Death and Damage in Most RPGs
Death of a character in most RPGs is a very significant event. The countless numbers of first level Dungeons and Dragons characters, savaged by an orc, goblin, or even particularly a particularly nasty house-cat in some cases, is a testimony for a game which was not only heavily combat-orientated, but also one which started such characters with but a handful of hit points An interesting exception in first edition Advanced Dungeons and Dragons was the Ranger - with maximum constitution and maximum die rolls, they could start with 24 hit points! But of course, this is an exception.
This dramatic moment did not change in games that had less of a combat orientation. In investigative-horror games like Call of Cthulhu character demise is often dramatic and sudden. Poor Scouts in Traveller were famous for facing their demise even before the start of play. As character gained in ability, it was usually of a primary motivation to provide some sort of protection for the character for sudden mortality; whether it is Divine Intervention in RuneQuest, Raise Dead or Resurrection in Dungeons and Dragons and so forth.
In some cases there was a level of dissonance in the mortal experience was due to game design issues and particularly the confusion in creative agendas, a conflict between game, simulation, and narrative approaches. Character deaths could be objected to as being "not realistic" (the savage house-cat example). A game with an extensive character generation process and a sudden mortality (e.g., Cyberpunk, Rolemaster) could seriously offend the player's sense of narrative, even if it was expressed in such terms. Games like Dungeons and Dragons, interestingly, because character generation could be so quick, did not usually suffer issue as badly - first level characters typically had very little character background.
There have been numerous means to get around these issues. Games like RuneQuest and GURPS, for example, had starting characters with static but somewhat realistic starting health levels - they could take a couple of blows and still remain standing. A popular house rule allowed Dungeons and Dragons characters to start with maximun hit points at first level, which was integrated officially in latter editions of the game (with fourth edition rules providing hit points effectively as a 'per encounter' basis). GURPS, unlike it's friends in the Basic Role Playing family, also included rather extensive opportunities for unconsciousness.
A Runequest list has been hosted on the rpgreview.net domain since 2008. This list is the direct successor to prior Runequest lists that date back from the 1980s including the following: Andrew Bell's RuneQuest dailies, 1987-1994, Henk Langeveld's RuneQuest dailies 1993, the RuneQuest 4 Adventures in Glorantha playtesting 1993, Loren Miller's RuneQuest rules list 1994-1996, the Rob Miracle Imagic list RuneQuest rules list of 1998-2001, and the Crashbox RuneQuest rules list of 2001-2008.
Despite being in publication since 2003 (and prior to that, as Hero Wars, in 2000), HeroQuest is still somewhat unknown among many RPG games - some of whom confuse it with the HeroQuest board game. To put simply, HeroQuest is one of the most well-defined roleplaying system with an explicitly 'narrativist' creative agenda, with a consistent resolution system across all types of actions and conflicts. Character have abilities with ratings which are compared against other with contested d20 rolls; the results determine the degree of success or failure for the action.
The following are a set of short elaborations to the core rules which allow for Pyrric Victories, Hero Points for NPCs, Hero Points for General Narrativism, Hero Point Advances, Keywords and Broad Abilities, Limited Augments, and Equipment Bonuses.
"Another victory like this and I shall be ruined"
- attributed to Pyrrhus via Plutarch, Battle of Heraclea, 280 BCE
The HeroQuest rules, as written, essentially allow for a victory or loss to one side or the other, in simple contests. Every action is an opposed test between two related abilities, with a default ability of 6 where there is none available and a default resistance of 14 where there is no active opposing force. Abilities may be augmented by relted, but not primary, abilities in the test by dividing the ability score by 5 (by 10 in first edition HeroQuest).
The two values are then compared against other and d20 die roll determines the relative success or failure. If a modified abilities is above 20, then it receives a 'mastery' which can be used to bump a result up (a failure to a success) or down (a success to a failure). A roll fo a natural 20 is a fumble, and a roll of 1 is a critical. The degree of defeat is determined by the difference of the die rolls with penalty applied to resultant actions:
Complete - results differ by 3 levels (e.g., Critical vs Fumble). Dying, no actions possible.
Major - 2 levels (e.g. Success vs Fumble, or Critical vs Failure). Injured, -20 to appropriate actions.
Minor - 1 level (e.g. Success vs Failure). Impaired, -6 to appropriate actions.
Marginal Victory or tie (When results are equal, the lower die roll wins). Hurt, -3 to appropriate actions.
The moment her spell clicked the latch open Vel the pixie played a shrill note on her flute. On that signal the furred form of Borm the bear burst into the room and slammed into the ogre. Just behind him Tam the child slipped in to help the prince from the cage ...
This is a setting for the D&D 5e game but one quite unlike typical settings like WOTC’s The Forgotten Realms or Greyhawk. Don’t worry though, this setting draws on British fairy tales which in turn have influenced a lot of fantasy novels, TV, and film. This world will seem very familiar.
Following on from third edition's "Libris Mortis", "Open Grave : Secrets of the Undead" is the equivalent for 4th edition Dungeons and Dragons, with Bruce Cordell notably sharing author credits in both supplements. The product is 224 pages, hardbacked and well-bound and full-colour glass pages throughout. The cover art is not exactly exciting, an undead visage, but is quite muted in tone and lacking in colour. The internal art shows a great deal of both creativity and acumen, and is somewhat contextual (yes for monster and NPC statistics which is necessary, no for most of the rest of the book). Mention must also be made of the rather attractive maps and floor plans, although they are perhaps a little too neat.
There is excellent use of white space throughout the book, with clearly marked page numbers and chapter identifiers. The book come with a single page table of contents and a two-page index, albeit limited to new monsters. The writing style is mostly formal with the occasional foray into the conversational, with a fairly good level of density, and particularly well structured (something which this particular edition of the game does well at). In terms of content there are but four listed chapters - Undead Lore (19 pages), DMs Guide to the Undead (27 pages), Undead Lairs (74 pages), and a massive New Monsters section (94 pages). The latter is a bit of a design flaw a even the table of contents indicates, it can be easily split into new undead and NPCs and Templates, with the latter taking a respectable 22 pages. As will be evident, some of the text ordering is a little awry.
The Scythe of Thanatas is an major artifact item for D20/Pathfinder and similar systems. It was originally used in Stean Vitasovic's D&D3e fantasy dark ages Balkans campaign c2001-2002, and whilst the statistics provided are for that particular context it requires little elaboration for other game settings or systems. In the original campaign it was discovered in a in same chaotic caves near a keep on the borderlands of the Vrhbosna province by a sorcerer of medium ranked ability. The Scythe's frustration at the sorcerer's attempts to use the weapon without proficiency in narrow underground passageways generated some hilarity. The Scythe itself, as an artifact, became a feature of the entire campaign as its ever increasing urges for greater bloodshed became dominant.
In Pathfinder the Scythe is a two-handed melee weapon. Note however that this is specifically the 'war scythe' which historically was primarily by peasants during uprisings (e.g., , Hussites, battle of Sedgemoor, Ko?ciuszko Uprising etc) which required a modification of the blade and shaft. The painting by Mort de Bara by Jean-Joseph Weerts (1883), illustrated the use of this weapon (and stands in contrast to the drawing in the Players Handbook, p100).
These weapons has the following statistics common to D&D3.x/D20/Pathfinder
Scythe: 18 gp, 1d6, 2d4, ×4, 10 lb., Piercing or slashing
The Scythe of Thanatas however is encountered as the traditional peasant's tool, that is, with the chine (blade) at right angles to the snaith (haft). As a combat weapon, it is automatically at -2 due to this design, in addition to any lack of exotic weapon proficiency. To convert it to a war scythe requires a simple Craft: Weaponsmithing check with a DC of 10.
Note that the depiction of Thanatos as the "the Grim Reaper" carrying a scythe was not the norm in ancient Hellenic societies who depicted Thanatos with either a sword or an upside-down (extinguished) torch. It seems that the version most familiar in the Anglophone world actually comes from Polish origins (which, at quite a stretch, also suits the Balkans). The Hellenic Thanatos was considered more neutral in overall disposition and appeared in a male form. Note therefore that despite the Hellenic association, this is actually a Slavic artifact and could even more justifiably be called "The Scythe of Marzanna" or similar.
Efficient and effective character builds in Dungeons & Dragons have been a major feature since third edition, if not before then. This following example for 5th edition : How to survive a great fall (1000 meters & over) as level 2 Half Orc barbarian and still walk to tell the tale:
This is just a thought experiment, but I think I have figured out a way for my current PC, which I am basing this idea on to not die from falling off a cliff.
Hi John, welcome to RPG Review. Let us start with a common question, how did become involved in roleplaying games? What were the first games you played and what did you think of them?
I started back in the early 80s with AD&D, I loved it at the time, but can't ever see myself playing any form of D&D again.
What games are you currently playing?
Sadly none at the moment. Until December, I was in a short playtest campaign run by Ben Lehman called Thousand Kingdoms. A few months before that, a three year free-from campaign run by our primary GM ended. She'll be starting a new one in a few months, which will likely last between 2 & 5 years. Other than that until last year I was also in a 2 year long Amber Diceless RPG campaign. Unlike most RPG designers, I vastly prefer playing to running games.
You have an extraordinary list of RPG credits associated with your name; White Wolf and Atlas Games' Ars Magica, Chaosium's Nephilim, Last Unicorn's Star Trek, supplements for White Wolf's Trinity, Exalted, Mage: The Ascension and The Awakening, and others, Green Ronin's Blue Rose, Posthuman Studios' Eclipse Phase... It's an extraordinary range. How do you find developing across such a wide variety of genres, styles, and game systems?
Introduction and Product
As a 192 gloss page hardback Libris Mortis is very well-bound, with a colourful cover piece of a graveyard summoning. The contextual internal art, of colour and monochrome, is of highly variable quality although shows some notable aptitude in creativity; the bored lich is a particularly nice piece as an example. The book comes with a one page table of contents, but no index. The content is in two colum justified serif text with good use of white-space and clearly marked chapter title and page numbers in the margins. As with all books in the edition, the use of black-on-yellow chapter pages is annoyingly difficult to read. The writing also leaves a little to be desired; it is far too vebose, often chatty, and there are an unexpected number of minor typographical errors.
The content consists of seven chapters; Introduction and All About Undead (14 pages), Character Options (17 pages), Prestige Classes (16 pages), Spells (13 pages), Equipment (6 pages), New Monsters (51 pages), and Campaigns (57 pages), which are all pretty much what they say on the tin. As can be easily ascertained, this is primarily a book for new undead monsters and undead campaigns, and the review with emphasise those areas as appropriate.
For its own part, the first major chapter starts of by bringing together various definitions of the undead, and provides an excellent variant rule of 'Haunting Presences'. It also deals with the rather ambiguous issues of undead physiology and does so more as a collation rather than bringing the disparate implementations together. There is all too brief discussions on undead psychology, society, and religion although for the latter the 'Evening Glory' deity of undying love is at least interesting. The chapter concludes with various aspects of fighting undead including knowledge checks, tactics, and of course the time-honoured favourite of ability and level drains that the cold hands deal.
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