Category Archives: Dungeons & Dragons

Hey, you heard of Dungeons & Dragons? I’ve heard of Dungeons & Dragons. So let’s talk about Dungeons & Dragons.

How To Be: Kipo (in 4e D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritative but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

Kipo and the Age of Wonderbeasts is a Netflix TV series created by Radford Sechrist that started its life as a webcomic. The series is something I’ve praised in the past as being uncomplicatedly excellent. Set in a post-apocalyptic far future populated with anthropomorphic animals, it’s a story of a journey of adventure, beset on all sides by a dangerous villain with superpowers who, if he catches our heroes, may destroy their ability to ever defy him. It’s a great adventure structure, and one you should feel free to steal, and central to it all is the character of Kipo, a girl with pink skin whose position in the story is at the intersection of multiple sequences of events, set in motion before she was even born.

And like, I don’t normally do this, but I’m going to put a spoiler warning here. If you read these articles idly, and think you’d like to watch Kipo at some point, you should go do that before reading this article, because I’m going to talk about some stuff Kipo can do that isn’t obvious from the start of the story. I mean, oh okay, shock and horror, Kipo is special, obviously, you know that and I know that just looking at the fact the series is named after her, but nonetheless, I just want you to know, going on, that there be spoilers.

Good?

Good.

Okay, onwards.

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3.5 Memories: Worse Than The Fighter

In Dungeons & Dragons 3.5th Edition, a thing that’s not at all un-awkward to say, there was a set of hardbound expansion books released as a group to satisfy groupings of characters as an archetype. The first set of these, released around 2003, were The Complete Divine, The Complete Arcane and The Complete Warrior, a trio of books that kind of told you what they were about in the name. You had arcane spellcasters, divine spellcasters, and uh, everyone else, I guess.

The Complete Warrior had to bear up as the space for all the classes that weren’t divine spellcasters (but the ranger and paladin can play here too, sure) and all the characters who weren’t arcane spellcasters (but there’s stuff in here for melee spellcasters). Barbarians and Rogues and Monks all got to cram in on this book, but based on the name and the style, and of course, the preponderance of feats in this book, this is the book that’s for fighters.

It’s also a pretty cool book, if you’re looking at the good stuff in it that you want to use and make sure people can use. LIke this book has tactical feats, a category of feat that kind of roll together a small number of ‘not enough for a full feat’ advantages into a single grouping, and that’s a really good way to expand expertise on fighters. Prestige classes in this book include the Actually Good Frenzied Berserker, the kinda decent Tattooed Monk, the sorta-maybe-why-not War Chanter, the busted as hell Warshaper and that’s four classes worth having access to in most campaigns. The excellent Combat Brute tactical feat is in here, and uh

Anyway, the point is this book is one of the books I think of pretty positively.

It’s also a book that features the rare examples of a class actively worse than the Fighter.

The ‘Samurai.’

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Kobolds As Convergent Design

I’ve spoken about the role of the Goblin on Cobrin’Seil, but what about the kobold? I did bring up the question of hey why are these two so alike? And the followup question of where do they come from? The answer to both is ‘authors are weird,’ but I’m looking at it more in terms of how I can build and shape the world I’m putting players into, and I want the kobolds there to be both interesting enough as a player option without depriving people of the opportunity to use easy content where kobolds are happy to try and stick spears in players.

I am a fan of thinking about cultures in terms of their places in the world. That often requires answering the question ‘why are they here?’

Why then, are kobolds here?

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The Goblin As Fracturing Culture

I’ve spent some time considering the role of goblins and kobolds in D&D worlds, but stopped short of making decisions as they pertain to my own setting of Cobrin’Seil. It’s interesting that the idea of dispensing with both cultures was never really on the table, and I think part of that is because they do serve such a rudimentary purpose that dropping them wastes a lot of pre-existing material. It’s not like ignoring Duergar with their awful name, which drops maybe five instances of useful monster design across all editions; goblins are used in a lot of spaces and just the presence of them is a useful, handy thing for a lot of encounter designs. If you need a low-level threat, goblins are great.

What I want to do is address what they are. It’s not enough to just go ‘they’re a monster race,’ because that… doesn’t make any sense at all when you look at Cobrin’Seil and its approach to the world. I jettisoned the dwarves entirely because they don’t do anything (did I ever write about that?), so what are goblins as a culture.

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4E: The Hadalan

… And there, in the deepest and darkest of spaces, far from the prying eyes of those who would judge their work, or steal their designs, a god whose name is lost, did render the form of what it had seen, and sought to make its own.

It made what it thought it saw, when it saw humans.

And when it saw what it had done, it was revolted, and fled.

The Hadalan are a rare culture from the deep oceans of Cobrin’Seil. There are people of the seas – not like the cultures of merfolk and triton, that live up near the continents, building cities at the edges of the shelf where the land falls away into dark ocean. The Hadalan are from deep in the ocean; from places where vents in the earth belch bubbles and plumes of smoke into an uncaring darkness, where great bugs sift the sands, and where the dead bones of ship and whale alike lay in the muck, too cold and dark and barren to rot.

There are stories of the Hadalan. It’s said they are people who do not have souls. When seen from a distance, their shapes are hazy and indistinct, sailors say; they change shape and morph into strange and inhuman forms. Some say they eat souls, feasting on life to life to extend their own.

And there are the stories they tell of themselves.

The Hadalan, when asked, tell stories about how they were created without souls. About how they were abandoned by a god, who was horrifed at having made them. About the way they refused to die, and made their home in the deep oceans, with the deeper secrets. About glowing libraries and columns of fire that burn in the darkness of nowhere. About how they built a civilisation; how they learned to create their own souls; how they learned the ways to call upon gods.

How they called for their god, grown, whole, and a culture to be proud of.

How their god came to them.

And they tore them apart.

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How To Be: Kuchiki Rukia (in 4e D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritative but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

In Bleach, one of the most central characters to the early narrative is one Rukia Kuchiki. Introduced in the first episode, she is the bridge of our previous point-of-view character into the spirit world as an outsider. She is a character from another world, deprived of powers in our world, who has to guide Ichigo, a seemingly ordinary dude who can see ghosts, into seeing the immensely complicated reality that spiderwebs about him about societies full of special rules and seemingly arbitary boundaries. Rukia is this sort of mix of gremlin energy, doing things like building a micro room in Ichigo’s closet, ostentatious self-importance due to her noble heritage, and very legitimate expertise in spiritual matters. It’s the sudden loss of Rukia that marks the transition between the first two major arcs of Bleach, where all the fun we’ve had up until now is suddenly framed as something you have to pay for. The society, the life, the world that is waiting outside of the fun of highschool appears and demands that all that fun is over and now there is a duty.

I assume at some point after that she gets super powers and reunites with Ichigo and they have cool adventures and the story doesn’t run in place for nine years.

Anyway!

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How To Be: May (in 4e D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritative but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

You may remember that we’ve looked, earlier in the year, at the character Rock Howard, from Garou: Mark Of The Wolves. Fight games are rich fodder for this kind of exercise because they so often about what a character is and less about what the character does. Simply put, fight games don’t make much sense.

There’s a scale at work, of course. Some games make more sense, with a deliberate intention to ground the storytelling in something serious. Some games, on other hand, are pretty silly, and don’t really care about how silly they get.

Anyway, Guilty Gear.

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Game Brief: The Many Complications of Fogge’s Barrow

I’m running a D&D game right now. Uh, unless something’s gone very wrong, I’ve been running it for some time by the time this guide goes up. But when I make a game I start out by giving people a document, called a Game Brief, that gives them guidance on building characters, and what’s expected of them.

For this game, I knew I had a small party (only three players), because we’d be playing this when our fourth friend was absent from the game. I also knew I didn’t want a huge stake, and wanted it to be much more about something local without big potential impact, so I put it in the mid levels of Heroic. Enough room that players could play experienced characters, but not that they had a veritable tale to them yet.

I’m going to present the brief, as I started on it… and then talk about the complication that followed.

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3e D&D: SONIC FIREBALLS

In the pantheon of D&D spells, there’s nothing, it seems, more iconically important to the identity of the game than ‘fireball,’ a spell that apparently nobody ever anywhere would come up with without D&D bringing it to their attention. Hm. Bit sarky there, I should come back at that again. Anyway, Fireball! What a great spell! A classic, a powerhouse, a spell that always comes quickly to the fingertips and that players love to hear when the wizard is about to start some shit with a fireball.

Anyway, you’d never bother casting it in 3rd edition D&D.

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How To Be: Disney’s Robin Hood (in 4e D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritative but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

This month, I felt it was time to approach the challenge from a different angle, of taking something with an obvious, easy, simple solution and then exploring around that. And for that, we’re going to look at a classic character, a character who’s so well known we don’t even remember we’re referencing him when we reference him. A folk hero, a hero who defined a generation and set thousands of people on their path that would determine the kind of person they’d be.

We’re going to look at Robin Hood.

Specifically, the 1973 Disney’s Robin Hood.

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3.0 D&D: Everyone Shapeshifts

Min-maxed 3.0 D&D was fucking weird.

I use the term 3.0 to talk about ‘third edition’ because there’s this weird way that people treat ‘3rd edition’ D&D as a single game, and not a period of time between the last release of 2nd edition and the first release of 4th edition. 3rd edition content is still being made and the game is still being played, even if I’d moved on from it. Important to this, though, is that ‘3rd edition’ is a term that I feel inappropriately ambiguates the two games made in 3rd edition.

When people are criticising 4th edition — hey maw he’s defending 4th edition gain — sometimes you get a ‘timeline’ argument; the idea that 4th edition, as a game that was only actively published and promoted for six years before the introduction of 5th edition. 5th edition has been going for 7 years since then (two of which were pandemic years), and 3rd edition went from 2000 to 2008, showing that 7 and 8 years are ‘good’ times for a game to exist, and 4th edition’s 6 years indicate that it was a ‘bad’ time. Thing is, 3rd edition D&D, the thing before 3.5, was only around for 3 years, and it was not the same game as 3.5. You couldn’t just pick up classes, creatures, or monsters and port them over. First party feats and classes were generally all weaker than 3.5, and spells were largely stronger.

4th edition never released a supplement that wasn’t compatible with all of 4th edition. By comparison, 3.0 lasted for 3 years, and 3.5 lasted for four – an immense rules patch apology.

And trust me, it was an immense rules patch.

Like, did you know in 3rd edition, in min-maxed groups, you basically never bothered building for physical stats if you were starting after level 3 or so?

Because in a min-maxed party, you very rarely were dealing with un-polymorphed characters.

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4e: Sneaky Feys

It’s said, that humans learned magic from the gods; some say that humans learned it from studying the universe around them. Some, in the oldest and darkest stories, say that humans learned magic from the fey, because they couldn’t wait to see how badly we fucked it up.

One thing I love about D&D 4e is the way that making a character is pretty simple and robust. Rather than gate things like werewolves and werebears behind layers of power back in third edition, the game finds ways to let you play that straight up, out of the gates. Same with Vampires, and, if you want, you can play all sorts of weird character types out of nowhere.

If you want to play a weirdo, fae-realms inspired fey creature, you have options too! And, of them, the Satyr and Hamadryad, are bad. Fortunately, though, Fox made some better ones, and I’m going to give you some feat support for them!

Now, this is a bit of a different direction in the kind of 4e content I make. This isn’t about something from established books, this is something based on the character heritages for 4th edition that Fox made. It’s going to be about feat support for the Gruuwar, Pooka, and Firbolg heritages she wrote, and put up on The Square Fireball.

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How To Be: Goliath from Gargoyles (in 4e D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritive but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

This month, we’re going to look at a challenging build; we’re going to be looking at a powerhouse of muscle and stone, in the form of Goliath from the Disney series Gargoyles.

3.5 Memories: The Struggles Of The Hexblade

We’ve spoken before about how the wizard and sorcerer presented a sort of top-and-bottom of the top tier of D&D 3.5’s utterly unbalanced nonsense space, and it’s something of a storied matter of lore that the Fighter represents a most obvious terrible class. It creates a pretty simple narrative that spellcasters are great and melee damage dealers are ass. This isn’t totally right – after all, the Truenamer, the worst D&D class, period, is a spellcaster, and there are classes that are primarily melee damage dealers that aren’t underpowered compared to standard enemy content.

But it does hold, generally.

The core rules brought with it a set of three arcane casters and four divine spellcasters. Of those divine spellcasters, two were what we call ‘full’ spellcasters – they cast spells at level 1, and every level their spells get better – and were the Druid and the Cleric, two of the most stupidly powerful classes in the game. The other two were the Paladin and the Ranger, who had a pretty interesting structure; both were full-base attack bonus classes, with special abilities that made them better in melee combat, and after level 4, they started to get a small number of spells that gave them a lot of potential options. And honestly, the Ranger and Paladin were pretty damn good. They weren’t the worldshakers that the primary spellcasters could be, but if you wanted to hang in their parties, you were at least going to get interesting choices and could do some cool things.

But what if there was an arcane class that was templated off the Paladin and the Ranger?

What if there was a melee-capable class that got arcane magic and special powers to round out their flavour space?

Well, there was.

Presented in the Complete Warrior, we got our Arcane Paladin-Ranger-type.

It was the Hexblade.

And it suuucked.

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4e: The Swallowers

There are tales told, in the deep and dark places of the world, about vast, floating multi-eyed magical monsters, their minds full of hate, seeing a world of imperfection and foulness that they refuse to abide, wanting to reshape and destroy it all at once. There are tales told about their variations and mutations, things that they see as vulgar but necessary – smaller versions of themselves, foul mutations and permutations.

But there are other variations, ones they don’t mean to make.

Swallowers are chaotic, anarchic creatures, who look like the famously powerful tyrants of the underdark, but sharing none of their ambition and hate. Instead, what they have is curiosity, bubbling up from within as they bounce and float around the world, exploring the world.

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How To Be: Daryun (in 4e D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritive but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

We have a bit of a special one this month: Not a character I know, or am familiar with, but who has been in my life and around me for some time. We’re going to look at the character Daryun from The Heroic Legend of Arslan, a novel series some thirty-five years old, which was reimagined and reinvigorated through the heroic work of Hiromu Arakawa. So, imagine a deep, long-running heroic fantasy war epic, which then had one of the greatest living manga-ka come through and give it a bit of a brush up.

We’re going to talk about a hot prince’s best friend, who he loves so much he was buried with him (but, in a not gay way, if you believe the fandom wiki): Daryun.

5 Dual Wielding 4e Characters

You know what’s cool?

Dual Wielding!

No doubt your favourite professional full-time know it alls have told you that dual wielding is unrealistic and bad and sucks and deprives you of a shield, but my counterpoint is shut up nerd. And when I’m thinking about extremely cool things where the realism doesn’t matter, I think about Dungeons & Dragons: 4th Edition

Which is the best edition.

Here then are five different ways you can wield it both ways:

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How To Be: Illidan Stormrage (In 4E D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritive but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

Now, are you prepared?

No.

No, you are not prepared.

We’re going to talk about how you can become Illidan Stormrage.

 

4e: Mind Control

Content Warning: I’m going to discuss some mind control stuff in ways that violates consent. Not any specific outcomes from that, but if you find the whole vibe icky, that’s what this is about.

Also, other, I guess, content warning: This isn’t about the horny topic of mind control, so if that’s the vibe you’re hoping for, sorry?

Rather what I want to talk about here is the way Dungeons & Dragons uses Mind Control across its multiple iterations and how, as tends to happen when I talk about it, 4th Edition did it in the best way.

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4e: The Ardent

I write a fair bit about 4th edition D&D. There’s at least one article a month, with the How To Be series, and I think they’re lots of fun. They’re exercises in character construction, working from a character aesthetic and trying to find a way to make that fit in the power boundaries and existing options of 4th edition D&D. Part of why I like to do this is to attack the idea that character creation in 4e was boring.

Stil, there are some things that are just… very much from D&D. They’re just things that fit within the universe of D&D as it is, and don’t really translate well to other sources. One such class is the Ardent. The Ardent is a psionic leader; it does team support, healing and buffing and positioning, but powered by the power of the mind.

Psionics in D&D has a weird place, because for some people (like me) it feels like a clear intrusion of science fiction into the fantasy landscape of D&D and therefore makes all the arcane and divine importance of magic as a discipline less important, and for some people (like me, now) that’s 100% correct and rules. Complaints about psionics from back in the day tend to be about how the system was broken not about how the system broke the fiction of the universe after all. Psionics has come to be a favourite system because it tends to be contained in a way that magic isn’t. Magic gets expanded constantly, while there’s an understanding that the psionic system is going to get a limited amount of space, and the psionic classes tend to get a small number of tools they need to make hte most out of. That creates a depth of mastery, where you want to make choices that give you a toolkit you then have to maximise, rather than the disappointing feeling of a wizard’s infinitely wide toolkit, or a sorcerer’s maximally efficient one. It strikes a middle space – and it stands apart from the wizard.

The Ardent takes this idea space and looks at psionics as a way to express the self. It is literally a romantic class (though no Ardent I’ve played has ever had a successful romance) – a class who can use their feelings, their love, their rage, their will to succeed, their excitement at avoiding an attack, and turn that into a tangible force where they can use it to punch an enemy in the face. I love this stuff – I love the idea of a literal avatar of your own feelings. It’s like the thrill of a cleric, where your ideology drives your actions, but you don’t have to have a Dad who is also a Cop on hand.

Ardents use weapons; Ardents wear armour. I like that. These are both things that will cost your character somewhat, but they get you to have a big physical expression of what kind of person they are in their aesthetic. Robes tend to be robes – but armour can look like a lot of different things. Using an axe or a hammer or a polearm or a sword – they also express different ideas. Plus, weapons have a big space of fun synergies that you can pick up if you want to find something interesting to do with your feats, but also don’t demand it.

Ardents are a Charisma-first class. That is, you make attack and damage rolls with your charisma. I wrote about them a while back, about how you can be hot and hit people with your hotness, which I still find fun. Charisma as a way to express a driven character who, whether or not they have social anxiety or stress out over public interactions, can use the force of how they feel to change the world. That’s cool!

Also, it’s a leader. I like playing defenders, because they get to be tough and I can make a big, tangible showing of what good I am contributing. I like protecting my friends. I get some of the same with the leader’s job – making people better at what they do, contributing to their wellbeing, and, with the right build, absolutely wielding the strikers in the group like a bloody blunt instrument.

They get this power? Forward thinking cut. You can fire it off in three versions:

  • Hit someone. Your ally next to you gets a bonus to hit rolls. You can do this when you charge.
  • Shift 1, charge, then you can hit someone, and an ally next to you gets a bonus to hit rolls.
  • One or two Allies you can see can each charge creatures other than the target as a free action, with a bonus to damage equal to your con mod.

Now that, that escalated quickly.

Being able to charge in quick for free, as an at will power? that’s grand. The boost being until your next turn means you can charge next to a tank, stand in their defensive space, and watch as the bonus applies to all their attacks of opportunity or mark punishment. That power, on its own, is fine. The second version lets you shift away from someone holding you in place, and then charge off away from them, to join another ally. That’s also great, a tool you want in the toybox.

The third version is fucking nova gas.

It can be hard to concentrate these attacks – you may notice this means you, the Ardent, charge at a minion or buddy next to the villain, and you throw two of your allies at the villain as a free action so they start their turns mixing it up with them. You can use this to deploy a defender into the middle of a bunch of enemies.

Oh and did I mention that you give pepole a bonus to damage rolls based on how many attacks of opportunity they provoke?

And that this is one power?

And that you have other stuff you can do, including a conga line power where you pinball an enemy around between all your allies and let them all get an attack in?

I think about this a lot when I think about this class. It’s very D&D, but it’s also this very beautifully Tactics Game at the same time. It’s a game that lets you play out the fantasy of being a battlefield commander, inspiring and invigorating your allies. It’s so perfect for a lot of things I want out of characters I play.

Oh, I have no doubt that I’ll be able to find some builds in the future that use the Ardent. I like it a lot, and there are some characters who can probably be represented by a physically violent but emotionaly driven, armoured weapon wielder. I mean if she didn’t have such a loud ‘hit it harder’ theme, Chandra Nalaar could have done it.

How To Be: Rock Howard (In 4E D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritive but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

It’s April, it’s Talen Month, and that means we’re going to talk about a character I’ve wanted to talk about for a long time, and a character who I have a deep appreciation for. There’s not a lot of characters that fit in that mould and work well with 4th Edition’s heightened adventure reality, but when I had the idea to tackle this character, I did so with full and wholehearted knowledge that damnit, I wanted to take care of this character in my month.

We’re going to talk about how you can become Rock Howard.

3.5 Memories: The Complete Adventurer

Before I go on to bang about something big and complicated in this book, I want to note, up front, that this book has Wraithstrike, one of my favourite 3.5 D&D spells, and which introduced the idea of spellcasters spending spell slots for short-term, immediate impact in combat, something I love and which always thrilled me when I got to play with it. If I only got this book for that one category of spell, I’d be pretty okay with it.

Just some uncritical, unvarnished, un-preambled praise.

Going back through my old 3.5 books is sometimes an exercise in wondering, in hindsight, just what exactly justified the book’s cost. At the time I was actively playing 3.5 D&D, the books were purchaseable research tools, things to leaf through and read and cross-reference. It was like getting a complex box of lego, and you could share your creations with other people.

Most of these books, I look at the spines and I have a warm thought or two. It tends to be something like oh yeah, remember how this lets you do that or that. Most any given book has an absolute dogshit class, one really embarrassingly weak thing, and one really busted thing in it. There’s always some stuff that’s, you know, decent, or stuff that becomes decent when you know what you’re doing. Basically, these books were themselves, even if never used to build a character, fun to play with.

Sometimes you’d find a book that had in it something that resisted play. Something with an obvious allure to it, but something that was hard to see how to make it work. These were often a bit like Finger Traps, kind of like Rubiks Cubes – puzzles where the impracticality of solving them was the point. Character options that asked an interesting question.

For the Complete Adventurer, the question was the Fochlucan Lyrist.

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Gods of Cobrin’Seil: Faces Of War

I spoke earlier in the year about ways to view gods in Cobrin’Seil, and the story mechanisms I used to consider them. I said, at the time, that I wasn’t planning on talking more about the gods in my setting, unless there was interest. Then there was interest.

This involved digging up the text I had on these gods – the historical information for comparison. Obviously, looking back on your old writing is going to come with some problems. In this case, some of it just basic assumptions, some if it is awkward phrasing, some of it is indelicate language, and uh,

also,

I cut a title from this text for Adeblen. The original title was unremarkably edgy, and I would normally leave it in, but it uses a Content Warningy word, and there’s nothing really, like… related to it. I would normally leave the text as is and use it as a teaching moment? But like: Don’t give characters titles that include words you’re not comfortable saying at the gaming table any more. Seems pretty easy teaching.

Now, with that, here’s the old text presented for the gods Palescai and Adeblen. This text is presented as is and I’ll workshop it on the other end.

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How To Be: Edelgard von Hresvelg (In 4E D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritive but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

Now this month, we’re going to return to How To Be’s roots, and once more we’re looking at a character from Fire Emblem: Some Number Of Houses. Yes, it’s the gal who’s Horny For Priest Murder (And For Other Reasons), the Look Up Other Reasons People Like Her, the One, the Only: Edelgard von Not Pronouncing That!

4e: The Hindren

Hindren are a type of cervitaur (‘part deer, part-humanoid, with four legs and two arms’) people you can meet in the indie videogame Caves of Qud. They’re originally a fan creation by indie bespoke curio crafter Caelyn Sandel, before they were implemented in the game proper in part thanks to the efforts of new Caves of Qud writer Caelyn Sandel, which meant they were present in the game to be streamed by Grahu-Rubufo, the Caves of Qud vtuber (voice acted by Caelyn Sandel).

Here, in this article here, is a version of the Hindren that you can bring to the table in your D&D games, as long as you’re playing 4th edition and have a DM that’s understanding about gay deers. Why now? Why am I doing this? Because it’s someone‘s birthday soon, and she’s lovely, and I like what she does.

Art Source: Phineas Klier. Don’t like the watermark? Go check out his work, it’s clean and big there!

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Making Gods in Cobrin`Seil

I have my own D&D setting; I’ve talked about it before, not because it necessarily is a thing you should want to play in, or I’m going to make you pay for, but because the process of building a world is itself full of interesting insights. Particularly, I find that the surest way to know what you like in world building is to look at other world building and see what about it makes you mad.

This time, I’d like to talk a little bit about Gods, in my setting. No, this isn’t going to be a specific list of those gods (though, you know, maybe). It’s about what gods are and what they mean.

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How To Be: Ukyou Kuonji (In 4E D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritive but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

Well, we’ve done some odd stuff with this section, some big ideas about maximising specific character quirks and hitting particularly niche interests like a transforming robot dinosaur, but what if your wants are more hey, what can I do with this simple basis? And, it seems that this month is full of references to Ranma 1/2 and twitter voted on it, and so, here we go, a return to Ranma 1/2 as an option: Ukyou Kuonji.