetter’s scripted auto fill/generation character sheets (downloadable pdfs)

For the fantasy writers who want to include magic in their story.

Origins:

So you have magic. But where did it come from? Do you know where it really came from while your characters have some other explanation? Is there a scientific explanation? A religious explanation? Do your characters not want to know? Are they looking for the origin? How long has magic been around?

If you’ve created a mythology and your characters don’t know how long magic has been around, the creation of magic or the gift of magic (whatever you want to call it) may be included within a myth or a creation story.

Knowledge:

How much do your characters know about magic? How much a person knows about magic, how it works, its laws, its limitations, and its origins will depend on what they believe the explanation is, how they feel about magic, and how much the world knows about magic in general. Have your characters figured out exactly how magic works? Do they have theories and laws of magic? How long have these theories been in place?

If your characters have extensive knowledge on magic, there will probably be written records of this knowledge. If there are records, how available are they? Are there text books about it? Or is the magic incorporated within religious text? Or is it forbidden to know about magic?

Limitations:

There should be limits on the magic in your world. If there are no limits, everything will be too easy for your characters.

How often can they use magic? How much power do they have? Do they tire after using a lot of it? Does it deteriorate with age? Or does it become more powerful? Can someone gain more magic? Can they lose it? Are they able to kill? Can they only use a certain amount each day? Making a list of what magic can’t do can sometimes be more helpful than making a list of what it can do.

Laws:

There will probably be laws about magic. What are yours? Who can use magic? Who cannot use magic? Is there an age requirement? Do you have to pass a test? Are there certain types of magic that are not allowed? Are there certain situations in which magic is not allowed?

How are the laws integrated into the government? Is there a separate government for magic? Or just a separate department? Or is magic integrated with other laws? Who makes the laws? Who enforces them? What are the punishments for breaking them?

Population:

Think back to the origins of your magic. This will affect how much of the population has magic. Who has magic? If they’re born with it, how is it passed on? Is it genetic? How many people have that gene? Is it learned? How many people are able to learn how to use magic? How many people actually know that magic exists?

Ranks and Orders:

What are magic users in your world called? Wizards? Witches? Warlocks? Sorcerers? Do any of these titles have negative connotations in your world? Is there a rank of magic users? Are there any offensive words that refer to magic users? Are special titles used (Sir, Master, Madame, etc.)?

Is there a hierarchy of magic users? How are they treated? How are they thought of? Are there different types of magic users who are seen as equal? What are those types? Can magic users move throughout the hierarchies and ranks of magic? Are there different levels based on power or skill? Do these users wear anything that signifies what their rank is?

Types:

There are several types of magic, some which may be put into the category of science in some worlds. What do your characters call magic? Here are some types of magic:

Morality:

Is magic even allowed to be used? With most things, there will be differing opinions on the morality or ethics. There may be a majority opinion on the morality or the opinions could be evened out in terms of quantity.

What about certain types of magic or certain people using magic? Is it unethical to use certain types of magic? Is it taboo or looked down upon to use certain magic? Is it immoral for religious leaders or government officials to participate in types of magic? Is it shameful to die from magic? Or an honor? Or is there nothing attached to magic and death?

Teaching and Learning:

If magic is widely used, it will need to be taught and learned. There may be some who are self-taught, but more organized magic systems and worlds will require some sort of training.

  • Public Education: In this setting, the knowledge of how to use magic would be passed on from instructor to student in a public setting. This could be a school, just one class, a club, or any other gathering that would either be free or cheap so that it is available to the public. These settings are far less selective for who is allowed in and may allow everyone to participate. Where does this take place? In a school? A classroom? Another building? A special magic center? Outside?
  • Private Education: This setting would be similar to the public one, but it would be more selective in who was allowed in, more secretive, and probably more expensive. These settings would be more ideal in worlds where magic is not widespread.
  • Private Mentor: This would be someone who is hired specifically to teach one or a few students. This is often expensive. Does this setting take place in your world? Where does it take place? Someone’s house? A meeting place?
  • Generational Knowledge: Knowledge of magic and how to use it can also pass down through generations. Do the old teach the young? Do parents teach their offspring in private? Do certain people of a community teach the younger ones?
  • The Mentor: Who is the teacher? How do people become teachers and instructors? How are they chosen? Do the students choose their instructor? Are students assigned to one instructor? Is there more than one, each of which handle one type of magic?
  • The Student: How old are students of magic? How long does it take them to learn? Do they choose to learn or are they forced? How competitive is it?

Attitude:

With most things, there will be a general attitude toward magic. What is that attitude? Is it welcomed? Feared? Respected? Do your characters talk about it openly, or is it whispered about in secret? How do people feel about magic users? Is there discrimination? Think back to how much of the population can use magic.

Use:

Now you come to one of the more important aspects of putting magic in your world: its use. Why do people use magic and what do they use it for? How is it used? Are there certain objects that can channel magic and make it more powerful, such as a wand? Are there appropriate settings for magic and inappropriate settings?

  • Magical Objects: Can magic be applied to objects to give them magical connotations? How are these objects used? Are they popular? Can they be bought, or do magic users prefer to make their own? Are objects used to channel magic? Or can people use magic without them?
  • Everyday Life: How does magic affect a person’s life? Short people may have no problem with grabbing high objects if they have the power of telekinesis. Glue may not be needed if a magic user can stick objects together with magic or mend a broken object. If they can conjure light, they may not need any lamps (electrical, gas, oil, etc.). What about jobs? Is a person able to do more in one day at work because of magic? Are they allowed to use magic?
  • Transportation: Magical transportation is probably more effective than other forms of transportation, especially in a world with little technology. However, this can also be seen as lazy writing if your characters are able to teleport anywhere in the world at any time. Add some risks to this. Are they only able to travel like that once a day? Does it deplete their magic? Can only really powerful magic users do it? How is it learned? Are carts, wagons, and carriages pulled by magic or by animals? Or both? Are there portals? Are certain magical objects needed to transport through magic? Is there a possibility of ending up in the wrong place? What about flying?
  • Communication: Communicating between long distances with magic is much easier than snail mail. How do your characters go about this? In one of my stories, the extremely wealthy and government officials are able to use tablet-like devices in which what they write on that tablet (it’s sort of like parchment wrapped over thick cardboard) will show up on another’s tablet thus allowing communication. Think of limitations for the communication, like how the tablets in my story are quite expensive. Who is able to communicate through magic? Are there many forms? Are some faster than others? Can symbols be used to communicate?
  • War: Is magic used in war? Does the military have a special task force filled with magic users? Or does everyone use magic? How does the use of magic change battle tactics? Are there magical weapons?

More:

a massively extended version of ruthlesscalculus’ post

General Tips

Character Development

Female Characters

Male Characters

Tips for Specific Characters

Dialogue

Point of View

Plot, Conflict, Structure and Outline

Setting & Worldbuilding

Creativity Boosters* denotes prompts

Revision & Grammar

Tools & Software

Specific Help

BASICS:

Genres:
  • Alternate World: A setting that is not our world, but may be similar. This includes “portal fantasies” in which characters find an alternative world through their own. An example would be The Chronicles of Narnia.
  • Arabian: Fantasy that is based on the Middle East and North Africa.
  • Arthurian: Set in Camelot and deals with Arthurian mythology and legends.
  • Bangsian: Set in the afterlife or deals heavily with the afterlife. It most often deals with famous and historical people as characters. An example could be The Lovely Bones.
  • Celtic: Fantasy that is based on the Celtic people, most often the Irish.
  • Christian: This genre has Christian themes and elements.
  • Classical: Based on Roman and Greek myths.
  • Contemporary: This genre takes place in modern society in which paranormal and magical creatures live among us. An example would be the Harry Potter series.
  • Dark: This genre combines fantasy and horror elements. The tone or feel of dark fantasy is often gloomy, bleak, and gothic.
  • Epic: This genre is long and, as the name says, epic. Epic is similar to high fantasy, but has more importance, meaning, or depth. Epic fantasy is most often in a medieval setting.
  • Gaslamp: Also known as gaslight, this genre has a Victorian or Edwardian setting.
  • Gunpowder: Gunpowder crosses epic or high fantasy with “rifles and railroads”, but the technology remains realistic unlike the similar genre of steampunk.
  • Heroic: Centers on one or more heroes who start out as humble, unlikely heroes thrown into a plot that challenges them.
  • High: This is considered the “classic” fantasy genre. High fantasy contains the general fantasy elements and is set in a fictional world.
  • Historical: The setting in this genre is any time period within our world that has fantasy elements added.
  • Medieval: Set between ancient times and the industrial era. Often set in Europe and involves knights. (medieval references)
  • Mythic: Fantasy involving or based on myths, folklore, and fairy tales.
  • Portal: Involves a portal, doorway, or other entryway that leads the protagonist from the “normal world” to the “magical world”.
  • Quest: As the name suggests, the protagonist in this genre sets out on a quest. The protagonist most frequently searches for an object of importance and returns home with it.
  • Sword and Sorcery: Pseudomedieval settings in which the characters use swords and engage in action-packed plots. Magic is also an element, as is romance.
  • Urban: Has a modern or urban setting in which magic and paranormal creatures exist, often in secret.
  • Wuxia: A genre in which the protagonist learns a martial art and follows a code. This genre is popular in Chinese speaking areas.
Word Counts:
Word counts for fantasy are longer than other genres because of the need for world building. Even in fantasy that takes place in our world, there is a need for the introduction of the fantasy aspect.
Word counts for established authors with a fan base can run higher because publishers are willing to take a higher chance on those authors. First-time authors (who have little to no fan base) will most likely not publish a longer book through traditional publishing. Established authors may also have better luck with publishing a novel far shorter than that genre’s expected or desired word count, though first-time authors may achieve this as well.
A general rule of thumb for first-time authors is to stay under 100k and probably under 110k for fantasy.
Other exceptions to word count guidelines would be for short fiction (novellas, novelettes, short stories, etc.) and that one great author who shows up every few years with a perfect 200k manuscript.
But why are there word count guidelines? For young readers, it’s pretty obvious why books should be shorter. For other age groups, it comes down to the editor’s preference, shelf space in book stores, and the cost of publishing a book. The bigger the book, the more expensive it is to publish.
  • General Fantasy: 75k - 110k
  • Epic Fantasy: 90k - 120k
  • Contemporary Fantasy: 90k - 120k
  • Urban Fantasy: 80k - 100k
  • Middle Grade: 45k - 70k
  • YA: 75k - 120k (depending on sub-genre)
  • Adult: 80k - 120k (depending on sub-genre)

WORLD BUILDING:

A pseudo-European medieval setting is fine, but it’s overdone. And it’s always full of white men and white women in disguise as white men because around 85% (ignore my guess/exaggeration, I only put it there for emphasis) of fantasy writers seem to have trouble letting go of patriarchal societies. 
Guys. It’s fantasy. You can do whatever you want. You can write a fantasy that takes place in a jungle. Or in a desert. Or in a prairie. The people can be extremely diverse in one region and less diverse in another. The cultures should differ. Different voices should be heard. Queer people exist. People of color exist. Not everyone has two arms or two legs or the ability to hear.
As for the fantasy elements, you also make up the rules. Don’t go searching around about how a certain magic spell is done, just make it up. Magic can be whatever color you want. It can be no color at all. You can use as much or as little magic as you want.
Keep track of what you put into your world and stick to the rules. There should be limits, laws, cultures, climates, disputes, and everything else that exists in our world. However, you don’t have to go over every subject when writing your story.
World Building:
Cliches:
Note: Species (like elves and dwarves) are not cliches. The way they are executed are cliches.

CHARACTERS

All of this could be VERY VERY useful to some of the DMs out there.

List of Book Abbreviations (3.5e Other)

These are official → The links will take you to the details of the source book where you will (usually) find the option to purchase the book from Official Venders!

NOTE: This reference was compiled by DnD Wiki and posted here for the ease of the tumblr Tabletop Gamer community. I take no credit for compiling this list, only sharing it here. Please check out the DnD Wiki website, and follow Tabletop Gaming Resources for more images, tips and tools for your game!

From my DM Library to Yours

The following is a list of some of the resources I use when I run into a wall during world building. It happens to the best of us - sometimes we just need a little push, that little potion of inspiration to get us moving again.

The layout below is taken from my own campaign page on Obsidian Portal. I compiled all this myself, but I’m a firm believer in sharing what works well with others. I’ve used each of these tools to varying degrees, and I’m sure there’s something in this list that ANYONE (player or DM/GM) can use at some point in their tabletop gaming career (we do get paid for this, right?).

Most of the links are self-explanatory, but for others I’ve added a little description to set you off on the right path. Please share these links with anyone and anywhere. But if you do, all I ask is that you link back to this post so at least people MIGHT look at some of my other stuff.

THANKS AND ENJOY! 

Designing Adventures

Designing Encounters

Designing Characters

Designing Abilities

Designing Items

Designing Locations

Designing Cultures

  • Worldbuilding: Fantasy Religion Design Guide
  • Worldbuilding Reference: Cultural Quirks
  • Alternative Forms of Government
  • The Language Construction Kit Ever want to create a language, or sound authentic, but don’t have the time or money to go through entire linguistics courses? Well, this page is a great place to start! It takes you through creating sounds, devising grammar, everything you need to make a language all your own.
  • Ancient Scripts.COM So you’ve decided to create a language, or maybe you just want something written to look cool. Well this website can show you how to create a written language, or just give you cool symbols that you can use to make things look like you had.
  • Pantheon.ORG Myths, mythology, ancient religions, folktales, bestiary from virtually every religion or old story that has ever been written down. It’s a giant resource for finding the gods, spirits, monsters, heroes or villains that have popped up in our (as in Earth’s) own history or legends.

Designing World History

  • Worldbuilding: Timelines A great resource for laying out a timeline for your world, and a great inspiration to get you started on considering what sort of events (past, present or future) tend to be “world events”.

Online Tools:

Online Resources

Other Rules Systems

  • Pathfinder SRD Resources
  • Build Your Own Cards – 4th Edition Format
  • Roll20.NET Want to play a tabletop game but can’t get the players all in one room? This might be for you. In their words, “Roll20 is the easy-to-use virtual tabletop that brings pen and paper gaming to the web the right way. Built on a powerful platform of tools, yet elegantly simple, it focuses on enhancing what makes tabletop gaming great: storytelling and camaraderie. It’s incredibly user friendly, and runs right in your web browser, so there’s nothing to download or configure.”

Check out Tabletop Gaming Resources for more images, tips and tools for your game!

You’re Stuck in an Average

A little background here: Like is so often true, I spent a few hours today browsing the internet’s many treasures (and dire swamps), not exactly looking for something but letting my attention drift and flow wherever it may. It ended up taking me on a whitewater rafting escapade through youtube videos of various Dungeon Masters leading their own respective groups through whatever adventure they’d planned for that session.

As I was watching, and getting a little something I could learn from or use in (honestly) every video, I found my mind drawn to one item in particular. Let me give you a few DM quotes that will quickly reveal my train of thought:

  • You’re stuck in an average dungeon…
  • You’re sitting in an average tavern…
  • Your room in the inn looks about what you’d expect: average furnishings, the usual wash basin and straw bed…
  • The man behind the counter is your average innkeeper…
  • You’re on your way through the forest again…

I think a lot of you already see where this is going. Those DMs, and their players, are “stuck in an average”. What does that mean?

  • There are no readily apparent surprises here
  • Nothing draws/captures attention
  • The setting is immediately populated by the unvaried marks of repetitive things that are “always there”

What does that do to the players (including the DM)?

  • Player energy begins to fall as their attention lacks an immediate anchor
  • Creativity flounders as players fill the area with the mundane, populate a space with what’s expected, copy-paste “the usual” surroundings onto the current setting
  • Those “always there” or “average” surroundings, in terms of gameplay,  pretty much may as well be nothing for the effect it has on player imagination and their drive to explore and ask questions

Now there will be inevitably be someone who speaks up for the usefulness of the “average” - and that’s because they’re right: there are benefits to this approach. Some of them are:

  • DMs put on the spot have a turn-to that they can deliver quickly and easily and yet players will be able to populate that space with “the usuals” without the DM having to set the same again, repeatedly over and over
  • In low (rest) periods, the players feel as though they’ve entered a place of refuge; a safe “average” place where their minds can rest and they can let the stress of impending character death slip away and take care of the nitty gritty (for example, splitting treasures in relative safety)
  • Like the above, except the “average” place is just an illusion/deception. Something horrible is really going to happen and it’s easier to do that if the players aren’t expecting it.

But that only works best if it’s the exception and not the norm. The DM should usually want to give their environments more “life” - flavored surroundings that invoke awe and draw your players in with excitement and a need to learn more. Those low times can still be interesting, and a rich description can still be unique and captivate your audience without putting them on edge. And tricking your players with deceptively safe areas too often will simply lead to players never feeling safe: they’ll check every wall and floor for traps, they’ll have servants testing their food, they’ll stab their own bedrolls before laying down for the night just to be safe it’s not going to eat them as they nod off.

But I hear you, can we bring this discussion back to recognizing that potential for weak description and talk about possible solutions? Yes we can. But I mean to START the discussion, drop a few ideas, some resources that could help, and then see what others contribute. 

Characters

Environments

Items

Adventures/Encounters

Miscellaneous Quick Ready-to-Use References

What if you don’t have time to do any of that?

Use what you know:

  • Think of an area you’ve been to and describe it in a way befitting your campaign setting. A pub in your area becomes a tavern easily enough if you focus only on what translates well
  • Call on a character, item, creature or location you’ve watched in a movie, read about in a book, or seen in art, and describe it to others. Sometimes you can even say “His mannerisms remind you of Jack Sparrow as he crosses the boat to get to you, but he’s definitely more orc than human, and closer in size to an overfed cow than a spindly Johnny Depp.” That’s especially useful if combined with the below…

Involve your players. Just imagine these scenarios, told from the point of view of a DM that was caught off guard:

  • “The smarmy bard lazily drags a hand over the lute’s string as he eyes you, and though he wears a common tabard and his voice is nothing spectacular, something about him stands out above all else. *Points to a player* You, tell me what it is. *Player offers their own quirk, which may well become a permanent part of that character*
  • “You open the door to the richly decorated guildhall and a smell hits you. It takes awhile for you to recognize it, but when you do, you seem certain that the smell is… *Points to a player*… You, tell me what the smell is… *Player does, DM rolls with it*… That’s definitely it. It’s thick in the air, filling your nostrils until it hangs on every breath you take. But that barely registers when you’re face to face with something that lays claim to your attention… *Points at a different player*… What is it that claims your attention?… *Player provides it, game moves on*… And so maybe you find yourself staring at it. But that’s fine. Because at least it takes your attention away from something far less enjoyable, letting you almost ignore it’s there entirely… *Points at another player*… And that is, what?
  • These are just examples to demonstrate the exercise. The second example especially is just to showcase the different “gaps” that players can fill in. You may not want to leave quite that many gaps… or… maybe you do. Depends on your players and how often you do it, and to each their own. 

So that’s a start. When I began writing I thought this would be much longer, have an introduction, a body (where I’d even list games that use some of what I’ve written to good effect), and a conclusion to bring it to a close. But I  always prefer dialogue over monologue.

So what do you think? Reblog with your thoughts, comment with your suggestions, provide feedback and I’ll keep an eye on this to see what develops.

And check Tabletop Gaming Resources for more art, tips and tools for your game!