Tagged: 4e

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.

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.

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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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.

4e: The Passionguard (And A Kickstarter Promo!)

In 4th Edition D&D, a starting character has three large layered choices for making a character more conveniently.  You have their Ancestry (“race”), you have the toolset for solving problems they have for their basic skills (“class”), and then you have the little third layer, the layer where you get to refine those two things with extra stuff that isn’t worth a lot, but does bring with it some inherent difference: the theme.

For me, themes are a secret sauce component of 4th edition D&D. They’re a place that you can fill out things a character should be able to do, small bonuses that aren’t necessarily as uniformly available. If you have a striker who you think of as needing to be able to shield someone, one person in particular, the Guardian theme is there for you. If you want to add some sneaky stabbiness to a straightforward fighter, there’s a Yakuza. I’ve used the Werewolf and Werebear for a lot of stuff, and there are sometimes whole themes that carry a concept that are more important than the other two choices to make sure you can hit a specific feel.

But also themes aren’t ironclad, either. Some are very specific, like membership in a specific organisation and some are very general. Themes feel to me like seasonings: The biggest problem we have with Themes right now is not enough of them and not varied enough. Themes are there to do the job of helping you cement some element of your character design that needs to grow, but also can’t be done with the slow progress of feats.

And while working on this, I found this.

Art by Floh Pitot

This artwork rules. I have this problem when I see art and because I create in game spaces, I immediately think ‘hey that’s rad, I’d love to make a game that looks like that.’ And you can’t, that’s a thing, you can’t just take art you like and use it, even though people can just take rules they like and use them. Seems a bit rude on me, I guess. But anyway, point is, I saw this and went: Damn, that gives me ideas.

Thing is, this art is for something. It’s art from 2018 for a Zine called Dames. And that zine has an iteration, currently on Kickstarter, right now. With that in mind, here’s a link to this Kickstarter, and I recommend you check it out and see if you like it. It’s a zine full of knightly ladies. That looks cool!

And now, inspired by this bangin’ artwork, I’d like to present you with The Passionguard.

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How To Be: ME GRIMLOCK (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.

You know, last year we did a bunch of characters who could be seen as fitting the genre of a combative adventurer reasonably well, and maybe it’s time to try some stuff that’s a bit more weird. With that in mind, let us reach wide, with our tiny, tiny arms, and look at ME GRIMLOCK!

 

4e: The Paladin’s Plight

Pacing is important in games. It’s a lesson that can be difficult to learn without trial and error, and when your game is big and playtesting sessions are slow and about lots of varied choices it’s entirely possible that you have a pacing problem that only a small number of people are ever going to notice.

In 4e D&D, the Paladin was one of those characters with a rough pacing problem. If you build one, now, using any of the major building tools available, you’re going to see that when you hit level 2, you have to pick one of the utility powers available at that level and

Woo.

It is a spicy one.

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How To Be: The Covers Of 2020

It has now been a full year of How To Be. These articles are fun to make, they’re interesting to play around with, and I have more of them ready to go, so I fully expect to keep doing them. What I do think, though, from all of those articles I’ve made this year, I was frustrated to find that Twitter and Jetpack, two of the ways I promote this blog, don’t present my hilarious book covers in the thumbnails consistently. That means it’s possible that you might not see these book covers and may not have gone looking for them.

Also, since it’s December, and I am tired and you are tired and everyone is tired, how about I show off this year’s How To Be covers, and let you check them out now, as some long-form throwback reading of the rest of the blog.

Yeah?

Yeah.

Yeah.

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How To Be: Wolf Queen Nailah (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.

And this month, before we talk about our subject, though I mean she’s in the subject of the blog post that you just clicked on so I mean what are we going to cover, suddenly a swerve and it’s going to be about trotting out pairs of characters that can be Bert and Ernie from Sesame Street. But see, this marks our twelfth How To Be, and it also marks the first year of this feature. It’s fun! I’ve enjoyed doing that!

And because variety is important to me, we’re going back to Fire Emblem. And maybe, being you’re one of my friends, you might be thinking that yes! I’m going to bring up ya girl Edelgard, who is… very, very similar to Hilda.

No, we’re talking about Nailah, from Fire Emblem: Radiant Dawn. And we’re talking about her because she’s cool, and she can do interesting things, and most importantly, because Fox likes her. I started with one of Fox’s favourite franchises, and then with a character she kinda didn’t like one way or the other? Terrible form on my part.

Let’s look at a Wolf Queen.

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How To Be: The Castlevania Gang (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 examine overlapping skillsets as we look at not creating a character but creating a group of characters: The trio of monster hunters from the Fang-Em-Up Netflix anime, Castlevania.


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5 Ways To Be Cosmically Horrifying in 4E D&D

It is easy perhaps to forget that TTRPGs are a fundamentally creative space. In some games, especially the more modern indie style of TTRPG, characters are often handed a role that really paints the way they should feel, a characterisation that is in some cases extremely specific, like you’ll see in PBTA games. In D&D, there’s a lot of ways in recent days that flavour has swung towards specificity, which can limit the kinds of creativity you can express.

4e D&D is a game system that deliberately tries to leave a lot of your flavour up to you. Last year I talked about some character options that let you be horrifying heroes. This year, we’re going to do that again, but instead of gothic horror, we’re going to look at ways to do cosmic horror with your character that swings a big axe and saves the day.

Cosmic horror in this case refers to the horror felt at the boundaries between human agency and universal indifference. Cosmic horror can be felt in a very mundane, normal moment of life when you look up at the sky and realise that there is more that exists that you’ll never see, that the universe is old in a scale that you will never understand and will live on longer than you will ever be able to conceive, and that these two details make you a nothing of a blip between nothing blips. When we talk about cosmic horror as she is shown in media, it’s often about trying to show you those points of interface: Of the horror that Lovecraft himself said,

“Now all my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large.”

The horror of the Cosmic is not the threat of Gothic horror. It is the immense indifference of an uncaring, infinite emptiness.

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How To Be: Tier Halibel (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 dive into the world of the dead and look to the Queen of Hueco Mundo by the most powerful shounen anime right, the right of default, the underboob to Matsumoto’s cleavage well, Tier Harribel.


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4e D&D: Marks Are Great

A common criticism of 4th Edition D&D is that at its root, it was good at combat, and therefore, everything in the game, is in service of those combat rules. One example given, is that in 4th edition D&D, there’s the mark system, which turns any kind of player choices manipulating enemy behaviour is turned into a simple reliable mechanic and the player doesn’t need to think about it to engage it, and that this is bad.

This is of course, a stupid position because I introduced it up front so I could get you on my side with a comical twist. Of course I think marks are good, and that’s in part because I think the first half of that argument is kinda a bad faith argument. If you think 4th edition D&D is only combat mechanics, it tends to suggest you haven’t really cracked the books. I could talk about how the nature of the game is that good guides for the creation of narrative don’t need lots of space, and convenient reference text for combat entities does, and we’re back at talking about rainbow tables and storage versus process, but whatever.

The mark system in 4th edition D&D is a blatantly tactical gameplay mechanic.

And I love it.

If you’re not familiar, marks are a system that all the characters with the classification ‘defender’ – you might know it as ‘tank’ or ‘blocker’ or ‘guardian’ – get some ability or other that lets them impose the status of marked on enemies. Marks have a few standard rules; specifically, when you have the marked status, the person who did mark you matters. When you’re marked, you suffer a -2 penalty to attack rolls on attacks that do not include the thing marking you. That’s it, at base.

This system is implemented in a lot of different ways; Wardens can mark everyone around them as a free action, but they have to choose when in their turn they do it, which can make for some tactical choices about where and how you position yourself. Fighters mark everyone they attack, whether or not they hit, which means they care about doing lots of incidental attacks, and view area effect or multi-target attacks as a form of control. Paladins have two different marks – one which happens on specific attacks, and one which requires them to remain near the subject. There are more of course, but just these three examples present the mark as a tool where the player can treat the battlefield in terms of their impact on it; monsters have a reason to want to avoid them, and they have a way of controlling monster behaviour. Marks don’t stack – the most recent mark over-writes the other ones.

It’s not just the defenders who can use marks themselves – because it’s a standard mechanic, you can then have other characters use them. For example, you can make a fragile character get a risky power that marks an enemy, which means that suddenly, you’re a high priority target and it makes it harder for the tank to keep that enemy on them. Another option is a support character who can make another character mark something – so you could play a psion, that says ‘hey, enemy, you are now marked by the tank.’ These are interesting options. And you can even use it on enemies – Sometimes a skeleton warrior may have the rules text ‘Deals 1d8+5 damage, and the target is marked.’ And that right there is a simple mechanic that suggests that the enemy is doing what it can to try and force you to focus on it.

Now why are they considered bad?

The idea seems to be that if marks just work, players don’t have to work to roleplay their characters being visibly fearsome or expressing themselves in the world around them so the DM will make monsters behave in a way players want to manipulate. That’s something that sounds compelling if you are, like me, an amazing roleplayer who’s great at commanding attention and capable of convincing DMs. But there are lots of players who want to play a showy, ostentatious asshole of a tank who isn’t actually that great at one-liners or showy, ostentatious violence in description.

This is a false idea, in my opinion. The whole point of Marks as a system is that it’s designed to make something in the game that should work work reliably, rather than make it prone to the whims of the player. It’s not as interesting if your character can or can’t maintain enemy attention based on your ability to say something rude or shocking or clever in another language, but it is interesting if you’re able to make choices about where you stand and what targets you care about.

It’s also something about being in fights. If you’ve never been in a fight, it might surprise you to know that there are ways to fight that make ‘disengaging’ from the fight actually hard, and it’s not because you can make fun of people, it’s because of stances and reach and position.

I think Marks are great, and part of why they’re great is because they reduce the friction of what the game play is directing to not determine whether or not a thing can happen, but rather the game rules dictate what will happen, and it’s up to you, the player, to explain how it happens.

How To Be: Sumireko Usami (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 become a god damned Touhou.

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4e: Rites and Rituals

A complaint about 4th Edition Dungeons & Dragons was the ‘loss’ of a bunch of utility magic like Rope Trick and Leomund’s Hut. Typically, I hear it framed as the wizard specifically lost something by having its powers reduced to just the ability to fire off combat magic, and that’s kind of fair; when a character has a lot of utility effects in 3rd edition, if they were all gone and left only the combat stuff behind in 4th edition, it’d definitely be a limitation in scope.

The problem of course is that wizards lost none of their utility nonsense, and that utility nonsense was made more available to more characters, because if it wasn’t a combat effect, it was folded into the space of rituals.

Rituals are basically spells, but they’re spells that are too complicated and time consuming to perform in combat, and give you a kind of effect that the game doesn’t want you to just dump anywhere, at any time, for free. This was one of the problems with 3rd edition magical effects; some of them made major, common impediments to plots into trivial actions that a player character could renewably blast through – things like Speak to Dead and Teleport Without Error aren’t utility effects for combat, but are just plot-busters.

In 4e, all of these utility effects are created not as magical items that let you do the utility effects (as many of them became in 3rd, with scrolls and wands occupying the ‘nice but rarely needed’ spell slots), but rather as a straight up exchange for something your character can do, with the right components and a book. It’s great, honestly, since back in 3rd edition, as builds evolved over time, players would eventually just get in the habit of keeping cash on hand to pay the local cleric or wizard or whatever to cast the spell they needed for whatever inconvenient bullshit they were dealing with.

How do they work?

Basically, you can either buy a ritual scroll, which is a one-off, purchaseable version that needs no expertise. You need the effect once and you don’t imagine you’ll have value out of getting it regularly, so you buy the ritual scroll and go for it. Anyone can do that.

But if you want to do the effect multiple times, it’s cheaper (long term) to take the Ritual Caster feat, and transcribe that scroll into your ritual book. That means it’s mastered. And when it’s mastered, you can do it any time you want by expending components.

Okay, okay, components, that’s the next thing, what’s that mean. Well, there’s a generic purchaseable thing called ‘components’ for each skill. You spend gold on buying a quantity of Components, and then you use those components to do the rituals when you need to.

This turns these things into an expendable resource, something you can’t just overuse to solve every problem, but as you level up, they become more affordable, and you start being able to spend a small quantity of this resource on making some problems go away. Knock costs 35 gp and a healing surge – meaning that at the low level, the gold is a serious cost, at high level the healing surge is. But it also means that you can play a character who spends, by mid level, spare change on the magical effects that, in 3rd edition, you’d never use because to use them would involve spending a spell slot – something that’s really valuable.

Plus, as with a lot of things in 4th edition, this opens up a lot of character options. Let’s say you want to play a fighter who’s learned a trick or two from mages. Then you can take the Ritual Caster feat – in combat, you’re still a knuckle-dusting badass who uses swords and axes and shields and whatnot, you didn’t become a wizard – but now you know how to magically undo a lock, or create an illusion. Same thing with a rogue, who can complement their thievery with teleportation rituals!

There’s also the Martial Practices system, which adds Ritual Like Effects to the non-magical characters – stuff that definitely should take some time and effort to do, but shouldn’t need to be done by a wizard in a pointy hat.

I really like the ritual system! It’s one of those super neat components of 4th Edition that’s been seemingly rendered invisible in a sea of bad faith arguments, and that’s a damn shame.

How To Be: Chandra Nalaar (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 talk about the hottest of Pansexual Messes, Chandra Nalaar and you may be asking me ‘well why didn’t you do that during Pride Month?’ and the answer is because Wizards have not been exactly well behaved on this issue and I’m not about to do their marketing work for them just this moment thank you bloody much. Instead we’re going to talk about Chandra on her own time, thank you very much.

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4e: The Dragonborn

You may remember a while ago I talked about how, typically, in fantasy stories, dragons are used to represent governments. This idea isn’t like, hard codified facts or anything, it’s just a way to look at dragons and it can make some sense of how they behave when they’re used in stories. The thing is, that’s a sort of high-up view of what dragons are used for, and the ways we treat dragons because it’s the way we learned to treat dragons; they are, essentially, governments that you can interact with on an individual, personal level, which means that they can be petty and cruel and vain in ways that only involve changing one mind to fix or they can be benevolent and kind in the ways that an individual making reasonable judgments can.

But what if dragons were not only expressed in these forms, what if the role of the dragon in a story being a person means it is something that people can observe, can admire, can disconnect from its duties and the scope of its powers, and consider as a person that can be swayed, can be hungry, can have material needs, can-

Look, I’m circling around the question of whether or not Dragons Doink.

Now of course Dragons doink. In almost every single modern D&D style story, Dragons are not byproducts of ethereal reproduction, or spiritual cell splitting, or even magical summoning but in our modern conception, instead, absolutely and clearly about dragons that frick, and who wouldn’t want that, as a way to get baby dragons? They follow eggs, then that makes sense, and the fact it feels like it makes sense is more important than whether or not it makes sense.

And if dragons can doink…

Dragons can doink people.

And dragons can have kids with people.

Look, I’m not saying that 100% of all expressions of the Dragonborn through their history in D&D, stems from dragonfrickers, and people who associate with dragonfrickers, but it’s a pretty simple and fundamental thought: What if a dragon, but a badass or cool or pretty looking person who isn’t so powerful they shake the world? Is that a reasonable want to be?

The Dragonborn were not a new creation for 4th edition; I suspect they existed in 2nd edition as a few scattered NPCs, or maybe something from Parliament of Wyrms but damned if I’m going back that far to research them. They were given prominent showing and referred to as ‘new’ in 3.5’s Races of the Dragon, a stunningly unnecessary book about many varieties of Dragonfrickers; particularly, in this case, the kobold and the dragonborn, who at the time looked really strong, overpowered even. There were also… another… one, but this isn’t me going in on that book (and I will, don’t worry), it’s going in on the 4e race. Essential backgrounder, you know, as far as one can be essential when discussing the significance and importance of a completely fictional race of dragon-furries (scalies, I’m sure you’re correcting me in your head) for Dungeons And Dragons.

The dragonborn, that book said, were members of different cultures that were just the bestest friends of Bahamut, who, upon testing their moral character and deciding on their significance as servants, proceeded to wrap them in an egg that they then broke out of in a big sprawling mess of goo.

Not joking.

Dragonification (Giving).

This idea was used to get the Dragonborn into D&D settings that didn’t have it at that stage, and even let players openly turn their existing, established, high-level mid-campaign characters into these cool scaly bastards, because D&D is like a really weird, badly maintained MMO with a need for backdoor explanations for why things even are, but it wasn’t necessary for 4th Edition D&D that launched from the jump with Dragonborn in it.

The explanation for the Dragonborn provided there was that they were a race that was related to some ancient Dragon and… they had an empire that was almost a worldwide dominion, but didn’t wind up that way. This you may recognise as echoing the story of the Tieflings, who had a global empire, that they then wrecked in their hubris. Personally, I don’t like reusing this story beat, but the default canon explanation for the origin of the Dragonborn is that they’re basically either Tieflings Two Point Oh (and I have a great fondness for Tieflings as they currently are), or they’re stuck with being Bahamut or Io’s Special Favourite Mousketeers, and well, at least in default D&D settings, AGAB, and Bahamut in particular is a narc’s narc.

There’s also the option that they were made by some other, mysterious force, that they are a created people, possible for purposes of war, but there’s also the Warforged, who exist in the same space, and present a lot of interesting questions, meaning that Dragonborn run the risk of being a Less Interesting Warforged.

What then for the poor Dragonborn?

The thing with these fangaling wingalings is that they’re absolutely something you work backwards to get. It isn’t that the setting has this great big empty space where you need to pour some sort of excitingly interesting dragon-like culture, we have that already, it’s called dragons. It’s not like dragons even necessarily imply the existence of dragonborn – dragons are big, slow, ancient and they still get whole cities built to their glory. But if you want a person who looks like a dragon and still wants to run around doin’ an adventure, then dragonborns fill that spot, and you have to then back-fill what they’re for.

In 4th Edition, we add an extra wrinkle to this exchange because the Dragonborn is also extremely strong and extremely well-supported, meaning that it’s very likely that players who don’t necessarily feel interested in being a Totally Hot Dragon Person are nonetheless going to find themselves drawn into that space as well.

The biggest challenge for me is finding something for Dragonborn to be about that isn’t just duplicating another useful cultural space. You can go with them as being inheritors of an empire, frustrated by their nearly-attained but never-quite global domination, but empires are assholes and when you’re dealing with dragons you already have the uphill struggle of dealing with a person who behaves like an empire.

What, the question is, do I want Dragonborn to be for?

Because right now?

They’re for furries.

That’s it.

That’s a good enough reason, no lies – but I’d like to be able to show the friends who are looking for that, that in my setting, my vision of Dragonborn lets them be the kind of characters they want to be; that they are not saddled with trauma and tragedy, nor does my world see them as inherently conquering jerkholes.

Now, the solution for Cobrin’Seil, my setting, is still something I’m working on. I’m thinking about where to go with it, but I also think it’s important to recognise the parameters of the question. If there’s a problem, it’s worth trying to get my arms around.

 

How To Be: A Squid Maid (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.

And now, it’s Pride Month! Since I haven’t done one of these on a single straight character yet (if you believe my fanfics), I had to do something a bit special and out of the ordinary, and so, let’s do something that’s extremely culturally important.

That’s right. It’s Squid Maids time.

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How To Be: Gardevoir (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.

And now this time, because you on the Twitters voted for it (whether or not you realised you were voting for it specifically), this month’s choice is the elegant mind dancer Pokemon, Gardevoir.

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4e Power Sources

Back in the olden days of Fourth Edition, we would cast our minds back to the even oldener days of Third Edition and the slightly less oldener days of Third Point Fifth Edition, all of which predates Fifth Edition, about which, I want to underscore, and reiterate, because I keep having to do this, I know nothing and do not care to know anything. Anyway, back in third edition, there were these terms for magic – arcane and divine. The rules around these mechanics were the kind of thing you’d look up once, then never need to remember again because they only mattered for setting some basic rules. The basic rules being that divine spells didn’t incur ‘arcane spell failure’ and arcane spells did. You had to know whether you did arcane spells or divine spells, but you didn’t really need to know much more about it than that.

There were some splats, some supplemental rules that sought to make the ‘martial’ type a thing, there was some vague wuffling about shadow powers and even once, an entire splatbook about introducing different types of magic to the game that were all, in their own way, terrible, and even involved just being arcane and divine in places, as the code that the game ran on really, really wanted a reference point for that information.

Fourth edition, though, looked at this sort of ‘power source’ idea and asked the question: what if we actually used this game flag for something?

So we got, in the first book, the power sources Arcane, Martial, and Divine. Later books introduced Psionic and Primal, and I guess Shadow exists, somewhere, over there. We don’t talk about Shadow, not here, and not in the Sonic fandom.

Now, hand to my heart, if you go looking in 4th edition for a power or ability that says something like ‘when an opponent attacks you with an arcane spell, do a thing,’ I don’t think you’ll find anything but I’m not entirely sure. They did try some experimental stuff in places in that game. But broadly speaking, you do not find things that reference power sources in the way that they were referenced back in 3.5 D&D! There was no armour attribute that only mattered to arcane characters (and which almost every arcane character class had some way around god damnit 3.5).

Instead, power sources in 4th edition were used in two ways:

  • To give the different classes with the same power source a linked mechanical feel
  • To give characters with a specific style multiple different mechanical opportunities

This may sound like not much, but it’s a hugely useful part of the game and it isn’t something you need to care about. As a designer, being able to say ‘primal characters tend to get these special effects’ is handy set of tools. As a DM, knowing that you have (for example), a group with Primal and Martial characters suggests to you that you’re not likely to have big spread AOEs or super-flexible powers like if you were dealing with Arcane characters. Martial characters care a lot about weapons and combat advantage, Arcane characters tend to have flexible special abilities, Divine characters tend to have heavier armour options, Primal characters tend to have more hit points and Psionic characters get power points.

And nobody cares about Shadow.

You may want to build your character, knowing you want a Ranger and that’s it, oh kay, so much, no problem at all. But if you don’t approach the class system that way, 4th edition’s power sources are here for you. Let’s say you conceive of a character who’s a bit rough around the edges, lives in the woods, tracks their own food and knows how to win a fight, and maybe has a pet. In 3rd edition, you have two options: the Ranger and the Druid. The ranger is a melee damage dealer (or you can try range if you want to be bad) and the druid is … ostensibly, a full spellcaster, and in actuality, brokenly powerful all singing all dancing shitting god-king of numbers mountain. But that’s it, that’s your options; a heavy caster, and a light caster who stabs things. Fox has said that I should add the Barbarian and I am even though I definitely wouldn’t if she didn’t.

But in 4th edition, if you wanted to play that same character, the woodsy outdoor type, you could play a melee damage dealer (ranger), a ranged controller (hunter), a shapeshifting monster person controller (druid), a shapeshifting monster person with a weapon tank (warden), a summoner with healer ghosts (shaman), an angry person with a weapon who hits people real hard (barbarian) and even another, different kind of ranged controller (the seeker, which we don’t talk about). They’ll have unified feels – they’ll all be nature-y, they’ll have nature-skills, they’ll work well for the story space you want to put them, but they’ll all be different mechanical choices with the same thematic space. This matters a lot, because suddenly, players can make choices that are about what they want a character to feel like without needing a super-refined grasp on a thousand rule options to make a build work (like back in 3.5).

See also, the divine. If you wanted to be a religiously chosen holy crusader type in 3.5, your options were Paladin and Cleric (which was also broken). That is, a pair of melee, heavily armoured combatants, who usually wore a shield and cast spells at the direct behest of a god, with some smiteyness thrown in. In terms of differences in style, the cleric didn’t have a horse and the paladin didn’t get to be strong enough to piss in god’s ear. But in 4th edition, if you want to play that same divine, holy crusader type, you have clerics, paladins, avengers, invokers, runepriests and blackguards (who can join the Seeker and Shadow).

These options are all kind of just washing over you at this point, I know, but this is a really important bit of design technology. Unifying thematic space gives players more room to make their own thematic choices. If there’s one way to be something in your world, any player who wants to be that thing can only be that thing.

Power Sources are one of many things in 4th edition D&D that made the game better, and part of what makes them exceptional design technology is that if you didn’t care you never had to notice the bloody things at all.

How To Be: Corvo Attano (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 time, we’re going to try and capture the feeling of the Knight Protector of the Empress of Dunwall woops oh no it’s all gone wrong, Corvo Attano.

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