Monday, January 30, 2017

Valley of Himmon's Children

Last session, I ran a Total Party Kill Module for the players. It went so well that after re-fluffing a few things I shamelessly stole from Goblinpunch, I'm planning on publishing it. Because I'm gonna be posting the entire module in a PDF later on, this post will be mainly the highlights.

Update* Module can be downloaded by clicking on Modules.



  • Party emerges from beneath ashes next to a lake of fire.
  • Party enters a Bone Devil's Tower and rescues two children and a ghost. 
  • Party finds a crawling hand with a map written on it's back.
  • Party follows the map and finds an ancient vampire imprisoned in a hole.
  • Party leaves and find giant lice who wish to enter their mouths in place of their tongues
  • Party finds a trio of shacks full of wishmakers, nightmare distillers, and ugly walruses
  • Party investigates a ship sunken near the shore and Ugh falls in the lake of fire
  • The Bone Devil finds the party again
  • Party trades the children for a wish and go back in time before the dragon encounter

Overall, the party acted much more cohesively and I think they are becoming much more skilled as players. 



Wednesday, January 25, 2017

The Latter Half of D&D

Because I couldn't come up with a strong module for the original party and we had a new member join us, I had everyone roll up new characters. I ran them through an old module, I had written around November. Everyone's character died a gruesome death and I get to run them through one of my Total Party Kill afterlife modules.. I don't think I've ever seen such good role-playing from my players.

Party # 2 Roster



Briellen, Level 1 Wizard played by H. Briellen is an easily excited wizard whose hair changes colors when people aren't looking. Her parents were killed by the soldiers of the Empire of the Alabaster Crown. Her first course of action is to talk to things rather than try to slay them. Her eyes boiled inside her skull as she was caught in a great gout of dragonfire.

Eldwin, Level 1 Knight played by F. Eldwin is a knight errant who is discontent with the way the Empire of the Alabaster Crown is run. Eldwin aknowledges his shortcommings in being a knight and "reappropriates" all treasure which has no use for the dead. The golden armor of St. Polyphagos melted into his flesh, as he was caught in a great gout of dragon fire.


Straid, Level 1 Ranger played by W. Dubbed "Loose Cannon" by his fellow party members due to his tendency to shoot enemies in the head and ask questions later, Straid understands that it is better to live and fight another day than die foolishly. Was bitten almost in half by the dragon and swallowed. He then regained conciousness within the dragon's stomach, attempted to draw his sword, and was burnt alive by dragon fire.

Roger, Level 1 Barbarian played by G. After this session Roger's class will be retroactively converted to the Ghoul-Knight racial class. Roger has a habit of trying to make friends by force with everyone he meets. He lost a leg when one of the "friends" he made became a zombie and bit his leg. Roger found a secret chute in the parish building, where an elevator had once been, and jumped down. He broke himself when he landed 110 feet down.


Ugh, Level 1 Barbarian played by M. With a strong Cajun accent and a strong sense of justice, Ugh travels the land hoping to stop criminals. Ugh's father was slain by a knight of the Empire of the Alabaster Crown. Ugh attempted to slay the dragon and dealt 15 damage to it, he then burned alive.



John, Level 1 Monster Hunter played by I. Traveling the wilds near November, John hunts monsters and seeks to help people. Keeping a detailed journal on the monsters he encounters, he hopes to aid the common man. John was carrying Roger when they jumped down the chute.



Muhjat, Level 1 Wizard played by K. An old man with a bad hip, Muhjat is a pacifist and does not enjoy violence. After surviving a great gout of dragon's flame, Muhjat attempted to blind the dragon with a spell of light. After he failed he fled and also jumped down into the chute.

Summary of Play


Starving on the streets of the November, the party is approached by a priest of the Cathedral of the Second Archangel. He tasks them with traveling to the mountainside parish high on Mt. Sloan. He has no communication from there for 3 weeks now and would have the party investigate. He tasks them with three things.

1. Discern why there has been no communication
2. If there is a tragedy, return with survivors
3. If there is a tragedy, return with the Church's relics

Traveling for three days the party finds the towers, ramparts, and bridges of the mountainside parish and travels upwards. Entering through a secret door behind a waterfall, the party chooses the low path and enters the small hamlet below the parish. They find several houses and no signs of life. They split up and promptly begin looting. Roger, Ugh, and John enter a house to the north and loot it for art. Muhjat, Straid, Eldwin, and Briellen enter a house in the south and find it occupied. The people inside announce themselves as "renovators". After a tense stand off, one of them says to the others to kill the four party members and to keep their new found loot to themselves. Hearing this, Straid fires an arrow which flies through the skull of one of these brigands. The other three give themselves up and are robbed by the party members. Free from their wealth and arms they run away.

As they run away, Roger sees one and gives chase. He tackles him down to the cobblestone street and the renovator, who we later learn is named Sergey, splits his head upon a sharp rock. Bleeding heavily from his head Sergey is harrassed by Roger. Sergey then manages to escape from Roger and runs off.

Moving deeper into the hamlet, the party finds themselves splitting off and looting again. Straid attempts to climb up through a window on the second floor. The ledge he was holding instead breaks and he falls down on his back. He hears voices inside and steps back drawing his bow. The three inside begin to step out before seeing his bow and then step back inside. The Party then reunites with Straid and begin to assault the building.

Eldwin slams the door open and falls into the building. Following him, Briellen rushes inside the building and seeing no-one on the first floor rushes upstairs. She cleanly bisects a pot thrown at her by one of the men inside. The other party membesr rush inside while Ugh and Roger wait for a bit. Then they see two men fall out of a window above the door. They clearly assumed that there would be a ledge there for them to grasp, but alas Straid had slain it earlier. They then rush the two men and break them upon the cobblestones of the streets taking them prisoners.

Briellen rushes the pot thrower at the top of the stairs and questions him. The party learns that these men are part of the brigand group called the Wolves and they are looting this hamlet. They learn that there is a camp of these brigands further up in an orchard. Deciding to parley with these men, the party heads towards the orchards. They meet with the rest of the Wolves and decide to release their prisoners. Roger chooses to keep one of the prisoners (Jaguar), lying to the leader of the brigands (Verja), that he wants to help the party. The brigands lower their barricade had made and allow the party to go towards the parish.

The party enters the parish some time later and finds undead inside. Roger loses control of Jaguar, who runs away from Roger, into the parish full of undead. Roger misunderstands this as bravery and cheers Jaguar forward. Jaguar runs into a trio of zombies who rend him limb from limb and lies bleeding out. Eldwin rushes in and slays one of the wights. Briellen rushes in and attempts to slay one of the zombies. Straid attempts to fire an arrow into a zombie and instead misses, hitting Jaguar's head instead, ending his suffering. The party quickly slays the rest of the undead in the parish and sets about "saving" the relics inside. Roger performs funerary rites on Jaguar. The party pilfers the ostuary of 5 saints and finds an old rusted sword on a platform. Roger takes this sword and the party departs.

The party exits the parish and finds themselves in a courtyard. Muhjat, concerned that they couldn't find the golden armor of St. Polyphagos, returns to the parish by himself to investigate. He then goes to steal the two silver coins Roger set upon Jaguar's eyes. Jaguar's character rises as an undead and he attacks Muhjat. The party becomes very concerned and runs in to help. Jaguar seemingly takes revenge on Roger, and bites Roger's femur in half, pulling his left leg off his body. Roger falls bleeding out, leg missing. The party rush Jaguar and slay him, while John binds the wound, saving Roger. The party continues searching for the golden armor of St. Polyphagos elsewhere.

The party walks past the courtyard but doesn't cross the charred and burned bridge in front of them. Instead, they choose to go up a watch tower. As they ascend, they see a massive tail from a window. Curious, the party finds a dragon sleeping on the roof of the bridge gatehouse. The party also sees the golden armor of St. Polyphagos resting on the roof, the dragon resting around its hoard. The party begins to deliberate what to do and decides to jump over to the gatehouse roof and try to steal the armor. During this process, Ugh decides that if he slayed a dragon he would be immortalized forever. Ugh comments to his peers, saying that when else would he have the chance to try and strike a sleeping dragon. Eldwin hops over and grabs the golden armor. Briellen hops over and prepares to speak with the dragon. Muhjat prepares to watch this horror unfold. Everyone else but Ugh finds cover in the tower. Ugh screams and tries to kill the dragon with his ax.

The dragon takes a good deal of damage and then awakens. The entire party then makes their save against the dragon's fearful presence. Ugh and Eldwin try to strike the dragon again but neither is able to penetrate it's scaly hide. The dragon breathes a great gout of flame and half of the party is INCINERATED. Only Muhjat and John make their saves against the dragon's fire breath. Briellen, Eldwin, and Ugh are but ash. Straid and Roger take a great deal of damage and gain fatal wounds, which they are able to survive against on their next turns. Muhjat unleashes his light spell but the dragon is not blinded. The surviving 4 run/hobble away from the dragon as it rams itself into the watch tower. As the surviving four run back to the parish, they hear the screams of the Wolves as Sergey and his friends, in the hamlet below, are slain by the rubble. Straid is bitten and swallowed by the dragon, while Roger, John, and Muhjat make it to the safety of the church. The dragon then crashes into the parish's antechamber and snakes its long neck into the parish. The remaining three topple a statue and find a chute going downwards. Fearful of the dragon's impending fire breath, they jump into the chute and fall 110 feet into the darkness, breaking themselves across it's stone floor.

Like this, but with way more fire

Running a 12 HD dragon against 7 Level 1 characters.


While some of the players complained that the dragon was "unbalanced" or "cruel", I think their reactions to the dragon were some phenomenal roleplaying. While sneaking to the roof of the tower, I told them that if they were loud the dragon might awaken. I derived pure satisfaction from their looks of fear and urgency that their companions also remain quiet. I think they understood that their chances of fighting the dragon hinged on their skill as roleplayers. They understood that in a straight fight they could not take the dragon and had to adapt. They began planning a tactical approach and some even thought to just leave.  I had the three players who died to the first gout of dragon fire play as the enemy dragon. They had a blast crushing towers and slamming through buildings. For the majority of the players, it was also their first time experiencing a dragon in a D&D session.

Compared to last session, this one went fantastic. The only complaints were that the party needed to work together more. I think that the party is becoming more and more aware of the notion of player skill rather than numeric value being the determining factor of how well they do. They roleplayed phenomenally and I'm super-excited to see what they do in the Total Party Kill afterlife module.

Anti-Cartography

I personally hate having to make maps whenever I referee a Tabletop RPG. My players seem to enjoy my maps, when I make them, but I hate having to make them, especially world maps, because I feel it limits my creativity. Now this has to do with how much detail I put into the maps. Ideally, I would just put in very vague locals and simply state what directions they are in. However, players want maps which detail exactly where things are. For this reason, in all of my settings/whenever I Referee. I declare that maps are essentially limited to a 6 mile hex and are essentially treasure maps which show something's locations. Dungeon maps exist but atlases do not. I think I just realized that I'm fine with maps; I just hate Atlases because once made, things have to have a certain spacial alignment.



 I am big fan of non-cardinal directions like upwards, downwards, nearby, faraway, towards the sun, deep, redwards, deathwards, and whimwards. I think that the origins of Tabletop RPG's in war-gaming made an implicit necessity of spacial alignment of locations. Personally, I don't like that. I feel that locations in fantasy don't need to be constrained by only 4 directions. Instead, I prefer to treat my locations as more of a tesseract. If you go north of the tribe of shining men you may find yourself at the mountain of truth, but if you dive deep into the lake in between the two you may find yourself in the cloud castles high above the lands of the shining men. I think that the concept of witch-ways (or at least the thing I imagine witch-ways to be) the ability to travel elsewhere not by distance but by completing an occult algorithm are really cool. Rather than driving two hours to the next city over, you can instead make a specific series paths inside of the local woods, and after entering a storm drain, you end up on top of a skyscraper in the next city over.

One of my favorite things about the OSR style of play is that player knowledge and character knowledge is the same. Players know that dragons have upwards of 10HD and deal their HP when they breath flame. They then implicitly roleplay their character's being scared of dragons because they themselves are. As a Referee one of my greatest joy is the players gaining insight into the world due to character actions such as researching the past, entering dungeons, or interacting with non-human entities. It allows me to "show the setting, rather than telling it", I think this helps player immersion a great deal because as their characters learn something new, they do so as well. For this very reason I tend to have the character's start out as foreigners, and then if they die the players can roll up a native. I feel that this mimics the Player knowledge of the setting and explains how their character now knows so much information that the previous character didn't. I like to do this with maps as well.

Cartography Process


At the beginning of the zeroth session, where the Players and I all agree on certain aspects of the world and make characters. They create the proximal world. I believe this reinforces the notion of the foreign as truly foreign. Players, and in turn their characters, will have an understanding of what is proximal to them because they have been there. However, as the players have their characters travel outwards, they will have no idea what they encounter save for a name.

After everyone rolls up a character, I have the table go around and ask the players questions that describe the town where they are living in. Everything a player says is now a fact. I might disable certain facts or ask to compromise on certain things which I don't feel reflect the tone of the setting to well, but otherwise what they say goes. I feel this also help players by immersing them in the world a bit more and legitimizes their knowledge base. For those familiar with the RPG Beyond The Wall, this is where I got (shamelessly stole) this concept of collaborative world-building.

After their hometown is made I go around the table twice over. Each player will give me a direction and I will have them roll on a table for what type of local they will describe. I will then give them the type of local they rolled and ask them to describe what is there and how they know about it. These aren't facts but instead are inspiration for me to place things in proximity. This populates the region and educates the players in what is nearby.

1d8 Table of what players describe for the referee 

1. Ruins of civilization within historic record
2. Ruins of civilization before historic record
3. Human town
4. Human city
5. Non-human town
6. Mythic monster lair
7. Magical resource
8. Otherworldy entrance

I then make a hex map for myself for purposes of distances, terrain, and geographical encounters. After I have made the mechanical aspects of the hex map I will add thematic elements to match the mechanical such as giving forests, mountains, or oceans names. Then I usually spend an uncomfortable amount of time in front of my computer screen consuming media to steal and tint in order to fill up what the player's described. Then the players decide to visit about only half of the locations on the map and begin writing up my lore/mechanics of each location to put out here so that I haven't wasted all of my time.

Bonus Rant on Creativity


I don't think there is anything wrong with reusing your settings/things you like. In almost all of my settings, I include a sprawling cavern complex filled with fungal spiders and their god. I think it's one of my thematically tightest encounters/dungeons/locals. There is nothing wrong with you doing the same. You can simply take the best encounters/dungeons/npc's/myths/ect and drop them piecemeal into new campaigns. Creativity is a false god. Steal Everything! If you like a character from a piece of fiction, steal him and change his name. If he reacts to the party instead of being just reference, congrats you just made a NPC, you'll enjoy playing. If you like the visuals of a video game/anime/music video/film/comic/tv show/whatever, steal it! Simply put it into your own words effectively and congrats, you have your own aesthetic. I have ran about 3-4 campaigns using the Pokemon Red and Blue setting, all I did was remove 95% of all the Pokemon creatures and used the original Japanese names of things/etymologically similar German/ etymologically similar Norse. No one figured out that they weren't playing a medieval eastern fantasy/medieval western fantasy/viking campaign. Most importantly steal from your own life. If you think your life is boring, then just go out and meet new people/have adventures to fix that. Simply take something that you know well, tint it in some manner, and boom you're a creative genius.

Tuesday, January 24, 2017

How To Decide Which Black/Doom Metal Album To Blare Over Your Speakers So You Can Ignore Your Players!

One of my players asked me how I choose what background music I play during my campaigns. I thought I could give her a more accurate/honest answer as well as assist other Referees by writing this post. I look at the background music of my campaign as the "score" of my sessions. I'll get into my advice on how to pick out good background music for your campaign below, but I want to explain some concepts first.

In regards to effectively scoring my campaigns, I have been fortunate in two unique ways Referees with the same amount of experience may not have been. First, around my sophomore year of high school I began to try to gain a better taste or appreciation in music. I began to expand my horizons in not only what I listened to, but also tried to listen to the "best" music. I don't currently ingest as much music as I did and I think I only spend maybe 3 hours a week attempting to find new music. I feel that because of this I am simply aware of more music to draw upon than other Referees. Second, I have been exposed to much media which had excellent usage of sound atmosphere. I don't know if I simply chanced upon noticing these things because they all had great usage of sound atmosphere, or if  my diet of music predisposed me to noticing the usage of sound elsewhere.

Like other aspects which go into creating an atmospheric setting such as negative/positive space usage, visual aesthetics, and tempo; a good sound atmosphere can make one's partaking in media much more overwhelming. I use the term overwhelming in an emotional sense, not a sensory one. I'm not referring to music being blared over loud speakers, instead I'm referring to the emotional intensity which results from the summation of a media's individual components.

Examples of good sound atmosphere off the top of my head below:


Donkey Kong Country

Heroes of Might and Magic 4

Sunless Sea

Jojo's Bizarre Adventure Sound Effects and Backing Track

Fast and Furious: Tokyo Drift Sound Reinforcing Visuals

28 Days Later  Climactic Build Up

Soundscapes


If one were to ask me to describe what kind of music I enjoy the most, I would probably list off a few of my favorite genres. Last time this happened I was asked why those specifically, and I got to thinking about how they relate to one another. The majority of my favorite albums fall into one of the following genres: Black Metal, Stoner Doom Metal, Cloud Rap, Witch-house, and Emotive Hardcore. On first glance, one may simply surmise I have garbage taste. Honestly though, each of those genres are dominated by soundscapes. I use the term to mean the increasingly atmospheric composition created as the album/song is played. perhaps the following song may help explain.

Link
Each element of the song builds and coalesces into an overwhelming experience. Now the song itself could not serve as background music. Instead, I would say to think of the song as two separate components. First are the recited lyrics and the second is the background instrumental. The lyrics themselves evoke a certain theme and the background instrumental reinforces that same theme. I would say that each component on its own could evoke the theme, but the combination of them is what makes it so atmospheric. Each component can then be divided into components. The recited lyrics can be looked at in terms of what is said as well as how it is said. The instrumental component can be looked at in terms of the repeated motifs and chants, specific tonalities and slow somber tempo.

Selecting Background Music


There is a fine line between distracting and supporting background music. To quote the musician Brian Eno "it must be as ignorable as it is interesting." The purpose of the background music is to thematically support the tone of the campaign, not be fun to listen to. Think of the campaign as the recited lyrics and the music as the instrumental component.

Side-note: Please don't use any music which has lyrics. Lyrics are too engaging and the players will try to figure out what they are saying. That kind of music distracts from the actual playing.

A great way to get music for your campaign is to steal Original Soundtracks from other media. Those are designed to facilitate a specific theme and you will also get a sense of what it should sound like. Friendly reminder, creativity is a false god!

For the majority of my dungeon background music, I either choose Dungeon-Synth, Post Metal, or Doom Metal Albums. Here are the ones I currently have in rotation for when the party delves: Pig Destroyer - Mass & Volume, Bongripper - Satan Worhsiping Doom, Bongripper - Miserable, HUNTER GATHERER - Regathered, Ufomammut - Idolum, Sans Soleil - A Holy Land Beneath a Godless Sky, Asva - A Game In Hell Hard Work In Heaven, Asva - A Trap For Judges,Sunn O))) - Black Wedding, Lord Wolf - Darklands of Hate, Dolch - Yggdrasil, Depressive Silence - 1996 Demo, Leviathan - A Silhouette in Splinters, Locrain - Extinction, and Locrain - Drenched Lands.

For the majority of my overland travel background music, I go either with folk or ambient albums. Here are the ones I currently have in rotation for when the party travels: Bone Tomahawk Film OST, Book of Eli OST, S.T.A.L.K.E.R. OST, Nebelung - Palingenesis, Black Hill and heklAa - Rivers & Shores, Forndom - Flykt,  Forndom - Dauðra Dura, Wardruna - Yggdrasil, Wardruna - Ragnarok, and Wardruna - Gap var Ginnunga.

For the majority of my battle music, I go with either the songs a film's OST uses for a fight scene, or a four string cover of either video game or thrash metal. For important NPC's and the occasional monster I use leitmotifs. These are often instrumental tracks of a song that remind me of a character. I use sounds of wind, rain, and the ocean to reinforce the locations characters are at. Lastly, I use instrumental covers of songs on harp or actual medieval music for when the party goes carousing.

Monday, January 23, 2017

Mukade Racial Class

Art by Tsvetan Nanov

Mukade

You gain +1 HP for every Mukade template you possess.

A Obligate Man-Eater
B Blazing Hunger of Aethon, Madness of Aethon
C Greater Evil, Manifest Famine’s Grasp
D Manifest the Shivering Centipede's Carapace

Obligate Man-Eater 

Instead of Rations, a Mukade must consume human flesh (1HD of corpse) to gain any sustenance. A Mukade gains no benefit from eating regular rations within a dungeon. Every day the Makude goes without eating flesh, they gain a point of Hunger. For every 24 hours a Mukade character goes without human flesh, the character must save else one Constitution point is lost until they feed on human flesh again. This save is made with a penalty equal to the Mukade's Hunger score. For every point of Constitution lost by a Mukade by forgoing to eat human flesh, they gain a point of Starvation. Only one point of Starvation can be restored per human flesh consumed. If a Mukade's Starvation score ever equals or is greater than their Constitution score they must roll as per Madness of Aethon. (See Bottom)

Blazing Hunger of Aethon *

As a Mukade character has human flesh within them, they have the ability to eat themselves in order to fuel themselves. A Mukade can willingly inflict a point of Starvation on themselves in order to increase their Attack, Initiative, Strength, and Movement  scores by 1 per 20, 40, 80, 160 HD of human flesh consumed, for a number of rounds equal to their Starvation score.

Greater Evil

A Mukade may substitute the flesh of Man-Eaters (any creature which consumes primarily human flesh) for the human flesh they must consume. 3 HD of Man-Eater corresponds with 1 HD of human flesh.

Manifest Famine’s Grasp* 

A Mukade can willingly inflict a point of starvation on them in order to manifest one of the following abilities for 1 turn, they may keep inflicting Starvation upon themselves to sustain it for further turns. Each manifestation grants a natural weapon and a mechanical benefit. The ability is chosen by rolling a 1d4 when the Mukade becomes Level 3.
---
1. Famine's Feathers: +2 to initiative score, +2 to movement score and a ranged attack to 15' for 1d6 damage
2. Famine's Shell: +1 to AC and deals 1d10+STR damage
3. Famine's Scales: -2 to severity roll on Death and Dismemberment table, deals 1d6/1d6 damage
4. Famine's Tail: +1 to initiative score, +1 to Movement score, deals 1d8+STR damage

Manifest the Shivering Centipede's Carapace*

A Mukade can willingly inflict 2 points of Starvation on themselves in order to manifest a carapace over their body for 1 turn, they may keep inflicting starvation upon themselves to sustain it for further turns. The Carapace increases their defense score by a point for every 10 HD of Man-Eaters eaten, up to a maximum of 7. A Mukade cannot wear armor while manifesting this carapace.

Art by Rodrigo Vega

Madness of Aethon

If you use one of these powers more times in a session than your level, roll save with a Starvation score penalty or turn into an enemy monster. If you do turn into an enemy monster, your stats are converted into that of a monster and you must actively seek to eat all you human party members in your starved state. An asterisk next to a power indicates that it counts as one of those powers. 

Tuesday, January 17, 2017

Missteps into Negative Space

Please note me and M's despair and anguish.

So our past session was a bad session. While people still had a good time in each other's company, the actual tabletop role-playing didn't go well. There were some stellar moments, but in general it was worse than last session. There are two components which probably lead to us being worse off and I hope anyone reading this can learn from these mistakes. Below will be a summary of the session, issues with the players getting into the proper mental state, and my flaws in communication and poor usage of negative space.


Summary

After spending another night in Ozborn, Alexander Exquilin recieved two packages. The first is a letter from Wulgang requesting his assistance, the second was the bloody skin of his old donkey Stupes. Carved in Stupes's flesh was a letter from another assassin from the House of Gossamer and Glass. It identified the writer as the Pangolin and informed Alexander Exquilin that she was going to kill him.

Meanwhile Ramona Watts, searched Ozborn for a blacksmith who would repair her urumi sword. After meeting with several, who were unable to repair her blade, she finally found one who could. While inside she met a woman named Jasmine who wore a cloak made entirely of iron spikes. She spoke with Ramona about her urumi, mentioning that her friend wielded one and that she hadn't seen her in three months. Ramona understood that she had killed her friend and stole her sword. Ramona surmised that that Jasmine works for the House of Gossamer and Glass. Ramona spoke with her longer and learned that she was in Ozborn looking for Alexander Exquilin, Ramona then lied to Jasmine about Alexander's whereabouts and the party met up.

The party spoke and decided why to visit Wulgang and see what he wants. The 6 party members traveled to Fort Woe and spoke to Wulfgang. Wulfgang and Aquarias Kari informed them that Erasmus, the famed mage of Ozborn who has written a dozen grimoires, descended into the depths of the the Goblin Keeps and hasn't been seen in seven months. He often had descended into his tower for months at a time, but he would normally after a period of 3 months with another grimoire written. In his absence, many pretenders and posers have come forth and in his absence fight for the title of the  A E S C E T I C. They practice sorcery openly in the streets, spilling blood freely. Wulfgang offers the party Erasmus's weight in silver for either his return of proof of his death. The party seeing a chance of wealth, have the discussion illustrated below, choosing to descend down to look for Erasmus.



Leaving their War-Cart and hirelings outside of the entrance and  they go forth into the Goblin Keep. Inside, they stumble around in the dark and harass the Ax-Gang. They waste a great deal of time wandering the lengthy corridors and locked doors of the first level of the dungeon and finally discover how go deeper. During this time the party encountered a Grue. I feel that the Grue encounter and it's subsequent following of the party was the best encounter I think I've ever ran. One of the goals of this dungeon was to teach my players the last few important aspects of dungeon crawling. The Grue, with it's mocking of the party; constant following ever so slightly out of their peripheral vision; and 5HD and 3 attacks which only occur when the party has no light source and and get a -4 to their Attack and Defense scores, was an excellent teaching tool. The party began tracking their own light sources, terrified of having a lone member of entering a dark room, and conscious that of all of the resource management integral in going into a murder-hole.

The party then kept going deeper and deeper into the Goblin Keep. They again encountered the shadows of goblin's past but by using their light could keep them at bay. On the third level of the dungeon, they began encountering pretenders of the A S C E T I C and their lackeys. Alexander Exquilin all the while had been using the power granted to him by his Giant's Belt to rip doors off of the walls and was getting frustrated with few answers. He had began throttling the overly verbose pretenders for information. Unfortunately for Alexander Exquilin, they did not take this to well and began fighting back. Most of the party was able to overwhelm them, but when the pretenders began using their magical abilities some of the party became injured. Alexander Exquilin now has a gaping hole in his stomach and his entire left shoulder and arm are stained with a transcendental blue. Alexander Exquilin, bloody and dying on the floor of the dungeon due to the eldritch might of the pretenders, finally asked of Queen Mab, for her assistance. She agreed that for a 50% penalty to all further XP, she would cast him and his members away from this place and heal his wounds.

Player mentality of play

Our groups scheduled time of play is 6 pm every Sunday. Due to a family obligations, we met for the session at 7:15 pm. People came in excited to play and as we prepared to play people were noticeably more rowdy, partially it was the lateness of this session. In retrospect, I usually make an announcement to the group for everyone to get into the Tabletop RPG mentality, but this time we didn't take a pause and simply jumped in with no gap between socializing and playing Goblin-Hack. I think the lack of a "okay guys, stop goofing off let's play" discouraged proper play. In my ideal campaign/my ideal DMing style is one where people are focused on the game, seek to roleplay their characters, characters making jokes instead of the players, and act with sincerity. While two of these happened there was a great deal of issues in my opinion of players being unable to focus on the game and players making the majority of the jokes. I need to figure out how to include a rule/enforce a manner as to how to avoid people shouting over each other/people having side conversations. For the dungeoneering portion of the dungeon itself, I elected a caller; but in retrospect, I realize I didn't properly explain what that meant. One of my pet peeves is players making jokes rather than the characters. M is most often guilty of this most vile sin and what struck me most is that last session he didn't do it at all instead making his character make all of the jokes. The entire time the group was making these jokes and talking over each other. I feel that this greatly contributed to the "we're here to hang out not to play Goblin-Hack". I would suggest to other Referees that they make sure their players settle themselves first for beginning play. Further I would suggest (I am going to do this myself next session) that they pause for 5 minutes for every 55 minutes of play. This would result in a structured release of tension and allow for player's attention span not to decline and get to bored. Further people wouldn't leave the table to get drinks/food/go to the bathroom during play.

Communication and Negative Space Use

So the first major reason for the session being a bad one was poor communication from me (as the referee) to the players. The party gathered no intelligence on the Goblin Keeps or Erasmus before going into the Goblin Keeps. I made sure to ask if they wanted to purchase supplies before entering the dungeon, but looking back I should have asked if they wanted to gather intelligence. Before the party went to the Masked Giants complex, I had their employer pay for them to go to the Library in November and each had a chance to gain information about the dungeon they were going to go into. Looking back not prompting the party with their ability to gain information was a mistake. The party claimed that there were no signs within the Goblin Keep on where Erasmus was and felt lost wandering around a bunch of corridors. They claimed that even the Scooby Doo Gang got clues, and it was poor form of me as a Referee to not give them clues. In my eyes, this is a false understanding of how dungeons work and poor communication on my part.

The following are all assumptions that I thought the players had. I'll make sure to emphasize these to the party next session. The adventuring party is a group of people who enter murderholes (dangerous locations which go into the earth) in order to plunder them for riches. Murderholes are dangerous places and one has to take proper precautions to return alive with riches. These precautions are not purely the accumulation of physical resources of torches, rations, ropes, thieves tools, ect. The accumulation of information about the murderhole you are going into is vital as well. Murderholes are filled with murderous beings of ill intent which have ears, if you are loud inside, they might hear you. Murderholes are proportionately filled with danger the deeper they go. Treasure and danger are also propotional so a floor 5 levels deep will have much more dangerous things guarding greater treasure waiting that for you than a floor 1 level deep.

After the session ended, a few of the Goblin-Hack group went out to get some drinks and I took about an hour to be sad and gloomy and think much to seriously about what I did wrong and how to not have another bad session ever again. With I and G's help I went through all of the aspects of my refereeing/dungeon mastering skills and learned that my usage of evocative descriptions were one of the reasons the corridors were so mind numbing. To quote G: "You have some encounters and moments where we get a whole lot of really good description and generally have an 'oh shit, this is awesome moment' because you usually save those descriptions for something so important. This means that things which lack these descriptions aren't as engaging to us because we don't care about them as much."

Negative Space

After some clarification it led me thinking into the usage of negative space within tabletop RPGs. First I want to make a dichotomy of negative and positive space first. In visual art, positive space art refers to the object or scene depicted. Negative space refers to the the space around and between the subject  of an image. In Tabletop RPG terms positive space would refer to any moment where things are changing or there is an chance of failure, while negative space would refer to moments where things are not changing and there is no chance of failure. A more specific example may be found when looking at the 1e Dungeons and Dragons Dungeon Master's Guide gives a percentage of which rooms of a dungeon are what based on a 1d20 distribution. As 1-12 refer to empty rooms, these would negative space, while 13-20 would be positive space. Interestingly this corresponds with the room being filled.

When I prepare for the session the majority of my time is spent on positive space. I prepare descriptions of monsters, NPC's, vistas, and areas encountered so that when the party encounters one instead of saying "you find a troll" I can say "In the dull light of your torch, you see a hulking figure emerge from the tunnel. His flesh green as grass at the dawn of spring and covered in warts. A nose the size of a cucumber juts from his face and two yellow eyes squint at you. Fetid breath and the scent of rotting flesh spill from his open mouth, filled with ragged teeth. He roars a challenge to you drawing his arms back, and sinking forward as if to charge." In my opinion, there is a fundamental difference in immersion and visualization/engagement between those two encounters. The second one being straight up superior.



However, by not focusing on the negative spaces I unintentionally created a vacuum where those segments wouldn't be as good. In the session which we played, the majority of the time spent in those negative spaces reduced the enjoyment for everyone. Going forward either the number of negative spaces have to be reduced, or their quality has to be increased. I know in the Masked Giants Complex, I made sure to give vivid descriptions of the negative spaces. Perhaps if I continue to do the same, the next dungeon will be more enjoyable. Further negative space in art is a consequence of scale, which would be a good way for a referee to view it.


Friday, January 13, 2017

Sons of Nalil: POWERFUL

Those who travel through the lands of Dix find themselves sullied and stained red. From the crimson skies above, to the rust covering stone and steel, to the blood seeped in the earth. A red tint develops in the eyes of those who stay too long and the red haze of rage slowly envelops their sight.


Deep in the valleys of Dix, amidst the ruined edifices of red brick, live the Sons of Nalil. The totems each tribe has erected rusted monoliths to victory in war. There are no women among the Nalil, only men. None are born in these lands, instead youths at the end of their frailty spill forth from the fog and are embraced by the Nalil. There is no youth, no old age either. The oldest of the Nalil having lived 20 years after being found from the fog. Nude and nameless, each is fully formed with capacity for speech and song in their shared tongue and knowing only one fact as truth, that he is a Son of Nalil. They stumble through the valleys until they find a tribe and taught their future fate. To sing songs of glory as they race till to death.

Most are fair-skinned with brown hair, but their coloration varies from pitch black, to a coward's yellow, to the amber hues of dusk. Their build varies from that of obese giants to gaunt dwarfs. In memory to their past victories, many etch their skin with the rusted iron which spills from the earth. Their flags are colored gray and red. They skulk around in boots of black leather and girded loins of white cloth. They show their teeth to all, each one etched with threats, symbols, and names with golden ink.

They are to men as locusts are to ants. Unorganized, swarming, with a thirst for consumption that leaves land barren. Many form bands of mercenaries that travel to foreign lands to spill their own blood upon foreign soils. Returning with coffers filled not with silver, but instead with hedonistic means. Few settle down becoming merchants selling packaged mirth to dispel sobriety for the victory feasts of those who wage war in the valleys of Dix still.

They probably look like this, note the posse's faces behind him 
(Couldn't find the artist)

Ask any Nalil what is best in life and he will easily tell you the celebration of victory. It is not enough to kill a man, one must sing songs of glory at his death. Wars waged among the Nalil echo and reverberate through the valleys. The screams of death are deafened by the bellows of victory and tribes learn of outcomes of battles by the echoing war songs of their neighbors.

Though Dix falls underneath the rule of the Empire of the Alabaster Crown, the Nalil are free from their rule. They have no throne to plunder and do not spill forth from their valleys often. Tax collectors are scarce to enter the valleys and often simply seek that most powerful tribe to extort the others for them.

Noteworthy tribes:

Hyo-Gje-Gan (The Sacred Brotherhood):

In ages past the leader of the Hyo-Gje-Gan was the king of the Nalil. The tribe claimed that it knew Nalil himself and could converse with the still living ogres residing in those lands. The ogres won them wars waged against the other tribes and as such their victory was seen as favor by Nalil. Time passed and the Hyo-Gje-Gan grew old, their numbers shrank and their ogres, once their allies faded into extinction. Their symbol is a series of triangles.

A Nalil returning home. Art by Simon Bisley

It-Ji-Ma (The Doom of Boots):

The current ruling tribe of the Nalil resides in the deepest valley. From their black cauldrons they pour libations of mirth and restoration. Once subservient to the Hyo-Gje-Gan they rebelled after being forced to leave behind corpses of their tribe. The Hyo-Gje-Gan fell in one night their numbers being reduced to less than a dozen even before the attack. All were spared and instead their totems were crushed underneath the boots of the It-Ji-Ma. The It-Ji-Ma drink from their boots and are notorious within the Nalil for consuming enough hedonistic means to kill a man. It is said that many in their tribe have never seen battle sober. Their symbol is a black boot.

Heu-Gin (The Black): 

Considered savages even among the Nalil, The Heu-Gin live for war. Their victoroes are recounted from the trophies they take of the dead. Thought to be poor allies by other tribes, they often are absent from conflict and instead simply choose to aid one tribe over another. The Nalil who have left for lands outside of Dix, have almost all been of the Heu-Gin. Once a Commander of the Empire of the Alabaster Crown invaded the valleys of Dix in order to subordinate the Nalil. While the rest of Nalil deliberated in a great conclave, the Heu-Gin slaughtered the invading forces save for one man. The lone survivor was sent back with neither hands nor teeth. They do not grant mercy to those they face. The other tribes seem them cursed, and offer them more pity than hatred. Their symbol is the a splash of white.

Joh-Deh-Han (The Sweating Bear): 

Though the ogres are now extinct, their legacy lives on in the girth of the Joh-Deh-Han. Towering over other Nalil and weighing as much as four, they lead lethargic lives until finally roused to action. It is said they have the strength of 4 men and have been known to rip trees from the ground. Their symbol is a pair of concentric circles and many act as mediators to other tribes in times of conflict.

A Son of Nalil serving as a mercenary far from home. Art: Frank Frazzeta

Pal-Gan-Sae (The Red Bird): 

A tribe which has since left the valleys of Dix for permanent employment as a mercenary company elsewhere, the Pal-Gan-Sae were once a great ally to the Hyo-Gje-Gan. Their departure marked the beginning of the erosion of the Hyo-Gje-Gan's rule. They have now taken to the customs of their employer in dress and decorum, but still sing their songs in battle. Upon their banner now flies a red griffon and their number slowly dwindle with each campaign.

There are numerous other tribes, each with their own customs and lore. The Nalil meet in great number once every few years to elect a true king, who then rules over the valley as a whole. Each tribe solves their own conflict, but for great tragedies the king is sought out. Explorers into the valleys of Dix and even the Nalil themselves know not who or what Nalil is. Some view it as the valley itself which spawns the Nalil from the fog. Others instead hold Nalil to be the redness so pervasive through out the valley, for why else do the Nalil bleed red?

Nalil War Party


Bunch of these.

HD 1d4 +5
Def:2
Dam: grappling/brawling with swords 1d8+2 or 1d8+2 bows
Move: 10 + 1d4
Save: 6 +1 per Nalil singing
Morale:8 +1 per Nalil singing
# encountered: 1d6+2

Song of Glory: Every time the PC's fail to hit, take damage, or the Nalil makes a save (or really anytime where it is evident that the Nalil is better than a PC) he begins singing a song of glory. Nalil warsongs terrify many, any time a Nalil begins singing or joins into song any followers or hirelings are to make a morale save or flee. Nalil will not chase fleeing enemies.

Mercy: If the Nalil are asked for mercy they will spare the life of anyone asking, mercy can be asked on behalf of party members that gain fatal wounds. If the Nalil are attacked first, there is only a 1 +1 per Nalil singing in 6 of mercy, with a penalty of 2 for any Nalil killed in combat. (the Heu-Gin don't do this)

Carousing among the Nalil:

 Male or male appearing characters get a -2 to their charisma check to carouse with an additional -1 for each point of strength above 14. 

Nalil war party returning victorious. Art: Clemente Allesandro


Nalil Victory Feasts 

Often when the Nalil wage war among themselves only few die. Death is rare and is often an outcome of circumstance rather than intent. To a Nalil if you slay your foe, there is one less person who must accept your glory and worth. Because of this many wage war unarmed, like great apes culling another tribe. To outsiders their wars may first seem like a series of wild duels, each tribesman finding his opposite and confronting them by themselves. When their foe falls unconscious, they turn to assist their brothers and sing their song of victory.

Their war songs and victory songs are one and the same. Nalil sing of past victories as they charge another. As victories mount, their song lengthens turning into an oral history. Songs are simple and often bear a repeated refrain which identify the singer's tribe. The repeated refrain of the It-Ji-Ma is below.

It-Ji-Ma!
Arrows shall fly
This our homicide
Mothers will cry
This our lullaby
It's about us
Not about I
It's about trust 
Not about lies

Returning from war, the Nalil return to their halls bruised and singing. They gather means to dispel sobriety and feast till unconsciousness. During festivals, which each tribe has per season, they invite allies and friends. Not of the tribe itself, but of it's members and festivals are often mistaken for wars for this very reason.  Shared songs of the Nalil are sung, each glorifying the exploits of their exploits outside the valley of Dix. The cauldrons are sloshed fulled of the accumulated alcohol beverage and secret herbs grown deep in the valleys are added. A frothing mix of pink and black liquid bubbles and is ladled out for consumption in drinking horns.

Accurate Depiction of Nalil Drink. Art: Eric Deschamps

Maidens of Dix often steal away from their homes and run into these valleys on nights of such festivals. Their parents and the nobles of Dix are rather opposed to this. On nights of Nalil festivals knights patrol around the valleys searching for maidens wishing to sneak in. Recently, some of the more prominent families have been funding mercenaries to go into the valleys to penetrate the festivals of the Nalil and to return any maidens found. The Nalil rarely see conflict with such parties and often usher the girls out, the Heu-Gin are noteworthy in that they refused to honor such mercenaries and slaughtered the first such party. The maidens seeing such bloodshed then ran off, much to the Heu-Gin's dismay.

Nalil Carousing Mishap Table 1d8


1: In your drunken state you punched a hole in a wall. The Nalil take retribution, save or take 1d6 damage (if carousing with the Heu-Gin Save vs Death).
2: The Nalil thought that your drunken state was a wonder to see. They kept plying you with drink tll you passed out. -1 to all rolls for 1 day (if carousing with the It-Ji-Ma -2 to all rolls for 1d4+1 days).
3: You somehow prevented one of the Nalil from getting laid. Roll charisma, if successful all of the other tribesmen think this was hilarious and think you a friend of the tribe.
4: The last potion/medicene/ect you imbibed had an adverse effect on the drink of the Nalil, you passed out after your first drink and get no XP.
5: You got into a fist fight with the drunkest member of the tribe and won. He now plots revenge, not your demise, just mass embarrassment.
6: You awaken with a new tattoo and a new friend. A Nalil who bears a matching tattoo.
7: You confess your love to one of the maidens of Dix who stole away from her parents to mingle with the Nalil. She confesses her love to you in turn and one of the Nalil declares you wed as a joke, hastily penning a letter to this girls parents. In the morning you awaken and realize that you hate her.
8: You were convinced by the tribe to follow them into battle in their next war. The next war is in 1d6+1 days. If you don't follow them into battle the tribe will think you a coward, if you do then have the character fight with a Warband of the Nalil alongside 1d4+1 Nalil Members of the tribe they were carousing with. If victorious, your character will be made an honorary member of the tribe.


Closing notes

The main source of inspiration for the Sons of Nalil were my experiences playing rugby during college. Referees can make their own tribes by drawing from their own experiences playing team sports in high school or college. Three major cultural aspects to emphasize for the Nalil outside of what's listed above would be the following. First, constant comradery even in insulting each other. Second, their lack of an identity and even concept of a life outside of wars, celebration, and songs of victory. Lastly, an emphasis on lack of structure and general tumultuous, ideally a party encountering the Nalil would be overwhelmed by a whirlwind of events happening.

Tuesday, January 10, 2017

GIT GUD

I feel my players are competent in combat and are grasping the more advanced concepts of dungeon delving they are mainly doing so without an understanding of how their class is a way to interact with the world. Each class has mechanisms on how to go about problem solving encounters. I feel that H, K, and W have a good grasp on the mechanics they uniquely have to interact with the world. Ramona makes short work of any wall, gap, situation which needs wind. Margaret has begun tracking everything she comes across on the off chance it's corpse may be useful to the party. Reklaw understands that staying alive is very important and even though he is only level 3, he worries deeply over everyone's combat capabilities. For my remaining 3 players, hopefully this will help you realize just how much you can do.

*Also FOR THE LOVE OF CHRIST READ THE RULES AND BE INFORMED!

DIANA

Please use a class ability, just one
The Acrobat class grants you a plus 4 to your Movement, Initiative, and Stealth scores and a plus 6 to your Defense score.  I forget what your dexterity score so we just won't include it in the following calculations. Using Goblin-Hack an average unarmored character's Movement, Initiative, Stealth, and Defense are 12, 10, 5, and 10. The system is largely based on a roll under system which means that an average character would have a 60% chance of successfully climbing/jumping/swimming/sprinting to their objective. Your Movement score is 16 which means you have a 80% chance of successfully climbing/jumping/ swimming/sprinting to your objective. Goblin-Hack doesn't really have metagaming, your character knows his capabilities and understands the prowess of his abilities. The average character with his initiative of 10 means every time initiative is rolled there is 50% chance of him acting before his enemies do. If I remember you have a decent wisdom which means your base is already higher I'll just use 12. Your Initiative is 16 upping your chance of going first in combat to 80%. The average character has a Stealth of 5 which gives him a 25% chance of success on sneaking past others. You have a Stealth score of 9 which means you have a 45% chance of sneaking past others. You have an obnoxious plus 6 to your Defense score. While defense scores get penalties from monster HD, making the actual Defense score much lower for any character you only arrive at a 50% chance of getting hit by an enemy when they have 6HD, and at that point they usually also deal damage in the 3d6 range and have mystical abilities. But even then your Movement of 16 means you are that much more likely to get away.

Now let's go through your class features outside of score increases, I'll go through the ones which don't occur only once per a character's life.

Tricky - You get a bonus to any combat shenanigans you want to inflict on an enemy. This can range from anything to grappling, to throwing sand in their eyes, to disarming them, to tripping them.

Cat Feet - You treat falls as 20' shorter, essentially ignoring 2d6 of damage from falling. Further you gain plus 4 to your defense when you are trying to move past/away from an enemy. Assuming you are surrounded by lets say 10 1HD bandits, your Defense score against running away from them is 19 which means you have a 95% chance of simply ignoring their bumbling attempts to hit you.

Great Escape - Once per day you can escape form a constraint, not only physical but social ones.

Lucky - Once per day you can reroll one roll of a d20.

Redirect - Every time an enemy misses you, which is 75% for a 1HD creature, you may force them to make an attack against another target if they are close enough. This only works if you are fighting them, so you couldn't make a that mob of 10 bandits skewer themselves as you run away.

After writing this I have a few concerns that I won't be able to ever challenge your character in a meaningful way. I know you've seen Ty Lee fight in Avatar, mechanically you can do same level of acrobatics/dodging/making enemies hit each other.

Alexandre


Hopefully this is your face when you realize you have powerful magic
So mechanically you cast spells by rolling 2d6 and then consulting this chart over to the right. Mechanically this means you have a 16.67% chance of having your request to Mab go off. Another 16.67% chance that Mab is upset and punishes you. Lastly you have a 66.66% chance that nothing happens. You can give yourself a plus 1 to your roll of 2d6 by offering a sacrifice or ritual or a plus 2 to your roll of 2d6 by offering a service. These raise your chance of success to 27.78% and 41.67% chance of success respectively.

Sacrifices don't take any more time simply they have to have as many HD as the prerequisite level of the curse you wish to inflict divided by two. So for the curse of chains you would need a sacrifice of 3HD. Rituals simply takes 1 turn to conduct and require d10 * prerequisite level of curse you wish to inflict in reagents. Services are when Mab will ask you to do something for her. These are often session long missions, as each request you've asked of Mab so far: don't let a party member die have nothing to do with curses she demanded a service in exchange. 

Now let's talk about what curses you can inflict and remember you can commune with Mab as many times as you want. The curses you can inflict are listed below:

The Curse of Many Lances
Prerequisite: 1st level 
Mab inflicts a curse of the elf’s design that pertains to lances, bleeding, wounds, or impalement.

The Curse of Stitched Eye
Prerequisite: 3rd level   
Mab inflicts a curse of the elf’s design that pertains to dreams, insomnia, sleep, or sleep walking.

The Curse of Eternal Darkness 
Prerequisite: 5th level 
Mab inflicts a curse of the elf’s design that pertains to darkness, night, occlusion, or the color black.

The Curse of Chains
Prerequisite: 7th level  
Mab inflicts a curse of the elf’s design that pertains to bondage, chains, imprisonment, limitation, or servitude.

The Curse of Changed Flesh
Prerequisite: 9th level  
Mab inflicts a curse of the elf’s design that pertains to metamorphosis or any other sort of bodily transformation. 

Now what these curses exactly do are up to your imagination. Be imaginative, the more creative you are the better. I'd urge you to read or watch JoJo's Bizzare Adventure or any other media where the conflict resolution is always based on lateral thinking and creativity rather than brute force winning. 

JACK FENTON

Stop giving this face to every ghost you come across
The original name of your class is Dungeon Hacker and was based on the idea of taking a cyberpunk archetype and porting it over to a dungeon crawling archetype. The blog post is here.

I also want to remind you that you can use your speak with the dead class ability to speak with your ghosts and see if they know things you don't. Last session I just gave you a gimme, with Eugene knowing the language of the Ytori, because I think this was the first time you used speak with the dead. You have ghosts of knights, gypsies, ruin explorers. Think of them as analogous to using wikipedia to look something up in the modern era. Also I think you have like 8+ ghosts now,  so now only can you make light, posses enemy undead, and open doors; you can set 3 of them in multiple settings to get the benefits of the triplicate ghosts like darkvision.

Also you keep forgetting your class ability of Hack and Slash which should have you dealing a far greater amount of damage.

Monday, January 9, 2017

Drunkness is a Magical State. Session 1

Wow, I need to put something above that couch
The recording of the session is here! The camera only lasted halfway through though.

Plot Summary of the Session: The party awakened in the cavern in which the golden ship is found. They attempt to figure out a way to get the ship out of the cavern. Reklaw (W's character) find the party with the assistance of In'exist. He informs theem that they have been missing for 2 months and the complex that they went into collapsed and he thought they died in a cave in. He says he will meet them in Ozborn 3 days away. The party explores the cave some mroe and finds that it is filled with noxious/explosives fumes. Jack Fenton (G's character) speaks with the dead and uses one of his captured ghosts to translate the language of the Ytori. He learns that the ship was to sail on the wind redwards and into the setting sun. Reklaw begged the party to leave. Ramona (K's character) attempted to channel magic into the cave opening in order to get the ship out of the cave. He caused a rockslide and the party then marked where this was. Alexandre (M's character) used his elfish magic to note the exact location of this cave opening by the constellation alignment. The party then set sail for Ozborn and became friends with Reklaw.

The party found themselves in the Knife and Bone Bar where Jack Fenton and Ramona flipped out over an animated table in the corner. Ramona made friends with this table and a bald man approached the party. He told them that almost everyone wears masks in Ozborn as monsters still walk these streets and a few even steal faces. He distributed 6 plain masks to the party and begged them not to bear arms and cause violence. The party then promptly began decorating their own masks until In'exist showed himself.

Diana's is covered in glitter. 
They exchanged pleasantries and then were paid. In'exist advised them to spend a few nights recuperating in Ozborn. He then used a magic key to open a door out of the thin air and left. The party then each went their separate ways.

Reklaw generally stayed out of trouble and bought a shield to better defend himself, and also bought a potion of Speak with Metal.

Ramona sold a golden idol from the Ytori complex. Then he sold the hand he cut off of Isabella Nightingale to a strange man in a leather gimp mask who wanted it for his master. He spoke with the strange man who later introduced himself as Duboshit and his master as Ramirez the last goblin of Ozborn, Ramona then bought two bottled Imps, one black and one green.

Alexandre engaged in an arm-wrestling contest that Wulfgang, one of the rulers of Ozborn, attended. When about to lose his belt of giant's strength activated enlarging Alexandre to the size of a giant and destroying not only the table where they were wrestling but his opponent's shoulder joint as well. He was then invited to Fort Woe in the heart of Ozborn. Alexandre then promptly took the belt off, bought a cart with a donkey and 6 hirelings and hid the belt there for safe keeping.

Margaret when out carousing and met a woman Malina Chorna a member of the Bridgeburner clan of the Gyre Islands. The two promptly fell in love and have become the resident couple.

Jack Fenton met Aquarias Kari, a member of the BLACK KULT, who serves as one of Wulfgang's hollows. He informed Jack Fenton that there are in fact no ghosts of goblin's around.

Diana made safe choices and simply hung around the party with a great deal of positive energy.

As Alexandre, Ramona, and Reklaw leave the marketplace they see a man missing his torso confront a merchant and demand his back back! They learn that this man was sold a goblin fruit and after he ate it, his torso departed him. The trio are even more intrigued when they learn that goblin fruits can be sold for 1000 silver

The party then each purchased an outrageous outfit so that they could best fit in at Fort Woe, Not Reklaw he was too somber. The party then traveled to Fort Woe and on their way were accosted on the way by the Ax Gang twice. This was just the Ax Gang from Kung Fu Hustle. Despite Ramona hitting a few of the members of the party with her urumi, the party handily dispatched the Ax Gang. Arriving at Fort Woe they find two familiar faces. They see Kledon the Hawk and Aquarias Kari. They also meet Opalensce a wizard with large breasts and a mask made up of diamonds. As Wulfgang offers the smoke brought from the Lazareth many forget who others are and simply ask questions to each other about life.

After finding themselves back in their inn the party decides to visit Ramirez the last goblin of Ozborn. They ask him a few questions and were told that he can open gates to any realm from Ozborn and that he buys goblin fruits from those who venture into the sewers in order to bring back his brethren back to this realm. The party took this to mean to invade this realm and ran off but not before Alexandre mouthed off and was hit with a chandelier of knives falling from the ceiling.

Knowing how much wealth lies in these fruits they ventured deep into the sewer system to get to the ruins of the goblin keep beneath Ozborn. The party travels deep and enountered a massive blind man with two jugs. He threw one at the party and an ooze emerged. The party then decided that the best way to deal with the him was by shooting their illegal crossbows bolts out of their illegal crossbows at him. Travleing further they cam across a church hidden in the depths of the sewers. Each member wore a mask of wood and each had a small mouse on their left shoulder. Passing further into the depths they were accosted by a many shadows of the goblins past. One of them, a tall one, diminished their sole torch and chaos ensued. Malina breathed a gout of flame and slayed 10 shadows their burning bodies illuminating the party. In all the commotion Ramona accidentally threw a hatchet at Diana and hit her in the head.

They finally found 2 goblin fruits at the bottom of the keep and decided the best course of action was to eat them. Ramona gained the ability to cast Knock 1/day (I'm slightly terrified of K having the ability to open any lock) and the ability to hasten the apocalypse by 1 day sooner. Margaret's left hand turned into a two dimensional black fractal antler. Margaret flipped out and  now wears a glove on her left hand. Malina told her not to worry and that she still loves her.

TL:DR Pubcrawl Gone Wrong Gone Magical