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reliclocke · 3 years ago

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beta designs / old concepts

because its relic radiation’s 2nd anniversary today, i thought id bust out a lot of earlier versions of characters and talk about their progressions and my thoughts on them. ill also be putting (a silhouette of) the first version of the next teammate in just for fun.

this is gonna end up a long post (and it will have...somewhat painful old art...) so i will be shoving this under a readmore

JULES: jules has gone through many stages that all sort of encapsulate what kind of comic rr was meant to be at the time.

the earliest version of rr, which came before i even hit the halfway point on my actual game run, revolved around jules as a confident, arrogant young noble who was set on symbolically “conquering” the other cities in sinnoh (via gym battles). rr back then was clearly much more conventionally fantasy, and this version of jules couldn’t be further from Real Jules now.

subsequent versions of rr were more sci-fi-oriented and even involved jules having only one eye (a trait and its implications that were relocated to astraea). the themes of paranoia and discomfort that current rr is saturated with started to manifest at around the stage that the yellow drawing took place in.

also, you can see that i picked the peacoat idea back up for jules’ prinplup form.

LUCE: while luce and jules were the first characters to be made for the comic, luce hasn’t changed that much. she used to be angrier and had a different backstory, but i wrote her to be a rowdy but loyal friend to jules, and she’s stayed that way. even her design has barely changed.

RUE: rue is the third teammate, but i actually developed her way after deirdre and marcel. i sort of didn’t know what to do with her. her first concept was a genuinely kind, sweet older sister type, but i realized that was boring. i changed her so that her niceness came out of effort and restraint, and that inwardly, she was a much pettier person. i thought this was more interesting for her interactions with jules, too.

DEIRDRE: deirdre started out as a very quiet/silent but eccentric type, then very quickly jumped into the stoic and deadpan version of her there is now. i linked her and rue because i knew i’d be getting a full team before gym 1 and wanted to make that go easier narratively and because i liked the idea of their personalities clashing.

MARCEL: marcel was always a cowboy, but he started off as a much more unpleasant person. he was in about his 30s (his intro in jubilife was supposed to be as a “fake-out nuzlocke dad”) and a much greasier, unkind, and cynical person. when marcel was aged down to make it easier for him to connect to jules and luce, he got nicer.

FERRIS: his first concept was as a very blandly nice high school track runner (almost solely because his ability is Run Away). i didn’t get anywhere with him until rr became a darker, mystery-oriented comic--then i knew i could tap into that with him.

DANNI: danni actually began as a more abrasive ex-friend of jules’ named duncan. i didn’t like him very much. instead, i went for what i thought of as the opposite of a stereotypical turtwig, making her an agile and confident (but troubled) skater.

ANNABEL: like danni, she started off male. he also sucked so i changed him. rr’s rowan started off a little softer than current rowan, so i wanted her personality to really clash with his and for her to not simply follow him around the region agreeably as a little assistant. i wanted her to be unpleasant for rowan to deal with most of the time, honestly, because how the both of them would interact with each other would say a lot about them.

ROWAN: rowan is one of the characters who underwent the most changes, both personality- and design-wise. he had about 5 different species, starting with snorlax (because in pearl rowan sends out a munchlax in the opening sequence) and including kadabra and hypno.

rowan was originally going to be a more sarcastic but more agreeable person. i decided that this didn’t mesh with the sort of part he has in the plot as an extremely driven, hardened person. the sarcastic and agreeable side of him is still there, but it rarely shows now.

rowan ended up so different from canon rowan that he was the only character i had keep their in-game counterpart’s name. i literally just needed people to recognize what character role he was playing and name-recognition helped a specific part of his writing, too.

AMOS: amos was actually one of the earliest characters invented for the comic, too. in his most original form as a cyrus equivalent, he was a very tall, confident, charismatic speaker with a sour side. i decided to give that to a different character who hasn’t been in comic yet (actually, wait: in one panel).

the main change he’s had is in temperament; his early forms were quiet and kindly scientists who could come off as sickly. i wanted to throw readers off with his kindness towards the party and how he might not come off as very stereotypically physically imposing, but i was overdoing it. amos is softspoken now, but armed with a terrible temper and baggage.

also i made the honchkrow the cyrus equivalent instead of weavile because i like birds

ASTRAEA: i couldn’t find a picture of it, but astraea was originally an almost brutish, violent champion. she had no flair and no mind for strategy. i scrapped that once i realized it really didn’t fit a “layers of clues and fear” vibe; i wanted someone who could really play into the themes and atmosphere of the comic.

as one of the main antagonists, i wanted her to be really different from amos. (though she used to be old) she’s young, she’s disrespectful, she’s showy, but she’s keen enough to back it up. without getting into spoilers, i wanted the antagonists to have different ways to relate to and interact with jules in terms of both theme and personality.

WHITNEY: whitney had a bunch of design changes, but his core stayed the same: a witty, sociable guy with a secret weighing him down who jules remembers in shining terms. the current iteration of whitney is probably the most troubled one.

NEXT TEAMMATE (god i wish i could make this image smaller) : this was the first drawing done of the next teammate, who is one of the characters in the whole comic who has changed the most.

they went through around 5 different completely different personalities and designs, and almost as many backstories, and have now squarely, finally arrived at a stage that is: not even close to this image at all.

so i thought it would be fun to share this as they’re coming up soon, and so you can compare them when they’re finally here :)

#nuzlocke #nuzlocke comic #this is really. really long im sorry #i did not proofread this. because it is long.

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deitiesofduat · 7 years ago

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I was wondering if u can do a bunch of random facts/headcannons for the main cast?

Oh man, I mean, I’m happy to try, but I’m not sure where to start for the entire cast of 10… well, now 11 gods. I know have some that are scattered around the blog’s tags, and also in places other than tumblr, but It’ll take me a bit to find them or think of new ones without revealing spoilers, hmm…

So here’s what I’ll try that’s similar to the 1 Like 1 Fact meme I did on twitter a while ago: for every note this post receives, I’ll add a DEITIES-related headcanon or fact about the main cast. The main cast includes Set, Horus, Anubis, Osiris, Isis, Nephthys, Bastet, Sekhmet, Thoth, Ra, and nowwwww Sobek – and maybe the Set Spawn and the big bad serpent too, if relevant. You can add a note by +liking this post, and if you’re interested in learning about a particular deity, you can mention their name in a comment (and it’s not necessary to reblog this, unless you want to!).

This should help give me a bit more focus and time to think of some decent non-spoiler headcanons/facts to share. I’ll come back to this post in a few hours and add any many as I can, depending on the amount of notes it receives, and I’ll bump and place them under the cut for easy access. So yeah, go for it /o/!!

[1] Been playing with a headcanon where Horus’s Eye can see an object’s or person’s weak spots – though only for like, a moment once it’s activated, cuz I’ve wanted to avoid him being OP (but then again… he’s a literal god… so >>)

Also a related-headcanon where he can see a person’s past injuries thru his Eye too, including the hidden ones that have long-ago healed and left no visible scar. I’d like to draw the ones he “sees” on others one day if I keep it…

[2] Set is the only one of his siblings that doesn’t have an avian sacred animal, and for a while I wanted to keep it that way and literally keep him “grounded” compared to his family (sans Anubis). But I found that he’s sometimes also associated with crows (and falcons??? interestingly enough), and even though I haven’t found solid evidence of this yet, I also like the idea of him being associated with bats even before I read about it in Kane Chronicles I swear– So those 2-3 animals are probably some alternate animal form that he has but just rarely takes.

[3] Actually while I’m at it– aside from the Sha Animal, here’s a list of 30-ish animals that I keep as Set’s canon forms in DEITIES verse (based on a combination of historical speculation, recorded myths, and personal headcanons), and would love to eventually draw him as one day:

Aardvark, African Wild Ass (and Donkey), Giant Anteater, Baboon, Bat, Boar/Pig, Bull, Camel, Crocodile, Crow/Raven, Dog (some sort of sighthound?), Fennec Fox, Fish (Eel?), Gazelle/Antelope, Giraffe, Goat, Goose, Hare/Rabbit, Hippopotamus, [Spotted] Hyena, Jackal, Jerboa, Okapi, Oryx, Panther, Rat, Scorpion, Shark, Snake (Viper), and Zebra/Quagga.

[4] RELATEDLY… I REALLY REALLY like the idea of Set somehow acquiring a Thylacine form even tho it’s in no realistic way in the current timeline because thylacines weren’t native to Africa let alone Egypt. BUT… I JUST… THEY REMIND ME OF SHA ANIMALS SO MUCH o)——–

[5] When I was considering the color schemes for the main cast, I once briefly envisioned a purple/violet scheme for Nephthys, but decided to scrap it because (1) I wanted her colors to contrast with her sister’s and match a bit more with her husband’s and son’s and (2) I found that purple was nigh impossible to find in AE wall art and admittedly worried “maybe it won’t look authentic if I use those colors;;;”

Even though I’m happy with her orange/black/red scheme now, I’ve recently found that purple is a common association / kemetic UPG (or doxa?) with her?? SO THAT WAS INTERESTING… I don’t think I’ll change her color scheme for DEITIES, but maybe I’ll draw her in an alternate purple outfit one day to see how it looks on her >>

[6] One of the reasons why I like Horus, Anubis, and Bastet as their own casual friend group in DEITIES verse is that, because they’re all relatively young gods, they all share the experience/pressure of being measured up against their older royal relatives – Horus being seen as both his father and mother’s legacy and feeling the pressure to restore his family’s throne; Anubis being know for his infamous father, and even having his paternity questioned (via rumors and “myths”); and Bastet being the youngest of Ra’s daughter, sometimes being compared to her sister’s roles and achievements.

They’re all really good at masking any pressure they feel, but they also probably confide in each other about it more than with others, cuz they’ve all “been there.”

[7] Relatedly, one of the earliest version of DEITIES Project, before it was known as “Deities Project,” had Horus, Anubis, and Bastet as the main trio. That’s been changed “for reasons” since then, and their characters were quite different back then, but it might be fun to explore a story that focused on the 3 of them someday.

[8] Okay ya’ll know the part during The Contendings where Horus and Set are racing in stone boats and Horus “wins” by painting his wooden boat to look like stone? I have ideas for how that entire race happens in DEITIES verse that would be fun to explore as a side story, but in order for me to give Horus a “legit” way to win without outright cheating, he covers his boat with stone casing/accents, and after he wins and is confronted about it… well…

HORUS: “The rules we agreed on were to sail a boat made with stone. They said nothing about it needing to be made entirely out of stone.”SET: “…”HORUS: “ :)c ”SET: “…” *Internally raging*

[9] I’ve headcanon’d that Nephthys has her own set of ~7 Shabti who act as her personal assistants while she’s conducting her nightly duties, or working around her home, but I haven’t decided much more past that (still debating on how she acquired them, and if she more-than-likely named them…).

The concept and number were loosely based on how many of the other goddesses had their own sets of 7 as extensions of their power and/or control (7 Ribbons of Hathor, 7 Arrows of Sekhmet, Isis’s 7 Scorpions), and I thought it’d be neat if the Goddess of Service had her own Shabti that exemplified that part of her domain.

[10] Thoth is an avid lover of puzzles, trivia, and strategy games, and he’s also exceptionally skilled at games of chance. He doesn’t gamble or make bets often because he understands the risks, but when he does he tries to be calculative about it… and also has a natural knack for luck going his way (EX: That one game of senet that he won to help assist Nut with having her children… which is another story for another day)

[11] Ummmmm Isis is the only one of the main cast who I haven’t drawn a ref of her sacred animal form yet… or at least, not digitally. Her animal is the kite, but I’ve been debating on a while for what species to base her design on. I like the idea of her kite form looking like the Black-winged Kite, although those species aren’t native to Egypt… but some are native to Africa… and they’re so fricken pretty and they fit her colors so well so I might cave on this ffffffffffff–

[12] While we’re on the subject of sacred animals (and to help me get somewhat closer to the note count lmao I’m trying guys–), Horus’s falcon form is based on both the Peregrine falcon and the Lanner falcon, with more simplified markings for my own sanity when I draw him in dozens of panels.

At one point, I considered making his falcon form leucistic to contrast more with Anubis and Set, buuuuuut I also liked the brown colors on the falcons’ normal coloration, so I kept it. (That and more leucistic birds of prey are hawks, so… maybe for Khonsu tho if I don’t change him to an owl, hmmmm…)

[13] Okay continuing thoughts on animal forms, Bastet is able to shift her cat form into nearly any coloration or breed she desires (aside from her eyes, which remain green), but for the purposes of DEITIES I draw her as a brown cat with light gradation markings. I knew of the Egyptian Mau but also realized the spots would take a lot of effort to redraw in the panels where she appears as a cat (much like the spots on falcons for Horus). I also personally really like solid-colored coats on cats, and in particular I liked the coloration of the Havana Brown, so it may be a little less authentic but it did factor into her colors as well.

[14] I'm still debating on Sekhmet's main hairstyle and want to play with it a bit more -- not the arrangement per se but whether to keep it as locks or to make them more obvious twists -- or perhaps a combination -- since I can see her with both style at certain points in time. Either way, at full length Sekhmet's hair is very long: if she were to loosen her tie and let it fall, her longest locks would reach past her hips.

[15] I initially gave Set yellow eyes because even though he's often depicted with red eyes, I didn't want to over saturate his design with just... well, red -- especially in his animal form where his entire body is covered in red fur (red eyes + red sclera would have been, a lot). I like how his yellow eyes provide some contrast, and I've since found some story-related reasons where his eyes might play some role in the plot… but anything further might be spoilery 8')c

[16] It took me a while to settle on Osiris's "resurrected" skin tone because there were a lot of sources that describe his skin as being green, or blue, or black in coloration. I even tried them out in an earlier color test that I shared on patreon, but I eventually went with black since the color has had various meanings in Ancient Egypt that include both life and death. (It also gave me some opportunity to give green skin to Ptah and blue skin to Hapi to help vary the designs for each of those gods).

[17] Relatedly, Osiris's mortal form is a naturally dark skin tone, but following this death he can no longer appear in that form. He is also unable to travel to the overworld / realm of the living, though I'm still debating on how restrictive this is (if it's limited to his physical body or if he can split his soul under special circumstances, or with assistance). Regardless, most of his correspondence with other deities have to be arranged within Duat for this reason.

[18] I haven't made any plans to designate a spouse or romantic partner for Ra. I understand that there were a number of goddesses that were associated with him in the myths and often said to be his wife, but for that reason it was hard to settle on choosing one -- or multiple, and I realized that for the purpose of the main story it might not be necessary. I also kinda like exploring the idea of this high king and powerful creator deity who's also a happily single father, and where it's not for tragic reasons like the separation from or death of his spouse (not to knock that trope at all tho sdjfdsf). I'm not opposed to him being shipped with anyone though, I just don't think I've been inclined to do it myself lmAO;;

[19] RELATEDLY, while Ra's daughters (Sekhmet, Mafdet, Hathor, Serqet, Bastet) don't have a biological mother, I like to think that they were raised in an environment with a lot of parental figures and mentors to go around, aside from just their father. I haven't quite settled on how it was organized though, but I know that the daughters regard Thoth as something of an uncle/secondary dad (tho their dynamic with Thoth is can vary a lot from the one the have with Ra), as well as their teacher and mentor. I can also see where other gods like Khnum, Khepri, and Bes, and goddesses like Neith, Seshat, Taweret, Ma'at, and Mut, might also have played some direct mentor role in the daughters' upbringing and sense of self.

[20] (squick + implied nsfw) I uh… have this minor gag headcanon where Horus, Isis, and Osiris just don't eat fish. They just… don't. And it's entirely based on that one part of the myths after Osiris's death, where a certain part of Osiris's desecrated body ended up in the river and was swallowed by a fish 8')c (should be noted that I'm not saying that event did happened in DEITIES canon, but I'm also not disputing it either >>).

Apparently that was considered a bad omen, and I still find conflicting information on whether consumption of fish was taboo for some or all in Ancient Egypt (I think "for some" makes better sense, cuz why would an entire society that resides near the Nile river pass up on a perfectly available food source?? But I digress, I might need to review this again so take my thoughts with a grain of salt--). I also admit that I've seen it mentioned that fish are not ideal food offerings for Isis and Osiris?? and I can imagine that maybe Horus adopts the distaste for them as well. Either way, I go with the DEITIES canon that while most people and deities happily consume fish, Horus and his parents will not, and they don't enjoy it as offerings either.

I’MMMMMM gonna end it here for now cuz my headcanons have run dry for the time being, thank you guys!!

#// I'M SRSLY JUST blanking on new facts right now o)-----< but I wanna give this a try later after I make dinner in a bit #// I will… also see if I can make a tag for the headcanon-type replies since it seems that people are interested in them!#DEITIES asks #general asks #meme #Horus #Set #Anubis #Bastet #Nephthys #Ra #Thoth #Isis #Osiris #Sekhmet #headcanons

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scribefindegil · 7 years ago

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Languages, always! I know this is a thing lots of writers address, especially nowadays, but: what is the main language of your setting? What are the minority languages? Are they related? How are minority languages treated? How did one language become dominant? What are dialects like, and what are the dialectical differences? What are other languages in your world? Where are they from? Are they related to your main-setting language, or not? If there's a lot of travel, is multilingualism common?

Ohhhh man you hiton one of the things that I’m REALLY interested in, so buckle up!

Okay, first ofall, this world is for a D&D game and while our setting is homebrew it’sstill based heavily on official publications—we work under the assumption thatthings like the Monster Manuals are actual books in-universe, which doesn’tmean that the information they provide is accurate but does mean that certainpeople in the world think it’saccurate.

As such, westarted with the “standard” d&d languages and have beenexpanding/developing out from there! I’m very lucky that one of my players isalso really into linguistics and thus supports my descent into the ConlangWormhole. There’s still less linguistic variation than is truly realistic, justbecause I can’t devote my entire life to developing fantasy languages, but Itry to keep things interesting.

(under a cut because it’s uhhhhhh over a thousand words of Language Babble)

In our setting “Common”actually developed from a pidgin that emerged from interspecies trading a longtime ago. I wanted to have a less imperialist history for this world than what’simplied if Common is just Human Language. For a while it served as a secondarylanguage for dealing with other races, but by the time our campaign takes placeit’s developed into the primary language of the world, especially in placesthat have a lot of international trading. On the continent of Ashona, where ourcampaign is set, nearly everyone learns at least some Common even if it isn’ttheir primary language. It’s represented by English, for obvious reasons. Wehaven’t gotten into a lot of dialectology, but there are innumerable dialectsof Common. The one spoken in the Underdark has diverged enough that it’s nowconsidered a separate language; it has a much stronger Elvish influence thanthe Common of the overlands.

Speaking ofElvish, we use Quenya for that because Tolkien is a much better conlanger thanI’ll ever be. Surface elves tend to be pretty isolationist in this setting, sooutside of Elvish settlements the language isn’t spoken much. However, it isconsidered something of a prestige language, so a lot of arcane scholarship iswritten in Elvish and it’s often taught to nobles of other species. As ageneral rule, wood elves will be impressed if you try to speak to them in theirown language, while high elves will sigh and correct your grammar.

Draconic is the oldestlanguage in this setting because dragons lived on this world before any of thehumanoid species. A lot of geographic features have Draconic names. It’s also alanguage of lore, although dragons themselves don’t tend to write down manylong texts. They do, however, have a script for their language which isdesigned to be scratched into things with claws. Draconic didn’t have a lot ofinfluence on Common because dragons aren’t known for conducting a lot of trade.One of my Dragonborn players and I are in the process of creating a Draconiclanguage! Because our two dragonborn player characters are named Kriv and Voskiwe went with a very Slavic-inspired phonology. High Draconic, the kind spoken byactual dragons, is highly inflected and has several different registers basedon levels of formality and respect. The dialect spoken by most dragonborn haslost a lot of the formality distinctions and sometimes merges the nominativeand accusative cases. Depending on how much contact they’ve had with truedragons, kobold tribes may speak perfect High Draconic or one of several moresimplified dialects.

The Halflinglanguage has the most direct influence on Common and in some areas has mergedwith it. This is represented by the use of more “Anglish” words in Halfing vocabulary—likecalling a school a “learnstead” instead of a “university.” In more isolated areastheir dialects are less comprehensible and I’d represent them with variations onOld or Middle English.

There are severalgeographically distinct Dwarvish languages, but the one spoken in Ashona(sometimes called Conclave Dwarvish because most of its speakers areconcentrated beneath the Conclave Mountains) is represented by Þrjótrunn, analt-lang by Henrik Theiling that imagines a Romance Language based on Icelandic.Anyone who trades with the dwarves is well served to learn their language, soit’s quite well-known even in areas where everyone speaks Common. The dwarvishscript has also been adapted by a number of communities that don’t have anative writing system (such as orcs, who were historically an oral culture buthave come to accept that writing is useful under some circumstances).

Orcish and Goblinare both low-prestige languages, very seldom studied by people who aren’t partof those groups. In mixed-race settlements, orcs and goblins who speakprimarily their native language are considered “uncivilized,” because peopleare gross. I use Laadan (a conlang created by Suzette Haden Elgin as a “woman’slanguage”) for Orcish, primarily out of spite, and Sona (an auxlang based on asmall number of ‘radicals’ that are combined into compounds to make words) forGoblin. Orcish is really good at conveying emotional complexities, and Goblinuses reduplication a lot to convey degrees of intensity. Goblin ALSO has acomplex logographic writing system, but human (etc) anthropologists mistake itfor crude pictograms and insist that goblins can’t write, something which suitsthe goblins fine since they can then leave messages for each other that otherraces will overlook.

Sylvan, the languageof the fae, is the most plot-relevant campaign language, and as such I’m creatingit myself. Because d&d elves are descended from the fae, I used a basephonology similar to the earliest form of proto-Quenya and included a number ofproto-Quenya roots in the vocabulary. I’m in the process of working on thesound shifts that produced “modern” Sylvan. The spoken dialects for Sylvan varywildly, but the written form is quite standardized and has remained that wayfor a long time.

As for languagesof the Outer Planes: Celestial is represented by Hildegard of Bingen’s “LinguaIgnota,” which is really just a cipher of Latin with the nouns swapped out, butwhich I adore. Infernal, the language of devils, is represented by the conlang Lojbanbecause it’s designed to be as exacting and unambiguous as possible (the other extremely Lawful Plane, Mechanus, uses Loglang, which has basically the same structure as Lojban but different vocab, because there was A Schism). The HighInfernal dialect is also used by some Prime Material Plane lawyers when drawingup contracts. There’s also a much more simplified dialect that is the languagespoken by Tieflings and others with fiendish blood. Primordial, the language ofelementals, is represented by SolReSol, a musical conlang, because I wantedsomething with a more alien sound. Also most elementals don’t have mouths.

(We don’t have anyhuman PCs right now so I’ve been spared trying to figure out what they speak.Obviously there are a number of different languages, although there are alsoregions where most humans just learn Common or whatever other language is mostprevalent around them)

#conversations #worldbuilding #you can only get baking soda from HELL #languages #the conlang wormhole #specialagentartemis

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lechevaliermalfet · 7 years ago

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Rise, and Escape – A Long Look at Breath of Fire: Dragon Quarter

Quick note: This deep dive write-up was originally posted elsewhere in May of 2015. I’m polishing it for reposting here. In addition, for those interested, a while back I recorded a podcast-type thing for a project called Pause Menu Monologues, which was being done by an acquaintance of mine. Said monologue was derived from a cut-down version of this effortpost. For those interested, you can listen to that here. Now, on to the main event.

As I prepare to leave my current job for another with far better opportunities, it feels tremendously appropriate to talk yet again about a game premised almost entirely on the idea of escape.

I’ve written about Breath of Fire: Dragon Quarter before, but it was requested that I write about it again. It was @squeemcsquee making the request, so I listened more than usual. I’m sure I’ll probably wind up saying a lot of the same things I said on the first go-‘round, but who knows?

Well, here’s something I didn’t say before this writing: When I first introduced her to Dragon Quarter, she got into it. Really into it. Given her relative inexperience with Japanese role-playing games, this was surprising to me; it’s so different from the usual run of JRPGs, especially as the genre stood in about 2003 or so when the game first came out. Contrarian that I am (at times), that’s part of what endeared it to me. But as she pointed out, the things that made it seem out of the ordinary to me meant very little to her. She didn’t have much “ordinary” to compare it against.

Unfortunately, watching her play it made me want to play it also. Part of this is the natural (and deeply unfortunate) backseat-driving instinct I have whenever I’m watching someone do something that I’m familiar with, but feel they could be doing better, and in fact, if they’d just let me have the controller for a few minutes, I could show them exactly how… But part of it was also just that seeing the game played really made me want to be playing it myself. This presented a problem, what with us having only the one copy. It led to arguments. Not, like, real arguments, but not exactly cutesy fun arguments, either. We did, at the time, have both a working PlayStation 2 and a backward-compatible PlaySation 3, so it was only owning just the one copy of the game that was really a problem. So the solution was pretty simple.

That’s how good it is. Dragon Quarter: The game so nice, we bought it twice.

Technically, we only bought the game once. I bought it when it first came out, back in early 2003. I played it for a while, and while it was pretty to look at, and it had good music, and the setting was interesting, it just didn’t come together for me. Despite this, I had no desire to trade it in. I had the feeling I was onto something good, though I couldn’t quite grasp it at the time.

I hadn’t had much experience with the Breath of Fire series then. I owned a copy of Breath of Fire IV, which was really the first game in the series that I even tried to tackle seriously. Having unwillingly skipped over the 16-bit generation (owning a TurboGrafx-16 and five games hardly counts), my impression of the series at that time could basically be described as “like Final Fantasy, only not quite as inventive”. It perhaps wasn’t a fair assessment, but I was basing this on the opinions of friends and acquaintances; I was unable to draw my own conclusions. Still, I liked Breath of Fire IV well enough, even outside of some positive personal associations, so I hung on to Dragon Quarter, feeling relatively certain that one day, I would get the itch to try it again.

As it happened, I did, a couple years down the line. The story and the characters were calling to me, and this time, everything finally clicked.

It probably helped that, around that time, I was beginning to become aware that JRPGs as a genre were becoming (or more likely, always had been) deeply conservative in terms of design, as well as character and story archetypes. Realistically, this has probably been the case since the days of the original Dragon Quest, Final Fantasy, and Phantasy Star. But I got into these types of games in late 1998 with Final Fantasy VII; I was new to the genre in those days, so even things that were rote and by-the-numbers were fresh and new to me then. And in fairness, I’ve enjoyed a number of these types of games. But by this time, I found myself wanting games in the genre to branch out and do something new. So many of the mechanical mainstays of the genre, the “traditions” of JRPG design, began life as frankly clunky workarounds for technology that wasn’t really up to giving us a less abstract simulation of the expected features of a fantasy adventure: travel, exploration, fighting monsters, finding treasure, getting new and more powerful gear, and saving the world and any number of princesses. If you wanted to simulate all of these things on older hardware, you had to have a certain amount of abstraction. So you had your turn-based battles, your random encounters, and so on, and so forth.

By the PS2 era, the technology was rapidly growing beyond the need to adhere to these ancient abstractions for any reason other than nostalgia’s sake. It had been doing this for some time – Chrono Trigger jettisoned random encounters back in the mid-90s, but despite the universal acclaim that game received, no one seemed terribly interested in implementing any of its innovations elsewhere. Developers were, by and large, unwilling to grow out of those old ways. In part this might be down to the reluctance of their audience (or at least a very vocal portion of it) to part ways with those same traditions. But whatever the reason, the result was the same: stagnation. Or so it felt to me.

I wanted something that was different from the JRPGs I’d played before. Something that still offered the thought and planning that went into playing an RPG of any kind, something with a good story and interesting characters, but which went off the beaten path and did something different.

And so, in late 2004 or maybe early 2005, two years after I originally bought it, tried it, and hung it up for the foreseeable future, I started playing Breath of Fire: Dragon Quarter again.

It’s an odd beast, this game, even when you look at it in the context of its own series. All the more so, really. The earliest Breath of Fire games got compared to the 8- and 16-bit Final Fantasy games, at least by most of the people I knew back then. Really, a more apt comparison would be to Dragon Quest, but I hadn’t played any of those games, and I was part of a group of friends who oddly lacked much experience with that series, so maybe nobody was in a position to make that particular comparison. With most of my friends, Dragon Quest (then known as Dragon Warrior due to trademark issues; I feel so old sometimes) was always “That game where you grind for hours and hours and then you finally say ‘fuck this!’ and go do something else, maybe play Final Fantasy or go outside or something, I dunno”.

Anyway, the whole series up to this point had been pretty standard high-fantasy fare, with the unique selling point being the main character’s ability to transform into a dragon. Most of the game mechanics beyond this were pretty straightforward. My experience with the series at large was pretty much limited to some time spent on the fourth game, and some time spent goofing off with ROMs of the first two out of idle and quickly satisfied curiosity.

One other consistent feature of the series is that the main character, the aforementioned dragon-transforming person, is always a young blue-haired swordsman named Ryu, and there is always a blonde, winged young lady named Nina who typically focuses on magic. Additional characters tend to be of all shapes, sizes, and species.

Dragon Quarter, by contrast, occurs in a future dystopia where humankind, having pretty much destroyed the environment through the use of biologically engineered weapons called dragons, has retreated to a single subterranean dwelling called Sheldar. There, they survive as best they can.

In this society, everyone is given a rank, called a D-ratio. On the surface of things, this ratio is a measure of one’s current ability and future potential, and places limits on their social standing, the kinds of jobs they can hold, places they can live, and overall determining just exactly how high they can rise in the world, figuratively and literally.

“Low-Ds”, that is, people with low D-ratios, live further down in this habitat. The air is worse, people’s lifespans are shorter, and there are occasionally monsters called genics that roam around down there. The people with high D-ratios live closer to the surface where the air is better and things are generally less dangerous. A nice touch is that, especially in cut scenes, the game is literally more hazy and grimy, visually, the further down you are. As you go up, the environments gradually become clearer and brighter. It happens bit by bit, so you may not notice it the first time through, but if you finish the game and start over again, the difference stands out.

One of the few story beats to be preserved is our hero: Ryu. Here, he’s a low-D ranger, whose job mainly seems to involve security and hunting down genics. His D-ratio is abysmally low: 1/8,192. His current job is the very highest he can hope to achieve. He’s partnered with another young man named Bosch, D-ratio 1/64. While Ryu is effectively at the very limit of how far he can rise in the world, Bosch is only at the beginning. A D-ratio as high as his means he can potentially qualify to become a Regent, one of the four rulers of this underground world. Bosch is basically just paying his dues here. He’s friendly enough to Ryu, in a condescending sort of way, which Ryu mostly just shrugs off. What else is he going to do?

While reporting for an assignment with Bosch, Ryu succumbs to a brief fugue, in which he has a vision. He sees the decaying remains of a giant dragon spiked to a wall. Despite clearly being dead, the dragon seems to talk to Ryu, mind-to-mind, though what it says to him makes virtually no sense at the time. Not long after, Ryu comes across the real thing, though it is very visibly dead and inanimate.

A terrorist attack splits up Ryu and Bosch, and shortly thereafter, Ryu runs into this game’s version of Nina, as well as a member of the resistance movement Trinity, named Lin. She seeks Nina for her own – or rather Trinity’s – purposes. The three form an unlikely but highly effective team. But allying himself with these two has its consequences, and by the time Ryu and Bosch reunite, circumstances have made them into enemies. Bosch is a good fighter, and he has plenty of allies with him, but Ryu refuses to betray his new comrades. Thankfully, his encounter with the dragon was no mere dream or hallucination. Unbeknownst to him, it has bestowed him with awesome power… and a deadline.

With every passing moment, the monstrous dragon power lurking within Ryu grows more prominent, threatening to overcome him. While Ryu is in control, he can transform into a bestial form capable of slaughtering even bosses within just a couple of rounds of combat. But drawing on that power accelerates its progress in overtaking him.

And so, with all hands turned against him, Ryu, Lin, and Nina have ultimately just a single option: Escape.

One of the things that I like about Dragon Quarter – one of many, many things – is the way that the game’s more prominent mechanics and its story are so closely intertwined.

The dragon power bestowed upon Ryu early into the game isn’t just a narrative device or story element, coming out only when dramatically convenient. It’s also a game mechanic, in the form of what the game calls a D-counter. This is a number, a percentage, that appears in the corner of the screen. As you play, it slowly ticks up toward 100 in intervals of a hundredth of a percent. Everything you do in the game causes it to increase. Everything. Every 24 or 25 steps will cause it to increase by one interval. Later in the game, this happens every dozen steps or so. Ryu’s special D-dash ability, which allows him to avoid enemy combat, causes it to tick up faster. Transforming, all by itself, raises the counter, and any actions taken while transformed increase it by whole-number percentages. It is literally overpowered. What I mentioned about crushing bosses in just a couple of turns was not hyperbole. I’ve done it. It’s basically my end-game strategy.

There is no way to drop the counter. Ever. There are no items, no spells, no techniques which will allow you to reset it or undo any of its progress. It just sits up there in the corner, slowly increasing and glowing ever more furiously as the number grows. The tension between the temptation to use it whenever you’re in a bind and the punishing consequences of that use can be exquisite.

When I first heard Dragon Quarter described as a survival-horror RPG, it didn’t make sense to me. But that’s mainly because I associated the mechanical elements of most of the survival-horror games I’d played with the more thematic elements of horror. And there are horrific moments and images in Dragon Quarter; the world of the game is not a happy place, and its maintenance is not easily or cleanly done. But that horror is mainly a consequence of the world-building; it’s not the point of the game.

The key here, I think, is the word “survival”. You might more accurately call Dragon Quarter a survival-RPG, except it’s basically the only one of its kind that I know of. It’s kind of hard to wrangle a whole genre out of that.

At their heart, survival-horror games generally “work” based on two principles.

The first is the fragility of the player character relative to other types of games, and relative to the enemies within the game. You are not the hero of a more action-oriented game, who can take maybe a dozen sword strokes straight to the face and just keep going, or who can withstand a hail of gunfire and duck behind cover for a few seconds while your shields recharge. Here, the player is reduced to a much more even footing with the enemies. Every bit of damage taken is a significant setback that needs to be planned around, either to prevent it or to deal with it when it happens. Every attack must be calculated. This is because of the second principle, which is resource management.

The in-game resources, both those which you use to preserve yourself and those you use to eliminate your enemies, are finite. So they must be spent wisely, frugally. Because of this, you are constantly required to take a measured, careful approach to any situation. You can never just blithely wander around; to do so invites disaster twice over. In the short term, you risk serious harm, leaving yourself vulnerable to future threats. In the long term, if you come out of the situation relatively unscathed, it’s generally at some expense of resources, leaving you ill-prepared for future encounters. Carelessness becomes indistinguishable from suicide.

This puts pressure on the player to play extremely well at all times by punishing mistakes immediately and brutally. As a result, some of the typical elements of JRPGs are missing.

There are no healing spells or techniques. All healing – whether restoring health or curing negative status effects – is accomplished by way of expendable (and frequently pricey) items. And you have to consider how often (if at all) you’ll be using some of these items, because inventory space is limited, and multiple items of a single type don’t “stack” very much before requiring another inventory slot. And, naturally, the usual economics of JRPGs are in full effect. Whatever you get for selling an item is a pitiful fraction of what it costs you to buy.

The game offers you the ability to use bait and traps to lure enemies into a position of compromise and get the drop on them, but even these need to be used sparingly. There’s hardly enough for every encounter.

Interestingly, the game knows exactly how difficult it is, and gives you something of a way around the problem.

As with most RPGs of any kind, Japanese or otherwise, you earn experience points, new equipment, and new abilities as you go through the game. In addition, Dragon Quarter also gives you what’s called Party XP. Basically, this is experience you can dole out to party members as you like to boost their levels.

Should you find yourself in a situation where you can’t progress without either having your party wiped or running the D-counter up to 100% (which, if it hasn’t become obvious by now, is an instant Game Over), you have the option to do what’s called a SOL Restart. This restarts the game from the beginning, but lets you keep all the equipment and skills you’ve learned, as well as any Party XP you still have. This gives you get a fresh start while retaining your improved gear, and the Party XP lets you give yourself a boost in the early stretches.

There’s also an option to restore a previous hard save along these same lines. Dragon Quarter allows “soft” saves anywhere, but these are temporary by design. Once loaded, these saves disappear. There are only a few “hard” save points, from which you can restore at will, and to which you will be returned with a SOL Restore.

If this sounds ridiculous for what is typically a long-form type of game, it may help to understand that Breath of Fire: Dragon Quarter is only about eight to ten hours long from start to finish on a single play through, once you know what you’re doing. Even with a couple of full-blown restarts, you’ll be spending no more time on Dragon Quarter than any other game from the same time period. Less, probably.

Writing this now, I just about want to say that Breath of Fire: Dragon Quarter was Dark Souls before Dark Souls really existed. There’s a certain similarity in that both games are more difficult than usual while still being relatively fair, and in the expectation that you will die, probably more than once, and that rather than being a tragedy, it’s simply an instructive part of the experience. Or in the case of Dragon Quarter, you’ll experience (probably more than once) a situation in which death is basically a given should you continue, and the smart thing would be to cut your losses and restart.

Dragon Quarter’s infliction of pressure extends even to the representation of the game’s characters and world.

Most characters have a skinny, almost emaciated appearance. Part of this is simple stylization, of course, but it still contributes to the overall effect. These people live a thin and narrow existence, it says, devoid of the expansive pleasures humankind was meant to enjoy. There is a grimness and a quiet desperation underlying it all.

The world itself is a fucking hole. Corridors in the lower areas are littered with random junk and debris; it’s best not to think what it might all actually be. The air is hazy and grimy, and things have a sort of cobbled-together look that just makes the whole place look cramped and dingy and uncomfortable. In these lower areas, everything looks like it’s about one stern look away from falling right apart. The upper areas are cleaner, more solid, but can seem so sterile and strictly designed as to be hostile. Dragon Quarter does a wonderful job of creating a world you want to get the hell out of as soon as you can.

It’s ironic, really. Most games, I play to escape from the troubles and stresses in my life. And most games oblige this desire. Even the ones that take place in barren wastelands tend to take place in gorgeously rendered barren wastelands that encourage you to examine every carefully tailored nook and cranny. They’re an invitation to exploration and adventure, and are “barren” or “waste” only as a matter of aesthetics.

But limitation and escape are the central themes in this game, and a world in which such themes are explored must be more than a background or a prop.

The world is limited in its size; an RPG with little to no detectable exploration, comprised mainly of tunnels and rooms, and a single clear direction and objective at all times. The player's inventory of supplies is likewise limited, in keeping with the surival horror influence. The player is frequently required to prioritize, and ditch whatever they aren't likely to use based on their play style. Care must be taken by the player to work within these limits.

Narratively speaking, the story also explores the idea of limitations. Ryu himself embodies these limits. His D-ratio is among the lowest of the low. His place in society, the ways in which he can define and express himself, how he can live – all of these things have strict limits placed on them. And this dragon entity, Odjn… As much as it much as it appears to be the key to his salvation, as much as it empowers him to break all barriers and overcome or destroy all opposition, it limits him as well. It puts a countdown on his life, ticking down the hours he has left until... well, until whatever horrific thing might happen when Odjn gains total control and breaks free.

And in the end, the characters decide to break free of these limits placed on them by the world by breaking free of the world itself, to smash through the ceiling of it and see once and for all what lies beyond its narrow, choking confines.

Dragon Quarter is a game about escape.

Ultimately, this is a large part of what interests me about the story of Dragon Quarter, what keeps me coming back. Rather than a big, trampling save-the-world epic, it’s about a group of characters who just want out. This is a smaller story, a “tiny tale of time”, as the game itself tells us in its opening narration. It’s huge in its implications for its world and its characters. It’s great in the scope of the ideas it asks its characters to contemplate. (It flirts with Gnosticism, which immediately grabs my interest). It that sense, at least, it does involve the end of the world, in one way or another. But the scale is smaller, and the characters strike me as being more real because of it.

Ryu, Lin, and Nina don’t want to fight anybody. There’s at least one memorable occasion where Ryu, surrounded by enemies, asks why they can’t just let him and his friends go. The character animations in Dragon Quarter aren’t spectacular, but they get the job done here. There’s something about the way that Ryu asks his question that seems to have layers. On one layer, he seems mentally, psychologically exhausted from the strain of all the fighting, and the toll all the deaths he’s dealt out has taken on him. On yet a deeper layer, he seems equally exhausted from fighting the thing inside him that threatens to take over and destroy him.

They aren’t trying to harm anybody. And it seems reasonable just to let them go, on the one hand. But on the other, there is the major problem that letting Ryu and company out of this subterranean pit will completely upend the social order – will end this idea of the world – purely as a side-effect of his escape. Because the underlying problem with Ryu’s world is a variant on the same problem that keeps people in dead-end jobs and abusive relationships long beyond the point when, logically, they should be getting out.

Fear.

The world of Dragon Quarter is, as previously stated, an absolute, utter shithole in purely objective terms. Even the people in charge don’t seem to be enjoying themselves much. And it’s because everyone seems to be in unspoken agreement that even if the current circumstances are awful, at least they’re familiar awful circumstances. It’s possible that things are better on the surface, but it’s just as possible that they aren’t. It’s just as possible that they’re far worse. This, at least, is the devil we know.

Even one of the main villains, the ruler of this subterranean nightmare, is ruled by fear. A thousand years before the story proper, he was given the opportunity to open this world to the surface. But he backed down. In his fear that the world above might still be the barren wasteland people left ages ago, he turned back at the final moment, sentencing himself and everyone in the underground to remain in it indefinitely.

There’s an anime I like quite a bit – it’s probably my favorite, really – called Revolutionary Girl Utena, and in it there is a bit of dialogue that is recited so often it’s practically a ritual. It goes like this:

“If it cannot break out of its shell, the chick will die without ever being born. We are the chick. The world is our egg. If we don’t crack the world’s shell, we will die without ever truly being born. Smash the shell, for the world revolution.”

This is actually a paraphrase from the Hermann Hesse novel Demian: The Story of Emil Sinclair’s Youth (usually just known as Demian), in which it’s put this way:

“The bird struggles out of the egg. The egg is a world. Who would be born must first destroy a world. The bird then flies to God. That god’s name is Abraxas.”

To go up, to go out, to rise, to escape: This is an act of tremendous faith.

#breath of fire dragon quarter #breath of fire #dragon quarter #rpg #jrpg #video game #deep dive #effortpost #longpost #gnosticism-lite

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zippdementia · 7 years ago

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Part 28 Alignment May Vary: The Rocks Speak

Welcome to post 28 of our long running adventure! We started back on the Moonsea coast with three prison ship survivors who washed up into adventure. Since then, there have been many twists and turns and only one of the original party is still alive, Karina the Tiefling Spy. Her path has taken her with two others towards the legendary Tomb of Haggemoth, where she hopes to find riches and (more importantly) answers to questions that have plagued her since she was betrayed in the war. Meanwhile, her companions have their own quests: Tyrion the Halfling Bard needs to record a tale to impress his college directors and secure his place in the famed halls of song, and Abenthy seeks the ultimate justice in the name of his father, a Fallen Angel. This post marks the beginning of the last dungeon of the campaign and will walk with the players through each room, detailing what they discover and what adjustments I have made to the dungeon. I hope players of D&D find it entertaining and dungeon masters find it helpful in running their own dungeons!

Haggemoth is a conversion from 3.5 and I’ve talked about some of my methods for conversions to 5th edition in the past. Monster conversion, in particular, is more of an art than a science, with the end goal not being perfection so much as it is to capture the correct feel for a scene or battle. One hard and fast rule to keep in mind, though, is the rule of DC. You can pretty nicely get an appropriate DC from 3.5 to 5 by taking the original DC, subtracting ten, cutting the number in half (rounded up) and then adding ten. For example, if the DC for avoiding a trap from 3.5 is Dex Save DC 19, then the conversion is

19 - 10 = 9

9/2 = 4.5 (round up to 5)

5 + 10 = 15

New Dex Save DC = 15

I use this method for every DC conversion so I want to throw it out there immediately so that it is assumed throughout the remainder of the adventure.

Anyway, the bridge across the chasm is destroyed, Tyrion is unconscious, and Karina and Abenthy are badly hurt from their battles with the Bugbears. Verrick is gone, the three soldiers are dispirited, and everyone is hungry. After eating and then collapsing, exhausted, into a long rest, the party awakens the next morning to find themselves staring at a massive door in the cliff face:

Built into the side of the mountain is an immense portico that features a pair of gigantic stone doors, each one twenty feet high and ten feet across. There is a single massive, steel-reinforced stone bar across the door, but a great deal of stone and wood debris has been piled up against the door as well.

It doesn’t take long to clear the debris, I assume this was placed there by the designer in case the players try to run past the Bugbears without stealth or fighting them: then the Bugbears can charge them, or lob arrows at them from across the bridge while the players try to clear the debris. A nasty end for anyone who thought to rush past the fight!

As it is, the players clear the door and enter the first hall. It is moldly inside, and damp and cold, with a smell like age and decay. Every so often earth tremors rock the place and bits of rock and dust fall from the ceiling:

Beyond the main doors is a large vestibule with a vaulted ceiling. The walls look like they once bore runic carvings, but these have all been defaced. Plants from the hillside have infiltrated the tomb here, and bits of root and moss hang from cracks everywhere. This chamber is filled with refuse of all kinds: plant matter, the carcasses of small animals and insects, and the desiccated corpses of several species of humanoid. As light spills into the chamber, the floor comes alive with movement.

Attacking the players are some giant centipedes. This is the first adjustment I have to make. Insect creatures are treated very differently in fifth edition than they were in third. In third, poison was a really big deal, a threat to even high level parties. It’s still not great in Fifth edition, but saving throws are all around easier and because fifth edition has done away with the touch attack (which ignores armor) creatures like this have a much harder time landing hits. So even though I can (and do) describe gross bugs falling over Karinna from the ceiling, I can’t really simulate them being “on her” as I could in Pathfinder, and as the module intends.

I compensate by bringing back touch AC for this fight, letting the centipedes crawl inside armor and up leather jerkins to get their attacks. It’s not a perfect solution, but it keeps the proper difficulty for the fight, letting the centipedes land some hits while still bring pretty tame. In the future, I’ll probably take insect fights and use swarm statistics for them, as this seems to be the way that Fifth Edition “buffs” its insects at higher levels. That said, the only rule I miss from Pathfinder is the touch AC—it just makes so much sense in certain circumstances and creates a nice difficulty balance for parties that have a mixture of speedy rogues and tankish paladins. I don’t think it necessarily needs to come back as a hard rule applied to every combat, but it would be cool to see some monsters in future DnD 5 supplements gain abilities which ignore armor and rely on pure dodging by targeting AC + Dex directly.

Mine! Mine! Mine!

Tomb of Haggemoth is my favorite kind of dungeon, in that nearly every room in it (and most of the monsters) has a reason to be there. I love dungeons that are more natural settings, rather than just endless turns and twists of caverns. My earliest experiences with Dungeons and Dragons was when my father bought Undermountain for me when I was four. I didn’t play the game, but I read through each description of every room. They were like short stories, and one of the joys for me as a player to this day is when I come to a room in a dungeon and can ultimately puzzle out the history of what this used to be and how it came to be what it is now.

There is a really interesting logic to Haggemoth that results in the first half of the dungeon being harder than the second half, but as my players aren’t there yet, I’ll talk more about that later. For now, they come to the next hallway, after cleaning bug gunk off their boots:

This hallway is similar to the vestibule. All kinds of miscellaneous debris is scattered over the floor. The doors to the south and east have been battered and smashed beyond hope of repair, but the door to the north seems to be somewhat solid. The corridor narrows to the west, proceeding deeper into the mountainside.

There are a few dead ends here. West is the actual path forward. To the north is storage, but a vicious mold has overtaken it, turning everything to poisonous rot. To the south, a Xorn has recently burrowed into the area. Originally from the Elemental plane of Earth, he covets the gold and gems in the mountainside and has stayed, slowly gathering some precious rubies and diamonds. If he ever spots Karinna, he’ll lust immediately after her “Eye of Callax,” as it is an extremely large, extremely rare, and extremely beautiful gemstone. He also knows, intrinsicially, some of the secrets of this place, and can be compelled or bargained into sharing them if treated with proper respect and offered rewards. He knows one of the biggest secrets that my players still don’t know...

My group takes the North route and almost immediately is overcome by the mold, taking massive damage as the spores tear at their lungs. Fire kills the stuff, and one of them uses a torch to light up enough of the mold to render it harmless, but the damage is done. They decide to pull back and take a rest before adventuring further. And during the night, the Xorn attacks, snatching one of the soldiers (Biggs) and pulling him back inside the tomb. The players awaken and give chase and a quick combat ensures.

Xorns are cool. Old school DnD monsters, they represent a nice bit of world building in that they come from the elemental plane of earth, thus suggesting the larger universe that the fantasy game situates itself in. They can be a tough kill in DnD 5 because of their burrow ability, in which they disappear into the earth around them, becoming completely immune to all attacks. In one round, therefore, they can disappear into the earth, appear right below someone, and get an attack off. If they wait a round and successfully make a hide check, they can get the attack off at advantage for surprise. And depending on how you want to play it from there, you can add all sorts of bonuses to their attack and/or defense because they are burrowed (DnD 5 is intentionally loose on how these things work, letting DMs adjust the rules to their own style and game). I like to add some defensive AC bonuses, but I also like to be fair about retreating: if they reburrow while they are right underneath someone, it counts as a movement and gives the players opportunity attacks. Picture all the tentacles disappearing into the ground while the players hack at them...

The players don’t seek to barter with the Xorn, but go at it headlong, getting off some very good strikes very quickly. Before long, they have defeated it, even with it burrowing and opening up right under Abenthy (that crazy high AC is helping him immensely here).

Sadly, Biggs has perished in the attack, leaving them with only two of their NPCs to carry on through the dungeon. Which brings me to another topic.

Character Cards

Our campaign has never been without allies and helpers. some may remember the half-orc barbarian woman that the group hired in Ottoman’s Dock, who lost her life to Rose of Ottoman’s Dock, or the bodyguard of the Butcher of Skagos, who perished in the Icy Wastes during a fight with Worg Riders. These early NPCs were stated out fully, like Player Characters and taken over by one of my players. I didn’t like this system, because it made a lot of extra work for us. I had to create the characters, which made it difficult to throw in improvised NPCs and companions at any given moment, and put an extra burden of roleplaying and stat tracking on my players that I felt left either the NPC or their own PC with a little less investment. At the same time, just having NPCs be “background extras” that fit into description but had no actual effect on gameplay, didn’t feel right either.

My solution was to create Character Cards. I talked about this back around the time the party was going through the Desert of Thud but since then I have refined the process. Character Cards now give a multitude of in-combat and out-of-combat options for players to use. The current cards look like this:

Xaviee, Human Fighter

Once per combat: do 1d6 slashing damage to any opponent.

Once per combat: roll 1d6. If the result is a 5 or 6, then +2 to all ally attacks and damage this round.

Reaction: Block an attack completely. Roll 1d6. If the result is 1-4, Xaviee is permanently dead.

BLAZE OF GLORY: Sacrifice Xaviee to add +4 to all ally attacks and Damage this round.

Samuel, Human Guard

Once per combat: do 1d6 slashing damage to any opponent

Once per combat: do 2d6 slashing damage to any opponent. Roll 1d6, if result is 1 or 2, Samuel dies, permanently.

Once per combat: do 3d6 slashing damage to any opponent. Roll 1d6, if result is 1-4, Samuel dies, permanently.

Reaction: Block an attack completely. Roll 1d6, if result is 1-4, Samuel is permanently dead.

You can see how Xaviee is a little more powerful, because his abilities carry less risk of dying when he uses them, representing his higher level. This is a quick and surprisingly clean way for me to represent a usable NPC/retainer with very few stats. We don’t worry about placement of the NPC on our maps, or try to simulate enemies targeting them in combat. If they die because of their roll, it’s assumed they were hit enough times by the enemy to perish. If there are certain situations where it just doesn’t make sense that they can be used, like the heroes are fighting underwater and Xaviee has been left on shore, then we take them out of use for the combat. Simple is best.

It also builds more of a connection I feel between them and the players, as these are decently powerful “items” that they do not want to lose. I am reminded of Final Fantasy Tactics, where most of your party never have a single word to say during the story, but yet you care about them simply because you use them in combat. Because they are a part of your gameplay they actually end up being more a part of your story than the actual story, as for the most part 70% of an RPG is combat and gameplay and only 30% is cutscenes and exposition. Possibly that number is even lower in Dungeons and Dragons, depending on your play style.

The character cards will continue to morph and change as we continue to play and I seek the correct balance between gameplay and function.

Halls of Bone

Progressing forward, after a brief mourning for the lost Biggs, the players come to a gigantic hall filled with bones:

This large, columned hall is replete with various carvings and relief sculptures depicting traditional Dwarven motifs: the forge, the anvil, the pick and axe, the tankard, and so forth. What was once a reflecting pool down the center of the hall now contains a thick layer of slime. At one end of the room is a 10’ tall statue of a clean-shaven dwarf, wearing a studded belt and a rune-encrusted crown with three black gems set in it. To either side, a balcony looks down on the central chamber. Phosphorescent mold on the walls and ceiling provides a dim, greenish light. What strikes you most, however, is that the floor is littered with bones – uncountable skeletons of man and beast lay scattered around the room, some still clutching to the tattered and rusted remains of armor and weapons.

“This is a trap,” Abenthy says, and the others quickly agree.

They aren’t wrong, though it is an unusual trap.

In the original 3.5 module, crossing a line within 30 feet of the statue activates the bones, which become 3d6+1 miscellaneous skeleton creatures and 1 large skeletal creature. This happens every time the line is crossed, up to a maximum of 50 skeletons and 5 large skeletons, all armed differently. These are stated out so that the little skeletons are weak hitters but very hard to kill (with damage reduction and very high AC) and the large skeletons are brutally heavy hitters and also pretty tough to kill. The design of the trap is that the players will be surrounded and overwhelmed by a bunch of regular undead who soften them up for the killing blow done by the big skeleton. When this horde emerges, some players will fall back to ranged position, while others will move up to tank and deal damage. Problem for them is, every time they cross that invisible line, whether retreating or advancing, the trap reactivates. Soon players will be terrifyingly outnumbered. Quick thinking players will realize that the statue is creating the effect and target that, but even then, the summoned skeletons don’t disappear, and players can be left in a whole heap of trouble.

Overal, the intended effect of the trapis to terrify players and set them up to be wary moving forward. They do have the option of running away deeper into the tomb, but the very next hallway is filled with spinning blades. If the players can roll high enough dexterity, they can pass the blades and effectively put a unpassable barrier between themselves and the skeletons, but it will be a tense moment, as failing the roll does grave damage and knocks them backwards, right into the waiting hands of the undead.

Translating this encounter into a 5th edition battle appropriate to six or seventh level characters is a challenge. Skeleton hordes don’t pose quite the same threat in 5th edition. In 3.5, a horde of this size could roll enough dice to grapple or trip even high level characters, setting them up for deadly coup-de-graces by the large skeletons, or weakening their AC enough to allow even the weaker skeletons to get hits off. Trip doesn’t exist in 5th edition, though, and while grapple can set up for a deadly “grapple, force player to prone” combo, it doesn’t give all the bonuses or options that exist in 3.5. I could emulate this by giving the skeletons bonuses to their grapple checks and some special abilties once they have the players grappled, simulating the “Night of the Living Dead” aspects of this encounter, but it feels like it will cause this room to devolve into a series of mindless rolls, the players rolling much less dice than me, but with bigger bonsues. That game quickly can become old, especially if they are facing fifty skeletons.

Instead, I try to figure out what frightens me. I think of the Silent Hill games and those twitchy nurses. Then I think about a room with dozens of them and I have my answer.

I design three skeletons for this encounter. The basics are below:

Twitch Skeletons

These skeletons are small in statue and their arms end in sharp points rather than hands. They gyrate as they move across the floor towards you, their jaws clicking open and closed in a silent protest of the horrors their afterlife has become.

The Twitch skeletons make up about 16 of the skeletons in the room. They have a very high dexterity and a 40 ft movement speed. They also have multi-attack, letting them get off two attempts to deal damage. The damage is not high, nor is their life, but their attack bonus is +8 and their AC in the high teens. The point is that they can close quickly and surround a foe, and after that, they can easily wear them down. As an added bonus, if enough of them are killed, the rest of them do something... interesting...

Normal Hitter

Out of the bone piles emerge skeletal warriors, wearing tattered remains of armor and wielding rusted weaponary and ancient bows. As you watch, one reaches into the bone pile at its feet and pulls free a straight arm bone, which it then nocks to its bow and fires at you from across the balconied room.

Basically regular skeletons, but I improved their attack a little to let them get off the occasional hit. These guys are truly here to hamper and physically get in the way. I also give them a little bit of an interactive option with my third skeleton...

The Minotaur Colossal

Lying broken against the dwarven statue is a large creature, tendons and strands of muscle still connecting its various bones into a humanoid shape with a massive bull’s head. The horns of the skull are stained a dull red with dried blood and across its lap lies a massive axe. As the humming in the room subsides, you see to your horror the creature stirring. When it stands, it is nearly eleven feet tall. It moves its head about and one of its empty sockets fixates on you. With a grunt, the creature begins to move forward, slowly at first, but quickly gaining speed to a charge.

This is my version of the “big hitter” in the room. I only use one of him, and as such I’ve buffed him up a little bit. He is, at core, a Skeletal Guardian as described in the monster manual, but with boosted stats and I added in a bull rush ability that can gore a player and knock him prone. His big weakness is his size, making it hard for him to manuever around the room and easy to hit, and while he hits hard he is not as accurate as his twitchy buddies. He does have the ability to heal however by grabbing a normal hitter and reworking their bones into his own, healing himself for whatever hitpoints they have left (but of course destroying them in the process).

A Clean Sweep

Unaware of exactly what the trap is, the players proceed cautiously. First, they clamber up onto the balcony, thinking that will at least give them the higher ground if it comes to a sudden fight. Then they start using Abenthy and Tyrion’s shields as makeshift brooms to sweep the bones in front of them and off the balcony as they move, trying to avoid having any behind them. This proceeds well for a good long while. There are rooms up here, too, each one leading to a small chamber carved with murals that represent the journey towards power in Haggemoth’s life. There is a depiction of him learning all the schools of magic, there is a room showing his accumulation of massive wealth (it also holds a mimic that gives them some brief trouble), there is a room showing him forging great weapons of power (including, oddly enough, a set of scales that he seems keenly interested in), and there is one showing the banishment of Haggemoth from his people and his sailing on a golden ship towards the remote island of Rori Rama.

Eventually, the players come close enough to trigger the trap. They end up triggering it twice before Karinna finally has the idea of putting an arrow into its gemstones, smashing them until she hits the correct one. This stops the trap, but not the 36 or so skeletons that have arrisen to fight them, including the massive minotaur skeleton, who easily clambers on top of the balcony to give battle.

“Hold your ground!” shouted Abenthy, placing his shield in front of him and staring down the massive bone creature that stalked the upper balcony towards him. Behind the minotaur, the masses of twitching skeletons gathered like the sea held back by a dam.

“Fuck that,” Tyrion shouted in his shrill, nasally voice. He began to play his lute and light exploded suddenly behind the minotaur, so bright that Abenthy squinted and turned away. When he looked back, the skeletons were stumbling into each other, swiping at nothing, and had stopped making any forward progress.

“They are blinded!” Abenthy called out. “Now is our chance.”

“They are distracted,” Tyrion corrected, and then followed as Abenthy moved forward, the two of them raining down blows on the minotaurian skeleton until it leapt off the balcony to escape the onsault. Even as it leapt, though, skeletons gathered below it, climbing up onto it, shifting and becoming part of it. Here, a rib that Abenthy had shattered regrew, and there the arm that Tyrion had knocked sprawling as the creature leapt was reforming out of the bones of another skeletong. Meanwhile, more skeletons were clambering up the steps to the upper levels, and they shook their twitching fellows free of their spell and turned them towards the companions. Xaviee and Samuel were the first to see them coming and the two soldiers shouted warnings before falling back towards Karinna, who was quickly disappearing inside a cloud of darkness.

Karina has used this trick before, to strong effect, in the battle against the Bugbears. The skeletons are a little more “programmed” though; when they can no longer see or hear their targets, they quickly revert to “stand by” behavior, all except the minotaur who is in a rage and goes wandering around inside the cloud of darkness, searching for the players. He finds Abenthy and takes a swing at him with a huge axe. Samuel jumps in front of the blow (using character card here) and miraculously survives, but is tossed backwards by the force of the swing, disappearing deeper in the darkness. With no hope of finding him, the players beat a haphazard retreat, making their way up the stairs towards the tomb entrance. The minotaur follows for a brief moment but after finding himself surrounded and taking some solid hits, he flees back to the bone room to recover.

Now there is a moment to breath. The players have been badly hurt. No one has fallen unconcious, but their spells are depleted (from healing, mostly) and their two companions do not seem to have made the escape with them.

“We cannot leave them in there,” Abenthy states.

Tyrion doesn’t share his dedication to companions. “They’ll be fine,” he says in his heavy accent. “Just let’s get some sleep and I’m sure they’ll find their way back to us.”

But Abenthy is implacable and begins making his way back towards the room. The others hurry to follow, Karina’s cloak of darkness wearing off and trailing wisps of ink-black fog behind her as they descend the stairs towards the bone room.

It breathed. There in the center of the room, crouched with the other skeletons crawling over it like ants on a hill, it breathed. The creature had grown two extra arms, fashioned from the bones of its fellows. And it looked up as they entered.

“Shit,” Karina said, nocking an arrow to her bow. But Abenthy was already striding forward, his arms flung wide, roaring a challenge that was answered in kind by a shriek from the minotaur. It rose, stamped its bony hooves, and then it charged.

Karina was not sure how it happened, but suddenly Samuel was back at Abenthy’s side, and Xaviee was charging out from behind a pillar as well. The blow that would have skewered Abenthy, armor and all, instead shattered Samuel’s spine. The horn that impaled him was wide as a man’s arm and long as a spear. Samuel was lifted into the air as the beast raised its head and shook from side to side until the body of the poor soldier was flung away. Then Xaviee was there, striking at the creature’s back, and Abenthy was moving now, too. His blade shimmering with dark flame, he struck at the creature’s four arms as they reached for him to pull him apart. Behind her a mournful song was being song. Tyrion had pulled free his lute and was singing, each word soudning like sobs, like childhood, like wine spilled in rain, like sadness. She was crying, whether from the song or from everything that had happened to her in her entire life, but she was also fighting, loosing arrow after arrow at the great skeletal beast. And finally, with a mournful sound like the wind escaping a dark cave, the skeletal minotaur collapsed and was still.

Abenthy ran to Samuel, preparing a spell to heal him, but the damage was too far gone. The man was broken beyond basic healing and was taking his last breaths.

“There is another creature,” he said, blood bubbling between his lips. “One formed of the many. It escaped, into a crack in the wall. It is waiting, watching...”

Nothing more did he say. His final warning hung over them and they all felt cold.

Next post takes our players deeper into the tomb, as they encounter deadly traps and deal with the Things Left Undone in the Halls of Bone.

#dnd 5e #tomb of haggemoth #playthrough #epic #Dungeons and Dragons #Journey Log #Wizards of the Coast #fantasy #RPG

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charlesdeegan-blog · 7 years ago

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