Is Rapier the new Longsword?

October 7th, 2010

Facts:

  • With the Essentials Rules Update the rapier is now a military melee weapon.
  • In 4e, the rapier is and always has been a light blade one handed melee weapon that has a +3 proficiency bonus and does 1d8 weapon damage.
  • In 4e, the longsword is and always has been a heavy blade one handed melee weapon that  has a +3 proficiency bonus, does 1d8 weapon damage, and has the versatile property (+1 damage when wielded in one hand).
  • Nimble blade is a heroic tier feat that requires 15 Dex and gives a +1 bonus to hit with CA and while wielding a light blade.
  • Light Blade Expertise (a new essentials feat) gives a +1 feat bonus to hit per tier and a +1 bonus to damage per tier when you have Combat Advantage.
  • Heavy Blade Expertise (also an essentials feat) gives a +1 feat bonus to hit per tier and a +2 bonus to AC vs OAs.

Conclusion: The rapier is the default weapon of choice for one handed weapons!

  • Light Blade Expertise is better than Heavy Blade Expertise! A damage bonus that scales with level is awesome and worth a feat in its own right (Weapon Focus, which it stacks with). In contrast, a +2 to AC vs OAs, while it technically mimics a feat, is far less impressive overall and has less utility to most builds, since people try to avoid Opportunity Attacks as much as possible, in my experience.
  • For those with 15+ Dex, nimble blade is a great feat to take and can be taken with a rapier with little to no drawbacks.
  • The Versatile property of the longsword is basically meaningless; how often is someone going to unstrap their shield (a standard action) and give up a +1 or +2 AC so they can swing a sword around 2 handed for a +1 bonus to damage? Not very often, I suspect!

Positive Consequences:

  • Halflings, gnomes, and other small races don’t get punished for being small since they can easily heft a rapier, which has similar stats to a longsword.

Negative Consequences:

  • Heavy Armor: It’s annoying to imagine a bunch of fighters and other classes in heavy armor with heavy shields wielding rapiers, which historically were used primarily in civilian duels with no armor.
  • Long Swords are Iconic: It just feels right for longswords to be the default weapon of choice! They’re kind of a fantasy staple in most stories and books about knights and other heroes, so it feels weird that a lot of PCs are going to be sporting rapiers now!
  • Two Handed Weapons: The bonus to damage makes for this weird situation where rapiers generally do equal or more damage (independent of class bonuses and the like) than big two handed weapons, which is just kind of a weird situation. It seems like if I’m giving up a shield to swing around a big two handed weapon I should be getting at least a small increase in damage. In the end, the advantage either way is only 1 or 2 points, but on principle I’d like to imagine that a bonus to damage is something I’m getting through weapon choice alone.

Is it a big deal that for a lot of classes (sword and shield fighters, duel wielding rangers, warlords, etc.) are switching to rapier rather than longsword? Ultimately, it’s not the end of the world, and it does have some benefits for small PCs. But it does make me a little sad, and is a continual reminder to me that improvements to some aspect of a game system often has unintended consequences.

I believe the new expertise feats were put in to make taking an expertise feat (a must-take feat) more interesting and meaningful, since now they’re tied to specific weapon choices. And of course, the expertise feats were created to begin with to address a math problem with scaling monster defenses, and had the unintended consequence of putting into the game a must-take feat that wasn’t very interesting (along with some other problems I’ve addressed in my House Rules article). Now as a result of making those feats more interesting, the balance has been tipped in favor of the rapier as the default one handed weapon!

by Thor, that’s a lotta ewers

October 6th, 2010

Ewer: A pitcher, esp. a decorative one with a base, an oval body, and a flaring spout.

I’ve mentioned the unnatural overabundance of ewers in D&D treasure, but I didn’t support my thesis with excessive evidence. That’s not like me, and it changes today. Here are the ewers-in-treasure sightings in core D&D rulebooks:

BECMI D&D

I’ve already mentioned the cover of the 80s Red Box, but let’s show it again:

You know this Viking is just going to keep the ewers and throw the rest of this treasure away.

But that’s not even the only ewer in the Red Box. Here’s a treasure illustration:
Read the rest of this entry »

antics

October 5th, 2010

Read Jeff Rients’ hilarious description of one of his best D&D sessions ever. You’ll notice it involves the PCs DECIDING, FOR NO GOOD REASON, THAT THEY NEED TO BE IN A PARADE.

Let me tell you about two of my best D&D sessions ever.

THE RATLING PLAY

I occasionally run a one-shot “ratling game”, where everyone plays anthropomorphic rats. By unspoken consent, everyone always makes wisdom their dump stat (or plays like it). It always devolves into lunacy.

On one occasion, the ratlings discovered that their home city did not pay proper reverence to Smidanoonan, the Rat God. Smidanoonan’s statue was (pointedly, they felt) absent from the row of statues on Godsbridge.

The ratlings decided they needed to construct a Rat God statue and stick it to the bridge with a dot of Sovereign Glue. For some reason they decided that they needed to do this WHILE PUTTING ON A PLAY. I think the play was part of a previous plan that was abandoned, but by then they’d already printed up the posters.

The session culminated with the performance of the play. The capstone of the entertainment was the raising of the statue to the bridge: the statue was too heavy for the ratlings to lift, so they decided they’d tie one end of a rope to the statue, the other end to a horse, and then get the horse to jump off the bridge.

I, the DM, was privately sure they would not be able to get the horse to jump off the bridge. I didn’t have enough faith in my players. At the critical moment of the play, one of the ratlings used a fear-based attack to spook the horse; another, a Beguiler, created an illusion of a green field off the side of the bridge. The horse jumped over the bridge’s rail and fell into the river, raising the statue of Smidanoonan to amaze and horrify the assembled human audience.

Not only did this game session involve no combat encounters, it involved almost no DM work at all. The magic was all due to the players taking the bit between their teeth and doing whatever the hell they wanted to do: I just handled some light adjudication.

THE GOD MACHINE

I was involved in another D&D play, this time as a PC. A troop of hobgoblins had captured the children of the village. When we tracked the hobgoblins to their lair, we discovered that the children actually liked the hobgoblins better than the villagers and didn’t want to go back! We DECIDED, FOR NO GOOD REASON, TO PUT ON A PLAY to win back the children.

I believe the hobgoblins put on a rival play, but I don’t remember it. I do remember that, as the wizard, I provided special effects and lighting. The rogue and paladin performed some impressive stagefighting: the play was a morality play about the battle between good and evil, and the outcome was decided by an actual combat between the players. (I think evil won.) Meanwhile, the dwarf, again FOR NO GOOD REASON, had built a device meant to shoot fireballs. (Maybe it was a stage set for Hell?) A few natural 1s on skill checks caused the device to backfire and incinerate the dwarf and several nearby PCs. I think that actually helped us win the play contest.

All these sessions – Jeff’s parade floats, and the two games I described – involve what can only be categorized as “antics”. Here’s what they all have in common:

  • The players chose the goal.
  • It was a bad goal (something not worth doing in the first place).
  • Neither the DM nor the players had any plan beforehand: everything was improvised.
  • Every game involved public performance by the PCs.
  • Every game involved construction by the PCs.
  • Every game ended in chaos and mayhem.

The above list is not necessarily a formula for how you should run every D&D session*, but it might be a reminder, for both DMs and players, that the DM doesn’t always need to lead. When the PCs decide they want to go off-course, they can lead the way to a Best Session Ever.

The horse passed his Swim check, by the way.

* Unless it is!

Mazes and Monsters: leveling rules

October 4th, 2010

I’ve been blogging the Mazes and Monsters RPG for about two months now, which is a long time in internet land, so, just in case you’re new to the project:

I’m watching Tom Hanks’ Mazes and Monsters to glean the rules of the Mazes and Monsters RPG. So far, the game players (Hanks, Jay Jay, Kate, and the blond guy) have stolen costumes from the college theater department and LARPed in a dangerous cave, and Tom Hanks has gone totally insane, hallucinated a fight with an evil monster, and broken up with Kate because a spectral figure called “The Great Hall” told him to.

Now we’re all caught up!

Confused and hurt by her breakup with Hanks, Kate meets Blondie in a diner (apparently there is a diner on campus? it seems to be called “Fat City”) for some post-breakup flirtation, and to ask whether Hanks might be acting a little more… Pardieuxy than usual. Blondie is unable or unwilling to recognize the change in Hanks’ personality.

GIRL: What about his blessing people all the time and giving his stuff away and acting so holy?
BLONDIE: He’s just staying in character. […] I don’t think Robbie’s turning into Pardieux. We work out our problems in the caverns and then we leave them there.

It’s been a while since we were reminded that Mazes and Monsters is a game meant to help us Work Out Our Problems. But it is. Who knows how many thousands it helped during the 80s? Such a powerful healing tool was undoubtedly invaluable for professional psychologists. I bet this scenario played out a lot:

PSYCHOLOGIST: Hmm, your marriage does seem to be troubled. Perhaps we should try some role-play. (lights candles) You are standing before the greatest adventure of all: marriage. Shall ye enter?
HUSBAND and WIFE: Aye! (dice are rolled)
WIFE: I slew a Gorville!
ALL: Marriage saved!

But for every problem solved, there is a life ruined. For every yin, there is a Hanks. The game really should come with a warning to that effect.

Mazes and Monsters is a game about FUN – but it is also a game about self-improvement. Mazes and Monsters players work out their problems in the game and then they leave them there.

Like any respectable psychological tool – hypnotism, LSD, lobotomy, Scientology – Mazes and Monsters is dangerous if used improperly. Don’t try to work out serious real-life problems until you are high enough level to deal with them! And never play the game except under the guidance of a fully licensed Maze Controller!

The other fact to notice about this scene: Blondie writes off some pretty wacky behavior – blessing people all the time, giving away his stuff – as “staying in character.” Well, we know that Blondie isn’t so smart. This is the guy that advocated splitting up when they were LARPING in the cave. But still, “staying in character” seems to be something that is acceptable within the Mazes and Monsters subculture.

A high-level Mazes and Monsters player may want to start acting like his character in the real world. This is perfectly normal. This is what Russian theater director Konstantin Stanislavski calls “staying in character”. It can help players gain the naturalistic playing style they really need to work out their problems in the game.

The next night, Tom Hanks again dreams of The Great Hall!

HALL: Pardieux. Next you must find the secret city under the earth.
HANKS: When?
HALL: When you have purified your mind as you have your body.
HANKS: I’m making a map!
HALL: When you are ready, you will need no map.

From Hanks’ madness we can glean game rules. He is a player, not the Maze Controller, and yet he feels it is his responsibility to make a map. Therefore, a player must be appointed to be the party mapper, as in Dungeons and Dragons.

Player Responsibilities

The players should be prepared to do a little work to ease the task of the Maze Controller.

One player should be the maze mapper. This player notes down the twists, turns, corridors, and rooms of the Maze. Only by studying the map will the players be able to reach the treasure.

Here’s Hanks’ map. Pretty nice, huh?

the great hall/two towers map

Next session, we’ll talk about XP!

where do cities go?

October 1st, 2010

African Civilizations by Graham Connah

African Civilizations by Graham Connah


it is interesting to note that many of the savanna urban centres appear to have grown up at environmental interfaces, between transportation systems. Thus at Timbuktu goods were transferred from camel to canoe and at Kano from camel to donkey. (page 141)

When you’re drawing your map of the world, put cities at the border between two terrain types. That’s where traders change from one type of transportation to another. For instance, horses come in the north gate of the city, and camels go out the south gate.

It’s well known that cities grow up along coasts and rivers. That’s where ship- and raft-based travel meets road travel. But that’s just the most obvious example of this general rule.

Rare item: Smoke Turban

September 30th, 2010

We haven’t actually seen one of WOTC’s Rare magic items yet: we’ll get our first look in the DM’s Kit. I’d like every Rare item to come with

  • history
  • abilities that alter the way the owner plays the game (each player has only one Rare item! It can afford to take the spotlight)
  • the ability to change unpredictably over time (Artifacts in 1e AD&D had some randomly generated abilities. This kept things fresh for a player who owned the DMG.)

    Here’s an example of what I’d like a Rare item to look like:

    Smoke Turban

    Julli ducked into a corner of the town square and donned the black turban. As the gossamer veils drifted down around her head, the noise around her ceased and noon became night. Through the turban’s obscuring veils, she saw the bazaar in ruins and the crowd in the square was suddenly transformed to shuffling zombies.

    Julli skirted the square, avoiding the zombies. She ran through the broken doors of the palace, up a stairway so dark that she could not see the steps, and climbed over the rotting woodpile that had been the treasury doors. Inside the treasury lay rat bones, dead moths, and bits of rusty iron.

    Julli wrenched off her turban. As the veils around her dissipated, she found herself in brightness once more: inside the tightly locked treasury chamber, and surrounded by ewers brimming with rubies and stacks of gleaming gold bars.

    Smoke turban. Level 5 head slot item. Rare.
    A black turban, trailing thin black veils that drift into smoke.

    When someone puts on the Smoke Turban, they become translucent and smoky, and gain a +10 item bonus to Stealth against living observers. Against the living, the wearer may also make Stealth checks without requiring cover. However, the turban wearer’s perception of the world also becomes translucent and smoky, and they take a -10 Perception penalty. Furthermore, all living creatures are totally invisible and inaudible to someone wearing the turban.

    Level 15: +15 bonus/penalty.
    Level 25: +20 bonus/penalty.

    Leveling Up

    When its owner learns more about it (possibly by performing a quest), the Smoke Turban becomes more powerful. Roll a d6 to determine what extra abilities the Turban receives.

    1-2: Hunter’s smoke turban
    3-4: Shadowfell smoke turban
    5-6: Desert smoke turban

    Hunter’s smoke turban. The turban belonged to a hunter of one particular type of creature of the DM’s choice (for instance, demons). While everything else is hazy and dark to the wearer of a smoke turbans, these creatures stand out. The wearer takes no penalty on perception checks made to identify this type of creature or its trail.

    Shadowfell smoke turban. This turban belonged to a daring thief who finally met her end when she phased into the wrong part of the Shadowfell. While wearing this turban, the wearer sees his or her normal surroundings at a penalty as usual, but is also aware of the contiguous portion of the Shadowfell world, at the same perception penalty. As a minor action, the wearer may spend a healing surge in order to temporarily phase into the shadowfell. While in this state, the wearer is fully in the shadowfell. The wearer is also in the natural world as well, but gains Insubstantial and Phasing in the natural world. This may allow the user to, for instance, pass through some barriers that don’t exist in the shadowfell. The wearer returns to the natural world at the beginning of their next turn. If they are not in a legal square when they return, they are moved to the nearest legal square and knocked prone.

    Desert smoke turban. This turban belonged to a feared desert assassin who walked alone and unnoticed between caravans. While wearing the turban, the wearer gains fire and radiant resistance, and cold and necrotic vulnerability, equal to the Stealth bonus, and an equal bonus to Endurance checks related to heat.

  • The Creature in Gray

    September 29th, 2010

    I wrote a short story about a horrible creature cloaked in gray robes that speaks only in whispers, mimics your form, makes you cry tears of blood, and then turns turns you into a horrible mind-slave under its command!

    Then I ran it as a D&D monster! It was super fun. I set up a weird environment in the Shadowfell that was similar to the beautiful and creepy garden Paul described in a previous article. The Creature in Gray used Unearthly Whispers to charm the wizard, who got to throw out his bag of horrible controller tricks against the party for a change. Unfortunately, I hadn’t thought of adding a bunch of temporary HP to the wizard to make him tougher, so he went down pretty quickly (I thought of it mid combat and gave him the temp HP and a small heal to bring him back into the fight).

    I took some liberties with its abilities, but it’s a pretty good and creepy reflection of the creature I created for my story. The revised version is below:

    Read the short story below! Read the rest of this entry »

    google adwords giveaway

    September 28th, 2010

    Does anyone want google adwords dollars to advertise their website? My ISP gave me a Google Adwords coupon, which I probably won’t use, and I’m looking to give $50 of AdWords dollars to a good home.

    I added a Google Friendconnect thing to the sidebar of this page. Next Tuesday, or when BlogofHolding has 10 members (whichever comes last) I’ll choose a random friendconnect member and let them pimp their website of choice.

    Mazes and Monsters: psychodrama!

    September 27th, 2010

    When we left off, Tom Hanks had just gone crazy in the local caves. Tonight, as he sleeps, he is visited by a dream.

    Don't shoot the Great Hall!

    Don't shoot the Great Hall!

    In the dream, Tom is talking to an authoritative God figure. God looks a little like “Not Me” of Family Circus as seen through James Bond’s gun barrel.
    Read the rest of this entry »

    every book’s a sourcebook: The Ginger Star

    September 24th, 2010

    The Ginger Star by Leigh Brackett

    The Ginger Star by Leigh Brackett

    The Ginger Star, by Leigh Brackett – the first of the Eric John Stark sci-fi series – is chock full of D&D-inspiring goodness, which is not surprising because Leigh Brackett inspired her way into Appendex N. It’s technically sci-fi because there’s space, but between the space-ship landings at the beginning and the end it reads like fantasy. Over the course of a Fellowship of the Ring-style overland journey, Stark encounters guys who are described as looking like trolls, wizards (whose magic really works), and short, squat men who like to forge iron.

    D&D-ready encounters of note:

  • A toll drawbridge over an otherwise impassable gorge. On each side of the drawbridge is a bridgehouse that controls its own half of the bridge; both sides most be down for people to cross. If you kill everyone on one side, the people on the other side won’t let you up. Also, if the tollkeepers feel like it, they can lift one half of the bridge, cornering you on the other.
  • A winter wizard who attacks you from afar with a killing frost. I’d run this as a more elaborate skill challenge than most, with uses for action points, fire-based attack powers, burnable items. The penalty for failure in the skill challenge, as is true for many combat encounters, would be death. Every skill challenge can’t be toothless.
  • A land of cannibalistic ghoul tribes – but the ghouls aren’t ghouls, they’re savage, hungry humans. There are a lot of monsters that are Other trying to eat Us. It might be scary to fight Us trying to eat Us.

    Overall, the book gives the impression of a world, like Middle Earth, that has more and less dangerous “zones”. Eric John Stark is a typical pulp-fiction badass, and in the beginning of the book, in the South, he is the baddest ass in the room. As he heads north, he travels through progressively higher-level areas until he is routinely being defeated and captured.