#3E-Social

[aqours]

3E Ireena: Who are you? 5E Ireena: I'm you but weaker. 3E Ireena: 5E Ireena: 3E Ireena: Take me to the castle right now so I can kick his fucking undead ass right this instant.

[twotommyolivers]

Rolling up an Exalted 3E character who is mostly Chloe Bourgeois at Beacon Academy (so Coco I guess? I don't watch) and if it wasn't for already existing lore I'd be so tempted for her to try and get over (and fail) a sobriquet of The Scarlet Lady.

[thequicksilverfox]

Planning an Exalted campaign has me absolutely DRIPPING with blorbos. I've got so gottdamb many fucked up little bitches scrambling around in my brain to the tunes of various songs I use for inspiration. You dont even know. You dont even KNOW. Ask me about my exalted oc's. Unless you're in my campaign. YOU will find out soon enough.

[igorlevchenko-blog]

Morrowind: The Burden of Nerevarine

Somewhere in vicinity of Dagoth Ur, the Building. Year 3E 427

P.S: This picture is in no way a condonation of false prophecy in question. Morrowind sure does need saving, but not through the dint of exertion of some reincarnated elven superhero. That's just childish.

P.P.S: There are four bodegas in Balmora, but only one bookshop. Try Azura-Plot your way out of that social failure.

[magical-grrrl-mavis]

Games you can play instead of D&D

Pathfinder/Pathfinder 2e: Same concept as D&D but by a better company. You are an adventurer in a high fantasy setting. Character creation combines a race and class.

Mutants and Masterminds 3e: Action-focused superhero RPG, uses starting points to buy equipment and skills and build powers by combining effects. Character creation can take a bit to get used to but there are many sourcebooks with helpful examples to use, there are countless pre-built characters online, and a slew of official books containing just about every DC Comics character you can think of to play and interact with.

Vampire: the Masquerade: You are a vampire in the shadowy gothic underbelly of modern society, struggling against any number of threats, kindred or otherwise, while trying to keep the existence of vampires a secret and struggle against your own bestial nature. Will you retain your humanity? Or give in to the beast. High focus on roleplay and social intrigue.

Monster of the Week: A rules-light game based on the Powered By the Apocalypse system that recreates the experience of shows like Buffy, Supernatural, X-Files and Warehouse 13. You play as a Hunter investigationg supernatural mysteries and fighting monsters. Player characters are based on archetypes from this genre (Professional, Monstrous, Spell-Slinger etc) (this one's my favorite! :D)

Masks: A New Generation: Play as a young superhero finding their place in the world. The game creates a coming-of-age story as you grow and change in response to your actions and the people and events around you. Character creation reflects this by focusing on your characters personality, struggles and strengths while being more loose about your actual powers.

Girl by Moonlight: Magical Girls (boys, enbies etc) through a queer lense. You play a magical guardian grappling with destiny, love and the heartbreaking duality between who you are and who the world says you are. Split between four genres you can choose from-classic magical girls, dark magical girls, psychological conspiracy and... mecha. I guess. (I'm gonna be honest I haven't looked super deep into those last two yet). Characters are based on archetypes from magical girl stories, some with very obvious inspirations.

Scum and Villainy: Play as a roguish outlaw in a galactic society run by an oppressive force. You are the Han Solo of this story, smuggling and doing crimes and mercenary work aboard your own starship.

Killer Ratings: You and the other players are the insufferable cast of a cheap ghost-hunting show and have found yourselves in over your heads as you've wandered into an actual haunted location. Play as you explore the site and are most likely taken out one-by-one, returning as vengeful spirits to further terrorize your former cast-mates.

[ladiemars]

I love Nor and her giant sad puppy eyes, I would love to know more about her

thank you!! have a hastily drawn nor ft. her giant sad sopping wet puppy eyes:

+ a giant nor lore dump below the cut જ⁀➴

➸ her whole character was inspired by that one textpost that’s like, “characters with both the abject terror and desperation of an animal that knows it is cornered and destined to be eaten. you just can't get that kind of angst out a successful hunter” and this quote by james harriet: “if having a soul means being able to feel love and loyalty and gratitude, then animals are better off than a lot of humans.”

➸ she’s is the product of a union between a drow woman and a deep imaskari man. for those who don’t know, the deep imaskari are a human subrace (from 3e) that have stone-like skin and hair that’s white or black. because that’s nor’s human half, most people assume she’s completely drow upon meeting her, since did not inherit any features from her father that would make her look less like her drow mother.

➸ the deep imaskari live longer than other humans—up to 550 years—so nor ages at a rate more akin to drow and elves than half-elves or humans. nor believes she’s currently around seventy years old, though she could be off by a decade or two. she’s not sure when she was born and has long periods without human contact. she really isn’t sure how much time has passed.

➸ she has no given name, but eventually ended up going by the name ratcatcher, which is what the locals in baldur’s gate called her. halsin is the one who names her nor shortly after they meet, which is the elven word for “passion” and also “run.”

➸ this excerpt from one of my fics sums up her urchin/orphan to urban ranger/beastmaster pipeline pretty well:

➸ around the age of twenty, nor grew to resent humanity so much that she decided to leave baldur’s gate and live in the forest with only animals for company for half a century. (this is when she lost track of time completely.) in the forest, she became an expert in survival, attuning her ears to the slightest twitch in the air, to every noise and smell. she lived in a cave and slept curled up beside velvet on a bed of willow leaves. the events of baldur’s gate 3 is the first time in decades that she’s had social interaction.. and it shows.

➸ she has a little wolfdog companion named velvet. (i’ve drawn him and her and halsin and scratch here). he was another half-breed who didn’t quite being anywhere, so they bonded very deeply. (fun fact: velvet killed the elder brain in my first playthrough as nor. he’s a legend in faerun now.)

➸ laezel is her bestie. they are ride or die. neither of them understand a damn thing about faerun or its inhabitants. but that also means they don’t judge each other for anything, cause they both just kind of assume what the other is doing is normal

➸ a big part of her character is her dynamic with the emperor. she gets manipulated by him so bad because he tells her everything a forgotten, unloved creature wants to hear: i need you, i’ll protect you, you’re not like other people, we’re a team, you can trust me, i want you to join me, you aren’t alone. it’s not until he begins to pressure and compel her to become illithid against her will she starts to fear him and his power over her, and after certain revelations she realizes he was using her and turns on him altogether.

➸ obviously she romances halsin. i love the dynamic of beastmaster/druid. they’re extremely well suited because they’re both such inherently good people and they bond a lot over their love for nature. they are also the only two people who can really understand each other’s animalistic quirks.

i’ve written some fics with her that you can read here if you’re interested. >:3c

[trans-mouse]

Food Charms!!!

I lied. I said I was going to write fiction for this week's art prompt… But then I got upset when I realized how little love there is for food in every charm set that isn't Janest's 3e charmset! I just had to do some work to undo this terrible injustice, and make myself hungry in the process. These charms are for essence, because that's what I've been designing for lately, since it's… What I'm playing.

I didn't include conversions of any of Janest's charms, because... I kinda don't think they need it? If you're playing Janest, you've probably already read the 3e Exigent book cover to cover, and have converted the charms you want from her set. If you haven't... Send me a message and I'll help you convert all her food charms. :)

A new mode for Manifold Hunter's Tactic: Taste of the Pomegranate: Copy the shape of someone with whom you have formed a positive intimacy forged through the sharing of food.

Perfect Host Technique: (Prerequisite: Craft 3 or Presence 3) Spend 1 mote when undertaking a mundane venture to create food or host an event. In addition to functioning as equipment as usual for social actions, all attendees of the function are subject to the social influences the exalt makes, so long as she wishes it to extend to them. -Sharing the Hearth (Dragonblooded): Rather than influencing her companions, once per story the Dragonblooded may count any allies that share major positive ties with her as though they were Hearthmates for a single session. -Staple Crop Glorification (Alchemical): By celebrating a culture's food or art, an Alchemical may degrade negative ties towards a culture to which she has a positive tie at a cost of only 1 excess success. This influence must be one-on-one, rather than enacted against a group. -Matchmaker's Meal (Sidereal): Without effort, the Sidereal pairs two or more at the table, entwining their fate. By spending 1 additional mote when using this charm, the Sidereal can create an automatic minor tie of romantic fascination between two or more compatible characters. This does not guarantee a match, nor does it compel them to act on it.

Celebrant's Insight: (Prerequisite: Craft 2 or Embassy 2) Invoke this charm when you spend a scene immersing yourself in the culture of a region, via art, food, or festival. During this scene, you may spend 1 mote to ask one of the following questions. The Storyteller will answer truthfully. Additional questions cost 1 mote each.

What is the dominant faith in the region, and how closely is it followed?

What could I change about myself to better fit in here?

How well off are the locals?

Am I going to alienate people if I take a particular described course of action?

Is it safe for me to be open about my exaltation, heritage, and station? -Forsake Tradition (Lunar) Ignoring all information gained by this charm, the Lunar can instead choose to ignore any penalties caused by breaking with traditions of any kind by spending 1 mote.

Impeccable Taste: (Prerequisite: Awareness 2 or Craft 2) Upon tasting a food or drink, the exalt immediately knows all of the ingredients in it, as well as where they originated. -Genius Palate Summation (Solar): Upon tasting a prepared dish, the Solar understands the mental state of whoever created it, such as whether they are troubled, if the dish was made with love, or if their heart is filled with malice. If this state is tied to an intimacy, the Solar learns of that as well. -Heritage-eater (Lunar): This charm can be used when drinking someone's heart's blood at the culmination of the Sacred Hunt, and in addition to learning the person's origin, the Lunar learns all of their intimacies, and can adopt one, qualifying as the intimacy that must be gained to obtain a human form.

[thydungeongal]

"Rollplay vs roleplay" started to be a big thing people talked about mostly with the advent of 3rd edition d&d and characters having social skills that you would roll for. Previously, although ad&d 2e included some mechanical use for charisma outside of "how many followers can be attracted," social interactions were generally acted out by the players, maybe using the stats of the character as a guide.

But when you could roll for "persuasion" or "deception," a chunk of players called that "roll-playing," based on the idea that if you could just roll to see how charming your character was, you weren't actually deciding anything about your character

Yeah, that's definitely when I personally started seeing the dichotomy pop up in those exact terms, and I do feel that 3e was the time it suddenly became a big, contentious topic within D&D. Like, as stated, the argument has been around for a long time, but I do think it entered the mainstream with 3e, since it was the big return of D&D to absolute market supremacy but also the one edition of D&D that codified social mechanics.

Anyway, it's really funny to me that the arguments that have been used to denigrate D&D in general have since become, like, a feature of D&D's internal community discourse. Like, we the players of the dungeon game feel very strongly about the fact that dungeons and combat are bad for roleplaying and there should be none of those in real roleplaying games,

[lazytoufu]

“Class, this is Asano Gakushuu-kun, he’s transferring into E class as of today.” The agent introduced, and Gakushuu bowed politely.

The secret version of dear 3E Shuu!

Kitty Cat and 3-E ver.

I have been thinking about it while putting too many colouring layers. His smile could really thinking to a different way just about the light and effect. Also I can’t find the author social acc (if anyone knows pls message me)

here’s the work💜

https://archiveofourown.org/works/33254509?view_full_work=true

[fantasyfantasygames]

Beyond the Shield of Time

Beyond the Shield of Time, Titania, 2005

If you own entirely too many RPGs, Beyond the Shield of Time (BtSoT) wants to leverage that.

The basic premise goes like this: Someone is stealing major artifacts from across a number of worlds. Your characters have been drawn into their "slipstream", pulled from their own world into a new one where the thief is their only way home. The game hops from world to world as you track down the villain, they escape you, you fall through another portal, and you slowly gain what you need to get ahead of them. Eventually, you confront them and their secret is revealed, and the game ends soon thereafter.

The coolest and most difficult part of BtSoT is that it's not a game. It's a framework for running a campaign across multiple games. They provide a semi-universal character description template that works across a wide variety of fantasy RPGs, and you reference that in order to make new characters in each world you fall into. Your characters are changed in the process - someone built as an assassin in Burning Wheel might end up as a bard in Dark Sun D&D, because that's the role that bards have in that setting.

BtSoT has guidelines for conversion from their template into D&D (Rules Cyclopedia, 2e, and 3e), Burning Wheel, Dark Hammer, MERP, WFRP 1e, GURPS, HERO, and a handful of others. There are examples of suitable artifacts in each one, from the Silmarils to the Eye of Vecna. It's a shame Glasswork wasn't published for another two years, because it would have been a perfect world to pop through. It has recommendations for what other games will work well with this system and which won't. I appreciate that BtSoT isn't one of those books that claims to be universal even within the fantasy genre. For instance, it excludes Exalted on purpose rather than by accident, for reasons of power level. It's going to be a lot of work between sessions, but I feel like it would be a hell of a cool game. Then again, I'm the guy who's reviewed almost 100 games so far, so, grain of salt.

The art is fairly good. I think it might be Storn? There's more than one piece with the heroes walking through a portal and coming out changed, with two different worlds on the opposing sides of the page. There's another that's very reminiscent of the "Frodo reaching for the ring" image, but with a Dark Sun halfling reaching for what is still clearly the One Ring.

I feel like the reveal of the secret doesn't 100% work any more. Social values and expectations have changed since 2001, and people are familiar with different cultural touchstones. Much as I love the Amber setting (which is half of the reveal), I'd probably want to rewrite the ending for a more modern audience.

Titania was one of the first game designers to publish as herself (or even a pseudonym) rather than as a company name. Even Monte Cook was still "Monte Cook Games" rather than just his name. Now that's basically the standard if you're in the younger bracket of game designers. There were some rumors that Titania left the industry, but there have been some more recent books with her trademark writing style, so I think she's still out there somewhere.

[talenlee]

The Nemuranai System

Alright, in Oriental Adventures‘ expanded 3e books –

Wait wait wait don’t go, hang on.

Content Warning: This is going to discuss some books that are, very simply, quite Orientalist, in the classical Edward Said sense. Not nakedly racist in a slursy way, just racist in how it simplifies cultures in the names of telling a particular form of story. If you don’t wanna mess around with that, y’know, probably want to avoid it.

Anyway, there’s this system in the Rokugan books for handling gear. Specifically, the idea is that as a character in the Rokugan setting levels up and accumulates experience, rather than going to a magic store and picking up new swords and armours that are part of an ongoing escalation of gear in a marketplace that is constantly creating an increased demand, rather that player characters themselves, by dint of being powerful and cool and renowned, start to affect the gear they’ve been travelling with the whole time. The spirits of their equipment awaken and become powerful in response to the person who owns them being powerful.

This also is transitive – if someone powerful gives you their sword with its awakened spirits, it can be a powerful item thanks to them conferring it, but not as powerful as if they had it, or if you take something off someone that was powerful, it won’t work for you and will just be a sword. This association, this effective transformation of gear into a social improvement, where you have to convince spirits in the equipment that you’re worthy of how cool they are, is interesting in that it both serves as a way to disincentivize theft and looting, but also means that player characters are going to get equipment that’s explicitly coded to them as they level up and fitting the way they want to do things.

This system for the ‘spirits of the item’ was known as the Nemuranai system, based on the word ‘nemuranai’ which I think translates to ‘not sleeping.’ I don’t know if this is a full-blown hilarious translation mistake in an early guidebook way, but it might be and I’d leave it to someone who knows Japanese properly to ask.

The number of books that were put out for 3.5 really is hard to hold in the mind. In a time when ebooks were just starting as a market, in a time when we didn’t have the same obvious massive front-end surfaces like DriveThruRPG and its subordinate DM’s Guild. The OGL came along at just the right time, in the same vein as other Web 2.0 stalwarts, to be a thing that resulted in a lot of people creating a lot of material the whole time.

Like me!

Anyway, that meant that not only were you getting unique lines for D20 like Warcraft and BESM but we also saw the rise of D20-ified existing games, like D20 Rokugan. I’ve talked in the past about how great Rokugan was because its creators didn’t give a stuff about Wizard Supremacy (even if they didn’t appreciate the scale of the problem). The D20 Rokugan books included books about handling magical spells and items, in a setting that didn’t really have a lot of those things.

And make no mistake, I do not have any illusions about what real Samurai or real Asian adventures in the same vein as the Dungeons & Dragons ouvre are. This is not really about Actual Asian Adventures, this is about the vision of Samurai adventure media made and distributed and remembered and replicated in the west. There, people aren’t questing and finding ancient swords (which is ironic because of all sorts of things to do with palingenesis), but instead, it’s about inheriting old swords. Notably, nobody kills people and takes the sword off them unless they’re someone bad.

This is what Nemuranai was trying to address.

I really can’t underscore how important your equipment was to your character in 3rd edition. Gear was so important to how a character functioned that when you built a character higher than level 1, there was a table that showed the appropriate amount of magical gear you started with. There were functions of how a character works in 3rd edition, like your access to weaponry with an appropriate set of bonuses, your ability to absorb or escape damage, and even your ability to engage on multiple platforms. Around level 9, everyone flies, and if you don’t pick up a way to fly around that level, even for a little bit, you are going to be in trouble as encounters are sculpted assuming you can handle an enemy just flying away and pelting you with ranged attacks.

What’s more, gear is so important that if you level up manually, and follow the tables that generate treasure and gear — distinct categories, make no mistake! — then you wind up with a character whose budget is larger than these characters who were made at a higher level, because you were expected to lose some money through the course of operations by things like selling gear or consumables, like potions and wands and scrolls or stuff you crafted for yourself (oh hi, Wizard problems, why are you here)?

Looting is a big part of the game, in that there’s a big pile of tables for it, but it’s also a meaningless part of the game in that as long as the DM is doling out rewards appropriate to the table. What this meant in my experience was players constructing wish-lists, hoping for particular items, or the DM using that level-by-level budget to construct a chain of items to give to the players. It’s there, I did run the game using the loot tables sometimes, but it wasn’t an interesting tool to use and it relied heavily on preloading, adding an accountancy element to the interesting thing (designing meaningful combat encounters).

And then you throw this game into a different thematic space, where ostensibly, ‘people don’t loot.’ Which doesn’t break the game, because the looting and the loot tables aren’t… that… important. The gear is, but the way you get the gear, it turns out, isn’t.

Look, Dungeons & Dragons, in every edition, is a modular game system of exclusions. There’s a body of opinion about D&D that thinks the idea that players don’t have an exhaustive, comprehensive vision of the rules, is a sign of a problem in the game, which is completely unhinged. The nature of a class system is to make it so that there’s ways the game can sequester operations. Don’t have a Barbarian in the party? Then nobody needs to track Barbarians. You’re not using the encumbrance rules for anyone? Then nobody needs to worry about them. If you are using them, they interact across all people.

There’s a vision of how this is a sign that there’s something wrong, or broken in how D&D works, as opposed to literally structural to the entire design methodology. If a thing is not present in the game, its operations aren’t necessary, and therefore, any new thing can bring its own operations with it. Now this is a design approach that is volume-heavy. There’s a reason you can print a dozen monster books and still not really have a reasonably varied ecology for a real world scale, because every one of those monsters is a discrete module that lets you pull it in and out. There’s a reason that building real estate is in a bonus supplementary book and the core rule book has optional content like ‘the fighter.’

Check it out on PRESS.exe to see it with images and links!

[abracadav-r]

since i don't want to shit up op's tags: last post comments!

that post really focuses on what i like about the drizzt novels. when i was talking about them to dan and in context of felyn's relations with bregan, she was surprised jax wasn't a follower of vhaeraun. by now i forget exactly what i said during that conversation, but it focused on the fact that i think ra's writing in that series is intended to expand on the question of nature-vs-nurture in the species.

admittedly, i am entirely not up to date with the books, but i did read most of the older ones up to 3e a VERY long time ago and the overarching theme i got from them is that he starts off with a guy who hasn't gotten all the worst aspects of the species' socialization. he has people around him, even underground, that are not as terrible as they could be and can be contrasted against those who are. when he flees, he then has support on the surface. then it shifts to another guy, this time more mired in the city. from the big family. born with a blessing from the spider queen, even! and despite not having some of the things the first guy had access to, he still finds his own path. he too, adapts based on the people around him and the decision without reassurance from a god that things can be different. he chooses to be different, just like the first guy did.

and now, we turn to a guy related to the second one, who has done some genuinely terrible things. he's enabled the power structures of the city. done his part to enforce it, top down. he made his choices to be part of it, even when offered other choices. but now, he's removed from that environment. can he make different choices too, even after hundreds of years? could his mother, who might be described as the lynchpin of the entire system, the one who crafted it, begin to make diifferent choices? will everyone make those choices, if they're difficult? if there isn't any god to promise them a reward for all the pain and hardship? could anyone do this, actually?