Show Posts
Pages: [1] 2 3 ... 318
1  Campaign Creation / Campaign Elements and Design / Re: Cainsworth: City of the Damned and Dicty (Gothic Horror, Dieselpunk) on: February 18, 2018, 12:57:52 PM
This looks super great! I think it could easily run in either Pathfinder or 5e. I've used both to run big urban games.

Reminds me a bit of Bloodborne, in a good way.

I'm curious what the districts of the city are like, what kind of people are in charge, what these witch-zones are like, and how religion has changed.
2  Announcements / News / Re: Happy New Year! on: January 01, 2018, 06:53:47 PM
Happy New Year!

I haven't been around here as much recently, but I will hopefully be popping my head in more this year, including running a very long-overdue game of Fate. This semester still looks busy but I am finding my feet more while teaching these days.
3  The Works / The Dragon's Den / Re: What are some official settings worth getting into? on: November 23, 2017, 10:14:36 PM


Was it hard to convert old material to PF, and if so, do you think it would be hard to run with 5e? I can't get them back to 3.x/PF. I've tried.

I didn't do a ton of direct conversion, but even when I did, no, it was incredibly easy, since almost everything in Planescape has been statted in Pathfinder or there's an easy substitution to make.

I think it would be doable in 5E. There might be slightly fewer ready-made player races and monsters, but those are also easier to make in 5e, actually, and power imbalance problems might actually be minimized compared to Pathfinder.
4  The Works / The Dragon's Den / Re: What are some official settings worth getting into? on: November 18, 2017, 02:27:29 PM


Were there ever any novels based on Planescape?

I think there are, but I never read them. There's one called Pages of Pain that's supposed to be pretty good. I don't think it's "canon," though.

The game has as much text as many novels.

I ran a Planescape game using Pathfinder for 3 years or so - it was a blast. Sigil is an amazing concept for a city, with every door a portal. Whole sessions of that game were spent on weird pub-crawls and tracking down bizarre keys. A big arc of the game involved the party getting arrested and having to navigate the intricate legal system of the city, complete with hiring a lawyer and collecting exculpatory evidence. The setting is so rich that just doing ordinary things and exploring the place is a lot of fun.
5  The Works / The Dragon's Den / Re: What are some official settings worth getting into? on: November 17, 2017, 12:03:31 PM
Yeah, it's definitely a "maximalist" setting - baroque, excessive, over-the-top. But even though it has everything in it, it feels surprisingly cohesive. It reminds me a lot of Neil Gaiman's mythological stuff, like Sandman and American Gods. Sigil, the main city, feels like it owes more to Dickens than Tolkien.

Well of Worlds is pretty good. I really like The Eternal Boundary, which is set mostly in the Hive, Sigil's demon-infested slums and involves some of the best factions: the gloomy nihilists of the Bleak Cabal, the vaguely Gnostic, quasi-Buddhist death cult known as the Dustmen, the punk-anarchist-death-metal Doomguard, and the surreal lunatics called Xaositects.
6  The Works / The Dragon's Den / Re: What are some official settings worth getting into? on: November 16, 2017, 11:29:32 PM
My favourite setting by TSR/Wizards is Planescape. It's very well fleshed-out, and has some of the most detailed and well-written supplements/setting books I've ever seen. It has a really unique central city (Sigil, shaped like a torus atop an infinite spire) and takes various D&D concepts like Alignment and really elevates them. There's a philosophical tenor to a lot of it that I really enjoy, too; the factions that form the political centre of the setting all have unusual philosophical viewpoints influenced by lots of real-world metaphysical and ethical positions. The art for the setting was mostly done by Tony DiTerlizzi, who is really talented and gave the setting a really distinctive visual style. It also has one of the best video game adaptations around.
7  Campaign Creation / Campaign Elements and Design / Re: Help me create a small city/large town on: November 01, 2017, 10:39:27 AM
I love sandbox-style campaigns. This sounds like a great game.

One thing I think should be figured out early is whether this newly discovered land has resources of any kind - this will really change how the town looks and functions. If it's a scavenger economy based on magical relics taken from the ruins then there's probably going to be a big market of some kind, and perhaps people might be incorporating some of these artifacts into their businesses, homes, etc. If there's something to mine (magical ore? crystals?) then the town will be near the mines, with lots of businesses to provision, equip, and support the miners. That kind of thing - you'll want to figure out what makes money go round in this place. This also will lead to plenty of instant adventure possibilities.

I get a kind of STALKER vibe from this whole thing that I really like.
8  Campaign Creation / Campaign Elements and Design / Re: Help me create a small city/large town on: October 29, 2017, 11:29:35 PM
This is an awesome setup.

So if you've got a "civilized, controlled, moderately-high-magic, and lawful" power running the show, I think there a few options. One that I kind of like the thought of is that this frontier town is basically a company town being run by a mercantile operation who've been giving the blessing of this powerful realm to explore and exploit the new island, much as the English gave a royal charter to the Governor and Company of Adventurers of England trading into Hudson's Bay - a company which became, for all intents and purposes, the government of what would become Canada for some time. This company would have a high-ranking Governor as its head, with a series of factors and other officers below, and then a mass of servants, tradesmen, sailors, etc. There'd be pretty ad hoc courts, with company representatives acting as magistrates.

One alternative might be to make the town more like an overflowing gold rush town, with very little in the way of actual authorities at all - more like Deadwood, with maybe a Sheriff at best to enforce order, and a few elected officials to make decisions. I think both options have a certain appeal, and both fit with your concept.

I'm mostly interested in what the wars were like, and whether there's any weird magical stuff left behind from the battles - like summoned monsters still lingering, cursed battlefields, lost undead battalions, rusting war-golems, etc.
9  Campaign Creation / Campaign Elements and Design / Re: How does this idea for a homebrew Mech world on: October 13, 2017, 11:59:52 AM
That's a pretty oddball combination, and it feels like it would take a ton of work to get the Pathfinder characters to feel like mechs.

That said, it sounds like to the reddit user, that's part of the point, so maybe I'm crazy, but personally if I were playing a mech game I'd really want to nerd out over "cooling units, gun mounts, and chassis limitations" - surely designing a mech is a huge part of the fun?

Have you heard of Mechnoir? I think you also need Technoir to run it but even together, they're pretty cheap. It's like a relatively rules-light mech setting.
10  Campaign Creation / Campaign Elements and Design / Re: Designing Bestiaries for your Setting? on: September 18, 2017, 12:05:02 PM
I have a lot of thoughts about this. I may, one day, write a guide to monster design, but here are some loose thoughts. This is just my approach, a sort of "Steerpike's monster-making manifesto"; it's not the only way to make monsters, so take these "dicta" with a grain of salt.

- Monsters should inspire both fear and disgust.

- Monsters must be categorically impure. They must defy the schema we use to make sense of the world. They must mix and mingle things which should be disparate. All classic monsters do this. For example, the vampire mixes life and death, often masculine and feminine, human and animal. Frankenstein's monster: it's a pastiche of different parts, it's living when it shouldn't be. Categorically impure things provoke a sense of revulsion. They're wrong in some way that makes us worry that our whole way of seeing the world is wrong.

- Monsters can be fusion figures or fission figures. Fusion figures combine more than one body. For example, the xenomorph of Alien combines crustacean, reptile, humanoid, insect, male and female, organic and inorganic, all in one body. It also defies the inside/outside distinction (chestburster, facehugger, its weird mouth thing). Fission figures are the opposite: doppelgangers, werewolves, shapeshifters. Multiple identities are distributed across time. Anything which suddenly transforms, or which seems other than it is - that's a fission figure. For example, the monster the Thing of the film of the same name adopts the personae or semblances of its victims, but can be revealed as monstrous (in fact, in its "true" form, it's also a fusion figure).

- Monsters find the root of their fear in their otherness, their difference. This difference can be uncanny or abcanny.

- In the uncanny, we're confronted with some aspect of our psyche we're uncomfortable with, something we want to repress or deny about ourselves. Pennywise of It is like this: It draws on our worst childhood fears, our phobias, our personal vulnerabilities, the things we want to forget or shun, the dark, frightened, primal parts of ourselves. Uncanny things are strange and other, but they're also creepily familiar. Haunted dolls, ghosts of all kinds - anything to do with the past, with time out of joint, with a trauma rediscovered. The crawlers of The Descent are another good example: they're not-quite-human, but they represent our repressed aggression, our appetites, our taboos, our past.

- For the uncanny, try taking human beings and removing something. For example, the Slender Man has no face, the Crawlers have no functioning eyes or language, and the Bodysnatchers have no individuality.

- You can also try adding something or moving something around, as with the Pale Man of Pan's Labyrinth.

- The abcanny is the opposite - the totally inhuman. It corresponds to no aspect of the psyche, nothing we're denying or abjuring or repressing. Cthulhu is the go-to example here, although the Colour Out of Space might be a more pure example. The house in House of Leaves would be another good example. There aren't as many good filmic examples of this because the abcanny in its purest form tends to defy comprehension and representation. The Thing comes close, and some other John Carpenter films also (Prince of Darkness, At the Mouth of Madness).

- To evoke the abcanny, you need something that retreats from view or can't be fully understood or perceived, or something which otherwise seems completely alien. Lovecraftian creatures draw on marine life, gastropods, and insects because these seem the least like us. Slime, tentacles, voids, boneless bodies, exoskeletons - these are good ingredients. For the abcanny, avoid faces, human body parts, anything anthropomorphic.

- Many good monsters have an ecological dimension - including a distinctive way of reproducing, feeding, or growing. 28 Days Later zombies eat flesh and spread their virus with bites and scratches. Vampires need blood and create more of themselves by feeding others their own blood. Xenomorphs use human bodies to incubate eggs, which hatch into facehuggers, which implant new xenomorphs. Slake Moths in Perdido Street Station feed on human minds and process those minds into psychogenic milk for their caterpillar young. Pennywise needs to feed on fear before going into a 27 year hibernation.

- Monsters can represent something else - they can function as metaphors - but they shouldn't be reducible to that meaning. Lovecraft's Shoggoths can be interpreted as a metaphor for proletarian uprising (the slaves who revolt against their masters), but they're not reducible to that class metaphor.
11  Campaign Creation / Homebrews / Re: Midjan-Kar: The In-Between on: September 13, 2017, 10:36:59 AM
I'm really into all of this. Those are excellent names. The Scabbed Prince? That's very good. You could run a whole campaign in the Temple of Solviqa’ad.

I'm really into settings with a vertical dimension, too. You mentioned this is a 5th edition setting. Are you using the core races or homebrewing new ones?
12  Campaign Creation / Roleplaying / Re: Steerpike's Hex Campaign on: August 30, 2017, 01:40:33 AM


A question though, why does the city end immediately at its walls; why no slums just outside? I assume it is because the city is totalitarian and can enforce the law against people trying to build shanties.

There's actually some shanties in the lower right hand corner, but I picture the city as sort like a 17th/18th-century European city in style. Looking at period maps, many such cities seem to be mostly surrounded by farmland outside the walls rather than massive shanties.

For example: Milan, Amsterdam, Berlin. Even the massive Paris has a mostly agrarian hinterland.

That said, there would be laws about just building rampantly, though I don't think that makes the city totalitarian. It's a representative democracy with a parliament and an executive council with 6 years terms. Partial suffrage (casters only), so not a totally "just" city state by modern standards, but not a dictatorship either. There was a period where the whole city was ruled by a kind of mage-emperor, whose fortress, Delirium Castle, can be seen in the southeast (he retreated inside after a rebellion against him, and has not come out in centuries).

There are scattered villages and towns throughout the surrounding area.


Also, does it have old and new walls as it grew? If so, where are the ruins of the old walls and why is it not growing any more? I know you take attention to age in the structures and worlds you build (figure I just missed something since I am not too familiar with your Hex world).

You can actually see some old walls in the district of Catch-All in the southwest, which has been converted into a quarantined district for the city's magically ill. These were more for a small walled portion of the city rather than the walls for the entire city, though. Again, looking at period maps of those old cities, not all of them seem to have a ton of old walls.

I do imagine that the main walls themselves have shifted over time. But this is a very magical city, so when they need to expand, city wizards enchant the bricks to disassemble and reassemble themselves, duplicating as necessary.

The city could certainly grow beyond its current walls in the future, just as the walled cities of Europe did, but of course the walls are useful for protection against various enemies/monsters in the countryside. This is an era of rather horrible mundane and magical warfare, as the ruins to the southwest hint at.

Presumably if we fast-forwarded a hundred years the city could look pretty different; right now the idea is that it's undergoing the beginnings of a magically-fueled version of the industrial revolution, so the population could become a big concern. Right now there's a lot of protest in the city over humanoid labour being given to reanimated workers (i.e. zombies), bounds demons, and clockwork automata being developed by the gnomes of Mainspring.


And garbage and inhuman/human bodily waste? Does it all get dropped in the Radula river?

Some is dumped in the river, some is transported to cesspits outside the city, lots of garbage gets put in the Midden (a scrapyard/garbage-tip), and some is used as raw material for transmuters to turn into useful material.


Also, I probably missed it, but where does potable water come from? Priests creating water? Wells? I do not see aqueducts except one by Sawtooth Sound on the far right (possibly). Where are entrances to sewers? Really, I ask these questions because you're so great at what you do, does not matter if it does not have it or not, but wanted to ask.

Water comes from the endless magical storm in Downpour Heights, which then pipe it throughout the city. Those aqueducts are actually carrying water away from the city to fields and farms as irrigation. The storm is magically silenced outside the district.

There are also wells here and there, and there are some waterworks in the Swelter which help supply the (mostly poorer) south side of the city with water.

I honestly didn't worry about drawing tiny manhole covers everywhere, but there would be plenty all over the place.


Are there crypts in the city?

There's a ton of crypts in the city, especially in the south under the graveyards, and in fact there's a massive megadungeon sprawling beneath it; Enigma Heap is the sort of "outer extrusion" of this megadungeon, the Old City.


Did you plan this city before you began drawing this, or did you just wing it, and slowly grow it outwards?

I planned about 90% of it, writing out descriptions of all 36 districts, and I sketched out where each would be, but there was some improvisation and moving things around as I went, too.
13  Campaign Creation / Meta / Re: My Fate Core houserules on: August 27, 2017, 07:19:35 PM
As I do still definitely want to run Alptraum for you (and, eventually, others) using Fate, I'd be curious to hear about how the game goes. Are you running it based out of another site, or just through IRC? Skype?
14  Campaign Creation / Campaign Elements and Design / Re: Louisiana: The Vampiric State of America on: August 27, 2017, 09:54:06 AM
So here's a fun idea: when the veil of darkness falls, it falls on both Louisianas, the parts controlled by the Confederacy and by the Union. Vampires take back New Orleans, but there are Union survivors trapped in the city. It's now years later, but there's a kind of anti-vampire resistance founded by the former Union soldiers in New Orleans and elsewhere.
15  Campaign Creation / Campaign Elements and Design / Re: Louisiana: The Vampiric State of America on: August 26, 2017, 11:33:42 PM
Can the vampires use the darkness to expand their territory?
Pages: [1] 2 3 ... 318