#they're lethal in combat

[ilsaethan]

bonus:

[antiloquist]

Playing Lethal Company with randos when you're 20+

[dravidious]

I have a lot of reasons to want removal spells to cost more but I recently encountered the silliest reason so far: Combat tricks. I love combat tricks, I love doing combat with creatures, and they're just really neat. But I realized most combat tricks, in the best-case scenario, just result in killing an opponent's creature. In that case, why spend 2 mana on a combat trick to kill an opponent's creature situationally, when you could just spend 2 mana on a kill spell instead?

Fell has solidified 2 mana as the baseline for kill-anything spells, so every combat trick needs to either cost 1 mana or do something extra, or else it's just a shitty version of Fell. If the baseline were set at, say, 4 mana, or even 3, it would give a lot more room for combat tricks to be useful, and I really like playing with combat tricks, so I think WotC should emergency ban every good removal spell in standard and print Impale in the next set. Then Magic will be good again.

[warriorend-2]

that's the real reason juniper never dealt with them directly he figured out that they could fucking use him as a bowling ball & decided he did Not want to get within grabbing range. or punching. or kicking. or really anywhere where they can get to him.

especially because they are. half a foot taller than him. the top of his head comes up to their chin, which isn't that much shorter but

[writers-potion]

Writing Weapons (7): Unarmed Combat (Hand-to-Hand Fighting)

In a fight situation with no weapons, characters will stick with the kind of fighting they're familiar with: grappling or striking.

Grappling

Martial arts: judo, wrestling aikido, jiu jitsu, sambo, lucha libre, glima

Suitable for: entertaining fight scenes

Aim in lethal fight: chock or strangle

Words to use: grapple, wrestle, twist, pull, pin, roll, throw, toss, squeeze, press, chock, strangle

Holding the opponents down to the floor is called a "pin"

Striking

Martial arts: boxing, kick-boxing, karate, muay thai, capoeira, taekwondo

Suitable for: entertaining or gritty fights

Aim in lethal fight: blow to head

Words to use: strike, hit, box, kick, punch, chop, slap, kick, chop, hammer, pound

Mixing Martial Arts

Some martial arts combine grappling and striking techniques.

A skilled martial artist is probably an expert in eiher striking or grappling, but also has basic skills in the other.

Easier to stick with one group for one character - the hero's friends can complement each other if they have different martial art backgronds!

Investing a Fantasy Martial Art

Spiritual Elements connected to the general magic/religious system of your story world.

Mental Focus that allows the martial artist to amplify the effectiveness of attacks.

Small rituals, like bowing to the guru before and after every fight to obtain some kind of "blessing"

Restricted admission to pretigious martial arts academies

Specialist techniques that require combining physical action with spells, or a symbolic act that activates magic.

Exams: students must prove themselves through a series of tough (life threatening) tests to obtain access to the most important lessens of the practice.

Special garmetns

Secret codes between members

Winning Factors

Skill - the most important. A skilled fighter can take on someone who is much larger than them, but unskilled.

Size

Ruthlessness

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[thydungeongal]

I genuinely don't understand what y'all mean by "ok to kill enemies." Everytime it comes up I feel less and less confident I am following the conversation.

D&D kind of has, as part of its DNA, the idea that combat will eventually happen in the game. To that end, throughout the history of the game there have been many different types of guy that in the text of the game have been presented as like almost self-evidently okay to kill simply because. While different editions of the game have tried to move away from some of the more overtly problematic portrayals of this (basically saying that certain types of humanoids are okay to kill because they look funny and live in caves is kinda fucked up), the truth is that pretty much every attempt to look for a suitable Boogeyman that player characters can kill without any iffy ethics about it is going to end up really weird.

Anyway this is why people will often look for types of guy to present as enemies where characters can engage in no-thoughts-head-empty lethal sports with them without anyone needing to have a "wait a minute, are we the baddies?" moment. Demons and the undead are pretty easy to go for here.

My personal favorite approach is to just accept the fact that D&D kinda sucks with black-and-white morality and instead of making the conflict in the world about clear good and evil teams make it about different groups of people with different goals. Orcs can be present but they're no longer "the evil guys it's always morally okay to kill because of biotruths" but instead just some guys who might sometimes have violent disagreements with other people.

Anyway a lot of this stuff doesn't mean anything and as said not engaging with games as texts on this level isn't really necessary to enjoy them. But for me at least it can often elevate gameplay. When bandits aren't just some guys who decided to become evil criminals some day but actual people whose banditry is a response to something going on in the world and their lives, it suddenly makes the conflicts in the world a lot more real and grounded (and sometimes killing those bandits can be the right thing to do, but sometimes negotiating with them or even cooperating them can be the right thing to do. Basically, once you start thinking about all the different types of Guy that inhabit the worlds of D&D not just as game tokens that player characters can hit to make XP come out [although that is also fine and dandy as a playstyle] but as living thinking creatures with actual goals, the types of narratives the game starts to produce also expands a hundredfold.)

Anyway I'm not sure if that answers your question because I went on like a bunch of tangents. But it was also kind of a vague question.

[level2janitor]

Introduction to the OSR

what's an OSR? it's a game that's kinda like old-school D&D. or is old-school D&D. or is compatible with old-school D&D. an OSR game generally has some or all of the following principles:

low character power with highly lethal combat. in old-school D&D a 1st-level fighter has d8 hit points and a longsword does d8 damage, and you die at 0HP. this is not to ensure characters die all the time but to emphasize the next bullet point:

emphasis on creative problem solving. most situations cannot be solved by straightforward use of your abilities (such as charging into every situation with swords drawn, if a fighter), so the game tests lateral, outside-the-box thinking.

emphasis on diegetic progression. spells are found, not obtained automatically on level-up. you get XP by finding gold more than killing monsters. most of your cool abilities come from magic items. making alliances & hiring followers is encouraged.

focus on managing inventory, resources, risk, and time. the players are constantly faced with meaningful decisions; this is the heart of the game.

very sandbox-oriented. the focus on creative problem solving means the game must be accommodating to players taking a course of action the GM didn't plan for. use lots of random tables to generate emergent story. some elements of new simulationism.

high tactical transparency, i.e., the optimal course of action is rarely system-specific, and ideally very possible for a new player to intuit.

usually semi-compatible with old D&D, but not always. usually rules-lite, but not always.

what does the OSR mostly NOT do?

focus on character builds. these change the focus too much to be on the rules than the fiction, can create situations where stuff everyone should be able to do is an ability locked to one class, and impede tactical transparency.

resolve everything with a die roll. combat uses dice to be scary, unpredictable and most importantly not your default course of action. everything else should bring up dice rarely - dice are your plan B when your plan A fails. the best plans need no dice.

use linear storytelling or put players into a writer/GM role. linear storytelling gets in the way of the decision-making so core to the playstyle; letting players write details into the setting is mutually exclusive with them discovering it.

rules for everything. 400 pages of crunch is worse at simulating a believable world than the GM and players' shared understanding. OSR games rely constantly on GM ruling.

mostly still applies to all the above. making your system a "pure" OSR game comes second to doing what's best for your game.

System recommendations

old D&D or a retroclone

old-school D&D - or old school essentials or basic fantasy or swords & wizardry, which are old D&D's mechanics repackaged with quality-of-life tweaks (and the upside of not giving WOTC your money) - are usually the go-to when recommending someone's first OSR game. they're actually not my first pick, though!

PROS:

very complete, with more robust rules than a lot of the lighter games on this list.

100% compatibility: most OSR adventures are statted for old school essentials. converting them to other OSR systems is usually simple, but not 1-for-1.

easier to find games for. anyone interested in the OSR space knows what old school essentials is.

CONS:

jank. these games largely still have weird saves, level limits for non-humans, some still have descending AC, etc etc. it's not that bad but it is there

i hate thief skills. lots of essential dungeoneering actions are locked to the thief class as abilities, with abysmally low success chances. this is stuff i prefer being handled without a roll. thieves in this system suck and make everyone else worse at dungeon crawling by existing.

there's just lots of really cool shit in other systems i'm about to go into that you just don't get here

Knave 1e and its various hacks

this is a 7-page super-lightweight system that boils everything down to just the essentials.

rolling a character takes like 5 minutes. roll stats, roll gear, roll traits, go. done. it's great.

characters are defined entirely by stats and gear, no classes. wanna be a fighter, have high strength and carry a big sword and armor. wanna be a wizard, have high intelligence and fill your inventory with spells. item slots are elegant and pretty limited.

initiative is instant: roll d6. 1-3, monsters go first. 4-6, PCs go first. swingy, but god it is so smooth and shaves like the most boring 5 minutes off of every combat

monsters are so very elegant. old D&D gives monsters a "hit dice" rating to determine their HP, e.g. a 3HD monster rolls 3d8 for hit points. knave takes this number (HD) and uses it for attack rolls and saves (aside from exceptionally bad/good saves), so a knave statblock looks something like this.

spells are all one or two sentences long & extremely easy to remember.

7 pages is so light. i have the system basically memorized.

DOWNSIDES: there's no dungeon crawling rules (standard for meatier OSR games & something i consider essential) and no real bestiary, though the second point isn't a huge deal cause they're so easy to make. it also kinda assumes you already know how to run OSR games, so there's very little real advice or guidance.

KNAVE HACKS

knave 1e is in creative commons & comes with an editable word doc for you to publish with modifications, so there's a ton of variants (there was a spreadsheet of them somewhere, but i can't find it).

Grave is a favorite - i'm two years into a grave campaign and it's fantastic. it's a dark-souls-y version of knave with some really elegant innovations.

you have a set number of deaths before you for-reals die, as every character plays an undead as is dark souls tradition. makes it good for OSR beginners! being able to tell when you're close to your final death is really good - it lets you emotionally prepare for losing your character & raises the stakes more the more you die. (though honestly you should probably cut the number of extra deaths in half, it's super generous)

XP and gold are combined into one resource, souls. legendary creatures drop big souls you can make into magic items. this has ended up being the coolest thing in my current campaign. my players love finding powerful souls to make into magic items it's so fun

uses preset packages of stats/gear instead of knave's rolled ones, filling the role of more traditional character classes. has the wonderful side effect of not making you get stuck with low stats cause you rolled bad one time.

you have stamina equal to your empty item slots. you spend stamina on spells if you're a caster, or free maneuvers (on top of your attack at no action cost) if you're not. it's super elegant.

there's 3 classes of spells: wizardry for intelligence, holy magic for wisdom, and witch stuff for charisma. nice and intuitive.

there's a page of 50 magic items each a couple sentences long. this PDF is worth it just for the magic items.

DOWNSIDE: see the downsides for knave 1e. all still apply.

i enjoyed grave so much i made a variant of it with the dark souls bits removed (and some dungeon crawl rules added!) to use for my standard fantasy campaigns.

Knave 2e

sadly knave 2e is not purchasable yet (i backed it on kickstarter so i have access, though). but when it comes out i highly recommend it.

much larger and denser than knave 1e. it finally has dungeon crawling rules, it has GM and player guidance, everything is refined and the layout is so so nice and readable.

combat is a bit more interesting than 1e. you can break your weapon against an enemy to deal max damage. you get a free maneuver on high attack rolls.

there's rules for stuff like alchemy, warfare, building a base. it all kicks ass.

there are so many goddamn tables. i rifle through it anytime i need inspiration.

DOWNSIDES: some of the new rules are a little untested & wonky. introducing randomness into how often your rations spoil or your lights go out can cause issues.

Mausritter

you play tiny little mice! in a world full of big dangerous things that want to eat mice. cat = dragon. you get it. what more could you want

the mouse thing is just super intuitive. you get the dynamic between you and the big scary lethal world. fantastic OSR game to introduce kids

nice and robust ruleset; nothing feels missing

tons of super nice GM stuff! faction rules, tools for rolling up hexcrawls and dungeons, plenty of tables

super clean readable layout. font isn't too small to avoid being intimidating. guidance is really nice and clear.

combat is autohit. super fast & lethal.

100% free

look mausritter is just. good. i wanna run it so bad someday

Worlds Without Number

sort of a middle ground between OSR stuff and 5e. paid version here free version here

lots of classes, at least in the paid version. the free version comes with just the warrior, expert and mage. there's feats and more of a focus on builds than most OSR games. if you like more mechanical build variety than a typical OSR game, this is a great game for you!

extremely good multiclassing. y'know how in most games if you just mash together two classes you think are cool you'll end up with a total mess? not here! every combo is viable and works fine! easily the best multiclassing of any game i've touched

an absurd amount of GM stuff and tables. easily more than any of the other stuff i've praised for also having them. but personally i haven't dug into them as much, so i can't really comment on them

skills the way modern D&D has them. you roll dice and try to beat a target number. i don't tend to like rolled skills, but most people do, so if that's your thing WWN has them

DOWNSIDES

the layout is terrible. everything is a huge wall of text with very little use of bold text or bullet points to draw attention to the important bits. the table of contents has like 15 things in it for a 400-page book! i couldn't find any of the paid-version-exclusive classes for like a month after i bought it! looking up rules is a nightmare.

the way the default setting handles "evil races" is like an exaggerated parody of all the problematic aspects of how D&D handles it. like, it wants so bad for you to have an excuse to genocide sentient free-willed people. but at least the default setting is easy to chuck in the trash

Dungeon Crawl Classics

the goal of this system is to take all of the crazy gonzo moments people remember playing old-school D&D in their childhood and turn all of that up to 11 while cutting the stuff that doesn't add to that. i think a lot of its innovations have ended up kind of standard in newer OSR stuff (like fighters getting maneuvers with their attacks), but it still has more to offer.

the funnel: you start the game with four randomly rolled dipshit peasants that you then throw into a meatgrinder to get horribly killed. you pick one of the survivors to be your 1st-level character.

maneuvers: fighters roll an extra die with each attack that gets bigger as you level. if it's a 3 or higher, you get to do a cool thing on top of your attack. pretty standard for OSR games, but this game popularized it!

crit tables: fighters also get more crits and nastier crits as they level. every crit, you roll on the crit table. maybe you chop off a dude's arm. maybe you just knock them over. maybe you shatter their shield. it's very cool

spell tables: i don't really like roll-to-cast mechanics, generally. but DCC goes so all-in on roll-to-cast that it still looks fun as hell to watch. you cast a fireball and maybe it goes how you want. or maybe you explode, or you nuke everything in a half-mile radius, or from now on you permanently ignite flammable materials you touch, or whatever. casters just have to put up with turning into a weird mutated mess across a campaign

there's no dungeon crawl rules, no encumbrance - this game is all about the big over-the-top wacky shit, and is not really interested in the more down-to-earth number crunching. it's more in the you-die-hilariously-all-the-time area of OSR than the you-avoid-death-through-clever-play area. not really my thing but the system knows exactly what it wants to be and i respect it

iron halberd

this one is mine! as the author i'm not qualified to tell you what isn't good about my system, so just assume it's worse than i make it sound, but here's a bunch of the selling points

semi-random character creation where you flip back and forth between rolling dice and getting your own input. roll stats, pick ancestry. pick starting gear kit, roll different dice based on which kit you picked. etc etc. stats are random but all equally viable (no rolling incredibly low or high stats). every time i run this game the character creation is a hit. seriously go roll up a character it'll sell you on the whole thing

you start out a lot stronger than a standard OSR character but grow way more slowly. i don't like 4th-level characters being 4 times as strong as 1st-level ones; HP never gets that high. emphasis is more on diegetic progression instead.

way too many subsystems for alchemy, crafting, strongholds, warfare, renown, rituals, likes 9 pages of magic items, a whole subsystem for becoming a cleric mid-campaign. i couldn't help myself i love this shit

in my current campaign we had a player permanently sacrifice some max HP to become a necromancer after deliberating on whether that's a good idea for like thirty seconds, which instantly made me think my necromancy system is a success

also free

Adventure recommendations

(in rough order of size)

Moonhill Garden (by Emiel Boven): look at this. look at it! this is like the best template for a little dungeon in an OSR game. all of the little factions are tied together. this would be a great oneshot to introduce people to an OSR system with.

A gathering of blades (by Ben Milton): a system-neutral, one-page sandbox. i ran this for an iron halberd game and it went super well. lasted like 7 sessions. highly recommend.

The Waking of Willowby Hall (by Ben Milton): a single dungeon with a million things going on. it's super chaotic with half a dozen different factions crashing into each other and a big angry goose. highly recommend, especially for kids

The Black Wyrm of Brandonsford (by Chance Dudinack): small sandbox with a fun fairytale vibe and a very fleshed-out little town. and a big nasty dragon.

Evils of Illmire (by Zack Wolf): this is a very dense, entire campaign's worth of hexcrawl in a very compact package for like $5. it doesn't do anything particularly new, but the value-for-money is absurd and it's a really good template for how to do a sandbox if you're used to 5e adventures

Ask me anything!

if anything here is unclear or intrigues you, send me asks! i love helping people get into OSR games. i'll link frequently asked questions here if i get any.

[griefninja]

I think I get why there is such a divide between D&D only people and D&D is the worst game ever people. People have joked about "they aren't ttrpg fans, they're D&D fans," before, but I think that's legit true. D&D is used to scratch a different part of the brain than most ttrpgs. D&D is like Among Us or Lethal Company. Is isn't necessarily a fan game to play on it's own by yourself. It's a lobby, a physics engine, that you and your friends can use to facilitate spending time together and make jokes. It can also be a vehicle for youtubers to entertain you by using it as a vehicle for entertain. That's the purpose of those youtube videos like "this build let's you deal 10,000 damage turn one at level 3," and "melt your DM's mind with the the game breaking mechanics of rope!" That's NOT meant to be taken seriously. It's ment to be a joke you and your buddies laugh at. In the same way that showing everyone in the lethal company lobby the game breaking glitch you saw a video about is meant to be funny. This way that D&D is used in practice is extremely different from other systems that aren't trying to make a physics engine for jokes. They're trying to make a system for generating a good story. They see those D&D videos and wonder "what are they thinking trying to tell a narratively satisfying story with bad mechanics like that?" The answer is they're not doing that at all, actually! If it is possible for a "D&D Killer" to exist, it's not going to be a game that focuses on narrative, like other systems. It's gonna be a physics engine joke machine, like D&D. I think this is what Brennan Lee Mulligan was trying to say in that interview when he said he "likes D&D as a combat simulator, because he and his friends are already trained improv performers that can make their own story. It's not that he's just a dumb dumb who doesn't understand ttrpgs. It's that he finds a physic engine type system easy to just exist in and make up whatever narrative his friend's want in. Homebrewing cyberpunk technology or hyper detailed sex mechanics in D&D sounds idiotic to someone who plays specific ttrpgs for specific narratives, but to someone who mods lethal company to have a super Mario sunshine world where you get chased around by Hatsune Miku monsters it makes perfect sense to take the thing you like and to push it to ridiculous extremes.

[howtofightwrite]

How good would a whip be as a weapon? I'm not interested in it being a lethal weapon but more of it being a weapon that can defend someone long enough to get away or at least disarm or disable someone. I don't see a lot of people or character or referrals on how to use it and that's probably because it's not good enough?

Not great. The whip, like the goad and cattle-prod, aren't really designed for use as weapons. They're designed to control animals. (...and, yes, that does sometimes include humans, but again, in a non-combat, control role.) Part of the problem with the whip is, it's not much use against someone wearing armor. Or, even, heavy clothing.

Now, whips do have a legitimate military history as discipline tools, but that's very different from trying to take them onto the battlefield.

The reason reason you'll still see characters using whips, when you've probably never even heard of a goad, is because the whip is visually dynamic. It looks cool. You don't see Indiana Jones using a whip because it's the best choice of weapon, you see him using one because it stands out, and as a result, it has become iconic. It's delivering a specific vibe.

At the same time, the goad is just a pointy stick.

Whip disarms are a neat trick. And, very doable in a controlled environment. However, successfully disarming someone who's actively trying to kill you is going to be a bit more challenging, and also raises the question, “If you're putting this much effort and attention into taking away someone's weapon, shouldn't you be spending that effort and attention taking their life instead?”

This is probably little thought experiment about combat disarms. There's no point in disarming a corpse. So, why not just skip the middle step and go straight to the corpse-making? A question that Indiana Jones famously answered when, instead of dueling a sword master, simply pulled out his .455 Smith & Wesson and dropped the guy. (The real reason was that Harrison Ford was ill from food poisoning, and in no condition to shoot a prolonged fight sequence. So instead we accidentally got a character defining moment of pragmatism.)

To be clear, if it seems that I'm a bit negative on the subject, I do think the whip is a neat weapon. It's visually dynamic. It's loaded with symbolism. I think it's fantastic in a fictional context. It's just not practical.

There are fantastical versions of the whip that are better options. William Gibson's use of monowire comes to mind as an immediate example. Where the whip itself is created from a monomolecular carbon fiber, and can, as a result, cut through basically anything it strikes. Similarly, I still have serious reservations about the Lightwhip from Star Wars' old Expanded Universe, but it would carve through anything pretty effectively (including the wielder.)

Even in those cases, the whip is a weapon you choose for the aesthetic, more than the practicality.

-Starke

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[rathayibacter]

Rath's TTRPG Post!

Hey yall, been long enough that I should really write another of these. I'm Rath and I make weird tabletop games! I've got a lot of games already out there, and even more in the oven, so this post exists to help organize them all and give you a jumping-off point if you want to check out my work. Without further ado,

[BXLLET>

BXLLET is a post-apocalyptic cowboy game about the nature of violence. It hands players incredibly lethal characters, then asks those characters to try and find their way in the world. If all you have is a hammer, how do you stop seeking nails?

Every BXLLET character begins with a single bullet on their person, and can always spend a bullet to kill someone. Collecting more bullets unlocks your archetype's unique powers, making you an increasingly imposing threat—and juicy target. However, even as you become bloated with potential violence, you'll find plenty of problems escape easy solutions. Sure, you can always kill, but can you cut out the rot that runs deeper than any individual bandit, warlord, or capitalist? In a world fighting to rebuild itself from disaster, are you a wandering hero, or just a murderous tool of the old age? Can you help build a better future, or are you doomed to haunt its outskirts?

Thanks to two game jams and a whole lot of love, BXLLET also has a ton of additional modules, spilling over with scenarios, archetypes, factions, mechanics, and alternate settings. Here's a big list of them! Check them out, they're fucking incredible.

KATABASIS

KATABASIS is a tactical combat afterlife-crawl, where spirits fight using weapons and armor made of their emotional baggage to try and escape a surreal concrete afterlife. It's all about putting together strange builds to face off against bizarre monsters, all while meeting other stranded spirits and exploring the tangled world you're trapped in. If you delve deep enough, fight hard enough, maybe one day you can find a way to return to life.

KATABASIS is a work in progress, with the full game still a ways off. I'm currently working on the next update, The Highway Down, where players will fight their way across perilous highways tangled through a hanging city. Even so, the game's already packed with characters, equipment, monsters, and maps.

So go! Gather your painful memories, bare your petrified heart, kill the psychopomps and shatter the gates of hell. There might be no escape, but we'd rather die a thousand times more than give up looking.

Disparateum

Disparateum welcomes you to the Named City, a place at the edge of our world and the center of all others. Residents of the Named City wander across the full spectrum of possible worlds, visiting them as one might visit another neighborhood. Like KATABASIS, it's also a work in progress, but already contains pound-for-pound more raw ideas than anything I've ever written. It's a dense, strange, silly, and colorful game, and a gushing love letter to roleplaying in general.

Disparateum is a game for a Knight, a Thief, and a Seer, who explore the Named City in search of adventure and change. Here, shared dreams settle over the city at night; here, our reflections plot revenge from the opposite side of every mirror; here, dragons hold court to debate ownership of stories; here, museum corridors tangle their way through the past and into other histories; here, spiders weave a network of WiFi connections and host dense egg sacs of websites; here, sprawling statue gardens grow beneath our souls. Welcome to the Disparateum. Enjoy your stay.

Unskilled Labor

Unskilled Labor is a game about struggling to get by in the rotting corpse of capitalism. But this time, you have superpowers!

Unfortunately, the superpowers will not let you steal back the time you wasted in dead-end jobs, nor will they let you topple the system and fix everything singlehandedly. But, hey, did you really expect them to? The work to make a better world remains to be done, and maybe now it'll be slightly easier. Manifest a customer service persona to fight your friends' landlord, use perfect timing to escape the cops, coordinate supernaturally disruptive protests of an oil pipeline. Play using resumes as character sheets and calendars as battlemaps. Manage your well-being (as much as you're able), struggle against the tides of Western society, and spit in the face of authority. It's not a glamorous power fantasy, but hopefully it reminds you not to give up the fight.

Charcuterie

Charcuterie is a series of zines, each about 40 pages long, collecting various little experimental games, writings, and doodles. The first two have five ttrpgs each, four being updated versions of games I'd previously released and the fifth being exclusive to the zine. The third is instead a collection of poetry and short stories, though I'd be lying if I said there wasn't a streak of game design through it all anyway.

IMMORTAL Pop!bat 2: funK.O. (Definitive Edition)

Have you ever wanted a miniatures wargame with thirteen thousand seven hundred and ninety-nine unique statblocks? Have you ever wanted to microwave your friend's limited edition metallic blue Batman Funko Pop, but lacked the game mechanical justification to do so? Have you ever wanted to waste an entire paycheck on a terrible idea? IMMORTAL Pop!bat 2: funK.O. (Definitive Edition) has you covered. With two pages of rules and sixteen hundred pages of Pop!batants, with IP!b2:fK.O.(DE) you'll be making terrible life choices in no time.

Stationkeeping

In Stationkeeping, you've inherited a run-down satellite from your late aunt. Slowly you'll patch it up, add new rooms, and fill it with memories. The game's contained entirely on a small stack of handwritten index cards which you can carry around with you, slowly progressing the game by going out of your way to enjoy the little things in your day-to-day life.

And More!

I've got even more stuff over on itch, and I sneak occasional glimpses at my current projects into the #ttrpgs tag here on tumblr. Keep your eyes peeled!

And of course, I'm always happy to chat. If you're ever curious about something I've made or am making, if you enjoyed something or had thoughts on it, if you just wanna say hi, please reach out! Games are my passion, and I love nothing more than to talk with other passionate people. Until then, I'm signing off!

[witherby]

Ok so we have Mouse exclusively biting Bruce like a cookie and Headbutting everyone else in the guts besides Bruce, now what about Mousey who bitch slaps, with as much strength her pudgy, tiny little arms have, anyone outside the family and friends who try to be mean to her family. Like Wally coming over and making fun of Dick in Mouse' vicinity? they're just teasing each other Immediately, a chubby little toddler is holding her toy in one hand, waddling over and immediately bitch slaps Wally as hard as they can with a defensive pout while babbling something along the lines "No being mwean to mah brother" before innocently toddling away from a hysterical Dick and a shell shocked Wally Jason taught it to her for funsises and she just stuck with it

Thats all. Bye! Super loved the Mer!Reader/Damian fic btw, amazing work!

-🍨

I'll tell you what, when I came up with the idea to make a silly little one-shot about Bruce's chronic adoption problem, I didn't think Flittermouse was gonna become a headbutting, dad-biting, bitchslapping, shadow-controlling little kid. I thought I'd get prompts like "heehee hoohoo what if the baby plays favorites with their brothers" or "haha what if the villains have a soft spot for the baby too" or something

Next you guys are gonna say Dick teaches them some non-lethal combat maneuvers, Jason gifts them a gun for Christmas, and Damian teaches them the best places to mortally wound somebody with a knife.

I'm not complaining I'm just. Taken aback by the influx of violence in my inbox. I think you all need a juice box and a nap, respectfully.

Also thank u, I'm glad y'all liked the mer story!

[espionn]

SkyWing tribe sheet!

my computer always fucks up colors in export for some reason and its really obvious with these guys :( i promise they're more saturated my computer just sucks

anyway i really liked doing these guys, skywings are fun and i think they have a lot of potential. enjoy!

Physical Appearance + Traits:

-SkyWings, as their name suggests, are dragons made for the wind and sky. They are better fliers than any other tribe, with enormous wings and several birdlike features. Some can fly for more than a day without landing, and even when they aren’t flying they make their homes at the peaks of mountains, with the entire world beneath them.

-They are quite large, taller than any other tribe, with long necks, long tails, and regal figures. They don’t have any obviously deadly weapons, but they have no clear weaknesses either; they are generally successful dragons.

-Their coloration consists of almost entirely warm colors, specifically red and orange. Yellows and golds are sometimes seen too, and more uncommonly, purples and browns. Their colors are bold and striking; they are one of the few Pyrrhian tribes that has no need for camouflage. 

-Young dragonets are hatched with a coating of feathers, particularly on their wings, necks and tails. Most dragons simply shed their feathers as they grow; some, though, carry a few into adulthood, usually lining their wings or making a thin ruff around their necks. These feathers are often even brighter than their scales.

-SkyWing horns are a mark of pride, and they continue to grow for as long as they live, meaning some of the oldest SkyWings have horns that resemble enormous and heavy antlers. Sometimes their horns are decorated with wires strung with jewels.

-SkyWing fire is the hottest and most powerful fire any tribe can produce. At its hottest it scorches through bone, and it can be used with accuracy from a long distance. It is their main weapon in combat, and quite a devastating one if their opponents don’t know how to properly fight it. They also use it for a number of other things, though. (More on this in the “society and culture” section.)

-Their wings are stronger than those of most tribes, allowing them to temporarily use them for balance rather than their front legs. This lets them hold and work on things more easily. (This headcanon belongs to @sidyashchiy-na-plakhe!! i saw your post and really liked it, hope you dont mind me adopting it)

-Not dissimilar to SandWings, they have darker streaks near their eyes to help with the glare of the sun when they’re flying, often facing the horizon directly.

Life Cycle:

-SkyWings are hatched in clutches between one and five, although four and five are a bit less common than one through three. SkyWing parents are not involved much with their dragonets. By tradition, they lay eggs in nests high in the mountain peaks, and return occasionally with food once they hatch. The rare unlucky SkyWing newborn may be snatched up by a large bird, but they’re big enough that it isn’t usually an issue. They are also hatched with disproportionately massive wings, big enough to make the fall less likely to be lethal if they fall before they learn to fly.

-Once the dragonets are large enough, though, or once they get hungry enough to search for their own food, they will leave the nest, often simply jumping out and letting the wind carry them, learning to properly fly quite quickly. Once parents notice that the nest is empty, they simply stop bringing food. They will never know who their dragonets are, but SkyWing superstition says all dragonets will eventually make their way to the kingdom, where they will be made a part of the tribe. And, truthfully, they almost always do.

-This practice, which some tribes find strange or even barbaric, is seen by Skywings as an important part of their life and tradition. Each of them took the same journey, and so did the generation before them, so they have faith that it will continue to work out well. It’s in their nature to leave their nest and find the kingdom, and it doesn’t result in enough casualties for them to try to halt the tradition. The only dragons this practice does not apply to is the royal family, for the sake of tracking bloodlines.

-By the time they are entered into the wider kingdom, dragonets usually know how to hunt and avoid danger, so all tribe life offers them is the ability to meet other dragons and find work. There isn’t much of an education system in place, with the exception of mentorships for some careers, such as metalworking, and military training. If they take part in work for the kingdom, they’ll have societal benefits and a secure place in the tribe, and most end up in that position eventually. But there are always a few SkyWings who simply live on the outskirts, uninterested in the larger tribe.

-They don’t form many close relationships, being fairly solitary dragons as soon as they leave their siblings. They do not very often form genuine romantic relationships, but marriage is fairly common simply as a formality or political maneuver. Royals in particular almost always get married, though they don’t usually form natural bonds with their spouses. The only responsibilities parents have is bringing food to their nest until the dragonets abandon it.

Culture and Society:

-SkyWings are proud and solitary; these things combined have given them a reputation of being rude, aloof and uncharismatic. They are powerful fighters and fliers, but their strength is not in diplomacy. Their kingdom norms, though, which allow every dragon to simply utilize for the tribe whatever talents they may have, at their own leisure and for whatever profit might be available to them, suits them well and has made for an uncomplicated but successful society. (This is excluding a few periods such as the reign of Queen Scarlet, who reshaped the tribe into something more dictatorial.)

-They are generally quite matriarchal; every tribe has a queen, but SkyWings tend to have a more overall unbalanced system. Females are a bit larger than males and are usually in higher positions of command.

-Fire is extremely important to SkyWing culture - it produces light, warmth, and without it they would be much less deadly in combat. It has its place in almost every tradition and is used in almost every career path. 

-They are the most superstitious tribe in some ways, their lives dictated heavily by tradition and spirituality. The way dragonets are raised is one example; there are countless others, including funeral rites that involve burning, gladiator fights performed for glory, a general belief of night marking bad luck, and others. 

-Continuing on this note, SkyWings - though most would never admit it aloud - are almost universally afraid of the dark. The caves and caverns in which they live are always warm and well-lit, via torches lit by their own fire, and they are almost exclusively out by day. They worship the sun and daytime, believing it to chase away the shadows in its glory. NightWings, for similar reasons, tend to be unnerving to them.

-And to elaborate on gladiator fights: The arena near the palace was originally constructed for SkyWings to prove their prowess by fighting other SkyWings and completing various challenges. During these fights they would wear a special set of ceremonial armor, which they could then keep if they succeeded. (Scarlet, of course, transformed this arena into a convenient way to execute prisoners, and later Queen Ruby reinvented it completely by erecting a hospital where it had once stood.)

-In general, SkyWings are one of the only tribes to wear armor, and the only tribe that has used it for entire armies during war. A particular emphasis is placed on wing armor that allows for comfortable flight while still protecting the wing membranes, as a flightless SkyWing is considered as good as dead by its tribe.

-Jewelry almost always involves precious stones, particularly rubies, diamonds and citrine. It’s very common to have these jewels embedded in scales; some royals have done this with such excess that they appear to have crystals growing out of them.

Diet: Carnivorous. They eat birds, mountain goats, deer, and occasionally fish, rodents or whatever else they can catch. Sometimes raw, sometimes scorched. They don’t typically make full and elaborate meals like other tribes; the only common seasoning they use is salt. Other than the rare use of herbs for flavoring, they eat no plants at all.

[disgruntledexplainer]

It's kinda fascinating looking at the differences between Ben's and Rex's approaches to combat. I'm not talking fighting style, I'm talking about how they carry themselves, and interact with their opponents and bystanders.

Ben 10 is motivated to heroics primarily by his dislike of bullies, though it can sometimes be masked by his love of the limelight. he sees his opponents as bullies, picking on people who can't defend themselves in order to make themselves feel more powerful. in fact, almost all of his major villains fall into this category, including Vilgax, Kevin 11 (before redemption), Hex, Charmcaster, the Highbreed, and Agreggor. When Ben approaches combat, he approaches it as someone intervening in a schoolyard fight. He gets in between the aggressor and the victim, transforms into one of his more intimidating aliens even if it isn't the right one for the job, squares his soldiers, looks his enemy in the eyes, and demands that they redirect their aggression. He even uses phrases like "why don't you pick on someone your own size". He doesn't usually harbor any real ill will toward his opponent, but he wants them to stop what they're doing immediately.

The story of Ben 10 is the story of a kid who got bullied through much of his childhood, who suddenly gained the power to stand up to the bullies for the sake of other kids, and adults as the case may be.

Rex's approach to combat is a bit more complex, because he basically has 2 varieties of enemies, and thus 2 "modes"; hero mode and soldier mode.

The majority of Rex's opponents are EVOs. These are normal, regular innocent people who have become monsters through no fault of their own. To Rex they aren't bullies, they aren't even enemies; they are just innocent, sick, scared, and extremely dangerous people. Rex wants to help them, and indeed he really is the only one who CAN. But he can't let them hurt anyone else. Rex is also very conscious of his position, the fact that to so many people he represents hope of getting out of this dark time. When dealing with most of his foes, Rex first aims a blow at his target to knock them back and hopefully stun them, and then if there are any people in immediate danger he checks in on them quickly to see if they are OK. He might try to get them out of the area before engaging, or he might delegate that task to a nearby providence agent or less powerful hero as the case may be, but he usually checks regardless.

If he is convinced that everyone around him is at a safe distance, the show begins. He turns his cockyness and snark up to 11 and begins making aggressive, annoying moves to try to focus his opponents aggression on him. He projects confidence to everyone who can see him, to assure them that yes, he has everything under control, and everything will be fine so long as they follow his instructions. He carefully gauges how much punishment his opponent can take and only uses that much to take them down, even if it extends the fight. He will try to stun his opponent and cure them if possible, and if not he will hold them off long enough for Providence to come in and contain them.

By dramatic contrast, his other opponents are typically not just villains, but actual irredeemable psychopaths, the kinds who will maim, torture, or kill if it suits their purposes, or even just because it amuses them. In this case, as soon as Rex realizes what kind of opponent he is facing he switches "modes" almost instantly. He will immediately try to lure his opponent as far away from a populated area as possible, and if that isn't possible he will task providence agents or minor heroes to move everyone out as fast as possible. Then he fully switches to soldier mode. When in this mode, Rex's goal is to take his opponent down fast and hard, using lethal methods if necessary. Every second his opponent remains standing is an opportunity for that opponent to kill someone, so he has to take them down without hesitation. Just look at the difference in how Rex treats everyday EVOs compared to how he treats his main antagonists, like Van Kleiss or Quarry. He goes straight for the kill, sometimes without even saying anything if the opportunity presents itself. This is the result of his paramilitary background and painful experience.

anyways, these are my thoughts.

[utilitycaster]

So far in campaign 3, 5 of the party have died and been resurrected and 2 have died permanently, with only Imogen, Dorian, and (presumably) Braius not dying ever. In campaign 2, again 5 of the party died and got resurrected over the whole thing with Beau, Yasha, and Kingsley surviving, and Molly permanently dying. BUT, in Vox Machina, everyone except Tary died at least once with the twins dying FOUR TIMES EACH and only Vax permanently dying. What do you think changed after the first campaign? Is it that Matt got “better” at scaling encounters, the players got better at staying alive, a group decision to take resurrection more seriously, or is it a total coincidence?

It’s just something I noticed all of a sudden tonight and I’m not sure if I’m just seeing something where there is nothing or if other people have noticed this too and have thoughts on why it is.

Hi anon,

I started to write up a massive and lengthy analysis this morning and realized it was not very good and that I had to leave for work in 20 minutes. Anyway I think it's mostly the players getting better at staying alive, mostly through party comp:

Vox Machina unexpectedly, for "Ashley got cast on a TV show that filmed in NYC" and "Tiberius's player sucks" reasons found themselves abruptly down not only a healer (most of the time) but an arcane caster, leaving Scanlan and Keyleth doing double and triple duty. Vex did a pretty impressive amount of healing for a ranger, actually, but only had touch heals and limited spell slots for them. Add the fact that Keyleth couldn't heal while in Wildshape until pretty much the endgame and Scanlan was absent for an arc, replaced by Tary, who could heal but was not a full caster, and that explains a lot.

Vox Machina also had two characters with relatively low HP/terrible con saves to go with it (the twins) and only one true, full-time tank (Grog). Vex and Percy were often out of healing range but could get hit by an AOE attack. Also, dragons are particularly lethal for AOE reasons and four of those deaths are Raishan, two from when they tried to get Raishan immediately after the Thordak fight.

Of Vox Machina's deaths, two of Vax's, one of Vex's, Keyleth's, and one of Grog's are all out of combat and primarily due to player choice. They got way better at not doing this (well, Vax's are kind of unavoidable, but we only had one in C2 of this nature with Veth and the Power Word Kill trap, and none in C3).

One VM death (two if you count the wedding one-shot) was a direct assassination vs. one in the Nein and none for Bells Hells.

Now consider:

The Mighty Nein and Bells Hells each have at least two tanks; Bells Hells has three. The Nein have two full clerics (*extremely tired voice* Jester actually is a very good healer, Caduceus is just exceptionally support-focused) even without Fjord and Yasha's healing. Bells Hells had one full time cleric, and now they have a full bard and a bard-paladin.

No one dumps CON anymore. If only I could get them to start dumping WIS again and stop dumping INT, but I digress.

People are getting better at checking for traps and not selling their souls to cursed items.

Otohan Thull's build is in fact, I must admit, pretty good and cool, her lack of any personality traits not withstanding, but her lethal nature is specifically because she exclusively faced a super tapped party in a situation where they couldn't get out of there. She is responsible for all 5 deaths that weren't a Bertrand Bell Clear Setup situation; I think if Bells Hells hadn't been trapped and tapped things might have gone differently, whereas Vox Machina often was like "rests are for SUCKERS" and got their asses beat in avoidable manners.

My other caveat is of course not to count your chickens before they're slaughtered, namely, while none of Vox Machina died in the final Vecna fight unless you count Vax, which I don't, Vecna did kill two of them earlier on, though; Vax permanently (the Raven Queen just let him hang out a bit longer). The Somnovem/Lucien hybrid killed two of the Mighty Nein in the final battle. Ludinus or Predathos could fucking level the party. Otohan could have gone much worse in episode 91 without many changes; that was the first time I've ever heard Matt talk like a TPK was potentially imminent. Some of this is also luck, and some of this with Bells Hells is that *Myst voice* the ending has not yet been written.

[imsobadatnicknames2]

What's OSR? I've seen you mention it several times in your RPG posts. Is it like a genre of rpg or...?

Hey, sorry I took so long to reply to this lol you probably already just googled it by now.

But like. Anyway.

OSR (Old-School Revival, Old-School Renaissance, and more uncommonly Old-School Rules or Old-School Revolution, no one can really agree on what the R means) is less like a genre and more like a movement or a loosely connected community that seeks to capture the tone, feel and/or playstyle of 70's and 80's fantasy roleplaying games (with a particular emphasis on old-school editions of Dungeons and Dragons, particularly the Basic D&D line but pretty much anything before 3e falls under this umbrella), or at least an idealized version of what people remember those games felt like to play.

There isn't exactly a consensus on what makes a game OSR but here's my personal list of things that I find to be common motifs in OSR game design and GM philosophy. Not every game in the movement features all of these things, but must certainly feature a few of them.

Rulings over rules: most OSR games lack mechanically codified rules for a lot of the actions that in modern D&D (and games influenced by it) would be covered by a skill system. Rather that try to have rules applicable for every situation, these games often have somewhat barebones rules, with the expectation that when a player tries to do something not covered by them the GM will have to make a ruling about it or negotiate a dice roll that feels fair (a common resolution system for this type of situation is d20 roll-under vs a stat that feels relevant, a d6 roll with x-in-6 chance to succeed, or just adjudicating the outcome based on how the player describes their actions)

"The solution is not on your character sheet": Related to the point above, the lack of character skills means that very few problems can be solved by saying "I roll [skill]". E.g. Looking for traps in an OSR game will look less like "I rolled 18 on my perception check" and more like "I poke the flagstones ahead with a stick to check if they're pressure plates" with maybe the GM asking for a roll or a saving throw if you do end up triggering a trap.

High lethality: Characters are squishy, and generally die much more easily. But conversely, character creation is often very quick, so if your character dies you can usually be playing again in minutes as long as there's a decent chance to integrate your new PC into the game.

Lack of emphasis on encounter balance: It's not uncommon for the PCs to find themselves way out of their depth, with encounters where they're almost guaranteed to lose unless they run away or find a creative way to stack the deck in their favor.

Combat as a failure state: Due to the two points above, not every encounter is meant to be fought, as doing so is generally not worth the risk and likely to end up badly. Players a generally better off finding ways to circumvent encounters through sneaking around them, outsmarting them, or out-maneauvering them, fighting only when there's no other option or when they've taken steps to make sure the battle is fought on their terms (e.g. luring enemies into traps or environmental hazards, stuff like that)

Emphasis on inventory and items: As skills, class features and character builds are less significant than in modern D&D (or sometimes outright nonexistent), a large part of the way the players engage with the world instead revolves around what they carry and how they use it. A lot of these games have you randomly roll your starting inventory, and often this will become as much a significant part of your character as your class is, even with seemingly useless clutter items. E.g. a hand mirror can become an invaluable tool for peeping around corners and doorways. This kind of gameplay techncially possible on modern D&D but in OSR games it's often vital.

Gold for XP: somewhat related to the above, in many of these games your XP will be determined by how much treasure you gather, casting players in the role and mindset of trasure hutners, grave robbers, etc.

Situations, not plots: This is more of a GM culture thing than an intrinsic feature of the games, but OSR campaigns will often eschew the long-form GM-authored Epic narrative that has become the norm since the late AD&D 2e era, in favor of a more sandbox-y "here's an initial situation, it's up to you what you do with it" style. This means that you probably won't be getting elaborate scenes plotted out sessions in advance to tie into your backstory and character arc, but it also means increased player agency, casting the GM in the role of less of a plot writer or narrator and more of a referee.

Like I said, these are not universal, and a lot of games that fall under the OSR umbrella will eschew some or most of these (it's very common for a lot of games to drop the gold-for-xp thing in favor of a different reawrd structure), but IMO they're a good baseline for understanding common features of the movement as a whole.

Of course, the OSR movement covers A LOT of different games, which I'd classify in the following categories by how much they deviate from their source of inspiration:

Retroclones are basically recreations of the ruleset of older D&D editions but without the D&D trademark, sometimes with a new coat of paint. E.g. OSRIC and For Gold and Glory are clones of AD&D (1e and 2e respectively); Whitebox and Fantastic Medieval Campaigns are recreations of the original 1974 white box D&D release; Old School Essentials, Basic Fantasy and Labyrinth Lord are clones of the 1981 B/X D&D set. Some of these recreate the original rules as-is, editing the text or reorganizing the information to be clearer but otherwise leaving the meachnics unchanged, while others will make slight rules changes to remove quirks that have come to be considered annoying in hindsight, some of them might mix and match features from different editions, but otherwise they're mostly straight up recreations of old-school D&D releases.

There are games that I would call "old-school compatible", that feature significant enough mechanical changes from old-school D&D to be considered a different game, but try to maintain mechanical compatibility with materials made for it. Games like The Black Hack, Knave, Macchiato Monsters, Dungeon Reavers, Whitehack, etc. play very differently from old-school D&D, and from each other, but you generally can grab any module made for any pre-3e D&D edition and run it with any of them with very little to no effort needed in conversion.

There's a third category that I wouldn't know how to call. Some people call then Nu-OSR or NSR (short for New School revolution) while a small minority of people argue that they aren't really part of the OSR movement but instead their own thing. I've personally taken to calling them "Old School Baroque". These are games that try to replicate different aspects of the tone and feel of old-school fantasy roleplaying games while borrowing few to none mechanics from them and not making any particular attempts to be mechanically compatible. Games like Into the Odd, Mörk Borg, Troika!, a dungeon game, FLEE, DURF, Songbirds, Mausritter, bastards, Cairn, Sledgehammer, and too many more to name. In my opinion this subsection of the OSR space is where it gets interesting, as there's so many different ways people try to recreate that old-school flavor with different mechanics.

(Of course, not everything fits neatly into these, e.g. I would consider stuff like Dungeon Crawl Classics to be somewhere inbetween category 1 and 2, and stuff like GloG or RELIC to be somewhere imbetween categories 2 and 3)

The OSR movement does have its ugly side, as it's to be expected by the fact that a huge part of the driving force behind it is nostalgia. Some people might be in it because it harkens back to a spirit of DIY and player agency that has been lost in traditional fantasy roleplaying games, but it's udneniable that some people are also in it because for them it harkens back to a time before "D&D went woke" when tabletop roleplaying was considered a hobby primarily for and by white men. That being said... generally those types of guys keep to themselves in their own little circlejerk, and it's pretty easy to find OSR spaces that are progressive and have a sinificant number of queer, POC, and marginalized creators.

[writers-potion]

Writing Weapons (4): Clubs, Maces, Axes, Slings and Arrows

Clubs & Maces

Maces are refined versions of clubs, usually made from steel and flanged or spiked.

Perfect for smashing and plate armour and for crushing skulls.

When used on horseback, the rider uses continuous swining motion and leans to the side to hit.

Type of Fight Scene: gritty, historical fiction, smashing armour

Typical user: brawny male with broad shoulders nad bulging biceps

Mostly used in: historical fiction - Stone Age to Middle Ages

Main Action: smash, crush, bludgeon, batter

Main motion: downwards

Typical injury: crushed bones, crushed skull

Strategy for lethal fight: crush skull

Disadvantages: heavy, need to get closer to the opponent

Batle Axes

Used by a peasant or lumberjack

Special battle axes are bigger and heavier, with longer handles

A weapons for attack rather than defence, good at cleaving through armour

Can break through enemy shields and kill a charging horse.

They require intense training, so users are highly skilled elite soldiers, often aristocrats.

Types of Fight Scene: gritty, brutal, battles, attack, historical fiction, fantasy fiction, cutting through armour

Typical User: tall brawny male with broad shoulders and bulging biceps, courageous, elite soldier, Viking, Saxon

Mostly Used In: European Dark Ages to Middle Ages

Main Action: cleave, hack, chop, cut, split

Main Motion: downwards

Typical Injury: severed large limbs, split skulls, cleaved torsos

Strategy for Lethal Fight: severe the arm which holds the sword or the shield, or cleave torso from top to bottom, or cut off a lef then split the skull

Disadvantages: big and heavy

Bows and Arrows

They are weapons of mass use. Hundred of arrows are shot at the enemy to inflict as mcuh damagne as possible from a distance.

In the middle of the battle and for close combat, they're useless.

Castles were designed for the use of bows and arrows, with narrow windows called 'archer slits'. The top of the outer walls were desgined so archers could shoot while remaining under cover.

Arrows are relateively cheap and quickly to produce. Tips an be metal or sharpened stone, wood, bone, glass splinters, etc.

Pieces of feather at the end help the arrows fly better, but knowing which part of the feather to attach how and where is much -treasured knowledge.

Characters can learn the basics of archery can be done quickly at an emergency. However, to be really good it takes years of practice.

Most important skill is to be able to shoot many arrows in quick succession.

Stone Slings

Stone slings are cheap to make - it only takes a piece of leather, string and ammunition are simply pebbls lying around.

This makes it good for low-tech historical periods and for characters of all ages and physical capacities.

Doesn't require great physical strength, but a lot of practice is required to achieve accuracy.

Different cultures have different techniques for holding and releasing, none of which includes the continuous frantic whirling around beloved by moview makers. Rotatin is usually done once or twice, or not at all.

(1) the slinger hooks the end of the sling over her fingers (2) holds the hand above the shoulder so the sling's bag with the stone in it hangs down behind her shoulder. (3) flings it straight forward.

Blunders to Avoid

Depicting an axeman as an unkilled brute who chops blindly.

Battles where the archers shoot when sword fighters are already engaged in close fighting