Dungeon: The Shattered Garden

“ Careful not to cut yourself on all this Pretty”

Adventure Hooks:

Seeking a precious artifact, the party is force to make a harrowing climb up freezing, alpine mountains to gain access to a castle that was said to have fallen from the sky. Finding the ruins of this structure deep within a mountain rift, they must explore a labyrinth of jagged shards and broken halls, hoping that the whole beautiful calamity doesn’t cave in.

What a miserable place for a heist. What treasure is so grand that it could make a self-respecting thief leave the poorly guarded vaults and easily duped nobles of the city, trudge halfway up a mountain, and risk freezing their precious lock-picking fingers off in the process? How about the Hyborian Stylus, a weapon of such power that any warmage worth their salt would pay out the nose for the chance at wielding it. To get their hands on this treasure, the party will need to outwit an ostentatious but heinously bloodthirsty oni by the name of Banehail, who treats the dungeon as her own personal gallery/art instillation.

Sometimes things in the life of an adventurer are simple. You hear rumors that someone saw a castle made out of clouds crash-landing on a mountainside, you grab some friends, go on a hike, and investigate. Maybe you get eaten by wolves, maybe you grow as a person by confronting the unkown, it’s not that complicated.

Challenges & Complications:

Situated at the bottom of fissure high up in an alpine mountain range, the party will have to battle through harsh conditions to even get to the dungeon site, and then figure out a reliable way of getting down into the dungeon, ascending up with their prize, and finding their way back down the mountain. This may not prove too challenging to a party only interested in stealing one or two items from the dungeon, but the Garden is filled with numerous, weighty treasures, all of which can slow the party’s escape.

While some rooms and pockets of surrounding architecture survived the impact unscathed, most were either reduced to reduced to piles of jagged detritus or so structurally compromised that they might as well be uninhabitable. The party must test their caving skills, managing tight squeezes through once beatific galleries or prepare descents into wings that now slope at treacherous angles. Delicate floors crack like glass under the party’s treasure-laden footstep, and ceilings may at any time collapse into razors if too much damage is done to the surrounding rooms.

Entering the Shattered garden is no protection from the chill outside, as harsh boreal winds surge through particular hallways and seek to rip the life-giving heat from a potential explorer’s bones. THe greatest of these dangers is gallery which contains the Hyborian Stylus itself, which may freeze characters solid if they linger in it too long. If the alarm is sounded, the elemental denizens of this dungeon may paradoxically open the doors to this most valuable of treasures, transforming the Shattered Garden into an indoor blizzard in the hopes of flushing out the warm-blooded intruders.

This dungeon is part of a larger adventure path “A Kingdom Washed Away”, which you can find the rest of @dailyadventureprompts

The Far Roofs

Kickstarter

Coming soon: The Far Roofs

a game of talking rats, god-monsters, and you

So today I want to talk a bit about what this game wants to be. In particular, I'm going to go over its key technical and artistic goals.

The Far Roofs focuses on immersive hidden world fantasy adventure. It's intended to offer the experience of a grounded, emotionally real base world attached to an idealized, fantastic "hidden world" setting.

One might say, the streets and buildings and houses of the game's world are basically our own. Above us, though, is a stranger, more idealized, and more fantastic place. It's hard to get to. It's dangerous. It's less grounded. It's full of wonder.

Those are the Far Roofs.

This divide exists to make the game feel as real as possible, if you want to go that way. That's part of what hidden world fantasy is about, after all---the idea that magic is here. That it's not in some distant alien land or mythic future or past.

It's here, if you want to reach for it.

(Now, the game is flexible enough that you can play "protagonist" types instead of realer people, and many traditional gaming groups will probably prefer that, but that'll mean getting less of that immersive effect.)

The mood the game is interested in is that feeling you get when you take a huge risk---move to a new place; try a new thing. The feeling you get in those times in your life when everything is alienated and wondrous and terrifying but there's also so much more *hope* than there was in the still times before.

It's a mood of being swept up and called forward.

This is, among other things, meant to be a game for people who've been beaten down or exhausted by the ... everything ... to feel that sensation of moving forward again.

To remember what it's like, why it's worth it, how to reach for it again.

It's meant---and I do understand that I am finite and flawed and this can only go so far---as a tonic and refreshment to the soul.

Rules

The Far Roofs uses a 5d6-based dice pool system for day-to-day task resolution. It's relatively traditional and optimized for fast, fun dice reading. There's a loose consensus I've seen in RPG design circles that dice are for when outcomes are uncertain and both options are interesting, and I don't disagree ... but there's also this thing where rolling dice to decide is intrinsically interesting and fun, where it's fuel for a certain part of the brain.

This game tries to get as much out of that side of dice as it can.

You'll also collect letter tiles and cards over the course of the game. This is for bigger-picture stuff:

To answer big questions and to complete big projects, you'll either assemble representative words out of those tiles, or, play a poker hand built out of those cards. Word and their nuances express ideas and shape how outcomes play out; poker hands, conversely, just give a qualitative measure of how much work you do or how well things will go.

In keeping with this, the campaign is represented principally in the form of questions or issues your words and hands can address. Player/GM-created campaigns would be the same.

Physical and Electronic Product

I wanted to put the print version within the range of as many people who might need that tonic as possible. That means that for this particular game, I wanted to cover the full territory that I'd normally cover in a two or three volume set (core rules, setting, and campaign) in a single 200-250-page volume.

In practice this means there's a guide and examples for constructing the setting, rather than a deep dive into a fully-detailed world; that there's a bit less in the way of whimsical digression and flourish than in the writing I'm known for; that there's minimal "flavor" text on abilities; and that the campaign presentation is pretty fast-paced.

Conversely, it means that the game should be easy to absorb and to share with other possible players, and, that the game and campaign in this one relatively small volume should provide enough content for five or six years of play.

The book will be 8.5"x11" with grayscale art, available in a limited hardcover print run and a print-on-demand softcover form.

On the Rats

You'll see a lot of talk from me and others about the talking rats in this game. They're one of the jewels of the experience, and I think they're probably a significant draw just for being talking rats that are core to the game.

... but I'm going to hold off for now, because, to be clear, this is not a game of playing talking rats. It's just a game where talking rats and probably one of the top three most important setting elements.

I couldn't get that feeling I wanted of ... the base world being grounded realism; of the hidden world pulling you up and out and into a world full of magic ... with your playing rats, with your playing something so distant from the typical player.

So this is not a game of playing them.

They're just ... I like rats, and so I made the rats in this game with love. They're great ... whatever the equivalent is to "psychopomps" is for a magical world instead of for death ... and a way of talking about how in the face of the world, we're all pretty small.

I'm really excited about this game; the playtest was lovely.

I hope you'll enjoy it as well!

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bungeonsandbagons

2 years ago

You can take your honor with you to the grave. I’m not dying for someone else’s war; I’m not dying for anyone but myself!

So says a Deserter, who takes the military training of a warrior and bends it to means most unsavory. Highly adept at hitting enemies when they’re down, but against an opponent who can give a straight fight, a Deserter will have to be a bit more selfish, setting up advantage with Focused Aim instead. Somewhat of a mix of the Battlemaster and Samurai, mechanically, but the Rogue chassis makes for a very different experience than the raw offensive prowess of a Fighter. Synergizes extremely well with Focused Aim, from Tasha’s, and while potentially doubling your Sneak Attack damage is impressive, it’s actually only slightly ahead of, say, using Booming Blade and keeping your advantage. Naturally, it’s not possible to stack them… at least, not without six levels of Bladesinger, but that means giving up a whole lot of Sneak Attack dice.

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bungeonsandbagons

2 years ago

The Pirate’s Grotto Battle Map (32x44)

You’ve entered the Pirate’s Grotto, a 32x44 sea cave occupied by a wrecked ship, its pirate crew, and their treasures. Make a Stealth roll…

→ The Pirate’s Grotto Battle Map

Keep reading

1K notes View Post

bungeonsandbagons

5 months ago

hi i found your page cause of your Masks art!!

imma be running a game of masks and was wondering if you have any tips

Oh hello! Very cool you're gonna run a MASKS game, it can be a lot of fun!

I'm not sure how helpful my advice will be since I'm still learning and am not sure how well I actually run the game haha, but for starters there's a whole lot of great advice on Reddit that will help with the mechanics and the structure of the game. In my opinion, the Principles section in the GM part of the core book is critical and succinct and is great advice for running ttrpgs in general.

my top advice is:

"We play to get the next issue picked up!"

Play the game like we want people to buy the next issue and not put the series down! Take chances! Make big choices! Make it interesting! Be bold!!

other things:

Theme. Establish the themes of your story early on. This will help you understand how the world and story should respond to the PCs. And make the themes interesting to you! For example, beyond the general coming-of-age story themes already built into the character arcs, I lean heavily into the concepts of fame, celebrity, and the 24-hour news cycle. And all the things that were going on in the early 2000s.

Be a Fan of the PCs. This is my favorite rule from The Principles. Make sure all your players soak this rule in. The MASKS mechanics mean characters will often make less-than-optimal decisions, so players must feel supported in their character choices. You should be a fan of the characters, and so should your players! They should want to help bring out every character's arc, not just their own.

Treating Human Life as Meaningful is what Makes Threats Real. This is another principle, but yeah, make the world's NPCs feel like they matter, and that will make the world worth protecting. Treat them as people. Give everyone Drives, not just your Villains. Mentally treating even non-villain NPCs as having Conditions can do a lot to help with characterization.

Condense. Condense your world, your NPCs, make the world feel smaller. In our game, for example, having the Protege's mentor also be the same superhero who saved the Delinquent years ago was a great decision.

Playlists. I have a bunch of different playlists for the campaign, from a big one of music of the time (our game is set in 2004) to playlists for important NPCs, to playlists I asked my players to curate for their characters. Music inspires me a bunch, a song can help create a villain for me, and I also like choosing a different "ending" song for every episode based on whatever happened.

Stories. Okay, here's the thing. I don't really care much for superhero stories. Why did I choose to run MASKS, you ask? Because of the emotion-based mechanics. That's my shit. But anyway, I don't take in much superhero media... But I do LOVE movies and television and stories in general, and I think taking in a lot of "short stories" is helpful to develop an instinct on how to pace a story, make a character or moment memorable, etc. And because MASKS has an episodic nature, this is extremely important! The sheer amount of movies I've watched has helped me a whole bunch, since they have to get the Beginning, Middle, and End done within such a short time frame.

Don't Wait. This is an instinct I've picked up from some of my favorite media. Don't wait for The big important moment. Make a lot of big important moments, and make the characters have to make a lot of important choices, and keep the momentum going. Paint yourself into a corner and then force yourself to think of ways out! It makes the story more interesting. (this may not apply to everyone, I get this kind of mindset from shows like Breaking Bad and Succession, which for your story could be too much haha)

Everyone Works. Okay, I am not a benevolent, sweet GM, I will not smile with tears in my eyes and quietly work away and accept that without complaint. no way. I make my players help me a lot. I'm gonna whine. Guys I'm doing so much work! Guys this is hard! Weeehhh! MAKE THEM HELP YOU. RUNNING A GAME IS SOOOOO MUCH WORK OH MY GOD IT'S SOOOOOO MUCH WORK!!! Ask them to take notes! Ask them to treat the world with sincerity! Ask them to make NPCs! Ask them to play NPCs! Ask them to help fill out the world! Ask them to tell you what their character wants to do next so you have extra time to consider it! Ask them to make playlists for their characters to help you figure out how to engage with them! Don't let them just show up on playday!! I'm a "you get what you give" kind of GM. You're a player too and you deserve to enjoy the game as well, and having the other players help you helps a BUNCH. PUT THEM TO WORK.

what else. uh. visuals help a lot with engagement so i subscribed to a bunch of modern battlemap patreons. i run using Foundry which lists the rules upon every roll which is great for me, someone with horrid memory. if you're lucky and favored by god, you'll have a benevolent player that will be the scribe for your sessions and log everything down so they can be referred back to (again, great for someone like me with a horrid memory). remember to give focus to the PC's out-of-costume lives as well. make NPCs in response to your PCs (superheroes, villains, touch on something of a PC in the creation process). be silly. be serious. be sincere.

i'm still figuring out how to run the game, maybe i'll have better advice on a later day, but i hope this can help some! sorry this is longwinded and more a stream of consciousness than it is succinct.

Drafting the Adventure: Throwing a Party

There comes a time in every adventuring party’s career where they must attend some kind of celebration, whether it be in their own honor or as part of a larger adventure. Ranging from peasant festivals to the indulgent fetes of the upper class, celebrations are to regular social encounters what dungeons are to a random skirmish. Just like dungeons, celebrations are at their best when the group is attempting to explore and navigate a larger structure, looking to discover a way to their goal while fighting a time pressure while fighting against the clock, all the while attempting to dodge various hazards that will slow them down or eject them from the premises. While not every bash the party attends has to be run like this, having an idea how to run a celebration-as-encounter gives you access to a framework that can support important dramatic beats for your campaign, or launch unexpected new ones.

The Timeline

Think of your celebration as being divided up into acts or phases, depending on the general temperament/activity of the guests and the major events you’d like to see take place. When building your acts it’s important to have a goal in mind, something the celebration is building towards regardless of whether the guests or the heroes know about it. This goal often intersects or contrasts in some way with the party’s own objective, forcing them to jam themselves into the sharped toothed gears of polite society in order to get what they want. Here’s a brief example below, where the group’s goal is to ingratiate themselves with the influential duchess.

1 The guests arrive: general meet and greet, folk are a bit tentative

Party meets their intermediary and gets introduced to a few people before getting to split off. Their quarry is nowhere in sight

2 Full Swing: guests loosened up by good drinks and good company

the Influential Duchess finishes up with social niceties and begins talking with friends, the party might have an in, but they need to figure out who the duchess will open her conversational circle for.

The Long Awaited Viscount arrives fashionably late making a spectacular entrance, all but announcing his attempt to woo the Duchess’s daughter

3 First Dance: The party, their new acquaintances, and the duchess are all swept up into the dance, with only the most stubborn of wallflowers being spared from participation.

Atleast one of the party members has a chance to talk to the Duchess, but she is distracted worrying about the Viscount's intentions for her daughter.

Briefly introduce the party to the Viscount and the Daughter, let the party know they’re on some kind of collision course.

4 Refreshments: guests are in very good spirits but the Duchess is on war footing, walling her and her daughter off behind a circle of close acquaintances and trusted social allies. Any forays the party makes is likely to be seen as a ploy of the Viscount's to gain access to her daughter.

Cut out of the loop, the party must contend with all those who don’t pass the Duchess’s muster, but if they made friends with the shy handmaiden earlier, they have an in.

5 Second Dance: The duchess’s wall temporarily breaks for social propriety, letting the party begin to close in once again.

During this dance, the Viscount covertly releases a monster he had polymorphed and secreted onto his person. In the rampage, he and the daughter run off.

The party is forced to decide between battling the monster with improvised weapons, or pursue the Viscount, trusting that the guards will take care of it.

6 Here’s where the story turns: Do they duel the viscount and the daughter preventing them from leaving, or let them slip away? Do they battle the unleashed monster, proving their bravery before the assembled guests, or are their casualties among the attendants?

This example celebration obviously has an unexpected and violent twist at the end, but it’s possible to run one completely straight and have just as meaningful story affecting consequences.

Below the cut, I’m going to give a few different archetypes of the sort of encounters one can have during a celebration, and how to run them in a way that will save you time both during your planning and at the table.

The Opportunities

Less than an encounter, an opportunity represents a narrative thread available to the party during a particular phase of the celebration’s timeline. Ideally there should be more opportunities than the party can capitalize on at once, through some may be hidden unless the party is adventurous or perceptive. Don’t feel a need to be too rigid on how an opportunity “triggers”, as you want to give the heroes an excuse to enjoy all the delightful content you’ve made for them. Lastly, some phases are going to have less opportunities, so once these are exhausted, feel free to move ahead.

Here’s some examples to consider:

Fleeting: Directly related to events that are going to occur in later pheses of the celebration, these opportunities represent a way for the heroes to get ahead of the challenges to come. Think of them as keys to doors that the party have not yet encountered, with the challenge of a celebration-as-encounter being figuring out which opportunities are going to pay off in future phases.

Reoccurring: These stick around for most of the celebration, filling out your list of available opportunities. If a party member doesn't’ know what to do in a particular phase, have one of your Reoccurring opportunities seek them out. Gossips are likely to want new people to chat to, and someone seeking aid will likely grow more bold as the situation gets worse.

Stray threads: Unrelated to the celebration itself, a stray thread is a bit of worldbuilding, rumor, or quest hook that draws the player’s attention away from the mission at hand. These can be great ways to foreshadow upcoming events, or present options for the party for after their current adventure resolves.

Wallflowers: If one of your players feels like they’re not the party type, don’t worry, there’s likely some NPCs that don’t want to be there either. Staying as far away from the social battlefield as decorum will allow them, they’re likely to have wound ways to amuse themselves and be glad of some company. Wallflowers might need to be generated on the fly, but try to match them to the introverted character’s interest. A groundskeeper shares a flask with the uncivil barbarian, the awkward wizard stumbles across a great aunt playing chess against herself on two different boards. The troublemaker stumbles into a couple of bastard cousins playing cards in the smoking room.

Art