#necromancer goals

[wickedwillow66]

"Raising the dead en masse I get. Mayhem, destruction, sounds like fun. What I don't get is why Mount Hope cemetery in Rochester NY? Are you just really looking forward to zombie Frederick Douglass and Susan B Anthony eating brains?"

"Icing on the cake my young adept. Icing on the cake. Mount Hope has over 350,000 graves. Tell me adept, how many living souls are in Rochester?"

"250,000...... Ooooh I get it!"

[crownedinmarigolds]

Lovota Bonaventura - a dangerous Lasombra with a dark past and perhaps a darker future. <3 Another from the large batch of commissions from my beloved client! These are SO fun I love being busy! (Like a bruise she is....)

[natelia-aldelliz]

more ghost!Roach with accidental necromancer Soap, their first interaction !

(please ignore the fact that i can't draw the same character twice lmao)

[anakeions]

𖤓𖤓𖤓

[chloecorvid]

wow so D&D was good and all but I didn't expect the 2nd biggest lore drop of my character to happen yet and I'm still reeling from it

[lastflowerofyourhouse]

something i love about the way Genius is handled in the locked tombs series is that no two Geniuses are quite the same.

like, take our primary trio of necromantic prodigies, each of whom, in different circumstances, is referred to as "the greatest necromancer of their generation": harrow, palamedes, and ianthe.

palamedes became so powerful in pursuit of comprehension. he earnestly wanted to understand the material as completely as he possibly could. he was ambitious, yes, but never really for his own sake, only in the hopes of saving dulcie. when palamedes attacks a problem, a puzzle, a goal, all he really hopes to do is understand it. to gather up all the pieces of it and put them together in a way that makes sense. his genuis is founded on a relentless pursuit of the Truth.

harrow needs to be perfect. her life, her raw talent, were bought at such a steep price that she considers it a moral obligation to reach her absolute full potential beyond any reasonable limits. anything short of perfection would be wasting a gift that should never have been given to her in the first place. she is harshly self-critical, relentless, brutal. she martyrs herself on the altar of her own genius.

ianthe does not need to be perfect. she only needs to be the Best. she considers herself almost exclusively in comparison to other people. she loves nothing better than to feel superior. the brains of the operation, the puppet master, enough of a genius for two. so long as she is surpassing her nearest competitor, so long as no one is visibly out-doing her, she knows that she is succeeding.

and all of these mentalities are so beautifully informed by their upbringings. palamedes growing up in the lawyers, archeologists, and librarians house, harrow being taught from a young age that her very existence is a sin, and ianthe being raised in constant comparison to her sister. and each of these startegies produces different types of intelligence, also. different methods of problem-solving, different angles of attack. i love them all so much.

[oblivionsdream]

Y'all book two the Reanimator's Soul is coming out later this month and it's so good!! If you still haven't read book one then here's your reminder to do it now.

Oliver and Felipe from the Reanimator’s Heart by Kara Jorgensen! I finally found some time to do some art of them.

This book comes out next week and I would definitely recommend checking it out. 🥰

[lavenderprose]

Imagine you're Johanna Hezenkoss and your one goal in life is to Be Right All The Time and you've got this sidekick named Emmrich. He can do the whole corpse whispering thing and he's an objectively pretty skilled necromancer but, of course, YOU are Johanna Hezenkoss. And you decide that you like Emmrich enough to drag him along with you to glory. So you spend a few decades doing that. Only Emmrich is six and a half feet of saccharine poetry and fanatical devotion to the core tenants of the Mourn Watch and YOU, Johanna Hezenkoss, are just counting the moments until you can go Beast Mode in this bitch and show everyone what TRUE NECROMANTIC POWER means. So Emmrich weighs you down a bit but you're a little obsessed with him only because he's like. Real? That's a real dude? Saying that shit? Wild. Totally insane. He's like an annoying chattering dog who keeps all your secrets and makes the biggest saddest eyes at you when you say stuff like, "The world could be exactly what we want it to be. Aren't you MAD. Aren't you ANGRY at what they've taken from you. Don't you want to MAKE THEM SUFFER LIKE YOU'VE SUFFERED--"

Yeah. Whatever.

And then Emmrich betrays you because you're scaring him. SCARING him? After everything you've done for him? You were going to reinvent the world--you were going to put him at the top of it all so NOBODY could step on either of you ever again and now he's all, Oh Johanna, you're scaring me, this isn't what we believe in, you're letting your fear control you, blah blah BLAH he never shuts UP

Fear? FEAR, Volkarin? How fucking rich.

Then some stuff happens. Half lich 125 foot skeleton someone named Elgar'nan, maybe a God, who cares. You get so close--SO CLOSE--and then fucking Emmrich rolls in and this time he takes it ALL. Your power and your mortal life and your last remaining shreds of fucking credibility in this fucking world. And then he doesn't even have the basic fucking decency to say I Told You So. He keeps you on his desk like a tchochke and listens to you scream and spit and even THEN he doesn't do anything.

All the while he has his own sidekick now. Some vapid little thing always batting their eyelashes and paying Volkarin the kind of lip service that always distracted him, made his eyes go soft and his chin quiver. He's still such a weak man. You tell him so. You tell him and tell him and tell him until--

The sidekick disappears. Emmrich's eyes go empty and haunted in a way that makes you wonder what he's done to himself in his heartache and grief.

"Whoever did this to you," you tell him on the worst day, "You can make them pay. You're powerful enough. You defeated me." You being, of course, Johanna Balls of Steel fucking Hezenkoss.

"I just want them back," Emmrich admits. Because he's weak WEAK he's a weak man mewling pitifully in a dark room for his piece of ass while the moon rises red in the fucking sky and a God walks the earth.

"You have the power," you tell him. "When the world takes from you, you take those things back. This is what I've been telling you all these years, Volkarin. For once in your miserable life, LISTEN TO ME."

Finally, finally, Emmrich reacts. He screams. He throws a few books. He kicks his desk. Punches something, probably, because his knuckles start bleeding at some point. You watch it all with barely-contained glee. Anger, yes, fucking finally. You've been waiting your whole goddamn life for this man to realize how fucking ANGRY he is.

"How do I break into the fucking Fade?" He screams. He's not even looking at you. His hair is seven different kinds of fucked. His shirt is unbuttoned to the navel, and he's missing a boot.

"You could start by asking someone who's done it," you say. Emmrich turns, startled for some reason to hear you. Again you say, "Listen to me."

"Oh, Johanna," he sighs. "I've rarely done anything else."

It's not the words 'Thank you' or 'You're right'. It's certainly not lichdom or godhood or a 125 foot tall skeleton. But it's one point for Johanna Hezenkoss.

You'll make up the deficit eventually. Volkarin has a kid, after all.

[dalishious]

Dragon Age: The Veilguard’s Familiar Faces and Factions

The trailer for Dragon Age: The Veilguard has dropped, and I couldn’t be more excited. It’s like a new breath of life has entered my lungs!

Within the trailer, we now have confirmation of who our seven companions are going to be, and among them are a few familiar faces from the book Dragon Age: Tevinter Nights. We also have some name-droppings of a couple factions featured in the same book and the comics, Dragon Age: The Missing. So, here is what knowledge is established about these faces sand factions.

Neve Gallus & The Shadow Dragons

Neve Gallus was first introduced in the Tevinter Nights story, “The Streets of Minrathous”. She comes off as a no-nonsense and a little intense kind of person. Neve is a Tevinter mage who works as a private investigator. For example, if someone wants some detective work done but doesn’t want the public to know, they would hire Neve. On occasion, she’s even been hired by the templars, who act like just regular cops in Tevinter – and yes, that includes their corruption and primary goal of simply protecting the elite – but Neve prefers to work alone because of that corruption, and has a personal grudge against the order for taking bribes to cover up crimes.

Neve has a prosthetic leg below the knee, made of dwarven-crafted metal.

In The Missing, Neve says she is friends with the Shadow Dragons. In the article shared by EA, as of The Veilguard, she is officially a member. The Shadow Dragons are a group of concerned Tevinter citizens who help those in need. This includes supporting escaped slaves, for example.

Emmrich Volkahrin

Emmrich Volkahrin was first introduced in the Tevinter Nights story, “Down Among the Dead Men”. He is a necromancer from Nevarra, and therefore naturally a member of the Mortalitasi – specifically, a professor in the Mourn Watch. The Watchers serve as elite guardians of the Grand Necropolis. Emmrich is on the eccentric side, personality-wise, but kindly and informal.

Emmrich has a skeleton assistant name of Manfred, who helps him with different office tasks. He also has friends in Myrna, a fellow Watcher, and Audric, a dead guardsmen who looks after the library.

Lucanis Dellamorte

Lucanis Dellamorte was first introduced in the Tevinter Nights story, “The Wigmaker Job”. He is the favourite grandson of Caterina Dellamorte, First Talon (leader) of the Antivan Crows. As such, he was raised from birth to be the perfect assassin in a ruthless and torturous environment, knowing only cruelty from his family. This has led to him feeling less like a person and more like a living weapon – and he is treated like one by everyone who knows of him. He has “the Demon” as a nickname.

I know a few people are curious about the “mage killer” title in the trailer. Rest assured that Lucanis specifically kills evil blood mages. In his own words: “If someone wants to pay me top coin to kill a bunch of racist blood mages—who have it coming—I’m not going to complain.”

Where his cousin Illario has a “silver tongue” as Lucanis puts it, he himself is a lot blunter. His reputation of a killer is spotless, except for one small problem: He has a heart under all that black leather.

Lucanis and Illario get along quite well, except for the fact that Lucanis is destined to be the next First Talon, after Caterina dies. Illario wants the job far more than Lucanis, but Lucanis isn’t sure he’s capable of making a decision for himself that goes against the wishes of the Crows.

The Veil Jumpers

The Veil Jumpers were first introduced in The Missing #3. They are a group made up of primarily Dalish elves, though also inclusive of other folks of any walks of life willing to help, working to try and control the new threats within Arlathan Forest. The forest has become a ground of chaotic magic, with the Veil so thin that time and place is jumbled together. Thus, the Veil Jumpers move in and out of the spots that bleed into one another.

The Veil Jumpers do have a headquarters called “The Sanctum”, but we know nothing else about it.

The Lords of Fortune

Despite the Lords of Fortune being mentioned in more than one Tevinter Nights story, as well as the show Dragon Age: Absolution, we don’t know a lot about them. The only concrete information provided is that they are a loose group of people who collect trinkets and glory. They come out of Rivain. They typically wear a lot of their collected trinkets like badges of honour. That’s really all there is, so I can’t wait to learn more.

[queereads-bracket]

FINAL: Queer Adult SFF Books Bracket

Book summaries and submitted endorsements below:

The Left Hand of Darkness by Ursula K. Le Guin

A groundbreaking work of science fiction, The Left Hand of Darkness tells the story of a lone human emissary to Winter, an alien world whose inhabitants spend most of their time without a gender. His goal is to facilitate Winter's inclusion in a growing intergalactic civilization. But to do so he must bridge the gulf between his own views and those of the completely dissimilar culture that he encounters.

Embracing the aspects of psychology, society, and human emotion on an alien world, The Left Hand of Darkness stands as a landmark achievement in the annals of intellectual science fiction.

Science fiction, classics, speculative fiction, anthropological science fiction, distant future, adult

The Locked Tomb series (Gideon the Ninth, Harrow the Ninth, Nona the Ninth, and others) by Tamsyn Muir

Endorsement from submitter #1: "An extremely fun, humorous romp! A heart-breaking, soul crushing catharsis inducing tragedy! A thoughtful piece on imperial structures and trauma. On queerness, Muir flawlessly and without announcement, cracks gender open like an egg and spills its disproven guts across the page. The Locked Tomb does it all also bones, bitch."

Endorsement from submitter #2: "Lesbian necromancers in space. So many fascinating, sort of fucked up sapphic relationships going on."

The Emperor needs necromancers.

The Ninth Necromancer needs a swordswoman.

Gideon has a sword, some dirty magazines, and no more time for undead bullshit.

Brought up by unfriendly, ossifying nuns, ancient retainers, and countless skeletons, Gideon is ready to abandon a life of servitude and an afterlife as a reanimated corpse. She packs up her sword, her shoes, and her dirty magazines, and prepares to launch her daring escape. But her childhood nemesis won't set her free without a service.

Harrowhark Nonagesimus, Reverend Daughter of the Ninth House and bone witch extraordinaire, has been summoned into action. The Emperor has invited the heirs to each of his loyal Houses to a deadly trial of wits and skill. If Harrowhark succeeds she will become an immortal, all-powerful servant of the Resurrection, but no necromancer can ascend without their cavalier.

Without Gideon's sword, Harrow will fail, and the Ninth House will die. Of course, some things are better left dead.

Fantasy, science fiction, horror, mystery, humor, series, adult

[mayasaura]

What if we're just a little off the mark, when it comes to Ianthe's goals? It does seem like she's trying to become god. Studying resurrection theory, energy transfers, trying to replicate John's stasis trick on those apples. But Ianthe has always either shied from or been denied the spotlight. And the path she's on starts with her specialising in Resurrection theory.

What was the Resurrection, other than the obvious? It was the first recorded act in history, the beginning of necromancy. Why would a girl playing power double for her non-adept sister want to learn the secrets of the Resurrection? Well, there are plenty of reasons, but one that comes to mind is to learn how to make someone a necromancer who isn't. The first necromancer had to have gained the power somehow, right? Can you control who is and isn't a necromancer, if you're willing to pay the price? And then there was the conversation between Coronabeth and Judith, where they as much as said Corona could be king, but for the lack of job openings.

Whether she knows it yet or not, I suspect Ianthe's long-term plans are bending toward making Coronabeth god. All because she didn't want to keep doing her sister's homework.

[mareastrorum]

That last episode really wasn’t as interesting as the discourse suggests, and that’s pretty much the problem:

First, Ludinus’s fight was not of the caliber expected for a final boss fight, which (in combination with his staff) suggests that it won’t be the last time we’ll see him. The issue is that the audience is generally quite tired of Ludinus because (1) he has made far too many appearances for a villain with a single-minded goal, (2) his interactions with the PCs are uninteresting because his motivations don't resonate with them in agreement or opposition, and (3) Delilah did the whole “Cerberus Assembly wizard who refuses to stay dead” thing in this very campaign (plus it was far more thematically appropriate for a necromancer) and that takes the dramatic tension out of the possibility. No one cast member bears the blame for those 3 issues; Matt probably should have pivoted to give Ludinus additional motivations when the Hells had so consistently demonstrated an inability to commit to the gods question, and the players should have done something to build a sense of purpose in their group (which would be their reason to oppose the villain). Instead we're left with "this guy has rancid vibes, kill him and do what he wanted us to anyway."

Second, the PCs’ decisions leading up to this point have annihilated any semblance of tragedy in the narrative. This isn’t a tragedy because that genre rests on eliciting a feeling that the characters deserved better, but the audience nevertheless understands why it turned out this way. That can arise from paying attention to institutional injustices, the allure of cycles of violence, or the development of tragic flaws (strengths causing a downfall). That isn't C3; this is a bunch of trite flaws (selfishness, short-sightedness, pettiness, favoritism, etc.) turning out to be flaws. It would have been amazing if this had been an example of hubris like we saw in EXU Calamity, but each of those main characters were bursting with pride in themselves, their city, and mortality, and while that hubris brought the Lord of the Hells back, they managed to prevent the worst case scenario using the exact same skills and resources. None of that is present here. Bell’s Hells are constantly trying to shift the captain’s hat to someone else, and their ship has been heading straight for rocks for the past 60 episodes. There was no intention to sail into the rocks. It wasn’t their strengths that led to Imogen accepting Predathos; it was the same indecisiveness that has plagued them the entire campaign. They had 118 episodes to build a proper tragedy, and instead we have a story that took hundreds of hours to say that unreliable people shouldn’t be relied upon. The result has been numerous posts hoping for the Hells to suffer all sorts of consequences (TPK, specific player deaths, refusal of aid from the gods) for failing to commit to a course of action. Why? Because then at least there would be some type of cathartic satisfaction that Fucking Around means they’re going to Find Out. It has nothing to do with imaginary people deserving a better ending and everything to do with feeling like this ending would have been more satisfying around episode 50.

These criticisms are not about facets within the story; it's not about whether X character was correct, whether Y fucked up, whether Z plan was the better choice. It's that sometimes people don't land their bit for improv shows, and that is disappointing after seeing skilled storytellers do so well with prior campaigns.

[kawareo]

I feel like playing someone i don't like so origins are out of the question, bringing back an old oc

His name is Candor, his only goal is to become the most powerful necromancer in the world. His personality is awful, he has a punchable face and homosexual tendencies. He's a half drow but doesn't look like it and yes he feels superior for it. He's the reason why blonde man get bad rep

[spectrechosts]

The vampire stands silently in the doorway of my study.

She waits for my invitation, though she does not require it. She is inside my lair already, comes and goes to do my bidding. I know not why she hesitates, why she watches me work from a distance. Perhaps she plots my downfall?

Many a necromancer has met their end between the jaws of a vampiric servant. The vampire is far craftier than the mindless zombie, the puppet skeleton. The vampire is prideful, scheming- has goals and desires all its own. The autonomy that makes one useful also makes them a threat.

"Come in."

She glides across the room soundlessly, kneels beside my desk chair, head down. Her subservient demeanor is- excessive, she lays it on much too thick. I'm not fool enough to question if it might be sincere, only if it's meant to hide that she's using me or that she simply wants me dead.

"I have quelled the villagers as you asked, my penumbral Mistress."

~Penumbral Mistress~, feh, who falls for such simpering acts?

"Their newly dead are being carted to your mausoleum, and the excavation of their graveyards is back underway. All is as you desire."

Suspicions aside, she does good work. Such uprisings used to set me back weeks, now she settles them in a few nights at most. Whatever she plans, she's useful enough to be worth it.

Besides, I am no neophyte, playing with forces beyond her control. I am a necromancer, and she is undead. The moment she lifts a hand against me will be the moment she is flayed from within, her unbeating heart exposed to the light of the sun for her treachery.

"Excellent," I say. "What do I owe you for your services?"

She deigns to lift her head, to look at me.

"I wish to taste you, my Mistress."

Ugh, vampires, predictable.

"Very well. Open."

I take her chin with one hand as she opens her jaws. My other hand I rest on her cheek, placing my thumb into her open mouth. I swipe it across her teeth, trace it up a sharp fang and press the pad into the needle-tip until it punctures the skin. I pull off the fang and press my now-bloodied thumb into her tongue, holding it to the floor of her mouth.

Through it all she doesn't move an inch. She watches me wide-eyed, unblinking, unbreathing. I am of course warded against the hypnotic gaze of her kind, though- I don't feel her trying to use it. Perhaps she does this to lower my guard, in the hopes that one of these feedings I'll forget, I'll trust her enough not to bother. Perhaps she is so beneath me it doesn't register.

Perhaps she is simply stupid, and doesn't even think to try.

She swallows softly as I hold her there, the tiny amount of blood enough to bring color to her cheeks.

"Enough," I say, removing my thumb from her mouth. The vampire whimpers softly, but I am far too important to be made a meal. "Slake your thirst on some peasant, I have work to do."

She swallows again, her eyes pleading before she casts them back to the stone floor.

"Of course, Mistress."

[dailyadventureprompts]

DM Tip: Lining up the Pieces

A few years ago I saw a video that changed the way I design combat encounters, using chess pieces and 4th edition monster roles as a handy way of conceptualizing the enemy roster and making better combat.

I’ve wanted to refer back to it for ages now, but I can’t seem to find it.  As such, I’m going to reproduce it’s wisdom here for everyone’s benefit and hope I can find the source one day.  ( I feel like it was a Matt Coville video, but my searches have turned up nothing. Seriously, if you can find it I will be extra grateful).

TLDR:  You can break down enemy combatants into six (ish) roles represented by different kinds of chess pieces, and you can mix and match them when designing encounter to create fun tactical scenarios. You can also use this as an alternative to CR picking a “budget” of these enemy roles based on how many players are in the fight.  Check out the types below the cut: 

Infantry (pawn):   Generally weaker and mechanically simpler than any other type of combatant, the infantry uses teamwork or sheer numbers to overwhelm the party. This can be anything from rank and file soldiers to a necromancer’s skeletal minions to a pack of wolves, anything that takes up space on the battlefield and prevents the party from targeting who they want or generally getting their way in a fight. 5e combat is a numbers game, and the infantry is there to swing the numbers in the enemy’s favour (until the party cut through them to even the odds).  Infantry likes battlemaps with chokepoints they can hold and crossroads they can use to outflank opponents. When budgeting they’ll have a balance of 2 infantry per 1 player they’re matched against , but the weaker they are, the thinner you can spread them.

Brute (rook): High defence, high offence, the brute is an outright threat that the party should not want to take in a head to head fight. Giants, beasts, constructs, and heavy armoured warriors are your traditional brutes, but you could also go with a buffed to hell battlemage getting all up in the party’s face. Conversely, every brute has some kind of weakness that the party can exploit. They might be slow, or be unable to maneuver as easily, or like a werewolf, fiend, or troll, have particular weapons or damage types that overcome their natural resilience. Their job is to force confrontation, blunder into the middle of combat and force the party to act defensively rather than proactively. They soak up the party’s frontline’s attention while forcing the mid/backlines to scatter under the threat of too much raw damage.  The brute Likes open spaces where they can have a direct path to the party and dead ends they can corner their targets against. Budget: Around 1 per 3 players

Skirmisher (knight):  A very broad type of opponent, the skirmisher’s job is to bully  the party’s weapsots whenever they’re exposed. They can do this by being ranged fighters ( traditional archers, magic users) or by being highly mobile (stealthy, mounted, flying, teleporting). They’re the bane of the party’s backline, generally targeting whoever has the lowest armour/or least health, then using their evasiveness to deny any kind of retaliation when the group rallies to protect their squishy friends. Skirmishers have great offence but are generally pretty weak, made helpless when you can deny them their movement/terrain advantages.  Skirmishers like unfair fights, terrain that gives them a movement advantage, cover, or allows them the highground over their foes.  Budgeting: 1 per 1-2 players. 

Controller (bishop):  The controller’s job is to fuck with the party, Either by locking down some of their stronger options (counterspelling, mind control, status effects, grapples),  by manipulating the battlefield in some way that disrupts planning (aoe spells to prevent grouping together, summoning to reinforce numbers,  barriers and banishment to single targets out), Or by advancing the baddies’ goal while the party is otherwise occupied (the cult priest finishing the disastrous ritual, the master thief making off with the mcguffin) forcing them to split their attention. The controller likes to distinctly be away from combat, and will usually be on the otherside of some kind of hazardous/hard to bypass barrier, sometimes of their own making. Budgeting:  1 per 2-3  players: 

Support (king): Usually a healer, bodyguard, or some kind of buff-bot, the support wants to piggyback on other sorts of units or make them better at doing their jobs. Generally this means they’ll ignore whatever the party is doing to focus on staying with effective range of those who most benefit from their abilities. Supports will stay back in safety while throwing out buffs, bodyguards will put themselves between the party and their designated defendee. They tend to prefer whatever type of terrain most benefits their partners. 1- 2-3 players

Elite (queen): Something to be reckoned with, an Elite mixies the strength and abilities of two other kinds of combatants and uses both to devastating effect. Combine a brute and a support for an unstoppable frontline commander, or infantry and a skirmisher for an elite striketeam that attacks in perfect coordination before fading back into the shadows.  Mix and match for whatever combination you think would be most interesting for a situation, then supplement it with a different unit or two for contrast.  Elites make up your traditional “big bad and minions” bossfight, without escalating to the full party challenge of “solo” monsters. Budgeting: 1 per 3-4 players. 

Picking the right Pieces:

Generally what you're going to want to do when planning a combat is to first think of what the baddies are trying to acomplish with the fight then pick 2-3 different types of baddie that you think would work well in concert to achieve that goal. "Kill the party" is an all too common goal, but you could easily imagine others that provide for dynamic stakes:

A group of forest bandits intend to rob a caravan, so they unleash a captive warbeast as a distraction while their archers rain chaos from above (Infantry, brute, skirmisher)

A villain abducts an important npc into a carriage while their dutiful muscle run interference (controller, brutes)

A necromancer hurls curses from behind a barricade of gravestones while their undead minions pour from surrounding tombs ( Controller/infantry)

While the party is ambushed by an archer in a tower, a cloaked figure waits in the underbrush, waiting for them to thin out and begin picking them off one by one (paired skirmishers of different types)

After the fighter is tricked into single combat against the mounted arena champion, the rest of the party will have to search the crowd for the caster secretly channeling healing magic to their opponent. ( combined brute/skirmisher elite, support)

Once you've got your pieces picked out, you can start designing the battle arena taking the desires of each combatant into account while also throwing in any environmental flourishes you'd like to enjoy.

As an added benefit for DMs like me who don't have the inclination or budget to collect huge batches of minis, it's SUPER easy to pick up a second hand chess set or two and use them as stand ins. Your players will have an instinctive understanding of what each piece does which will help them understand the roles outlined above.

Artsource

[guess-that-ship]

S14 Semifinals

I Went To A Magic University And All I Got Was This Ambiguously Doomed Yuri

The two meet in university, with Rhyme rescuing Reason when she is trapped. Reason is very grateful to her, and Rhyme is smitten immediately. Despite their differences in aesthetics and academics (Rhyme being a fashionable bard failing her classes and Reason being a straight-A necromancer with bizarre hats), the two have much in common. They are both awkward, with strained family relationships and a small group of friends. Although Rhyme is initially put off from confessing on account of feeling like she’s not good enough, she eventually blurts it out. The two start dating, with Rhyme organizing the whole music department to accompany her prom-posal.

However, things soon take a turn. In the process of completing a powerful ritual, Reason dies and has to be resurrected. She is deeply shaken by this, agonizing over when her time will be up for good. Over winter break, she allows herself to he turned undead, thus removing her mortality. Next semester, Rhyme notices her caginess over what she’s been up to, and reads Reason’s mind. She only gets to feelings of shame before panicking and breaking off the connection. She blurts out what she’s done, and begs Reason to confirm if her hunch of what occurred is correct. This sets off a string of arguments between the two, with Reason asserting that she made what was the best decision for herself. She is defensive, Rhyme is pushy.

When Rhyme is threatened by a monster, Reason saves her, in the process, confirming her undead nature. Rhyme is grateful for the save and says that she’ll try harder to trust Reason. Despite this, she is deeply apprehensive and fearful. What will happen to Reason? Will this corrupt her? Will she come to deeply regret her decision. Rhyme doesn’t know and, in truth, neither does Reason. Only time will tell…

shining alongside each other

the sun, a boy who lost sight of everything except his dream for stardom. the moon, a boy who had resigned himself to a life of loneliness. that would all change when they were brought together.

a fight between the two broke them apart, but it helped the sun rediscover why he wanted to be a star in the first place. it was to make his sister smile, and he wasn't going to give up on that goal.

despite the moon's stubbornness, the sun eventually managed to persuade the moon to forgive him. and soon enough, the two were closer than ever. inseparable. if the sun was there, the moon was most likely nearby, and vice versa.

the moon helped the sun to rediscover his true desire, the sun helped the moon to find true companions, and they helped each other to shine. the moon may oftentimes tease the sun, and the latter may seem annoyed with him, but truthfully, they're both the happiest they've ever been when with each other.