#dungeons and dragons open game license

[illogarithmil]

Warning: some unmarked spoilers for most official 5e campaigns below. Also, long post written over several days with resultant tonal shifts.

If, like me, you find yourself terminally dissatisfied by D&D 5e (and horrified by OneD&D or whatever they're calling it now) but still wanting to run its major published adventures because otherwise what did you *buy them all for*, here are some suggestions! I'm going to steer away from stuff that's too straightforwardly a retroclone or "D&D but with X rule changed," because that's boring. For each adventure, I will explain what I think a good adaptation needs, provide a "played-straight option" which is a system to pretty much directly port the adventure into, only requiring some rules conversion and maybe minor setting flavour, and an "offbeat option," which is going to require major narrative changes and often shift the entire genre. With two exceptions I'm going to recommend games I've played or at least read many times over; if you know of other things that would work then feel free to comment or reblog with them!

So, in chronological order of the adventures I own...

Lost Mines of Phandelver

The important thing about LMoP is that it's a starter adventure, taking characters who start off as basically nobodies but who have either personal connections or moral ties that draw them into a pretty morally straightforward conflict with several groups of bad people working on behalf of a single villain. In the process, it shows off a bit of travel and exploration, a bit of social activity in phandelver itself (mainly of the obtain-quest-hooks variety) and a lot of combat, easing people into the game.

Played-Straight: 24BLUE

A solid but simple old-school fantasy-oriented but setting-agnostic hack of 2400 with light, intuitive but flavourful rules for creating characters and monsters and good guidance on how to convert over from other systems. It's also cheap as chips ($3) and 4 pages long, meaning it puts very little work on a new gm. Frankly, I think flexible and rules-lite systems are the best way to get people into rpgs, so this is ideal. Also, it has something of a tendency to depower more powerful monsters in conversion which might be an issue with larger-scale games but really isn't with the 1-5 scale of Phandelver. Just maybe fudge a bit to preserve the sense of threat with the dragon.

https://deep-light-games.itch.io/24blue

Offbeat: All that I Am

So Phandelver's a game about good-hearted nobodies rising to defeat evil, right? But they're good-hearted nobodies with magic and sword-skills. What if they kept the drive but lost the power? What terrible price might ordinary folks pay to defeat an evil which they are unequipped to face? Also cheap (PWYW, $11.36 recommended) and also simple (albeit less so,) All That I Am is a game about people who have made a pact with a demon and slowly realize that this was Probably A Mistake. It has a really cool basic mechanic based on tossing coins into a magic circle - not one for online play! - and a very flavourful list of demons to mess about with. It's naturally darker in tone than D&D, which is going to affect your story through play, but the setting could honestly probably go unchanged and the only plot alteration you might want to make is reshuffling the adventure so that it starts in Phandalin and goes 1. Get bothered by Redbrands; 2. MAKE PACT TO DEFEAT THEM (going into wilderness to conduct the ritual in secret); 3. Get ambushed by Goblins on way back from wilderness; 4. Return to phandalin and go from there, rather than the standard goblin lead-in. If you wanted to change the setting to the more Renaissance Europe default assumption of ATIA, you could easily enough make the Goblins into bandits or wicked faeries and Nezznar into a human schemer.

https://www.drivethrurpg.com/m/product/271265

Honourable Mentions: Warhammer Fantasy Roleplay, Burning Wheel if that's your thing

Princes of the Apocalypse

I know a lot of people don't like PotA. Cards on the table: it's my favourite 5e adventure, and I've run it once already. It is, to me, the archetypal D&D story, which made it really hard to pick alternatives which aren't just branches of D&D. It's got a fairly balanced mix of combat, social and exploration/investigation elements through which the characters uncover the works of four tactically diverse elemental cults which are often remarkably subversive of typical expectations of their element, led by well-realized and psychologically interesting villains, all of which both tie together into a single core and branch out into loads of loosely related side quests and plot threads.

Played-Straight: Warhammer Fantasy Roleplay

Four divine cults tied to a single powerful evil force, you say? Warhammer's Moorcockian forces of Chaos fit pretty much perfectly. You could keep the elemental theming, even, with the cults venerating the Four Gods in elemental aspect, or switch elementals for daemons and just retain the front organisations. I recommend associating Tzeentch (god of change and magic) with the fire druids, Khorne (god of honour and violence) with the earth monks, Slaanesh (god of pride and excess) with the air knights and Nurgle (god of health and sickness, who already has a substantial maritime followinh) with the water bandits. True, the game might be a bit more gory and lethal thanks to random injury tables and lower power levels, but if you're playing the 4th edition by the book it probably won't be enough to shift the tone of the adventure especially if you're generous with the Fate and Resilience points. It supports social play, particularly player character psychology, very well, and has some simple but workable exploration rules on a similar level to D&D's (but with a better, more narrative-focussed random encounter table!) Additionally, the adventure doesn't have any major "pay X gold to get some benefit" moments, meaning that warhammer characters (who might well start play as a poor refuse collector or peasant farmer due to random character generation) won't find they're gated out of elements by different expectations of character wealth compared to D&D.

https://cubicle7games.com/our-games/warhammer-fantasy-roleplay

Offbeat: Avatar Legends

OK, so this is one of the ones I haven't played, though I hear good things. I'm recommending it on the strength of the setting, because get this: elements.

More seriously, a major theme in the original AtLA (haven't watched Korra) is "the gang show up somewhere where people have some cool powers/tech/fighting style but there's also Something Creepy and Bad Going On. You could bring the elemental powers of the cults more into the foreground, making them organisations of highly trained benders dominating an isolated region and connected - this being the element that remains a secret - via their mutual corruption by a powerful, trapped dark spirit (replacing the Elder Elemental Eye). The fact that there's an air cult means you'd probably need to set it before the Air Nomad Genocide unless the air knights being a special unique school of different airbenders was a plot point.

https://magpiegames.com/pages/avatarrpg

Honourable Mentions: Worlds Without Number, Burning Wheel, Pendragon, Rennaissance

Out of the Abyss

My favourite adventure that I've never run, Out of the Abyss' key feature is survival and exploration, followed by power scaling. The characters are going to start off nearly naked in an alien environment and end up killing several demon lords, if they don't starve or go mad first, and it's important that a game be able to capture that.

Played-Straight: 18XX Dreams

Sort of played straight. Another 2400 hack, this one works if you accept that the underdark of OotA was set up as a dreamlike space inspired by Alice in Wonderland, because it's a setting built entirely around the dreamworld. Who trapped the characters in the shadowy world of nightmare which is our underdark here? Drawing on Lovecraft's Dreamlands, maybe it was the slaving Men of Leng rather than the original module's drow, or maybe some wicked drowesque fairies will do. At any rate, from there you can pretty much run the thing straight from the module, just with a bit more creative license. The game's player powers might seem excessive at first, but they're really just exploration-oriented where D&D's are often combat-oriented; you'll quickly get used to working around them and if you don't it's an easy game and easily hacked. (Incidentally, Dreams requires a 'waking world character' as a bass for which I recommend you use the compatible 24BLUE system mentioned above. You could also pull advancement from that system, which you'll want to do if you aren't going to emphasise the final ritual as the only way to defeat the demons).

https://deep-light-games.itch.io/18xx-dreams

Offbeat: FIST

Kidnapped by esoteric Nazi explorers, our band of late-80s urban fantasy action hero mercs are now trapped in the Hollow Earth! Will their scavenged gear and hard-won skills be sufficient to allow them to escape and/or best both the pursuing fash and the terrible cthonic deities they have unleashed in their excavations?

FIST is a fast-paced near-modern setting game with one of the most enjoyable and simple combat systems I've seen, which should make the near-endless random encounters a bit more breezy. It's core ethos is that the characters are an overmatched A-team style force (often with surprisingly little gear) who are going to have to lie, cheat, steal and McGyver their way to survival let alone victory, which fits *perfectly* with early OOtA. The alternating zaniness and horror also mesh really well, though you might need to port madness mechanics over. And yes, it already has basic stats for demons of various degrees of power!

https://claymorerpgs.itch.io/fist

Honourable Mention: Warhammer Fantasy Roleplay

Curse of Strahd

Curse of Strahd is a game that I've run twice,neither by the book, and my key takeaway is that it really feels like it should never have been made in 5e. A great, interesting horror story is just broken up by having to have a set-piece fight with a monster every half an hour. That said, what's important to adapt is clearly the sense of dread and the social webs between characters, as well as the power differential between heroes and villains that makes the latter scary.

Played-Straight: Thirsty Sword Lesbians

Strahd is an abusive, manipulative prick who wants to toy with the PCs' emotions more than kill them. Thirsty Sword Lesbians is a game where emotional breakdowns generally replace death (which makes it feel a lot less like the GM is just playing the genius villain as an idiot) and defeating abusive pricks is a big part of the power fantasy. Even if it doesn't initially sound like your thing - it didn't to me - I *seriously* recommend giving it a look. It's an awesome game. No setting or adventure change is really required, but the focus on having action and fights be less a constant than something that happens when and where it's emotionally impactful gives you permission to cut some of the needless violence in favour of more creeping gothic horror if you want to. Also, it has to be said that having rules around romance and relationships is probably a good thing for the game sometimes affectionately known as "5e's dating sim".

https://evilhat.com/product/thirsty-sword-lesbians/

Offbeat: Old World of Darkness (Hunters Hunted+Sorcerer+Ghost Hunters+Mage: Victorian Age)

This was the idea that made me write this post: a Victorian factory town in the hills outside Manchester where the characters become trapped, not by the physical bounds of mist (or not *only* by them) but by ties of class and social obligation, forcing them to remain in the twisted demesne of the local industrialist, a man who is more than he seems (a vampire? An utterly corrupt and evil mage called a Nephandus? World of Darkness has lots of options.) Barovia is shrunk in scale to the town of Barrowdale and its immediate rural environs, creating claustrophobia without breaching the lower-fantasy constraints by having the Strahd equivalent hop on his magic horse. World of Darkness has a modestly complex system, but it's a little lighter than D&D especially for the relatively normal mortals the characters will be playing. They might have a spiritualist medium, a Sorcerer or Psychic capable of a couple of tricks or perhaps somebody whose True Faith in God can protect against the unholy, but for the most part they'll be relying on mundane skills as they uncover the town's shadowier side. I love the idea of the Keepers of the Feather as a group of socialist agitators, the Baron's Vallaki as a disjointed and ineffectual trade union or Argynvostholt as the cellar network left behind by the families whose estates were cleared to build the new rows of red-brick tenements. Just one thing: please don't have Strahd be Eastern European in this set-up, the vampiric foreigner invading British soil is an unpleasant trope.

Rules for vampire powers so you don't have to buy a whole vampire book as well are to be found here:https://saligia.fandom.com/wiki/Saligia_Wikia - use the White Wolf Wiki for guidance on what you're looking for.

https://www.drivethrurpg.com/m/product/401413

https://www.drivethrurpg.com/m/product/114261

https://www.drivethrurpg.com/m/product/368774

https://www.drivethrurpg.com/m/product/412531

Honourable Mentions: Dread, Dark Age Cthulhu

Storm King's Thunder

SKT is another story reliant on power scaling to make its premise work. It has a massive, almost sandbox-y setting in which the characters gradually pick up plot threads explaining why bad things are happening around them, fight their way through one of several dungeons and then use their trophy from that to unlock the finale in which they go head-to-head with giants, a kraken and a dragon in pretty short order. Honestly, I don't like it as an adventure, but if you're wanting to run it you're going to want at least some support for interesting travel and a solid power scale that will allow some pretty big fights at the high end.

Played-Straight: Worlds Without Number

It may only have 10 levels (sort of), but its lack of bounded accuracy means this fantasy game of wandering experts, mages, warriors and adventurers scales impressively into the higher of those. It's travel rules maintain the interesting elements of resource management whilst being more streamlined than 5e's. Also, and this is a side-note, characters are very customizable with everybody getting a couple of free feat-equivalents. It's very solid and entirely system-agnostic, meaning you can use the great big highly-detailed map and chapter of encounters which are without a doubt the best part of SKT.

https://www.drivethrurpg.com/m/product/348809

Offbeat: Traveller

Of course if you *wanted* to adapt the map...

Traveller is a sci-fi game, known for extensive and random character generation but which also likes big hex grids! Seriously, look at this thing.

It is pretty setting-agnostic, meaning you can create your own sci-fi setting (and map!) that fits in equivalents to the adventure elements (some people have even made historical or fantasy hacks, for which check out Mercator or Halberts). It has extensive rules for travel, of course, and also modular rules for just about everything else so that whether your characters want to be merchants or mercenaries you can patch in more complex rules to serve that need. In what is essentially a massive sandbox with loose themes that coalesce into a plot at the end, that works really well, and you can still have the big threats that the adventure relies on in the form of enormous alien battleships. I think I'd be using the K'Kree, murderous centaur like vegetarian absolutists, as my giants if running in the official Traveller setting of the Third Imperium golden age, but honestly any of humaniti's alien neighbours could work if they turned hostile.

There are a lot of editions of traveller, but the 2nd edition book by Mongoose is a great modern entry point.

https://www.mongoosepublishing.com/collections/traveller-rpgs

Honourable Mention: Forbidden Lands

Tomb of Annihilation

ToA, the last of these I've run, is to my mind a much better hexcrawler than SKT and indeed 5e's best pure exploration adventure. The PCs have a goal, a timer, and an immense, confusing, murderous obstacle in the way in the form of the jungles of Chult. Once they beat that, it's time for a different sort of crawl as they explore massive puzzle dungeons. A game that works for this needs to be good at both map-scale and site-scale exploration, not just in the evocation of travel in the narrative but also the nitty-gritty survival details of whether you contracted throat leeches today. Oh, and it needs to be a setting that allows for big powerful mass-influence magic or something and for resurrection so the death curse plot point can be set up.

Played-Straight: Forbidden Lands

A game *about* exploring a hex map, with a die-based supply system that reduces bookkeeping to a minimum whilst keeping resource tracking central, detailed travel and camp actions and a slightly low-fantasy tone that fits well with how I conceive ToA. Nothing here would stop you using the official setting, though some of the assumptions about D&D magic it makes might need tweaking.

https://freeleaguepublishing.com/en/games/forbidden-lands/

Offbeat: Eclipse Phase

In the mid-distance future, the shock of an AI uprising that decimated humanity has led us to flee earth, embrace transhumanism and conquer death through the practice of resleeving into new bodies. 10 years after "the Fall," sapients - humans, uplifted animals and limited AIs - live throughout the solar system and, via a series of weird teleport gates, beyond. But now (this plot proposes) something in the outer reaches of the solar system is broadcasting a rare strain of the ai-created Exsurgent Virus, which twists its sufferers into monsters - this one affecting not active sleeves, but backups. Whenever somebody resleeves- like, say, if they broadcast their mind into a new body on the edge of the solar system to find out what's going on - they have limited time left before they become an abomination. EP has pretty solid survival rules, greatly expedited by sci-fi technology, and a system of mental stress that'd fit ToA's horror elements well, but I won't pretend it wouldn't be a faff to convert. It doesn't have much support for something like hexcrawl, though it'd be easy enough to set up a map of outer system habs in a given area of space, and its characters tend to be hypercompetent in a way that could reduce the sense of threat. With the themes of death and resurrection, terrible elder entities and horror embedded in a way that not many sci-fi rpgs do, though, I think it'd be worth it if you're willing to deal with some crunch. All of the big books for it are also available for FREE from the publishers, though I recommend supporting them - they're awesome people doing good work.

https://robboyle.info/#eclipse-phase-pdfs

Honourable Mention: Warhammer Fantasy Roleplay

Ghosts of Saltmarsh

Other than OotA, this is probably the adventure (I mean, anthology I guess but it's an anthology with some very strong connective tissue) that I'd most like to run some day. The thing Saltmarsh needs most is of course good sailing rules or the ability to adapt the ones in the book naturally, but a functioning mass combat system for the attack on the sahaguin lair would also be helpful, as would anything making it easier to run a horror game.

Played-Straight: Cthulhu Dark Ages+Corsairs of Cthulhu

One of them's set in the 1000s, the other in the 1700s, but between them that basically averages out to the medieval mishmash that is D&D and provides rules for anything you might want. The dark, gritty human-scale tone (well-suited to Greyhawk) can be made low fantasy by using some of the 'folk' - read non-sanity-blasting - magic found in Dark Ages and from there you can pretty much run the setting straight, either in the original setting (you'll need to homebrew some rules for nonhuman species) or in our own (removing non-monstrous nonhumans altogether). Call of Cthulhu's rules in general bring in a system for character sanity that's very well suited to the frequent horror of Saltmarsh - there's even an asylum already in one of the adventures should your character go mad! - whilst Dark Ages brings some detailed, brutal rules for combat with armour and swords and Corsairs, in addition to ships, adds the blackpowder weaponry that always felt it was missing from Saltmarsh. You should probably keep using the random ship events and Encounters in the 5e book, but if you just keep a comparative list of dice difficulties in the two games they won't be hard to convert even on the fly. Honestly, the big issue here is price, because you're going to need the core rules and two supplements to get started. If that's unfeasible, grab the quick-start or starter set rules and corsairs and then send me a message; I'll give you the relevant extracts from the dark ages rules that I think would help. You can find rules for converting between D20 and CoC's D100 systems online, but honestly the game's standard array of monsters should be fine for representing most stuff in Saltmarsh.

https://www.drivethrurpg.com/m/product/388056

https://www.chaosium.com/cthulhu-dark-ages-3rd-edition-hardcover/

https://www.chaosium.com/call-of-cthulhu-keeper-rulebook-hardcover/

Offbeat: Exalted

OK, hear me out: exalted is a game (d10 system similar to world of darkness but, weirdly, much better social interaction rules) about being reborn, hunted godlings in an almost ridiculously high-fantasy setting, doing incredible things with an array of powers and skills that take competence porn to and beyond the levels of epic D&D 3.5. The world they live in, however, can be as dark and desperate as it is strange and wonderful, and does have a fair number of Normal People who would live in a place like Saltmarsh. That setting also makes the appearance of random island encounters and magical storms popping up out of nowhere feel a lot more natural than it does in Greyhawk. Most importantly, the core game has not only rules for mass combat and sailing, but specific powers to make specialist characters supernaturally good at those things - six pages of options for sailing alone. It might lose some of the classic Saltmarsh horror, and you might want to raise the crew of the first pirate ship to more reasonable levels because even starting exalted will punch through 13 minor enemies with ease, but trust me: it's worth it for how cool it will make your pcs feel and how many rich exploration opportunities will open up to them with increased resilience to harm.

https://www.drivethrurpg.com/m/product/162759

Descent into Avernus

Most noted for a wide gap between character level and apparent threat, though that's really just illustrative of 5e's design philosophy, for me DiA's main 'deal' is tonal diversity, sometimes to the point of whiplash. You go from morally-ambiguous intrigue in a dark den of crime and iniquity to similar except now in hell and with cultists to Brütäl Mäd Mäx Räcës, aided by a flying golden elephant on a quest to redeem a fallen angel. At the same time, the story isn't really meant to be zany in the same way as something like OotA, so the key is probably finding a system that doesn't enforce any particular tone rather than one that enforces tonal dissonance within scenes like Dreams. Given the critical choices between fighting and negotiating the module presents at points, it's also important that the system chosen not make one of those dramatically better than the other.

Played-Straight: Between the Skies

Using a very loose, modular system - it literally lets you choose your dice system! - Between the Skies is basically a collection of systems for inspiration generation to service a plane- or world-hopping campaign. It makes characters varying from the mundane to the weird (should you want to run DiA as the planescape game it cries out to be) interesting through a lifepath generation system which is a bit more than the usual; how often do you find the option to die in character generation *but keep playing that character?* Then it provides guidance for travel, vessels (in a way that'd work quite neatly with the Infernal war machines) and adventure across the planes with a philosophy of maximising the role of the GM as opposed to the system. Its combat system works mostly narratively rather than relying on dice, but still allows a good deal of complexity where needed: you can zoom into or out of combat scenes according to how necessary they are to the plot, either resolving them quickly without losing danger, useful for many of Descent's random encounters, or running more detailed fights. It is ultimately a toolbox game, and will reward a gm who's also willing to be a bit of a designer.

Offbeat: Dark Heresy

A story in which characters begin investigating corruption amongst mortal powers and then delve into literal hell might be an excellent fit for a mid-high level game of the classic Warhammer 40k game of inquisitorial agents rooting out heresy in the grim dark future. Baldur's gate can easily be a significant garrison world, Elturel its Daemon World neighbour from which the characters venture into the Eye of Terror or Great Rift in search of a rumoured way to "redeem" (read: bring back to the Imperium, itself a theofascist nightmare state) a Daemon Primarch, one of the lost children of the Emperor. Given this is 40k, and that Dark Heresy is full of rules for corruption and horrible death, it's likely to end less hopefully than DiA typically does, but you never know!

https://www.drivethrurpg.com/m/product/65872

Honourable Mentions: Exalted, Thirsty Sword Lesbians

Rime of the Frostmaiden

It has been well-noted by now that RotF is quite a good horror story and quite a poor D&D adventure. Honestly, I think even as horror it's a bit of a tonal mess, but it definitely has some strong elements there which are weakened by the characters throwing around resurrection magic and fireballs as the solution to all of their problems. This isn't to say they aren't allowed fireballs - it's pretty solidly a fantasy story - but that the game needs to be about problem solving and fear first and foremost, with of course the ever-present threat of the elements.

Played-Straight: Dread

One for the confident improvisers, dread has a single mechanic: if a character does something they aren't confidently capable of, they pull from a Jenga tower. If they make the pull, they succeed or avoid a threat; if they chicken out, something bad happens; if the tower topples, something very bad happens. Normally this removes them from play; for a longer campaign I might have the first topple lead to the character's secret (a very fun part of RotF is that every character is hiding something, often something nightmarish like an alien parasite growing inside them) being revealed and the second killing them/driving them mad/leading them to flee Icewind Dale and return home. Other than this, the major adaptation would be working out how to narratively implement PC archetypes. I think you can be generous with this - for a barbarian PC, they might be able to crush obstacles or slaughter minor foes without a pull, for example, whilst a water wizard could melt large areas of ice or breathe below the surface of a frozen lake. In short, step away from 5e's highly-defined abilities, let PCs do anything that makes sense and focus on threatening them with the things they *can't* control, which is likely to be a lot. When fights, the weather, stress and magic all threaten a single, communal resource, you'll find the kind of tension and caution the module seems to expect much easier to evoke.

https://dreadthegame.wordpress.com/about-dread-the-game/

Offbeat: Doctor Who: Adventures in Space

This is the other game I've not played (though it's designed by Cubicle 7, whose work I trust implicitly). I'm recommending it mostly for the narrative, because it seems to lend itself so well: the doctor and companions find themselves drawn to an 18th-19th century Russian arctic Island/planetary colony where a powerful cosmic being has brought down eternal winter, the cybermen are building a new cyber-king and an ancient alien city lies frozen in ice. You probably need to think of an actual reason why Auril's frozen Ten Towns, possibly something to do with the fallen city, because your resolution is going to be a result of investigation and clever plans rather than fighting, so be willing to put in the work there. On the easier side, the time travel element that can appear at the end won't be as sudden and jarring in a setting predicated on it!

Quickfire Round of Books I Don't Own

Dragon Heist: Dusk City Outlaws/Fiasco/Royal Blood

Dungeon of the Mad Mage: Advanced Fighting Fantasy

Wild Beyond the Witchlight: Changeling the Dreaming

Tyranny of Dragons: HârnMaster/Pendragon

Candlekeep Mysteries: Amber Diceless/Rennaissance

Radiant Citaedel: Between the Skies/Mage: the Ascension

So there it is! My challenge to you is as follows: if you were considering starting a new 5e campaign with one of these campaigns, expose your group to something new and try one of these instead. Let's break WotC's near-monopoly on this hobby, because they sure as hell don't deserve it. If you do do anything with any of these (or, as I say, if you have better ideas) please let me know!

[moodymakeshifter]

Wow, so DnD sank before I could even try it out. At least it didn't become an ingrained part of my life like it has for some poor folks. Jeez. This is really awful.

So, what is the OGL and why are DnD creators thoroughly screwed?

Tumblr has not been doing a great job at talking about this, but:

With OneDnD, Wizards of the Coast has decided to update the Open Game License (OGL). Said license is what allowed people to create homebrew DnD content and sell it, and even larger companies to use certain sorts of content. Pathfinder, for example, is built on said OGL. This also allows streamers and artists to exist and benefit from said content.

With OneDnD (sometimes called “dnd 6e”), WOTC wants to create a much more restrictive OGL, which will, amongst other things:

Make WOTC take a cut for any DnD-related work (according to Kickstarter, a whole 25% of the benefits)

Let WOTC cancel any project related to DnD up to their discretion

Let WOTC take ANY content made based on their system, and re-sell it without crediting you, or giving you a single cent

And most importantly, revoke the old OGL, which will harm any company or game system that used it as a base, such as Pathfinder. And it means they GET ownership over any homebrew content you may have done for 5e in the past!

It’s important to note that OGLs are supposedly irrevocable. They were planning to use it for OneDnD initially, but they want to apply it retroactively to 5e, somehow. Which is illegal, but lawyers have mentioned there’s a chance they may get away with it given the wording.

This means that anything you make based on DnD (A homebrew item? A character drawing? Even music, according to them?), can get taken and used as they deem appropiate.

These news come from a leak of the OGL, which have been confirmed by multiple reputable sources (including Kickstarter, which has confirmed that WOTC already talked with them about this), and was planned to be released next week.

So, what can we do?

Speak against it. Share the word. Reblog this post. Let people know. Tumblr hasn’t been talking much about this matter, but it’s VERY important to let people know about what is WOTC bringing. 

Boycott them. Do not buy their products. Do not buy games with their IP. Do not watch their movie. CANCEL your DnD Beyond subscription. (Btw, they ARE planning to release more subscription services too!). They do not care about the community, but they care about the money. Make sure to speak through it. 

And maybe consider other TTRPG systems for the time being, Pathfinder’s Paizo has been much nicer to the community, their workers are unionized and are far more healthy overall

[martianmuckraker]

Under a Hostile Sun at GENCON!

Are you going to GenCon? Want to try out the game of survival against impossible odds? Saturday August 3rd I will be running two games of Under a Hostile Sun at GenCon! The Saturday morning session is almost sold out, BUT there are still seats at the 4pm game! Under a Hostile Sun uses a currency system to track mined planetary resources and an Opportunity Die to track the health of the party’s…

[theonyxpath]

Join us at 8PM EDT as the awkwardgm returns to the channel with a brand new episode of The Beginner's Guide at http://twitch.tv/theonyxpath! This week, Corbin visits the Scarred Lands! Available in POD & PDF at https://www.drivethrurpg.com/en/product/197803/scarred-lands-player-s-guide-ogl-5e?affiliate_id=13&src=OPPTumblr

[rpgsandbox]

I drafted a legal argument against Wizards of the Coast - and you can too!

WotC is trying to pull off a licensing clawback just two years after the OGL Debacle, and I figured out how to punch back.

If you've played Dungeons & Dragons for any length of time, you've probably heard of the legendary "Deck of Many Things" – one of the game's most iconic magical items. It’s a lot of fun, and it has always been something associated with brand-name Dungeons and Dragons.

This article is about the legal usage of “Deck of Many Things,” and about how Wizards of the Coast seems to be trying to take it back in 2025 after giving it to the community in 2023. And it’s about how you can hit them where it hurts.

The History of the Deck

The "Deck of Many Things" has been a staple of D&D since the earliest days of the game. It's been included in every edition and is as much a part of D&D lore as dragons themselves. For years, this term was effectively the property of TSR and then Wizards of the Coast/Hasbro.

But something important happened in January 2023. After the massive backlash to their proposed OGL changes, Wizards of the Coast – through Executive Producer Kyle Brink – announced that they would be releasing the Systems Reference Document version 5.1 under a Creative Commons license:

Kyle’s announcement goes on to say: “This Creative Commons license makes the content freely available for any use. We don't control that license and cannot alter or revoke it. It's open and irrevocable in a way that doesn't require you to take our word for it. And its openness means there's no need for a VTT policy. Placing the SRD under a Creative Commons license is a one-way door. There's no going back.”

This was huge news! For those who don't know, releasing something under Creative Commons essentially means giving it to the public with very minimal restrictions. In this case, they used the Creative Commons Attribution 4.0 International License, which allows anyone to share, copy, redistribute, adapt, and build upon the material for any purpose, even commercially – as long as appropriate credit is given.

The SRD 5.1 document, which spans hundreds of pages, explicitly includes "Deck of Many Things" on page 216, along with a full description of what it is and how it works. By releasing this under CC 4.0, Wizards effectively released this term into the public domain, allowing anyone to use it in their own works.

The gaming community praised this move as a step toward rebuilding trust after the OGL debacle. It seemed like Wizards had learned their lesson and was committed to supporting the community that had grown around their game.

The Betrayal

Fast forward to April 2025. WotC announced that they were revising their SRD 5.1 with a new and improved SRD versioned 5.2. For 5.2 they listed a bunch of milquetoast fantasy terms that I’m sure they’re very proud of, and kind of squeeze in a couple of footnotes. Those footnotes say that they’re going to be clawing back the term “Deck of Many Things,” as well as “Orb of Dragonkind.”

Well lo and behold, on the USPTO’s trademark search database, Deck of Many Things is in fact a pending word mark, with the latest application updated in April of 2025.

The serial number is 97260475, and you can look it up yourself on the USPTO website. This is what it looks like:

So here’s the problem. This application effectively attempts to claim exclusive rights to a term that Wizards had already released under Creative Commons just two years earlier.

Why They Can’t Do This

So why can't Wizards of the Coast trademark "Deck of Many Things" now? Let me break it down:

The Creative Commons 4.0 license they chose is explicitly IRREVOCABLE. Here's what the license actually says in Section 2(a)(1):

"The Licensor hereby grants You a worldwide, royalty-free, non-sublicensable, non-exclusive, irrevocable license to exercise the Licensed Rights in the Licensed Material."

That means once Kyle Brink proudly published the SRD 5.1 under this license on that fateful day in January of 2023, they could never take any of it back. The license explicitly prohibits imposing "additional or different terms or conditions" on the licensed material.

Attempting to register a trademark on material you've already licensed to the public represents an attempt to impose additional restrictions on that material, a violation of a term of the Creative Commons 4.0 license. Specifically it is a violation of Section 2(a)(5):

“No downstream restrictions. You may not offer or impose any additional or different terms or conditions on, or apply any Effective Technological Measures to, the Licensed Material if doing so restricts exercise of the Licensed Rights by any recipient of the Licensed Material.”

My Attempt to Challenge the Trademark

When I discovered this trademark application, thanks to Dark Kelsey, I decided to take action. The USPTO has a process called a "Letter of Protest" that allows anyone to submit evidence showing why a trademark shouldn't be granted.

I drafted a carefully formatted Letter of Protest following all the USPTO guidelines. My evidence was straightforward:

The official announcement of SRD 5.1 being published under Creative Commons

A copy of page 216 through 218 from SRD 5.1 showing "Deck of Many Things"

The full text of the Creative Commons 4.0 license highlighting its irrevocability, etc.

I TRIED to submit this through the USPTO's electronic filing system, confident that the evidence was clear and compelling.

The Setback

Unfortunately, when I tried to submit the Letter of Protest, I received this error message:

"This form cannot be submitted because it has been more than 30 days from the date the application published in the Official Gazette."

I had missed the narrow window to submit a Letter of Protest. The USPTO only allows these submissions either before publication or within 30 days after publication in their Official Gazette. By the time I discovered the application, this deadline had already passed.

This was frustrating, but it doesn't mean the fight is over.

The Path Forward

If the USPTO does grant this trademark – which they shouldn't if they're properly interpreting the prior Creative Commons licensing– there's still another option: filing a Petition for Cancellation with the Trademark Trial and Appeal Board (TTAB).

A cancellation petition allows anyone who believes they would be damaged by a trademark registration to challenge it even after it's been granted. The filing fee is $600, and the process typically takes about three years.

For this specific case, the grounds would be:

The mark doesn't function as a trademark because it was published under an irrevocable Creative Commons license

The applicant's actions in seeking the trademark contradict their prior grant of rights

The process is more involved than a Letter of Protest, but it's completely doable even without an attorney. The TTAB provides clear guidelines, and everything can be filed electronically through their online system.

Conclusion

What Hasbro and Wizards of the Coast are trying to do here is repugnant but not surprising. They're attempting to double back on a license they've already granted – something they've developed a pattern of doing every couple of years now.

First it was the OGL controversy, where they tried to revoke a 23-year-old license. The community pushed back and won. Now they're pursuing trademark terms they explicitly released under Creative Commons, trying to AMEND a creative commons license that they just published (5.2 amending 5.1), perhaps hoping no one would notice or care.

This is more than just a legal technicality – it's about trust. When a company publicly garners praise for licensing away intellectual property, only to sneakily try to reclaim it later, they're betraying the very community that supports them.

The irony here is that Wizards didn't even need to do this. They could have trademarked specific implementations or product lines featuring the Deck of Many Things without trying to claim ownership of the term itself after releasing it to the public.

So why am I telling you all this? Because you don't need to be a lawyer to challenge corporate overreach. The systems exist for regular people to participate in these processes. Whether it's a Letter of Protest or a Cancellation Petition, the tools are there for you to use.

If you care about not getting bamboozled by incompetent, dishonest corporations, consider getting involved. Watch for these kinds of trademark applications, be ready to file your own challenges, and spread the word when companies try to walk back their commitments.

Simon Says: An Addendum

After publishing this article, I received some valuable feedback here from Simon, an academic lawyer in the UK who teaches trademark law. Simon pointed out an even more straightforward legal issue with Hasbro's trademark application that deserves attention, one that transcends the Creative Commons argument.

The fundamental problem? "Deck of Many Things" likely isn't even eligible for trademark protection in the first place.

Under trademark law (both in the US under the Lanham Act and similarly in the UK), a valid trademark must be distinctive – it must have the capacity to identify goods as coming from a specific source and not another. But here's the kicker: "Deck of Many Things" products have been created by numerous publishers over the years, not just Wizards of the Coast.

This widespread use means the term has essentially become descriptive or potentially generic within the gaming industry. It no longer primarily signals "this is a WotC product" but rather "this is a type of magical card deck with random effects" – a concept that's been implemented by countless game creators.

Think about it – when you hear "Deck of Many Things," do you automatically associate it exclusively with Wizards of the Coast? Or do you think of the general concept that's been part of gaming culture for decades?

This distinctiveness requirement exists for a good reason. Trademark law isn't supposed to give companies monopolies over common terminology in an industry. It's meant to prevent consumer confusion about who made a product, not to let corporations fence off widely-used concepts.

So beyond the Creative Commons issue, there's this even more basic problem: Hasbro is trying to trademark something that likely fails the fundamental "distinctive" requirement of trademark law.

This remains an example of a corporation trying to claim exclusive ownership over community cultural elements that have been widely used and understood for decades. Whether through Creative Commons “revisions” or by ignoring basic trademark principles, the effect is the same – an attempt to monopolize what should remain in the public sphere.

[zarvasace]

Pathfinder Chain 2.0

Masterpost

In which the LU boys are interpreted as having lived their lives and adventures in Golarion, as seen in Pathfinder 2e. Post/Mid-Godsrain. Will include art (mostly for character designs) and fic (specifically Febuwhump 2025.)

For some context in case you are unaware: Pathfinder is similar to Dungeons & Dragons, in which characters have numbers and you roll dice. It is generally played with a group of people each with their own character, but here I'm giving them all the numbers and using them as a basis for fic. It is a high-magic setting built on a foundation of Tolkien-inspired fantasy.

First appearance: Jan 8, 2025

Tag: #pathfinder chain (old designs use this tag, as well)

Previous Pathfinder Chain post, with old art.

Main fic series on AO3

Other works

Warriors frolicking art

Sky being adorable art

My previous Pathfinder Chain was made attempting to model the existing characters in the game as closely as possible, so we saw a lot of rangers and fighters and really only the one spellcaster (two, if we're counting Shadow.) These new character sheets have a different philosophy in mind, one that attempts to put the characters in the existing Pathfinder world and mesh their stories and gods with the lore. By that logic, there are more spellcasters, and I'm attempting to indulge the high-magic kitchen-sink god-bothered fantasy feel with these designs and stories. I'm very happy with them so far!! I'm planning to talk about the designs here, mostly, and reveal story details in fics.

In the update from 1.0 to 2.0, some of my decisions about ancestry and class changed, but plenty stayed the same. I've actually created character sheets this time, however, so I'm very excited to talk at length about those. :) For anyone interested in learning more about my choices, asks are open, and so is 2e.aonprd.com, the free, licensed online database of Pathfinder rules. I’m using Free Archetype and they’re all level 5.

Without further ado, may I happily present my second-version Pathfinder Chain, to be updated as I complete details and show you all the art that I'm working on!—

Four - halfling aiuvarin, artisan, thief rogue, ancestors oracle

Hyrule - sprite ganzi, nomad, phoenix bloodline sorceror, living vessel

Legend - elf beastkin, free spirit, thaumaturge (wand/weapon), sleepwalker

Sky - songbird strix, chosen one, exemplar, fighter

Time - human changeling, feybound, warrior muse bard, chronoskimmer

Twilight - awakened wolf, farmhand, untamed order druid, curse maelstrom

Warriors - keen-venom vishkanya, guard, commander, medic

Wild - human duskwalker, amnesiac, dragon instinct barbarian, wandering chef

Wind - azarketi sylph, sailor, rascal swashbuckler, air kineticist

All intro posts complete as of 1/15/25

[monsterfactoryfanfic]

fuck Reedpop, fuck Ziff Davis, and fuck Consolidation

I wrote this back in November of 2023 for Richard Williams' "What's Hot in Indie TTRPGs" roundup. And though things have moderately improved with the launch of Rascal News, I'm still so heartbroken about the state of games journalism.

Anyone paying attention to games journalism over the last five years could tell you the earth is salted. But it’s been especially hard to see two mainstream outlets for TTRPG news suffer from corporate greed here at the end of 2023. First is the layoff of Lin Codega from Gizmodo, part of a 23-person restructuring that also shuttered the iconic feminist site Jezebel. Codega had received an Ennie Award only a few months prior for their work covering the fiasco Wizards of the Coast invited upon itself when it tried to revise its Dungeons and Dragons “Open Gaming License” in an attempt to squeeze competitors out of the economy. My favorite of their recurring features was “The Gaming Shelf,” which regularly highlighted indie RPGs. It is so rare to see someone with relatively mainstream media access discuss what’s happening on itchio, and to lose this chance to get more eyes on small projects is an absolute travesty. Codega themself puts it best: "I deserved better than this and G/O Media will be poorer for letting me go." The second, which is at this time a travesty-in-progress, is the auctioning of ReedPop’s “Gamer Network” portfolio of websites, which includes Dicebreaker. This news arrived the morning I sat down to write about media consolidation, the week of Dicebreaker’s second Tabletop Awards. Few other sites command the audience and prestige of Dicebreaker, whose journalists regularly feature games by indie creators who otherwise are forced to market their games through increasingly-fractured social media sites. I truly hope the “Gamer Network” portfolio is purchased, and all staff affected keep their jobs, but I’m not optimistic.   My mom was a journalist. She retired over a decade ago, when GateHouse Media swallowed a dozen local newspapers right before filing for bankruptcy. I’m genuinely sorry to see that ten years on, media companies are callous as ever, happy to ruin the lives of hundreds of brilliant people for the sake of a few points on a spreadsheet. Indie games deserve mainstream coverage. And the people who cover them deserve so much better than what they’re getting. 

[the-river-delta]

The tragedy of the OGL and Starfinder 1e

The controversy regarding the Open Game License that Wizards of the Coast sparked in 2023 had many consequences big and small, from 5e's SRD being put into Creative Commons to the creation of the ORC license (and Pathfinder 2e's shift to it in the Remaster), but one of the more unfortunate and less-discussed casualties has been that of Starfinder 1st Edition, which as a huge fan of said game I wanna talk about in this probably overlong post.

The Starfinder Roleplaying Game - the strange science-fantasy spinoff of Pathfinder (itself a spinoff of 3rd edition Dungeons & Dragons), supposedly developed and put out by its publisher Paizo to make up for the inevitable drop in sales that Pathfinder would experience upon the announcement of its new edition.

As something developed around 2016 and launched in 2017, at a time when the much simpler DnD 5e was on a meteoric rise, the largely Pathfinder- and in turn-3.5-shaped rules chassis of SFRPG could've come off as a little clunky or even downright archaic to a lot of people (not helped by problems such as the infamously awkward starship combat rules that needed emergency errata to mathematically function, continuing to be controversial throughout the game's lifespan).

I myself have gotten into TTRPGs at around that time, but remained somewhat unaware of Starfinder for a couple years - the announcement and eventual launch of Pathfinder Second Edition is what indirectly made me pay attention to Paizo and their games beyond a failed attempt at getting into Pathfinder purely as a crunchier 5e alternative, at the time divorced from the context of anything other than the humongous, nigh-incomprehensible mountain of rules and options that was impossible to navigate without the help of a more experienced friend.

Since that fateful 2018-19 however, Starfinder gripped me more and more in concept, presentation, and even the rules - though my actual play experience to this day is embarrassingly low as either a player or GM, I've legitimately come to love the tweaks it made to the already venerable PF1 ruleset to really make itself feel like a high-octane science-fantasy adventure game, and I fell greatly in love with the game's setting; Yes, it was and is the kind of sci-fi kitchen sink that tries to accommodate everything from cyberpunk and to military SF to space opera and soft sci-fi and Pathfinder-in-space-type science fantasy, but good art direction and writing made it all feel surprisingly coherent for such a big-tent premise.

Parallel to all this, I've played and run a great deal of games far beyond the d20 sphere, and slowly discovered what kind of roleplaying games I really enjoy playing and running - but all this time, Starfinder remained in the back of my mind, and I found great joy in perusing each new supplement - for the artwork, for the lore, for the rules and player options.

As Pathfinder 2e grew in popularity, there were a lot of people who wanted its science-fantasy sibling to also adopt the PF2 ruleset, with its sleek three-action economy and all other rules tech that its proponents loved so much, and at the time at least, Paizo denied having any such plans, choosing to keep Starfinder going as-is. I myself began as one of those "Starfinder 2e would be so good" people, but my enthusiasm for PF2 eventually waned somewhat, at the same time as my appreciation for SF1's ruleset grew, so I began to push back on the idea somewhat, or at least suggest caution.

And then, the Open Game License crisis rippled across the d20 portion of the TTRPG industry (that is, most of the visible and profitable part of it) - fearing legal reprisal from Wizards of the Coast, Paizo rapidly worked to distance Pathfinder from the OGL rules and concepts it was built on, Remastering the game and moving their work onto the newly-developed Open RPG Creative license.

At first, it was not clear what the plan was for Starfinder, even more entangled in the OGL than PF2 was, given its stronger PF1 and 3.5 roots.

Then, at GenCon 2023, Paizo announced Starfinder Second Edition, with a playtest launching a year later.

Sounds great, right? This is what the people have been asking for all this time!

Then, more details were revealed - Starfinder 2e would be wholly adopting PF2's ruleset, down to being able to freely mix ancestries, classes, equipments, spells, etc. from one to the other (something that 1st edition gestured at with some early guidance at converting PF1 stuff to SF1 bits, but was largely dropped and forgotten in the long run).

Between this and some other things, that's where my worries really began.

Part of what made Starfinder so appealing to me were the things that made it stand apart at the system level - the unique skill list (featuring things like Culture, Engineering, Physical Science and Life Science, Computers, Piloting, and Mysticism as a catch-all magic skill), the Health/Stamina/Resolve Points system (which vastly alleviated the need for a dedicated healer or long periods of downtime between encounters to heal up), the different weapon and armor proficiencies (like Longarms, Advanced Melee, and Powered Armor instead of simply the same old Martial Weapons or Medium Armor), magic simply being magic instead of an arcane/divine distinction (and only going up to 6 levels instead of 9 - though apparently that was a page space concern for the original core book more than anything), and a myriad other things.

And even though SF2 would benefit from things like the PF2 proficiency tiers, three action economy, and degrees of success, it would also be saddled with the things that first edition consciously did away with - so magic now is split up into one of the four traditions (arcane, divine, occult, primal), overriding some fun 1st edition lore about how modern society no longer differentiated between those. Even the skill list has been turned to be the same as that of PF2, with the merciful additions of Computers and Piloting - but things like Religion, Performance and Crafting are a thing now.

At least we're still paying in credits instead of silver and gold pieces.

There are other changes that frustrate or perplex me (like how technomancer and mechanic, two classes that were in 1st edition since the start but are being left out of the SF2 core and saved for later - though at least aren't being cut altogether, same with starship rules... or the fact that SF2 is doubling down on being silly and having a god of memes in the core pantheon and a skill feat for Trolling People With Your Online Posts), and many of these may seem like small-potato issues (the distinction between Kinetic Armor Class and Energy Armor Class was pretty minor in practice after all), but in aggregate all of these things made SF1 properly standalone and unique in a way I fear is being sacrificed for SF2 at the altar of compatibility with its biggest fantasy sibling Pathfinder.

Paizo's messaging on the subject has also been mixed - they say the game will be properly standalone after launch, yet they're also careful about designing each SF2 class as to not step on the toes of an extant PF2 class (because you can just bring in said PF2 class into your SF2 game instead, right?), resulting in something like the Soldier (which in many ways was a fighter in space in 1st edition, even though I'd argue it was a pretty baller implementation of the idea) being vastly reconceptualized to a rather mixed reception from SF1 fans; And in general, a lot of the current marketing about SF2 feels like it's been aimed at Pathfinder 2e fans first ("you can now play using your favorites ruleset IN SPACE, or bring in cool laser guns and solarians and freaky aliens into your Pathfinder game!") and at SF1 fans second (and even then, with a kind of implicit aim towards the "man I wish Starfinder just used the 2e ruleset" crowd of Starfinder players - look I was one of them at one point, I get it).

Even the big Starfinder 2e playtest actual play at GenCon couldn't have been a fully SF2 game, as it featured the iconic PF2 investigator in the adventuring party. Sure, it was just a marketing thing to do for fun at a convention, but it's not helping SF2 escape the "it's the sci-fi expansion to PF2" perception.

Some Paizo staff have said that Starfinder 2e was already being tinkered with even before the OGL crisis hit, but that the event kicked the development on it into high gear - causing two entire rulebooks and an adventure path for SF1 to be canned (even though one of them, the Faction Guide, already had freelancer assignments submitted in and even had the cover art ready to go; another was the Extraplanar Archive, which would've delved into what the wider multiverse of SF1 was up to, a book I personally wanted for the entire run of first edition, so while it wasn't worked on a lot at the time, knowing it fell through hurts me in particular as a fan of extraplanar science-fantasy stuff!) - I get it, Paizo is a business and that was a business decision, but it didn't feel good to hear either way.

Speaking of which, the week before GenCon, Paizo dropped a really frustrating bombshell onto the community: they had updated and revised their community licenses and policies, two of which have caused some serious uproar.

For one, to continue distancing themselves from the Open Game License, the Pathfinder and Starfinder Infinite programs (which allow community members to publish paid supplements for Paizo games that utilize their intellectual property, settng and proper nouns and all) would no longer be accepting OGL-based products for either PF1 or SF1 starting in September. PFI and SFI have problems of their own with the large cut and exclusivity involved (much in the way that D&D's and WotC's Dungeon Masters' Guild program does), but it still stings.

The other, arguably even worse news, was regarding the Paizo Community Use Policy (link to an archival version in case Paizo deletes the live version altogether) which allowed community members to use Paizo IP and imagery in noncommercial products and projects - it has been suddenly replaced by the Fan Content Policy (which in addition to being a worse, more corporate sounding name, is also exactly what WotC calls their own equivalent document).

The FCP is much more restrictive about what one can use it for compared to the old CUP - crucially, it's not applicable to "game products" such as, and I quote, an adventure module, sourcebook, character builder, rules database, video game, board game, etc.

While projects with bespoke Paizo licensing agreements like Archives of Nethys and the Foundry VTT module are unaffected, projects that relied on the CUP like Hephaistos (a beloved Starfinder 1e community tool, covering everything from creating characters to managing campaigns and encounters) have been forced to either cease development altogether (which would allow them to be grandfathered into the FCP, provided they would no longer receive any changes) or go back and be scrubbed of Paizo IP (which would be both time consuming and incredibly messy for a game where the OGL-published rules and Paizo-owned lore are so intertwined).

While a number of Paizo staff have said that they'd look into revising the policy to not completely screw the community over like that, it's already done a lot to damage people's trust in the company, further compounding the already strong sense of alienation many 1e fans have been feeling over the past year since SF2 has been announced.

I've played a good deal of PF2, and am currently in the process of preparing to run some SF2 playtest games, and I'm near-certain that Starfinder 2e will on the whole end up being a whole lot more popular than 1st edition ever was, both on its own merits and certainly as PF2's sci-fi spice cabinet - but there is a non-trivial subset of the existing SF1 community that is just bummed out about this whole thing. If nothing else, I now understand how many PF1 fans felt when the game went in a different direction from what they originally came to it for (even though I'd still argue it's good some of the more bigoted stuff was left by the wayside) - except now Starfinder 1e doesn't even have the benefit of easily continuing under a community banner, with the new Starfinder Inifnite and Fan Content policies.

I don't have a great way to wrap this up - there is only so much that feedback I submit regarding the SF2 playtest will accomplish (something I still intend to do, to at least help out testing the parts that are on the table for change and improvement), and getting anyone, at Paizo or otherwise, on board with the OGL again is likewise infeasible, so I doubt anyone is willing to create yet another OGL-based spinoff and repeat the 3.5-Pathfinder cycle.

SF1 will probably remain playable, but if the fan policy continues to impede the development of digital tools that the game so strongly benefitted from, its prospects of upkeep (let alone growth) seem far more grim now than they did three weeks ago.

So while new SF2 fans are feverishly arguing if the promised SF2 ranged meta can work with PF2's cover rules or whether it was a good idea for the 2e witchwarper to be merged with the 1e precog... I'm just more than a little bummed out about this uncomfortable limbo state that SF1 has been put in, a far less graceful death than PF1 received.

[kakita-shisumo]

In which I sound off for much too long about PF2 (and why I like it better than D&D 5E)

So, let me begin with a disclaimer here. I don’t hate 5E and I deeply despise edition warring. I like 5E, I enjoy playing it, and more, I think it’s an incredibly well-designed game, given what its design mandates were. This probably goes without saying but I wanted it on the record. While I will be comparing PF2 to D&D 5E in what follows and I’ve pretty much already spoiled the ending by the post title (that is, PF2 is going to come out ahead in these comparisons most of the time), I don’t want there to be any misunderstanding about my position or intention. My opinions do not constitute an attack on anybody. For that matter, things I might list as weaknesses in 5E or strengths of PF2 might be the exact opposite for other people, depending on what they want from their RPG experience.

As I said before, 5E is an exceedingly well-designed game that does an exceptional job of meeting its design goals. It just so happens that those design goals aren’t quite to my taste.

# A Brief History of the d20 RPG Universe #

I’m going to indulge myself in a little history for a second; some of it might even be relevant later, but for the most part, I just want to cover a little ground about how we got here. By the time the late ‘90s rolled around TSR and its flagship product, Dungeons and Dragons, were in trouble. D&D was well over two decades old by that point and showing its age. New ideas about what RPGs could and even should be had taken over the industry; TSR had finally lost its spot as best-selling RPG publisher to comparative upstart White Wolf and their World of Darkness games; the company even declared bankruptcy in 1997. Times were grim.

That, however, was when another comparative newcomer, Wizards of the Coast, popped up and bought TSR outright. Flush with MtG and Pokemon cash, they were excited to try to revitalize the D&D brand and began development on a new edition of D&D: third edition, releasing in August 2000.

Third edition was an almost literal revolution in D&D’s design, throwing a lot of “sacred cows” out and streamlining everywhere: getting rid of THAC0 and standardizing three kinds of base attack bonus progressions instead; cutting down to three, much more intuitive kinds of saving throws and standardizing them into two kinds of progression; integrating skills and feats into the core rules; creating the concept of prestige classes and expanding the core class selection. And of course, just making it so rolls were standardized as well, using a d20 for basically everything and making it so higher numbers are basically always better.

At the same time, WotC also developed the concept of the Open Gaming License (OGL), based on Open Source coding philosophies. The idea was that the core rules elements of the game could be offered with a free, open license to allow third-parties develop more content for the game than WotC would have the resources to do on their own. That would encourage more sales of the base game and other materials WotC released as well, creating a virtuous cycle of development and growing the industry for everyone.

Well, long story short (too late!), it worked like fucking gangbusters. 3E was explosive. It sold beyond anyone’s expectations, and the OGL fostered a massive cottage industry of third-party developers throwing out adventures, rules material, and even entire new game lines on the backs of the d20 system. A couple years later, 3.5 edition released, updating and streamlining further, and it was even more of a success than 3rd ed was.

At this point, we need turn for a moment to a small magazine publishing company called Paizo Publishing, staffed almost exclusively by former WotC writers and developers who had formed their own company to publish Dungeon and Dragon, the two officially-licensed monthly magazines (remember those?) for D&D. Dungeon focused on rules content, deep dives into new sourcebooks, etc., while Dragon was basically a monthly adventure drop. Both sold well and Paizo was a reasonably profitable company. Everything seemed to be going swimmingly.

Except. In 1999, WotC themselves were bought by board game heavyweight Hasbro, who wanted all that sweet, sweet Magic: the Gathering and Pokemon money. D&D was a tiny part of WotC at the time and the brand was moribund, so Hasbro’s execs hadn’t really cared if the weirdos in the RPG division wanted to mess around with Open Source licensing. It wasn’t like D&D was actually making money anyway… until it was. A lot of money. And suddenly Hasbro saw “their” money walking out the door to other publishers. So in 2007, WotC announced D&D 4th Ed, and unlike 3rd, it would not be released under an open license. Instead, it would be released under a much more restrictive, much more isolationist Gaming System License, which, among other things, prevented any licensee from publishing under the OGL and the GSL at the same time. They also canceled the licenses for Dungeon and Dragon, leaving Paizo Publishing without anything to, well, publish.

At first, Paizo opted to just pivot to adventure publishing under the OGL. Dungeon Magazine had found great success with a series of adventures over several issues that took PCs from 1st all the way to 20th level, something they were calling “Adventure Paths,” so Paizo said, “Well, we can just start publishing those! We’re good at it, the market’s there, it will be great!” And then, roughly four months after Paizo debuted its “Pathfinder Adventure Paths” line, WotC announced 4th Ed and the switch to the GSL. Paizo suddenly had a problem.

4th Ed wasn’t as big a change from 3rd Ed as 3rd Ed had been from AD&D, but it was still a major change, and a lot of 3rd Ed fans were decidedly unimpressed. Paizo’s own developers weren’t too keen on it either. So they made a fateful decision: they were going to use the OGL to essentially rewrite and update D&D 3.5 into an RPG line they owned: the Pathfinder Roleplaying Game. It was unprecedented. It was a huge freaking gamble. And it paid off more than anybody ever expected. Within two years Paizo was the second-largest RPG publisher in the industry, only behind WotC itself, and for one quarter late in 4E’s life, even managed to outsell D&D, however briefly. Ten years of gangbuster sales and rules releases followed, including 6 different monster books and something over 30 base classes when it was all said and done. It was good stuff and I played it loyally the whole time.

Eventually, though, time moves on and things have to change. The first thing that changed was 4E was replaced by D&D 5E in 2014, which was deliberately designed to walk back many of the changes in 4E that were so poorly received, keep a few of the better ones that weren’t, and in general make the game much more accessible to new players. It was a phenomenal success, buoyed by a resurgence of D&D in pop culture generally (Stranger Things and Critical Role both having large parts to play), and its dominance in the RPG arena hasn’t been meaningfully challenged since. It also returned to the use of the OGL, and a second boom of third-party publishers appeared and thrived for most of a decade.

The second thing was that PF1 was, itself, showing its age. RPGs have a pretty typical life cycle of editions and Pathfinder was reaching the end of one. It wasn’t much of a surprise, then, when, in 2018, Paizo announced Pathfinder 2nd Ed, which released in 2019 and will serve as the focus of the remainder of this post (yes, it’s taken me 1300 words to actually start doing the thing the post is supposed to be about, sue me).

There’s a coda to all of this in the form of the OGL debacle but I don’t intend to rehash any of it here - it was just like six months ago, come on - beyond what it specifically means for the future of PF2. That will come back up at the very end.

# Pathfinder 2E Basics #

So what, exactly, makes PF2 different from what has come before? There are, in my opinion, four fundamental answers to that question.

First: Unified math and proficiency progression. This piece is likely the part most familiar to 5E players, because 5E proficiency and PF2 proficiency both serve the same purpose, which is to tighten up the math of the game and make it so broken accumulations of bonuses aren’t really a thing. In contrast to 5E’s very limited proficiency, though, which just runs from +2 to +6 over the entire 20 levels of the game, Pathfinder’s scales from +0 to +28. Proficiency isn’t a binary yes/no, the way it is in 5E. PF2’s proficiency comes in five varieties: Untrained, Trained, Expert, Master, and Legendary. Your proficiency bonus is either +0 (Untrained) or your level + 2(Trained), +4 (Expert), +6 (Master) or +8 (Legendary). So if you were level five and Expert at something, your proficiency bonus would be level (5) plus Expert bonus (4) = +9.

Proficiency applies to everything in PF2, really - even more than 5E, if you can believe it, because it also goes into your Armor Class calculation. You can be Untrained, Trained, Expert, Master, or Legendary in various types of armor (or unarmored defense, especially relevant for many casters and monks), and your AC is calculated by your proficiency bonus + your Dex modifier + the armor’s own AC bonus, so AC scales just as attack rolls do. Once you get a handle on PF2 proficiency, you’ve grasped 95% of how any game statistic is calculated, including attacks, saves, skill checks, and AC.

Second: Three-Action Economy. Previous editions of D&D, including 5E, have used a “tiered” action system in combat, like 5E’s division between actions, moves, and bonus actions. PF2 has largely done away with that. At the start of your turn, you get three actions and a reaction, period (barring haste or slow or similar temporary effects). It takes one action to do one basic thing. “Attack” is an action. “Move your speed” is an action. “Ready a weapon” is an action. Searching for a hidden enemy is an action. Taking a guarded step is an action. Etc. The point being, you can do any of those as often as you have the actions for them. You can move three times, attack three times, move twice and attack once, whatever. Yes, this does mean you can attack three times in one turn at 1st level if you really want to (though there are reasons why you might not want to).

Some special abilities and most spells take more than one action to accomplish, so it’s not completely one-to-one, but it’s extremely easy to grasp and quite flexible at the same time. It’s probably my favorite of the innovations PF2 brought to the table.

Third: Deep Character Customization. So here’s where I am going to legitimately complain just a bit about 5E. I struggle with how little mechanical control I, as a player, have over how my character advances in 5E.

Consider an example. It’s common in a lot of 5E games to begin play at 3rd level, since you have a subclass by then, as well as a decent amount of hit points and access to 2nd level spells if you’re a caster. Let’s say you’re playing a fighter in a campaign that begins at 3rd level and is expected to run to 11th. That’s 8+ levels of play, a decent-length campaign by just about anyone’s standards. During that entire stretch of play, which would be a year or more depending on how often your group meets, your fighter will make exactly two (2) meaningful mechanical choices as part of their level-up process: the two points at 4th and 8th levels where you can boost a couple stats or get a feat. That’s it. Everything else is on rails, decided for you the moment you picked your subclass.

Contrast that with PF2. In that same level range, you would get to select: 4 class feats, 4 skill feats, two ancestry feats, two general feats, and four skill increases. At every level, a PF2 player gets to choose at least two things, in addition to whatever automatic bonuses they get from their class. These allow me to tailor my build quite tightly to whatever my idea for my character is and give me cool new things to play with every time I level up. This is true across character classes, casters and martials alike.

PF2 also handles multiclassing and the space that used to be occupied by prestige classes with its “pile o’ feats” approach. You can spend class feats from class A to get some features of class B, but it’s impossible for a multiclass build to just “steal” everything that makes a single class cool. A wizard/fighter will never be as good a fighter as a regular fighter is, and a fighter/wizard will never be the wizard’s match with magic.

Fourth: Four Degrees of Success. 5E applies its nat 20, nat 1, critical hits, etc. rules in a very haphazard fashion. PF2 standardizes this as well, in a way that makes your actual skill with whatever you’re doing matter for how well you do it. Any check in PF2 can produce one of four results: a critical success, a regular success, a regular failure, or a critical failure. In order to get a critical success on a roll, you have to exceed your target DC by 10 or more; in order to get a critical failure, you have to roll 10 or more less than the DC. Where do nat 20s and nat 1s come in? They respectively increase or decrease the level of success you rolled by one step. In practice, it works out a lot like you’re used to with a 5E game, but, for instance, if you have a +30 modifier and are rolling against a DC 18, rolling a nat 1 nets you a total of 31, exceeding the DC by more than 10 and earning you a critical success, which is then reduced to just a normal success by the fact of it being a nat 1. Conversely, rolling against a DC 40 with a +9 modifier can never succeed, because even a nat 20 only earns a 29, more than 10 below the DC and normally a crit failure, only increased to a regular failure by the nat 20.

Now, not every roll will make use of critical successes and critical failures. Attack rolls, for instance, don’t make any inherent distinction between failure and critical failure. (Though there are special abilities that do - try not to critically fail a melee attack against a swashbuckler. The results may be painful.) Skill rolls, however, often do, as do many spells with saving throws. Most spells that allow saves are only completely resisted if the target rolls a critical success. Even on a regular success, there is usually some effect, even on non-damaging rolls. That means that casters very rarely waste their turn on spells that get resisted and accomplish nothing at all. It also doubles the effect of any mechanical bonuses or penalties to a roll, because now there are two spots on a die per +1 or -1 that affect the outcome; a +1 might not only convert a failure to a success but might also convert a success to a crit success, or a crit fail to a regular fail.

# What About Everything Else? #

There is a lot more to it, of course. As a GM I find PF2 incredibly easy to run, even at the highest levels of game play, as compared to other d20 systems. The challenge level calculations work, meaning you can have a solo boss without having to resort to special boss monster rules to provide good challenges. I find the shift from “races” to “ancestries” much less problematic. PF2 has rules for how to handle non-combat time in the dungeon in ways that standardize common rules problems like “Well, you didn’t say you were looking for traps!” Everything using one proficiency calculation lets the game do weird things like having skill checks that target saves, or saves that target skill-based DCs. Inter-class balance, with some very specific exceptions, is beautifully tailored. Perception, always the uber-skill, isn’t a skill at all anymore: everyone is at least Trained in it, and every class reaches at least Expert in it by early double-digit levels. Opportunity Attacks (PF2 still uses the 3rd Ed “Attack of Opportunity” - but will soon be switching over to "Reactive Strike") isn’t an inherent ability of every character and monster, encouraging mobility during combats, and skill actions in combat can lower ACs, saves, attacks, and more, so there are more things to do for more kinds of characters. And so on.

Experiencing all of that is easiest just by playing the game, of course, but suffice it to say PF2 has a lot of QoL improvements for players and GMs alike in addition to the bigger, core-level mechanical differences.

# The OGL Thing #

Last thing, then. In the wake of the OGL shit in January, Paizo announced that it would no longer be releasing Pathfinder material under the OGL, opting instead to work with an intellectual property law firm to develop the Open RPG Creative (ORC) License that would do what the OGL could no longer be trusted to do: remain perpetually free and untouchable for anyone who wanted to publish under it. The ORC isn’t limited specifically to Paizo or to Pathfinder 2E or even to d20 games; any company can release any ruleset under it and allow third-party companies to develop and publish content for it.

Shifting away from the OGL, though, required making some changes to scrub out legacy material. A lot of the basic work was done when they shifted to 2E, but there are still a lot of concepts, terminologies, and potentially infringing ideas seeded throughout the system. These had to go.

Since this meant having to rewrite a lot of their core rules anyway, Paizo opted to not fight destiny and announced “Pathfinder 2nd Edition Remastered” in April. This is a kind of “2.25” edition, with a lot of small changes around the edges and a couple of larger ones to incorporate what they’ve learned since the game first launched four years ago. A couple classes are getting major updates, a ton of spells are either getting renamed or swapped out for non-OGL equivalents, and a couple big things: no more alignment and no more schools of magic.

The first book of the Remaster, Player Core 1, comes out in November, along with the GM Core. Next spring will see Monster Core and next summer will give us Player Core 2. That will complete the Remaster books; everything else is, according to Paizo, going to be compatible enough it won’t need but a few minor tweaks that can be handled via errata. So if you’re thinking about getting into PF2, I’d give serious thought to waiting until November at least, and maybe next summer if you want the whole Remastered package.

And that’s it. That’s my essay on PF2 and what I think makes it cool. The floor is open for questions and I am both very grateful and deeply apologetic to anyone who made it this far.

[concoctionboy]

Hm. I feel like you could get at least three pages about the Open Game License alone. One about its initial purpose and how it was rolled out, one about its consequences (including unforeseen consequences like the rise of Pathfinder, though that was due more than anything else to WotC's failure to implement the OGL in fourth edition), and one about its disastrous attempt to "revoke" the OGL at the beginning of this year, and the fallout from that. Maybe a fourth page about the whole Open Gaming movement that came about in the OGL's wake.

Wizards of the Coast didn't create Dungeons & Dragons, of course; it just bought the company that did; but maybe there's a little to be eked out about innovations in the editions that came out after it bought it. Wizards of the Coast did create Magic: the Gathering, though, and there's probably a lot that could be said about that, especially since it basically started the whole medium of collectible card games.

And of course this year, between the aforementioned attempt to revoke the OGL, their calling the Pinkertons on someone who was mistakenly sent the wrong cards, and a number of other missteps, Wizards of the Coast has pioneered new innovations in alienating its customer base...

Girl why am I writing a 10 page essay on the fucking wizards of the coast I don't want to write a 10 page essay on the fucking wizards of the coast I fucking hate wizards (of the coast) I also hate writing essays

[talesfromthecrypts]

Hi! What’s wrong with wizards of the coast?

So in favor of being brief I will just cover since January 2023 only. So that month Hasbro and WotC posted changes to the open game license for dungeons and dragons which before then allowed third party creators the ability to create written adventures and rulebooks in the world. Well the new OGL screwed over creators massively (which may have caused the final perceived split between Critical Role and DNDBeyond/WoftC). I can't remember if this was last year or the year before but there was a small controversy where they used AI art in one of their guidebooks. Last April they called on the Pinkerton agency to call on a Magic the Gathering streamer who accidentally got the new cards early and threaten him. In December Hasbro laid off 1100 employees including many WotC employees. The fallout from that (among probably other things) has led to Larian also breaking with WotC. They are a greedy, horrid company that just so happens to own the largest and most well known tabletop RPG.

[sam-keeper]

Put out a new article on my Patreon

It's about some old articles entitled "Classics of Fantasy" that were published on the Wizards of the Coast book publishing hub site, back when that was a thing in, uh, 2003. Here's a cut from the piece about why I find these articles so interesting to revisit 20 years later:

Personal significance aside, I think the articles have a notable place in the history of Wizards of the Coast: they're from a period when Wizards harbored bold plans for the future of their publishing line, plans that ultimately fell through. With all the author interviews, craft discussion, and inside scoops into the industry, the articles from this period radiate a sense that WotC hoped to cultivate new authors. This makes sense: they were putting out calls for original fantasy fiction at the time and clearly aspired to be a "legitimate" publisher. They even published some original young adult fiction, though unfortunately I haven't been able to track down evidence they ever published independent fantasy fiction for adults. (On the Magic side too optimism reigned about the future of Magic's fiction--optimism that then head of Creative Brady Dommermuth would later tell us, after the cancellation of the entire novel line, was never backed up with solid sales numbers.)

I think we can see this series as fitting within the logic of cultivation that WotC has since abandoned. Their belief at the time was that things like the Open Game License would ultimately drive more players to their monopoly on Dungeons & Dragons, would further D&D as THE table top role playing game, and marginalize non OGL systems like World of Darkness. Their recent attempt to simply retroactively rewrite the OGL out of existence suggests they've long since abandoned this perspective. But the Classics of Fantasy series attempts to use older and often public domain works to broaden the horizons of their player base and indeed reader base, under I suppose the presumption that a rising tide raises all ships.

It's this spirit that feels bygone to me, much more so than any individual website. A loyal fan base with broad interests can't give you meteoric exponential growth.

The articles are weird, too, because while most have that tip section for Dungeon Masters, encouraging them to incorporate these books into their game, those sections can get pretty vestigial and half-hearted. Evidently, it was hard to imagine how to turn the fairy story Hobberdy Dick into a Dungeons & Dragons campaign. Others, even more weirdly, don't bother with the pretext that "your game" is going to be D&D at all. One early article freely and confidently argues that "any MR James [ghost] story is a top-notch ready-made Call of Cthulhu scenario focusing on conventional horrors rather than the Mythos (thereby confounding those who see a Great Old One behind every mystery)." Not only is he reccing the work of Chaosium, WotC's competitor, he's got enough familiarity with the game to suggest ways of subverting player expectations! In fact, in the Unknown Kadath article he exclusively points DMs to Chaosium's products. Interestingly, in the MR James article he offers another suitable system: Gaslight, which as far as I can tell was a third-party, Open Game License powered Victorian setting. The setting apparently is still going, with a 5th edition D&D compatible OGL book released last year. The primary interest, though, seems to be in cultivating tabletop roleplaying *for its own sake* and as an artform unto itself.

This makes some sense given the author. John D Rateliff apparently is a doctor of literary studies, with a focus on Tolkien and the other "Inklings" that Tolkien hung out with. What do you do with a degree like that? Apparently, write a bunch of stuff for Dungeons & Dragons books. It feels like maybe someone at WotC had the thought, hey, we've got a literal doctor of fantasy fiction here, maybe we should get him to just write about books for us for a while. imagine that! a company actually utilizing its talent pool instead of squandering and burning it out!

Read More On Patreon

[fishdavidson]

2023 State of the Mackerel

Hello fine internet people! The blog portion of my main account has been dormant for quite some time, and I've been wanting to put something here to give the few people who are following me an update. I've also wanted to change a few things on here, so with the end of the year upon us, I wanted to put forward something to help provide some clarity about the blog's past, present, and future.

The Past: Noteworthy Life Events

Since my last official post on here on August of 2021, obviously at least a few notable things have happened in the intervening two years. Here is a quick rundown of the highlights, presented as fake headlines:

Fish Davidson gets over by a minivan and yells swear words

"Guess I'll go back to school," says local internet weirdo

Studies indicate minor promotion at work leads to corresponding minor improvements in life satisfaction

Combining a bunch of words, Fish Davidson writes a book

Yep, tabletop gaming is a thing and it's not going away

Fish Davidson learns to make two sounds at once

Okay, so now that I've hopefully piqued your interest, here's a little bit more detail about each of those items. In November of 2021, I was walking across the street at a crosswalk and was hit by a minivan. The driver wasn't going very fast, but it was enough to break three bones (including my tailbone) and put me on crutches for a while and I needed special orthopedic pillows for my butt for about 18 months. I'm mostly back to normal now, but it was a long road.

The next big thing was that I went back to grad school in an online program. I've been a student for about a year now, and I'm about halfway through the program. Whatever intermittent dreams I would have and wanted to write about have been shoved aside to make time for the seemingly endless papers of graduate work. It's stressful, but I'm glad to be back in school.

Part of the reason for going back to school is because I got a minor promotion at work. Predictably, it came with more responsibilities, but it also came with a little bit more money. I'm going back to school to learn more about things that are related to my job, but also to leverage it into another potential pay raise.

Now we get to the personal creative pursuits of the recent past. I wrote a novel called Power Frank about a superhero whose only power is that he can open any jar. And he has to leverage that power to both overcome family dysfunction and save his desert hometown from being destroyed by malevolent hogs. I'm starting the querying process for agents and hope to have it published eventually!

I also finished up my multi-year Dungeons and Dragons campaign, Shits and Giggles that ran from level 1 to level 20. Several smaller (much smaller) campaigns happened after that. Then Wizards of the Coast did some stupid stuff with their Open Gaming License, and now I've redirected the bulk of my gaming money to provide support for smaller independent creators and lesser known systems. I've really gotten into several OSR systems like Shadowdark, Basic Fantasy, and (if you count these as OSR) Cairn and Knave. Other non-fantasy systems that I'm currently really digging into are Orbital Blues and Mothership. Granted, I don't currently run those games for people yet, but I do like reading the books and seeing different approaches to solving certain mechanical problems. I've also been creating a bunch of random tables for things.

The last important creative pursuit is that of Tuvan throat singing. Tuva is a region in the geographic center of Asia that is known for a style of singing that allows the singer to produce multiple notes simultaneously. I've been fascinated by it for decades and tried off and on to learn it, but this summer I finally made progress and am finally learning how to do it. It takes a lot of practice and making weird sounds, much to the chagrin of my (very patient and supportive) wife.

The Present and Future: Lumped Together For Expediency

I want to write a dream journal and that's what this blog was primarily conceived for. Unfortunately, my dream output has been incredibly fickle and the other demands on my time (professional and academic) make it difficult to report or even remember dreams. Does that mean I'm closing up this blog? Nope! I'm still on tumblr almost every day. But if I'm not able to reliably post dreams on here, what should happen to this blog?

That's the question I've been wrestling with for the past few months. What should I do? Since fishdavidson is my primary blog and I can't easily swap over to a new primary blog to archive my content, I've decided to pivot a little bit. Even outside of tumblr, I use Fish Davidson as my basically my brand (obligatory shoutout to the 1-800 contacts commercial).

So it makes sense to keep using Fish Davidson for personal promotion and creative pursuits. I'm not going to be deleting or moving any of my old posts, but new posts will be relatively rare and limited to mostly things that I create.

However, tumblr lets me create a bajillion different sideblogs for my various interests. I've got several different blogs, all geared toward different interests. Future dream journal entries, if and when they happen, will be published to fishdreams instead of here. Other posts and reblogs will be spread across my various sideblogs. So without further ado, here are

My Various Sideblogs and What They're For

fishdreams - dream journal stuff

fishcrap - various reblogs and anything that I find interesting but outside of the scope of my various side blogs

fishability - for disability awareness stuff

fishrpg - this will be where I post a lot of tabletop RPG stuff. I'm planning on participating in Hexplore24, which is a tiny daily challenge for RPG creation that starts in January.

tuvafish - stuff about throat singing (and maybe even some of my practice sessions) will go here as I find stuff to post (currently empty)

brownstonarmy - probably won't be updated, but if you want to read a novel-length account of the entire Shits and Giggles campaign, here you go!

Thank you all for being such cool people on tumblr, have a great holiday season and new year, and I hope we stay friends on here.

-Fish

[jeffs-gamebox]

Please Support Indie and Third Party Publishers.

What happened to #DnDBeGone? What happened to #Stopthesub? Anyone remember #OpenDnD? "Ooh. Shiny new giants book and the social media influencers say we should buy it." Did we learn nothing in January?

Was January really so long ago? Have we all completely forgotten the Wizards of the Coast Dungeons & Dragons Open Game License debacle of the year 2023 already? Is the D&D community as gullible and stupid as we’re being made out to be? Has 2023 taught us anything? What happened to, “Vote with your dollars?”Sorry, family. I wasn’t going to do this. I tried to convince myself to just stick to…

[katharkness]

In my opinion, writers are the second-to-last people you can slip a loophole like that past (actual last would be the lawyers). ‘Cause when you have people whose profession is using words to their fullest extent, I’d expect them to see any loopholes.

As an example, are you aware of the Open Gaming License for Dungeons and Dragons? Back in January, Wizards of the Coast tried to get everyone to sign up to a new license that was, to be brief, a pile of manure. Their second attempt involved publishing a draft so everyone could see how reasonable it was. Except that Dungeons and Dragons players, dungeon masters, and creators, *thrive* on finding, exploiting and closing loopholes. If you’re deep enough in the game to be writing it, you know how to read the text for any possible exploits - and boy was that stinking, rotten, decaying crime against decency they called a draft full of ways for WotC to exploit everyone (you may be able to tell I have strong feelings about it). But I still totally baffled as to how they didn’t realise we wouldn’t fall for their lie that it was harmless.

Neil, if it isn’t too much trouble, I’ve got a question.

(Yeah ik that’s what the asks is for but I don’t know how to navigate tumblr yet)

So I’m sitting in the living room with my parents and my mom was talking to my dad about AI writing scripts. So I said something about the strikes. Then, she was talking about her “blind items”, (she reads the shi non-stop) and how it said that there is some sort of loophole in the contract that makes it so they can still use AI and not hire writers. I haven’t been as caught up with that stuff as I’ve wanted to be, so I didn’t really have a response for that. Since I know you’re very involved in this topic, I somewhat trust your word over my mother’s.

Perhaps your mother read some AI generated news? It's not true.

From Wired:

In short, the contract stipulates that AI can’t be used to write or rewrite any scripts or treatments, ensures that studios will disclose if any material given to writers is AI-generated, and protects writers from having their scripts used to train AI without their say-so. Provisions in the contract also stipulate that script scribes can use AI for themselves. At a time when people in many professions fear that generative AI is coming for their jobs, the WGA’s new contract has the potential to be precedent-setting, not just in Hollywood, where the actors’ strike continues, but in industries across the US and the world.

[wizardcastslightning]

DND COMMUNITY! DELETE YOUR DND BEYOND SUBSCRIPTION!

WE ARE AN "OBSTACLE TO THEIR MONEY"!

WOTC only views us as dollar signs and if we want them to hear our voices we need to hit their wallets!