A place to share thoughts and ideas about Dungeons and Dragons
October 4, 2017Posted by on
Laws of Motion
I see the D&D universe as a pre-Newtonian world. Very much controlled by something similar to Aristotle’s Laws of Motion. At least, that is the way that the most intelligent thinkers of the time believe that it works. All spells that affect the target’s speed or location, such as fly, levitate, teleport, etc. cancel all current forces acting on the target and replaces them with the effects of the spell.
So first I will present the laws of motion as known by most magic users in the D&D universe.
This is how it might be explained to you by the smartest man in the kingdom. [Please understand that the ideas below may represent a view of the world similar to that held in 300 BC, but was later replaced by Isaac Newton’s much more accurate laws of motion.]
The Celestial Sphere
“Objects in the heavens (the celestial sphere) move in circular motion, without any external force compelling them to do so. Objects on Earth (the terrestrial sphere) move in straight lines unless forced to move in a curve.
First, although most commoners think that the Earth is flat, it is indeed spherical. You know. Round like a ball. It only appears to be flat because it is so large. The Earth is in the center of the universe. It is surrounded by the celestial sphere, where lie the sun, the moons, all of the planets and the stars. All of these celestial bodies circle the Earth. The apparent motions of the fixed stars and planets are accounted for by the fact that they are embedded in rotating spheres made of an aetherial, transparent fifth element (quintessence), like jewels set in orbs. The fixed stars do not change their positions relative to one another because they are on the surface of this single starry sphere.
The stars, Sun, Moon, and planets are all made of fire. But whilst the stars are fastened on a revolving crystal sphere like nails or studs, the Sun, Moon, and planets, and also the Earth, all just ride on air like leaves because of their breadth. And whilst the fixed stars are carried around in a complete circle by the stellar sphere, the Sun, Moon, and planets do not revolve under the Earth between setting and rising again like the stars do, but rather on setting they go laterally around the Earth like a cap turning halfway around the head until they rise again.”
The Terrestrial Sphere
“To the motion of non-living things, such as a stone dropped from the hand, is explained by two principles; Natural Motion and Violent Motion.”
“The 4 elements [earth, air, fire and water] tend to seek their natural place in the order of things. So earth moves downwards most strongly, water flows downwards too, but not so strongly, since a stone will fall through water. In contrast, air moves up (bubbles in water), and fire goes upwards most strongly of all since it shoots upward through air. Most materials that you see around you are mixtures of elements. For example, wood has both earth and air in it, since it does not sink in water.
Natural motion causes undisturbed inanimate objects to travel in a straight line either toward the center of the Earth or away from it. Left undisturbed, a pure Earth would consist of an inner ball of earth surrounded by a shell of water over which would be a layer of air and above all would be an outer layer of fire.”
“Things also move because they are pushed. A stone’s natural tendency, if left alone and unsupported, is to fall, but we can lift it, or even throw it through the air. We call such forced motion “violent” motion as opposed to “natural” motion. The term “violent” just means that some external force is applied to it.
Heavier things fall faster, the speed being proportional to the weight. The speed of fall of a given object depends inversely on the density of the medium it is falling through. So, for example, the same body will fall twice as fast through a medium of half the density.
For violent motion, the speed of the moving object is in direct proportion to the applied force. This means that if you stop pushing, the object will soon stop moving.”
How this Effects Magical Spells
So the magic caster thinks that a body in motion only stays in motion as long as the force causing it to move continues to push it. Otherwise, it will eventually slow to a stop. So for teleportation – when the subject of the spell arrives at its new destination all external forces stop acting on it and it arrives at its destination as intended. External forces, in this case, would include what we refer to as inertia.
This also makes answering questions like this much easier:
“What if the PC walks through a teleportation gate and arrives at another location thousands of miles away?” Think of the actual, physical conditions. The Earth is spinning about 24 thousand miles per hour from West to East. Depending on where on Earth the other portal is located, inertia could be a big problem. Not to mention orientation.
Even something a simple as a feather fall ring. “What if the wearer was shot out of a cannon?” At the top of the arc, he would begin to fall. So feather fall kicks in and he begins to fall slowly. If inertia is still in effect he will travel much farther and still hit the ground at the speed that he was shot out of the cannon. This is obviously not the intention of the feather fall spell. If on the other hand, inertia and gravity are no longer pushing on the PC and are replaced by the magical feather fall rules, he floats gently down from the point where he begins to fall.
“If you are flying through space on a sailing ship that has a magical gravity bubble surrounding it, what happens if you fall overboard?” I would say that you fall as if you were on earth until you reached the edge of the gravity bubble and then slowly stop when the force of the magical gravity stops pulling you down.
August 13, 2017Posted by on
How to be a Better Dungeon Master
Having just finished one campaign and preparing to start another one, I felt that it was time to review my weaknesses as a Dungeon Master. Thanks to an excellent post on “The Angry GM” site, and a candid review of my own DM style by Tim, a former player, I have compiled this list that I intend to re-read before and after each gaming session.
1) Pre-read enough to make the game day run smoothly.
2) Have figures set aside for upcoming encounters.
3) Have monster stats printed out for the inevitable encounter.
RUNNING THE GAME
Running a D&D game is a storytelling craft on top of die rolls, which makes the DM chair the most difficult but often most entertaining of the game.
There’s two aspects of the game to manage, the character experience, and the player experience. All the players need their characters to have their moment to shine.
Provide variety in how NPCs/monsters interact with PCs. The encounters need not always be a fight to the death.
Always appeal to the players’ sense of sight, smell, touch, taste, and sound when narrating.
Begin and end each players turn with narration.
Each turn follows a simple process.
- The GM Transitions Into the Players’ Turn
- The Player Asks a Question or Declares an Action
- The Action is Resolved
- The GM Describes and Applies the Results
- The GM Transitions Out of the Players’ Turn
After every transition you need a bit of scene setting. Even if it’s just a single sentence. In fact, that’s all it should be. At the start of every turn in combat, you should say a few words (and NO MORE) about what’s going on in the scene right now, specifically to the person whose turn it is. Even if all you do is remind the player of what just happened.
The transitions out of one turn and into another meld together. The resolution of one action sets the scene for the next.
As a GM, it’s your job to bring the combat to life. To make it feel like an emergency, like a life or death situation.
At the start of every player’s turn, you need to point out where they are and what emergency is happening right now, either to them, or right near them.
In a life-or-death battle, the proper feeling for a player is near-panic. Players should feel panicked and rushed in combat because the characters are panicked and rushed in combat. When it is a player’s turn, they need to begin speaking immediately. And if not, you need to prompt them.
“What do you do? You need to decide or you’ll lose the turn to indecision.” Assume they take the Dodge action (attacks against him have disadvantage).
A GOOD EXAMPLE
GM: Alice, four goblins are charging the party. What do you do?”
Alice: I’ll run up and hit the goblin with my mace. 15.
Alice: 6 bludgeoning damage.
GM: You charge the goblin and smash it with your mace, bringing it to a stop. It’s allies are hesitating. Bob, you’ve got an opening…
GM: The goblin leaps aside, dodging your axe. He tries to dart past you to close with Dave. You get an opportunity attack. Roll it.
GM: The goblin dodges that too and dashes forward, lunging at Dave with his shortsword. Dave, what’s your AC?
GM: Ouch. He stabs you in the side for 6 piercing damage, sending you stumbling backwards while the other two goblins draw to a stop and face Alice and Bob head on. Alice, the goblin recovers his breath from your blow and thrusts his shortsword. A crit! You take 12 damage.
Alice: Damn it! I’m really hurt!
GM: The other goblin closes with Bob as he’s trying to stop the one getting past him. But… Bob sees him coming and dodges the blow. That’s a miss.
GM: The goblins range themselves in front of Alice and Bob while a third goblin is ready to strike another blow at Dave. Carol, they seem to be ignoring you. What do you?
July 10, 2017Posted by on
Viaggi, Avventure, Abbordaggi e Combattimenti tra le onde dei sette mari
(Travel, Adventures, Boardings and Fighting between the waves of the Seven Seas)
You can get your free copy of this here: http://homebrewery.naturalcrit.com/share/BJL8XcjyZ
Luke translated my D&D 5E – Nautical Adventures into Italian and created this amazing version. It is an excellent example of what can be done with the homebrewery site. http://homebrewery.naturalcrit.com/
June 25, 2017Posted by on
Download your free copy here.
I just updated the pdf file. The main change is in the explanation of how spellcasting works. This new file name is 5-0-ez4.pdf
If you sometimes feel that the fifth edition Dungeons and Dragons rules are too complicated, this is for you. I created this set of house rules to simplify character creation and advancement among other things. It also introduces a whole new way to select and track the casting of magic spells.
One thing I tried very hard to do was keep the characters levels and power as close as possible to the Player’s Handbook characters so that if you play using these rules, you can still use published 5th edition adventures, and the monsters will require little or no modifications.
Here is what is on the EZ character sheet.
June 8, 2017Posted by on
Encounter with a Wagon
This blog just reached 300 followers. As a way to thank you I will give you this. It can be used for a quick, non combat, encounter on the road. All of the specifications are left up to you to fill in. Sometimes you just need an idea, so here is one.
Metal workers, recently survived a kobold attack.
Wagon is pulled by 4 large work horses (like Clydesdales).
Horses have poorly made plate mail armor. One horse is tied to the side of the wagon with a bandaged foot (was shot with an arrow).
This large wagon is completely enclosed with wood walls and top that have been reinforced with metal plates and has shuttered arrow slits and a smokestack. It has 6 steel reinforced wheels on three axes. There is a door in the back, another in the front, and a trap door in the top. There are several small arrows sticking into the wagon at various places and at odd angles.
The back door is open and the smell of sausage cooking is coming from that direction.
The wagon contains a large variety of metal items that they are taking to town to sell. These are mainly folding weapons racks, hinges, nails, horse shoes, chains, manacles, and some heavy wire. they have no weapons for sale, but can provide small steel balls to use as sling-shot projectiles. They also have some wooden practice swords for sale.
In addition to the items for sale they have their personal weapons, armor, and items and a portable blacksmith shop, complete with anvil, billows, fire pit, tongs, water barrel, etc. These can all be used within the wagon, or they can be removed and set up elsewhere in just one hour (they have had lots of practice).
“We were attacked last night while traveling here. It was along the road where it passes through the densest part of the forest. We were surrounded by kobolds and held out until daybreak. Then the kobolds that were left all left. We caught one. When it came close and tried to reach in to grab a sausage through an arrow skit, we clapped a manacle on its arm. We are thinking about selling it. During the fight we killed a couple and saw them being eaten by the survivors. At least one of them could speak common. It called out to us to throw out any magic items or magical components we had and they would let us pass. They wouldn’t believe us when we told them we had none.”
May 4, 2017Posted by on
How do I win this game?
How do you explain this game to someone who has never played? Here is what I say.
I usually tell my players, before they even roll up their characters, that the thing that I like best about Dungeons and Dragons (D&D) is that it is different from most games. In almost every other game, for me to win, you have to loose. D&D isn’t like that. You play a character that adventures with other characters. At its simplest, you go into a dungeon, find treasure, fight monsters, and try to get out alive. All of the characters help each other, and it often requires the help of each other for any of you to survive.
The Dungeon Master (DM) is kind of like a referee. He knows the layout of the dungeon and where all of the monsters and traps are and describes to you what your character can see. You come up with a character that you want to take on the adventure. In every situation, you tell the DM what you want your character to do, and he does it. If there is any question as to whether your character can accomplish what he wants to do, the DM decides how easy or hard this would be and you roll dice to determine success or failure. Most of the rules are to keep the DM’s decisions from being arbitrary and to provide a framework for deciding how difficult it might be for your character to do things and what the result of success of failure might be. But the rules do not limit what your character can attempt.
May 2, 2017Posted by on
What is Magic? How does it work?
I was trying to figure out how (in 4th and 5th edition Dungeons and Dragons) a character could learn all there was to know about a magic item by simply examining it for an hour. This wasn’t possible in earlier editions. You could only learn about an item by trial and error or by some magical means. It is only now coming up because I never played 4th edition, and this is the first time I have been the DM running a 5th edition game.
After a lot of research (Google is my friend) I finely came to the realization that the nature of magic has changed. To make logical sense out of it all (assuming you can apply logic to the rules of magic in a fantasy game), this is what I came up with.
Nothing below is official. It simply represents my ideas and house rules.
The Source of Magic
Behind reality as the player-characters know it, there is a sort of internal “skeleton”, over which reality exists like skin atop muscle and bone. This “skeleton” can best be envisioned as an unseen essence that pervades all parts of the multiverse, directly linking everything to every other thing. This is the source of all magic. When you cast a spell, you actually create a specific alteration in the local essence, which then causes the spell effect you wanted in the ‘real’ world. Some call this essence “Mana”. In the Forgotten Realms it is called the “Weave”. If the Weave in an area is damaged or destroyed, magic is unreliable or impossible – that’s what creates Wild Magic and Dead Magic zones in the Realms.
All the physical laws of the universe are simply reflections of the true, background laws that govern this universal essence. The average person can only perceive normal reality, but some creatures are born with the ability to sense the universal essence.
All magic-using beings share an innate ability to manipulate the essence. Likewise, almost all those “gifted” with these abilities must receive training in arcane (wizardly) or divine (clerical) magic in order to learn how to manipulate the essence with finesse.
Bards learn that words and music are not just vibrations of air, but vocalizations with power all their own. They learn to untangle and reshape the essence in harmony with their wishes and music.
Clerics and Paladins are conduits for Divine magic, the power of the gods. Divine casting is done by channeling the essence provided by their deities and forming spells out of that.
Druids and Rangers revere nature above all, and can draw essence from the land, gaining their spells and other magical powers either from the essence that flows through nature itself or from a nature deity.
Monks make careful study of the essence that flows through living bodies. Most monastic traditions call this ki.
Sorcerers learn to harness and channel their own inborn magical abilities. They gather the essence to them from force of will.
Warlocks receive their magical abilities from a pact they made with an otherworldly being. This is similar to the way gods channel essence through divine casters.
Wizards create elaborate mental structures within the mazes of their own minds, traps which funnel magical essence like a roof collects rainwater for a barrel, stored and ready to be used over the course of a day.
This magical substructure to the universe, this unseen essence, can be manipulated by users of magic. It can sometimes be concentrated and placed inside a creature or object. Examples would include casting a spell on a creature to make it resistant to fire, or creating a ring of protection. These magic infused creatures or items emit a type of magical radiation. A creature with the ability to sense the universal essence can detect this magical glow, but it is invisible to all others without some magical way to detect it.
The “Detect Magic” spell:
Magical radiation is similar to light in that it is dimmer the farther you are from it. It can pass through most objects, but is blocked from most forms of detection by 1 foot of stone, 1 inch of common metal, a thin sheet of lead, or 3 feet of wood or dirt. For the magic radiation to be strong enough to be detected by the “detect magic” spell, you must be within 30 feet of the magic creature or item. If you sense magic in this way, you sense the presence of magic, but can’t determine in which direction, or how far away the magic item is. Anytime during the duration of the “detect magic” spell, you can take an action to see if there are any specific items or creatures within sight that you can identify as magical. You will see a faint aura around any visible creature or object in the area that bears magic. If you don’t see an aura around anything, then the magic that you sense must be out of sight. It could be one or more items or creatures that are invisible or hidden. For instance, they could be behind a door or in a box or under a secret panel in the floor. If you do not see it, you do not see the aura. This also means you cannot use this to locate invisible creatures or objects. Any aura detected can only be seen by the spellcaster. The color of the aura corresponds to the object’s school of magic. If the item has no particular school then the aura has no color. The brightness of the aura indicates the relative strength of the magic.
Unless the magic item is invisible, you can see it if it is within range but behind a transparent barrier, such as glass. You also perceive its magical aura. This includes potions that are in glass bottles. If the potion is in a container that is not see-through you will not see the aura unless you remove the cap and look directly at the potion.
If you were to touch a creature that possesses magic, you would not typically feel the magic. But if you were to hold a magic item for a few seconds (a round), you would feel the magical radiation generated by the item effecting your body and/or your mind in some way. The sensation will differ depending on the magic contained within the item. If you continue to hold the item and concentrate on it for a short rest, “At the end of the rest, the character learns the item’s properties, as well as how to use them.”
“Potions are an exception; a little taste is enough to tell the taster what the potion does.” You can’t hold a potion in your hand. The bottle isn’t magical, just the liquid it contains. You could stick your finger into it, and leave it there for an hour, but a drop on your tongue is much faster. A taste is not enough to receive the effects of the potion. If it is poison, a taste is not enough to do harm to the taster. When tasting it, the magic of the potion enters your body and instantly reveals its nature.
Magic items want you to know their properties! The magic is alive! Or, rather, it contains a life force. All life has magic flowing through it to some degree, and all magic has some degree of life flowing through it. This explains why some powerful magical items possess sentience. The item’s creator forced so much magical essence into the item that it became sentient. This also explains why magical essence tends to be attracted to living creatures (and sometimes to dead creatures). And why magic can create or destroy life.
The Identify Spell
This spell makes you more receptive to the magical essence of the item. To identify the magic in an object with this spell, you must remain in physical contact with it for at least 1 minute. “If it is a magic item or some other magic-imbued object, you learn its properties and how to use them” (That much is the same as you can get from examination alone. But with the spell you also learn) “, whether it requires attunement to use, and how many charges it has, if any. You learn whether any spells are affecting the item and what they are. If the item was created by a spell, you learn which spell created it.”
To use this spell to identify a potion still requires one minute, but you must come into physical contact with the potion, not just the bottle it is in. A drop on your tongue or on any spot on your exposed flesh is enough.
The identify spell won’t trigger a curse, but it also doesn’t tell you if an item is cursed. There is no easy way to know if an item is cursed except by trial and error. Even the legend lore spell may only hint that it may be cursed. The curse on an item may cause you to misidentify it.